Questions about variable contrast papers

Rolf-Werner · 2013-11-20T11:01:14+00:00

Kurz bevor ich vor ca. 25 Jahren meine Duka eingemottet habe, hab ich noch etwas rumexperimentiert mit Ilford Multigrade. Keine Ahnung, wo ich das her hatte,...

Rolf-Werner

Just before I put my darkroom away about 25 years ago, I did a bit of experimenting with Ilford Multigrade. I’ve no idea where I got hold of it – it was probably a clearance lot – because back then I preferred to use fixed gradients, mainly 3 and 4, and sometimes 2. € I always chose the gradient on a whim based on the ‘effect’ I wanted, sometimes deliberately overdoing it. € During my experiments back then, I was quite confused because there was absolutely no effect. I was aware of the differences between the fixed gradients, but with my filter experiments I couldn’t achieve any change at all, no matter how much I adjusted the filters. I already had a Jobo enlarger back then, which I also used to make colour prints. I used its filters for that. I also had a chart for Durst or something similar, which referred to Ilford filters, and which I then ‘converted’ to the Jobo scale. But no matter what setting I used, the paper always came out completely flat, i.e. more like under 2. € What could have caused this? I’d now like to try working with variable contrast papers, but I’ve held off for the time being because I wanted to sort out here first why it went wrong back then. € I now have a set of Ilford filters (from a surprise box at the flea market), which I could theoretically use, but that’s probably pointless given I have a colour mixing head. Nevertheless, my basic question is: would the filters also work with papers from other manufacturers? € Then I read somewhere here that you can somehow measure the contrast of a negative and determine the appropriate gradient. My question: How do you measure something like that? € I’m looking forward to hearing your opinions. € Rolf €

Wolfgg

Hi Rolf, The paper back then simply wasn’t a variable contrast paper, but a fixed-grade one. The filter set works with all papers and would be more convenient with Ilford paper, as it produces the same exposure time across all grades (grades 4 and 5 are double) (search engine: ilford filter set exposure time). You can measure the contrast using a paper exposure meter – one of those things with a probe that you slide around on the base plate. But it would be much more important to learn how to produce optimal negatives, so that only gradient 2 or 3 is required. Because only these gradients deliver the maximum range of tones. The higher gradients are then only suitable for special effects. Regards, Wolfgang

Renate

It sounds as though you’ve used the wrong darkroom light, e.g. green-brown. Green usually doesn’t work well with multigrade paper. Unlike some people on the forum, I’m a big believer in experimenting. As long as it results in a better picture, it’s worth doing. € € Best regards € Renate

Rolf-Werner

Hi Rolf, That paper back then simply wasn’t a variable contrast paper, but a fixed-grade one.

Well, actually it was, it said so on the packet... Well, I don’t really believe that now :-)

The filter set works with everything and would be more convenient with Ilford paper, because it also results in the same exposure time for all gradients (grad. 4 and 5 double) (search engine: ilford filter set exposure time).

Ah yes, I see your point.

You can measure the contrast with a paper exposure meter – one of those things with a probe that you slide around on the base plate. But it would be much more important to learn how to produce optimal negatives so that only gradient 2 or 3 is needed. Because only these gradients deliver a maximum of tonal values. The higher gradients are then only worth considering for special effects. Regards, Wolfgang

Well, learning... ;-) I’d already got the zone system down pat back then, and most of the negatives were quite good, but I was still taking lots of black-and-white snapshots with a 35mm camera at the time. I only had a camera with an exposure meter, not an automatic one. That’s why some of the pictures turned out rather flat. Besides, I was quite into high contrast back then. As I said, it’s been a while...

Rolf-Werner

It sounds as though you used the wrong darkroom light, e.g. green-brown. Green doesn’t usually go well with multigrade. Unlike some people on the forum, I’m a big believer in experimenting. As long as it results in a better print, it’s worth doing. … … Best regards … Renate

I find that interesting: so multigrade doesn’t work with green-brown... That could be the case, as I always used two green-brown Dukal lamps as standard back then. But it might also be that I’d read that beforehand and used the orange lamp instead. Wouldn’t the paper turn grey in the white areas if you used the wrong light? I mean, the contrast was just very dull, but I would have noticed a grey haze. Regards Rolf

Wolfgg

Hello Rolf, It wouldn’t be the first time that a box has been mislabelled, or that the paper from this clearance stock has been repackaged into a box that happened to be lying around empty, with a completely different label on it. Variable contrast paper has, roughly speaking, two emulations: one blue-sensitive (the hard emulsion) and one green-sensitive (the soft emulsion). You can find more details by searching for ‘variable contrast’. That is why these two colours must not appear in duochrome light, or at least only very faintly. Best regards, Wolfgang