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#31
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For example the speed point on my Durst L1200 using dichroic filters is around 0.7LogD in the print which is a mid tone. So when using that setup I use a midtone and not a highlight tone to arrive at a base print time. Its just makes life a lot simpler and easier to predict what effect a change in contrast is going to have if you know the speed point of your contrast control system. If you don't know what it is you are going to extend the trial and error time/effort to arrive at the optimal balance of print time and contrast. And also knowing what the speed point tone is tells you that giving any more exposure than required for that tone is over exposing/fogging your print. And that will kill highlights which are critical to retaining good "Local contrast". Those little highlights in the shadows usually do not want over printing. This is one reason why Ilford filters are good. They are extremely well speed matched with grades and half grades being very evenly spaced. I can only speak for the enlargers I have tested and I can guarantee you that the speed points of them all vary and usually not all the recommended grade settings for VC paper cross at the same speed point meaning you cannot reliably predict what effect a contrast change is going to have. And that extends the trial and error time/effort required to get to a decent print. What I am advocating is that knowing and/or taking the trouble to find out what the speed point of your contrast system is will make printing easier and more predictable for you. In your case, because you are using Ilford Filters you now know. If you were using dichroic head filters you wouldn't and would find it useful to test your system to find what it is. Note: The LogD value of speed point of paper reduces as it ages. Always use fresh paper when doing system calibration tests. You can get far too hung up on all this technical stuff but in the case of Ilford Filters its so simple because we know they are speed matched on a highlight value and know what that value is. Last edited by Argentum; 10th September 2014 at 12:34 PM. |
#32
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That said, a set of density/speed curves for the MG paper is useful. It gives a guide as to what densities in the print are going to do when you dodge/burn with various grades. The trick is to develop this into intuition. Some printers don't bother with test strips. They are so good they just know what they need to do to get a good working print because they know their materials so well. |
#33
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I would suggest that you just try what I have suggested next time you go into the darkoom.
Take any negative, assess what should be a highlight with texture in it. Do a test strip across that area and pick the strip/patch which shows that as being the required time and then adjust contrast to taste. My bet is that you will need to do less and/or smaller print time adjustments to get to a decent print. |
#34
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#35
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Thanks for that clarification Argentum - and yes i will try that out next time I print which i am sure will aid my understanding of the print time/contrast relationship. Good to know about the Ilford filters - one less thing to think about.
Adrian I'm itching to get printing again to develop my skills - armed with all the great information I've had from the responses to my original question. A big thanks to all who chipped in - a great welcome to the forum. Michael |
#36
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#37
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#38
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Sure, but in my experience I prefer to dial in some magenta when printing on Ilford papers from normal negatives.
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#39
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Then I would suggest your normal negative exhibits a contrast too low for your printing technique.
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#40
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Not really. Too low for Multigrade 'grade 2' which it isn't.
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