A penny for your thoughts... print analyzers

Hello,

Are print analyzers worth it?
I've always made test strips with a Kodak print projection scale and do pretty well but I've always wondered if one of these analyzers would save me some paper and time... and hassle?

If it matters, I use a Leitz V35. My first thought is to buy the Focometer but I don't know anything about them, versions, et cetera,...? Suggestions for alternative brand or model appreciated.

Thanks for your help!

A good use for one is to get the correct exposure when changing enlargement size. If you have made an enlargement at one size and want to change to another size, you measure the light hitting a specific spot in the image at your first size, and then after changing the enlarger height to give your new print size, and while measuring that same spot again, you change the enlarging lens aperture to give the same reading as before. You will now have the same amount of light hitting the paper as before and have exactly the same exposure as before for your resized print. Alternately, some may read out the new exposure time in seconds for an exposure time change instead of aperture change. With such measure-change-remeasure-adjust capability, its use is limited only to your imagination.

Some measure color, and can be used to adjust color balance when color printing.

Are you planning to do B&W only or also colour? I have no experience with colour, so I cannot help you with that.

With regards to current manufacturers of B&W analysers, there is Heiland electronics (splitgrade controller) and RH Design (analyser pro). FEM Kunze is somehow still in business, but I think he does not produce new analysers any more (but service is working fine). There is also one homebrew solution (arduino based) floating around the Internet if you are a DIY guy.

My pick is the Heiland Splitgrade Controller including the Comfort Controller. It will automatically measure exposure and gradation for most current papers (older papers can be updates in the firmware), and on normal negatives, you will get a fine first print. For more difficult negatives, you will get a good overview first print and have options for a lot of burning in. I have it, I love it - I think it is worth every penny.

The Heiland Splitgrade Controller can be combined with a LED Light source or a automatic filter module which also work like a charm, although they are not necessary. If you only use the analyser, then it will request you to place the yellow or magenta filter and then do the correct exposure.

+1 for the Heiland Split Grade + Comfort+ filter module
Regards,
Frank

Thanks! I'll look into the Heiland.

I am curious if there is an analyzer that can give exposure times for split printing. On my Focomat 1c I use Blue/Green and on the Saunders 4550 VCCE it is Magenta/Yellow. Is there an analyzer that can do that? Or do they just spit out a grade?

If you do not print often, you do not develop the ability to "eyeball" the exposure. So it help significantly in getting a close first print.

I use a simple one that was sold by Unicolor.

• To adjust the exposure when changing the height of the head. Exactly what RPC said.
• To determine the contrast range of the negative, to determine what grade filter I should use.
  
• Once I determine the exposure for a print/paper, I can duplicate it later (if I write down the exposure info) without having to go through the exposure determination process all over again.

I picked up a Beseler PM color analyzer for cheap, but have not put it to work yet.

Patrick Robert James said:

I am curious if there is an analyzer that can give exposure times for split printing. On my Focomat 1c I use Blue/Green and on the Saunders 4550 VCCE it is Magenta/Yellow. Is there an analyzer that can do that? Or do they just spit out a grade?

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In manual mode, the Heiland Splitgrade Controller will give you the exposure time for each colour (blue and green light needed, either directly or using yellow and magenta filters) and the grade - in automatic mode (i.e. filter or lightsource connected) it will give you the grade and the total time.

The Splitgrade is great. But only really usable with the Comfort console. If you add one of their automated or LED modules for the V35 you've got one efficient 35mm printing machine. I've been using this setup with the motorized V35 module for making 5x7 proofs for years now. After you know where to put the measurement probe you get an open print in almost every time (I mean technically matched to the paper as best as possible, that doesn't necessarily mean they're looking pleasant). It saves you a lot of time.

For artistic interpretation of the negative I found the machine is in my way bigtime. But that's probably because I learned printing a different way than the machine operates. It does not match my brain in every single way of its operation (except as a basic metronome). Many people are using the Heiland device very successfully in creatively interpreting the negative though. It's very individual.

Theres one effect of the Heiland device on my brain which I do not like: it's kind of like GPS navigation in the car. It makes me stop thinking and paying attention to where I am. Once you're relying on it, its difficult to maintain orientation on your own. Although it can be done, its harder, and harder is something the brain does not like. Hence I only use it to make small proofs and family album pictures quickly. Autopilot is perfect for that.

I've also tried the Zone Master II. Found it awkward to use and a bit unnecessary... most likely because of my inability to use it correctly


Andi

Thanks gents. I will take a look at those.

~andi said:

The Splitgrade is great. But only really usable with the Comfort console

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That is what I thought at the beginning, but after a few prints (and after properly calibrating the splitgrade controller to my light source), I found the Comfort Controller totally unnecessary.

~andi said:

For artistic interpretation of the negative I found the machine is in my way bigtime.

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In my opinion, the controller offers a "first conventional print" as a starting point. If you are just doing conventional prints, 95% of these prints will be good.

If you want to modify the picture, the machine offers you all options. With the built in memory for burning-in (in f-stop of original exposure or in seconds and at any gradation you may like), it is a very powerfull tool to make reproducible interpretations of a negative. Even for Lith it is useful as a time switch as it works in f/stops and has the burning-in memory slots.

~andi said:

But that's probably because I learned printing a different way than the machine operates.

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Maybe I can learn something from your technique: How do you determine grade/exposure?

RauschenOderKorn said:

That is what I thought at the beginning, but after a few prints (and after properly calibrating the splitgrade controller to my light source), I found the Comfort Controller totally unnecessary.

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Yes, it works fine without the Comfort console, you don't need it to get great results. It's what it says: more comfort. I often do small adjustments of grade and time though. the menu operated system of the Controller is just to awkward and long-winded to use (for me and what i use the device for, and for the preference of turning knobs vs. pushing buttons...). I'm not an impatient man, but I would throw the thing on the wall would I have to use it without it The main benefit it see for my proof-workflow is the automation and the automatic shutter wich allows for very short exposure times.

RauschenOderKorn said:

If you want to modify the picture, the machine offers you all options. With the built in memory for burning-in (in f-stop of original exposure or in seconds and at any gradation you may like), it is a very powerfull tool to make reproducible interpretations of a negative. Even for Lith it is useful as a time switch as it works in f/stops and has the burning-in memory slots.

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All true. Its just that my brain does not think in exactly programmed sequences of magenta/yellow exposures that are automatically switched on/off for me. It works differently for me. I don't value exact copies either. I'm in for the fun and that no print is exactly the same. Its way more interesting to me than programming a device and exactly execute a sequence. Its more like performing a Jazz piece than piecing together an electro song on the computer. Not that one is better than the other, it's just that the former definitely gives me more pleasure and I learn more from it. I know, such comparisons always lack in depth, but not my fault Ansel started it...

RauschenOderKorn said:

Maybe I can learn something from your technique: How do you determine grade/exposure?

Click to expand...

By guessing and binary search (in scientific terms) For the technical part, until I finally got an automatic timer, I've been using a simple metronome (timer) and a piece of cardboard (shutter). I don't do test strips, never liked them. I guess my first exposure and expose a full sheet. I know that I'm guessing too well now, so I deliberately halve the guess in order to get an underexposed print (i don't want to be too close to the final exposure with my first two guesses). If I'm lucky its way too light. Then I guess the next exposure and double that guess. Then I expose the second guess. The print will be too dark. The third guess is usually spot on for base exposure. Combined with the other two prints I have burn/dodge times and an illustration of the potential of the neg. This way I also recognise ways of exploring directions I otherwise would have never considered). At the forth or fifth print I'm there. If I'm not happy I then try to fine tune/experiment further like using a different developer or other wicked stuff. The grade is guessed as well during the process but that's not a big deal. I sometimes use different filters for burning in portions of the image (like a softer one for skies or harder one if I want the shadows go deep black). That's it, keeping it simple. Then again, different strokes for different blokes. The only way to learn is to do it and figure out a way that works for you.

Andi

~andi said:

By guessing and binary search (in scientific terms) For the technical part, until I finally got an automatic timer, I've been using a simple metronome (timer) and a piece of cardboard (shutter). I don't do test strips, never liked them. I guess my first exposure and expose a full sheet. I know that I'm guessing too well now, so I deliberately halve the guess in order to get an underexposed print (i don't want to be too close to the final exposure with my first two guesses). If I'm lucky its way too light. Then I guess the next exposure and double that guess. Then I expose the second guess. The print will be too dark. The third guess is usually spot on for base exposure. Combined with the other two prints I have burn/dodge times and an illustration of the potential of the neg. This way I also recognise ways of exploring directions I otherwise would have never considered). At the forth or fifth print I'm there. If I'm not happy I then try to fine tune/experiment further like using a different developer or other wicked stuff. The grade is guessed as well during the process but that's not a big deal. I sometimes use different filters for burning in portions of the image (like a softer one for skies or harder one if I want the shadows go deep black). That's it, keeping it simple. Then again, different strokes for different blokes. The only way to learn is to do it and figure out a way that works for you.

Andi

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I totally agree that the Splitgrade Controller does not go with your workflow at all .

Interesting side note: When we learned to do square roots manually in school (no calculator allowed), we followed your approach. Guessing, take the average, verifying, taking the average, verifiying .... They made us calculate the square root to the tenth digit.

I use the RH designs analyser pro. I wouldn't print black and white without it. Probe the highlight, and the shadow and expose. Done; you've got a good starting print 99% of the time. If you want to dodge or burn that's the next step but this this really does eliminate the test strip.

Yep, don't remind me. Btw, I got that method it from a newspaper photographer. He did it like this for his personal work. For his news photos however, he just guessed once. Grade and time spot on with the first guess. Then again reproduction in a local newspaper in the early 90ties did not require a fine print

rpavich said:

I use the RH designs analyser pro. I wouldn't print black and white without it. Probe the highlight, and the shadow and expose. Done; you've got a good starting print 99% of the time. If you want to dodge or burn that's the next step but this this really does eliminate the test strip.

Click to expand...

Completely agree, I have used the RH analyser for a few years now,gives you the correct print exposure 99% of the time, nut is the only one I have used that leaves me in complete control of the print,using the grey scale system

Same here, the scale is fantastic for burning in, just a couple of button presses to calculate burn time based on the shade of grey you want to change to from the scale then long hold on the start button to trigger that burn. Also for split grade just press the button up/down for the alternate grade it gives you the new time and away you go, couldn't really have made it much easier.

There's really nothing magical about print analyzers. You have to do a lot of up front work in test prints to make it work. You have to be consistent with your chemistry, the color you read and your paper. For if you change color paper batches, you'll have to run test(s) again for your analyzer. The good thing is that they're tons of analyzers on Ebay for cheap so you can play.