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  1. #11

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    Quote Originally Posted by leeturner
    Thanks Bob. I've seen the rather heated discussions about different types of light source and there is a noticeable difference, but let's not get into that old argument. One advantage I am finding is that the diffuser seems to lessen dust and the like on the neg. The room I have my equipment in is unfortunately carpeted but I have put a large antistatic mat down which helps to a certain extent. I'm working on "she who must be obeyed" to fit a laminate floor in the room but our priorities, as usual, seem to differ.

    I'll plug on for the next few days and hopefully wil be able to post some examples next week. One major advantage over my previous darkroom is that with lens prices at a ridiculously low level I'm now able to print with significantly better glass than before.
    See http://www.inbio.com/Your_home.html about good arguments for laminate floors instead of carpets. There is more muck in a carpet than you really care to know.

  2. #12
    Bob F.'s Avatar
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    Quote Originally Posted by Kapten Stofil
    See http://www.inbio.com/Your_home.html about good arguments for laminate floors instead of carpets. There is more muck in a carpet than you really care to know.
    True enough, but see the link below for what can happen to your nice laminate floor if a pipe springs a leak under it at 2 a.m. and you need to get at the pipe quickly...



    I now recommend flooring you can pull up / roll back in the event of an emergency...


    Cheers, Bob.

  3. #13
    RH Designs's Avatar
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    Quote Originally Posted by leeturner
    Hi

    I thought that with direct light MG printed at approximately grade 2 so are the filters (using Y and M) also acting as a type of ND filter? It looks as though it's going to take me a while to calibrate the filters to my purpose. Is is worth setting up the other enlarger with below the lens filters and adjusting the colour filtration to match these results or should I just do what I used to do and go with what looks right?
    Lee -

    Yes, the two filters will act as ND. The tables of colour settings that Ilford enclose with the paper come in two sets, one that uses just a single filter (Y or M) and the other that uses a combination of Y and M for each grade. We've found that these dual settings are quite a close match to Ilford's own below-lens filters, so if you want the minimum difference between your two setups I suggest you use these dual-filter settings. The single-filter settings will give you shorter exposures in the middle grades but require a lot more adjustment of exposure when you change the settings. You can (if you use the f-stop printing method) derive a table of exposure adjustments vs filtration which makes life easier.

    The business of "consistent exposure" from grade to grade with Ilford filters is a bit of a red herring as it refers only to a specific density (i.e. shade of grey). If you choose the exposure to get the highlights right, you can adjust the shadows using the filters. For example if at grade 2 the shadows aren't dark enough try a harder grade setting, and if they're blocked up try a softer one.

    I use a colour head perfectly successfully for VC printing. Some colour heads won't manage a full grade 5, only 4.5, but that's a minor inconvenience compared to the smooth and continuous control of contrast that you can't do with Ilford filters (unless you use the split grade technique).

    And don't forget that the correct "grade" is the one that makes the print look right, not a specific number!

    Regards
    Richard

  4. #14

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    Thanks Richard. I looked again at the Ilford settings for the Durst. If using a single filter then grade 0 is indicated as 150Y with 5 being 170M. However using two colour filtration grade 0 is 115Y 0M and grade 5 0Y 170M. WHy the disparity when both settings for grade 0 are in effect using 0M? Is this so that exposure times for the next grade up using 2 colour filtration are not affected?

    With split grade printing would it then be correct to use the single filtration method as logically grade 0 and grade 5 are only using one colour.

    OT - wrt laminate floors, I've had the unfortunate duty to fit them in several rooms in the house. Much easier to clean etc. but a sod on the knees when fitting them.

  5. #15

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    [QUOTE=leeturner]
    With split grade printing would it then be correct to use the single filtration method as logically grade 0 and grade 5 are only using one colour.
    /QUOTE]


    For spilt grade I just turn the knobs all the way. No need to worry about what the exact grade is for the two exposures. At least I doubt there is. FWIW when I tested my old durst I got much lower then grade 0 with full yellow. At least that's what I remember.

  6. #16

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    Nice thing about the Meopta Dichros; dial in ND. Dan

  7. #17
    RH Designs's Avatar
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    Quote Originally Posted by leeturner
    WHy the disparity when both settings for grade 0 are in effect using 0M? Is this so that exposure times for the next grade up using 2 colour filtration are not affected?

    With split grade printing would it then be correct to use the single filtration method as logically grade 0 and grade 5 are only using one colour.
    Lee -

    Sorry for the delay - computer problems. Yes, the discrepancy is in order to equalise the exposures as far as possible from grade to grade. With single colour filtration your exposures will typically be much shorter in the mid grades than at the extremes.

    For split printing single filters are perfectly adequate. On my colour head I simply use 200Y and 170M, the maximum in each case. If you're using Ilford filters, just choose grades 00 and 5.

    Regards
    Richard

  8. #18
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    A simpler and surprisingly effective method is simply to use split contrast printing for every print. Start with max yellow and aim for ideal highlights only. Then with that exposure given, test with max magenta, this time looking for shadow detail. Then make one "straight print" with no manipulation, just the max yellow and the max magenta exposures, and evaluate it for desired burning and dodging. Usually, some areas will want some burning with more yellow light and some may want more with the magenta. This is the method that I use and one of the advantages is that I never spend any time trying to figure out filter settings for "equivalent" contrast grades on different papers.

    Tim R

  9. #19

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    I'm trying out split grade but the problem I'm having initially is the correct amount of grade 0. The two grades look OK as separate test prints but when combined seem a bit muddy. What I'm doing now is getting the grade magenta time and exposing a whole sheet with that time. I then expose a max yellow test strip on top of this to get an idea of the ratio. It's very early days for me in the darkroom and I'm sure it will get easier with experience.
    One benefit I'm seeing to split grade printing is it's helping me to identify problems with my initial film exposure as I can see deficiencies within certain exposure values. The other main benefit, as Dave Miller pointed out, is being able to dodge and burn highlight and shadow separately.

    I've posted a work print that I tried with split grade printing. It printed OK on grade 3 1/2 but the problem was if I tried to burn in the highkey areas is also burnt in the black accentuating the high key look.


  10. #20
    Bruce Osgood's Avatar
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    leeturner

    For what it's worth, this is how I make a split grade print:
    1) With max yellow filter I run a step table of time to determine the least amount of time to obtain a hint of tone in the highlights.

    2) With that time and filter I expose another entire strip of paper and then on top of that I do a step table of max Magenta filter to see what appears to be the best combined exposure.

    Do NOT do the second exposure separate of the first because when you combine them it won't be right.

    3) Now I make the first test print using the original yellow and the apparent magenta filter.

    To go further is to tweak the print and that is purely subjective. The point is that the most important exposure, the one that the entire print depends on as accurate is the yellow. All the time in developer, the kind of developer, all the way through dry down will depend the yellow exposure.

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