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> 'Pulling' B&W Film development |
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#11
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Reduced contrast
That fountain of knowledge above and what I have found out by dredging the internet seems to give a reduction in development time of between 2/5ths and 1/3rd which gives me a good start point for clip tests. Whether this proportion is equal for all films, has yet to tried and tested.
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#12
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Quote:
I didn't add the recommended EI's from my early 1970's Ilford booklet but they match those in Svend's but are not what I used to use in practice with Condenser enlargers, usually 80 EI. Ian |
#13
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Problem sorted - I think
I think I have managed to deal and rectify with the contrast - It was the bulb so it seams. Instead of a screw fit 75w enlarger bulb, it had been fitted with a 150W 5000 degree Kelvin bulb that obviously was not designed for an enlarger. The actual globe was about the same size and shape as a Satsuma! Heaven knows what it was for!
I had a 75w Philips enlarger bulb left over from years ago and that went in perfectly and the contrast now seems perfectly normal. Two prints I made this evening are attached. The one with the ducks has had to be burned in on the left side, I had expected that anyway that was G2. The one in the wood looking up at Causey Arch was G2.5 with no burning in. (Causey Arch is the worlds oldest Railway bridge from the late 18thC) |
#14
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Excellent, John. Love the Causey Arch photo.
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MartyNL “Reaching a creative state of mind thru positive action is considered preferable to waiting for inspiration.” - Minor White, 1950 |
#15
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John, I know it is easy for me to now say that I felt that something else must be wrong but when you mentioned the low grades that still didn't sort out the problem I did wonder
As I said the usual claim seems to be that one grade either way usually corrects the change between condenser and diffusion enlargers Glad the problem is solved Mike |
#16
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That 5000º Kelvin bulb would certainly boost contrast.
The whole concept of Multigrade came from the accidental discovery that the colour temperature of the bulb affected the contrast of graded Bromide papers. It's still the case today but it's slight, with Multigrade it's a lot . Ian |
#17
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When I used a condenser enlarger, money was too tight to buy lamps from photographic dealers. So I would take a domestic opal bulb and rub off the printing on the end of the bulb with the help of a wire Brillo Pad.
Tungsten lamps have been vanishing from the shelves for a few years now, so I have been hoarding a few lamps for safelights etc. Cheers.
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It will all be over by Christmas. |
#18
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THAT bulb
It is marked Siemens so almost certainly comes from Germany, but what would it be used for? 5000K is not far short from a daylight quality bulb. I uses a 6600K LED to assess colour balance with RA4 prints and that is spot on. If it was a tungsten bulb the increased degrees K would/should have made the working life very short.
I first thought the ventilation of the lamphouse was poor because it was getting very hot - it was like standing next to an electric radiator! Anyway problem solved. |
#19
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I'm a bit confused John. Back in August you were asking if we weren't all getting too fussy about the colour temperature of our enlarging bulbs. You said you were using an LED bulb rated 6500K and getting the same contrast as a normal bulb. But not now, apparently.
Anyway, I'm glad you solved the problem. Alan |
#20
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Pleased to hear you have sorted it. As someone else has mentioned I did find it strange that filters did not work.
Maybe this is a pointer to us all that new kit needs to be checked as being standard.
__________________
Mitch http://photomi7ch.blogspot.com/ If you eliminate the impossible whatever remains no matter how improbable must be the truth. |
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