VC Paper

Dec

2013

A NEW ILFORD MULTIGRADE FIBRE BASE FAMILY

More good news about Ilford traditional products.

PRESS ROOM STORY

BORN, ESTABLISHED, DEVELOPED! … A NEW ILFORD MULTIGRADE FIBRE BASE FAMILY
4th December 2013

BORN, ESTABLISHED, DEVELOPED! … A NEW ILFORD MULTIGRADE FIBRE BASE FAMILY
ILFORD PHOTO announce a new range of variable contrast Baryta Fibre Base papers, a completely new and improved MULTIGRADE FB and a new COOLTONE FB paper to complement the existing MULTIGRADE FB WARMTONE.

For 20 years the best selling ILFORD MULTIGRADE IV FB paper has been the product of choice for creative photographers and printers the world over. BORN following extensive R&D, significant improvements have been made to the product that is now renamed ILFORD MULTIGRADE FB CLASSIC. The new paper is available in Glossy and Matt surfaces and offers sharper images, improved maximum density and shorter exposure times. The new MULTIGRADE FB CLASSIC has also been developed to better respond to traditional toning techniques than the product it replaces.

More info here: http://www.ilfordphoto.com/pressroom/article.asp?n=174
and here: http://www.ilfordphoto.com/products/producttype.asp?n=5&t=Photographic+Papers

Aug

2012

THOMAS DUPLEX SUPER SAFELIGHT FILTERS

Seems the last couple of times I have tested the darkroom safelight I have had to cut down the illumination. That should be a clue that the filters are fading and it is time to replace them. We use a Thomas Duplex Super Safelight that I rebuilt many years ago. Since we have a small darkroom I knew I needed to attenuate the light. My original safelight was modified when I rebuilt it and the 35 watt lamp was replaced with a 18 watt lamp. Note: You have to replace the ballast and start capacitor if you change the lamp wattage. Wasn’t that big a problem seeing how the original ballast was no good. I purchase the safelight many years ago not working for little to nothing.

So, now I needed to replace the filters. Since I am only interested in B&W, work that simplifies things for sure. All I need to find is the correct filter and then I can assemble my own replacement. I have plenty of scrap glass, and tape.

With a little research on the Internet I discovered that the hard part had already been done. Seems a Rosco #19 “Fire” filter has the necessary bandwidth to filter out the annoying green and blue spikes in the low pressure sodium lamp spectrum. And, seems that others had proven this the best way possible. . . they tested it in their own darkroom.

All I needed was to order some filter material. Rosco filters are the industry standard for stage and film production and readily available. That was way too easy. The thing that I was still toying with was how to adjust the light output. It finally came to me. Why not put the #19 filter in the body position and then add a Neutral Density filter to the vane? Yep, that would do it. So I ordered a sheet of Rosco #19 filter and a sheet of 0.30 ND.

We have a lot of scrap glass around. I cut new glass to fit the body and vanes using TruVue Conservation Grade UV glass. Thought it wouldn’t hurt to add even more filtration. I also found out why the factory uses tissue paper. Without it, the filter material does not look that great against the glass and I could see that if any moisture were to condense in there, it could be bad for the filter. I really didn’t want to use tissue paper and I had a roll of Gila frosted window film from another project. This stuff is a self-adhesive plastic material used to frost windows. It was exactly what I needed to put a smooth textured surface on the inside of the glass to keep the filter from sticking. It also works well to diffuse the light.

One of my favorite tapes is the aluminum HVAC ducting tape. It is lightproof, sticks and stays in place. Slit a few pieces of tape, peel the backing and it will hold the filter sandwich in place with ease.

I placed the #19 filter in the body and 0.30 ND in the vanes. My first test showed there was still too much light. I was testing at my closest point to the safelight for the worst case situation. I ended up adding a second layer of 0.30 which made for 0.60 ND, which is two full stops attenuation. But remember, I was testing with the most sensitive VC paper we use at a very close proximity to the safelight. Always test for the very worst case scenario.

Once finished, I found that the darkroom is much brighter than before. This proves that the filters do fade. Now we are back in business. With the vanes fully closed all VC and standard papers are safe. I like to print on Azo, which allows me to open the vanes for even more light.

I will test again in a year or so and if I need new filters they are easily replaced. I have plenty of material, the Rosco filter comes in a 24 x 24 inch square. Enough for several more safelight filters, if and when they are needed.

JB

Jul

2011

EASILY FIND GRADE #2 AND GET YOUR FILM TEST CORRECT

So, here is the predicament; you are getting ready to do your film testing; you have decided to use the simple visual film testing technique. Visual film testing is a really simple way to determine your correct film EI and developing time. All you need to do is perform these tests on a grade #2 paper and you will know you are making the best possible negatives.

>But, there is one nagging little problem. If you are using VC paper, how do you know what filter, or light source setting, that will produce a grade #2 contrast? Even if you are using filters, each filter set has different filters that will give different paper grades on different papers. Even the developer you choose can affect paper contrast. You really need to KNOW how to achieve a true grade #2, using your equipment and darkroom, in order to do a valid film test.

What if I could show you an easy, inexpensive, and quick method that will get you plenty close enough? Well, here you go. . . “FINDING VC PAPER GRADE #2; EYEBALL CALIBRATION.” This method should get you well within range to get you started on the right track.

Remember, that making a good negative is the first step in making a great print. Hope this helps you on your quest for photographic excellence! Download the PDF version from the Articles area of our web site.

“Simplicity is the ultimate sophistication.” -Leonardo da Vinci-

JB

Jun

2011

MEASURING PAPER FOG

I was recently asked to test some Kentmere paper for fogging. A friend had shut down his wet darkroom and had several packages of paper he wanted to sell, but wanted to know if it was still useable. I agreed to test for him and if you wonder how to check for paper fog, here is the process I use.

Begin by cutting off a strip of the paper to be tested in very subdued safelight to total darkness. Since the paper I was testing was 16×20, I cut off a strip across the short side about two inches wide. I then cut the strip in half. This gave me two pieces of paper 2×8 inches. On the back of the paper I mark one with the letter ‘F’ and the other with the letter ‘D’ and place the latter into a light-tight box.

The strip marked ‘F’ is placed into a tray of fresh fixer and agitated for five minutes. Then it is placed in a tray of running water. Next the strip marked ‘D’ is placed into a tray of developer, agitated for two minutes. . . stop for thirty seconds. . . and fixed for five minutes. I use my standard print developing chemicals and the normal times. If you use different materials, use your normal times. Once both strips are in the wash tray, turn on the lights and wash for thirty minutes. Remove the test strips and dry as usual.

What has happened here is I have cleared the test strip marked with the ‘F’ which stands for fixed only and I have developed the strip marked ‘D’ for developer as usual. All that is needed now is to measure the reflected difference. I used an X-Rite 810 densitometer to measure the difference and found it to only be about 0.003, which is nothing to worry about. Keep in mind that all light sensitive materials, film or paper, will have some amount of base fog when developed.

Fortunately I was able to report to my friend that his paper was in excellent condition and he was happy to be able to sell it to another photographer. Hopefully this batch of paper will live on to produce some beautiful prints.

Also keep in mind that you do not need a densitometer to run this test. If you cannot see any appreciable difference in the two test strips, you can assume the paper is in good condition. If you have some old paper that shows signs of fogging, you can experiment with adding a restrainer, like Benzotriazol, to your developer to see if it will help. Never throw out printing paper just because you have had it on the shelf for some time. Test it first. . . you may be surprised to find that it is in good condition and useable.

JB

May

2010

THE VARIABLE CONTRAST COLD LIGHT

The dual grid, Variable Contrast Cold Light head (VCCL), is a great device for your enlarger if you print on black & white VC papers. These heads allow you to dial in any contrast grade your VC paper is capable of producing. You have continuously variable contrast at your fingertips. And, yes they do work. The trouble is, every paper is different. Setting the dial on the head to any random equal setting may or may not produce a grade #2 contrast. Worse yet, what two settings should you choose?

When you start using a new VCCL head you are now faced with a quandary. How do you calibrate this thing so you have some idea what paper grade you are actually getting? Did you know you can calibrate a VCCL head to a known standard? You can know what settings of the blue and green grid will give you an equivalent grade #2, or #3, or anything within the range of the paper!

Yes you can calibrate a VCCL head, and here is how it can be done. Look at the article “USING BTZS TO CALIBRATE YOUR VARIABLE CONTRAST COLD LIGHT HEAD” originally published in the Sep/Oct 2007 issue of View Camera Magazine in the ARTICLES area of our web site.