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  1. #31
    Bob Carnie's Avatar
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    Yesterday I was making 30x40 lith prints , standard d76 negative , I was any where from 99 seconds - 35 seconds , using a 11x14 devere enlarger no filter, 150 apo rodagon stopped down two stops. We made 4 prints from different negs.
    Ilford Warmtone from 35mm, standard d76 negative, to 30x40 print on a Omega Condensor with a 250w bulb two stops down can range from 15 seconds to around 60 seconds depending on negative density.
    Quote Originally Posted by clayne View Post
    Bob, on a side note, what's a typical exposure time for a 30x40?

  2. #32
    Thomas Bertilsson's Avatar
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    Well,

    I tried the glass carrier, and there is a difference in sharpness. But now I'm getting much lower contrast due to fogging. How do you mask off the negative so that there is no stray light on the sides fogging the paper? Fully developed and exposed to daylight sheet of film with a cut-out? I would opt to place this on top of the carrier. Does that sound kosher?
    (I only have a 4x5 glass carrier).

    Bob's theory about a popped negative is very valid. I'm using a 250W bulb, and with filter changes I am in the realm of keeping the enlarger going for about 3 minutes including all of the burning I have to do with a particularly dense negative (The Grade 4 burn in the sky takes forever).

    It's a good step forward, but as usual when you change something for the better, some other problem occurs...

    - Thomas
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  3. #33
    Bob Carnie's Avatar
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    Hi Thomas

    I place set up the easal with my blades where I want to print, I defocus the enlarger without a negative in place and move the easal dead center , the condensor cone will be your guide .
    Once the easal is locked down into position I will then put a negative in and move the negative until it is dead nuts in position with the blades of the easal. Do not move the easal move the negative to make sure you are dead center ... bulb,,, condensor,,, negative.... lens.... easal blades.
    Once you have your negative in its correct position.
    take it onto a light box , flip over the glass carrier and use black electrical tape and mask out the clear areas of the negative.
    Once this is done , its done you never have to do it again.
    I do this for 35mm, 6x6, 6x7,6x9, and 6x12.
    You will always be dead center and if you are in alignment then ultimate bliss will be your constant companion.

    regards
    Bob
    Quote Originally Posted by Thomas Bertilsson View Post
    Well,

    I tried the glass carrier, and there is a difference in sharpness. But now I'm getting much lower contrast due to fogging. How do you mask off the negative so that there is no stray light on the sides fogging the paper? Fully developed and exposed to daylight sheet of film with a cut-out? I would opt to place this on top of the carrier. Does that sound kosher?
    (I only have a 4x5 glass carrier).

    Bob's theory about a popped negative is very valid. I'm using a 250W bulb, and with filter changes I am in the realm of keeping the enlarger going for about 3 minutes including all of the burning I have to do with a particularly dense negative (The Grade 4 burn in the sky takes forever).

    It's a good step forward, but as usual when you change something for the better, some other problem occurs...

    - Thomas

  4. #34
    Bob Carnie's Avatar
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    Set up Easal...
    electrical tape and mosk out clear areas surrounding the negative

  5. #35
    Bob Carnie's Avatar
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    mask
    shit fingers are moving too fast got to go now.

  6. #36
    Thomas Bertilsson's Avatar
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    Thanks, Bob!
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  7. #37

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    Do the carriers you guys are using LOCK into place in the enlarger???

    I have an Omega D5XL, and the carriers just rotate in place, nothing locks.

  8. #38
    Bob Carnie's Avatar
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    My carriers do not lock in place but on the underside there is channels sticking out that I use for a guide. I always have the notches towards me rather than away , once in the grooves there is room for small movement .
    Quote Originally Posted by PVia View Post
    Do the carriers you guys are using LOCK into place in the enlarger???

    I have an Omega D5XL, and the carriers just rotate in place, nothing locks.

  9. #39
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    Mine locks (Kaiser) and the glass sandwich is allowed to flip up while still in the enlarger so that one can reposition without moving it around. The masks usually get everything, but for the occasional edges that project light off to the sides of the paper I usually just let them be. I don't notice any fogging. It may be very subtle and is probably better this stray carrier light isn't off to the sides, but I haven't noticed any fogging due to it.
    Stop worrying about grain, resolution, sharpness, and everything else that doesn't have a damn thing to do with substance.

    http://www.flickr.com/kediwah

  10. #40

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    I use a Devere 504, and my Ilford MG head can make a lot of heat quite fast. I don't regard split grading as a good or bad thing, merely a sensible use of VC paper. I use graded paper when it suits me to use it. I print for other people, so really their wants are the key.

    Back on topic, I'd agree thoroughly with the popping diagnosis. An exposure that runs into minutes is asking for trouble. The 504 lets you change masks for format in a standard carrier. I usually put a 5x4 piece of anti-newton glass on top and the 'top' part of the metal mask on the bottom to guard against this very problem. Personally I'd say a half-glass carrier is the optimum for any single-frame printing. You have less chance of dust than full glass...

    It would be interesting to know if opening up had any impact - trading wide-open aberration for shorter exposure (less time = less chance of pop!)

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