Again I wonder about hypering the paper. Is that nutty?
Just to add to my prior suggestion of pulling the darkslide in increments to do an exposure check: you could then take this graded exposure sheet and develop it in increments in direction perpendicular to your exposure steps, just by pulling it out of the developer at successive time intervals. So then you have constructed an exposure vs. development matrix and you can just pick which square works best.
The big wildcard, I think, is the colour temp of the light you use. Methinks that could affect the "speed" of the paper substantially.
i had thought this as well, and asked in another thread ( about hypering film ) but
no one answered / knew ...
sounds like something worth looking into!
ps. group - paper negative formed
I'm sure it does. While I have not attempted to measure it for in camera use, I do have some anecdotal observations to report. The liner of the light mixing box in my enlarger had yellowed with age. When I relined it with new material, I immediately noticed that the light striking the baseboard was considerably less yellow. All of the papers I'd tested for speed with a step wedge required about 1 stop less exposure for a given density. Contrast grade changed too. Negatives that required #3 filter now need a #2 filter.
Is that why many easel's baseboards are yellow? Does that have anything to do with printing times/contrast filters?
Hmm hadn't thought about that Michael, that makes sense. A yellow baseboard reflects yellow light, to which the paper would be mostly insensitive.
I have baseboards in many colors including black, white and yellow. I think Mr. Saunders liked yellow. His were among the first to be that color IIRC. He used to make special order easels for EK, and I had the opportunity to meet him once and used several of his yellow easels. But since paper is not sensitive to yellow light, it is black as far as the paper is concerned.
I shot my first negative with my foamcore camera, at one minute, and it was way overexposed. It's sunny today again so if I try today I'll go less. I'm thinking 15 seconds actually, because it looks more than one stop overexposed to me. But with reciprocity I'm not sure if I should try 30 seconds first. I intentionally shot myself skylined for a really high-contrast scene so I could adjust exposure, but I'm thinking the blue light from the sky just blew out the scene.
Before declaring this is "way overexposed" I'd suggest contact printing it. You may be surprised.
(N.b. I do think it is overexposed, but not quite as much as you may think).
How can I know how long to expose it for contact printing? Last night I did a test strip of the paper, to see how much exposure I got by briefly flashing the bathroom lights, then moving the covering a bit and flashing again. So the strip goes from 9 flashes on one end to no flashes on the other. It turns out 1 flash is dark grey and 2 flashes is fully black. I suppose I can use the white, dark grey, and black sections from the test strip to do a test-contact print on more strips of paper. I will use my enlarger for it this time, but do you suggest a ballpark exposure for the test-strip contact print? I will probably start at f/8, 30 sec, but I have to wait till it gets dark anyway because the bathroom door leaks a lot.
it sounds like your bathroom light is very bright,
and your bathroom is very small ...
when i use my enlarger to make contact prints from paper,
i have it wide open and usually it is about 10-15 seconds.
that is for double weight (fiber ) paper.
is the ilford mg you are using fiber or rc?