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  1. #11

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    One reason I'm asking, is because it's a little difficult to change filters with the Aristo head that I'd like to use. So, additional filters would be much preferable.

  2. #12
    Jon Shiu's Avatar
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    Under-the-lens filters are best for split-grade filtering.

    Jon
    Mendocino Coast Black and White Photography: www.jonshiu.com

  3. #13

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    Quote Originally Posted by Neil Poulsen View Post
    One reason I'm asking, is because it's a little difficult to change filters with the Aristo head that I'd like to use. So, additional filters would be much preferable.
    You could add CC magenta or yellow filters in the appropriate amount to the pack.

  4. #14

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    Quote Originally Posted by Jon Shiu View Post
    Under-the-lens filters are best for split-grade filtering.

    Jon
    Why is that?

  5. #15
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    Only because you can change them very easily and quickly, which would be slower/cumbersome if you have to use a filter drawer.

    Jon
    Mendocino Coast Black and White Photography: www.jonshiu.com

  6. #16

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    Quote Originally Posted by Neil Poulsen View Post
    I've enlarged with condenser heads, but the half-tep contrast differences were just too large. I would frequently need something in between to get what I needed.

    Has anyone experimented with adding additional filters for more subtle discrimination between filter grades? If so, what did you observe?
    Split contrast printing will give you that mid grade, like a #1 1/4 by giving half the exposure on a grade 1 and the other half 1 1/2.

    You can do this with any combination of filters, and it WILL make a difference which you do first...subtle but it does make a visible difference.

  7. #17
    Ole
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    I use AGFA CC filters in the filter drawer, so I can set any filtration I want.

    But most of the time I use graded paper, and adjust the contrast through processing.
    -- Ole Tjugen, Luddite Elitist
    Norway

  8. #18
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    I print split grade, and use a color head. Feels a little obtuse at first, but becomes very fast and intuitive after a while. I tend not to think in filter grades anymore, (the idea of grades sort of goes away) but in any combination of hard and soft exposures. Want just a tenth more soft contrast in the highlights? Set it on the clock.

    The thing to keep in mind is that the soft setting builds exposure across the range (with uber low contrast), while the hard exposure tends to expose from dmax up to the lower mid tones. This is why many people expose and evaluate the soft filter first, find the setting that offers a subtle graduation of highlights, and then print hard to add the range without screwing the highlights up.

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