contrast filters- what do I look for when making a print.

[gb hill]

Recently I was given a near complete darkroom set. Durst M 302 enlarger, trays, bottles, photopaper, tongs, grain focuser, safelight, timer. I have the chemicals I need. All I can think of that I don't have are the Multi-contrast filters for the enlarger. I am a complete noob when it comes to printing. I'm wondering how do filters work? And since there are so many grades of filters how will I know which filter I need? What exactly do I look for when making a print through an enlarger? Oh & what is the red filter that swings out from under the lens used for? I told you I am a complete novice! Thanks for any advice, recommendations.
gb

 

[MattKing]

gb:

The Multi-contrast filters are used with Multi-contrast (also known as variable contrast) paper.

Multi-Contrast paper has an emulsion with two main layers - a layer that is a high contrast component, and is sensitive to one colour of light (blue), and a layer that is a low contrast component, and is sensitive to another colour of light (green).

The filters are generally purchased in sets, and the different filters each allow a different mix of colour to pass through them. By adjusting the filter, you adjust the relative amounts of the green and blue light that passes, and by doing so you adjust the contrast of your image.

A lower number filter (e.g. O) will be quite yellow, and will therefore block much of the blue light, and let the green light pass relatively unchanged - thus giving you a low contrast print.

A higher number filter (e.g. 5) will be quite magenta (purple) and will therefore block much of the green light, and let the blue light pass relatively unchanged - thus giving you a high contrast print.

Some people don't use the intermediate numbers - instead they use split grade filtering. They do at least two separate exposures, with one through a very low filter number to set the exposure for the highlights, and another through a very high number, to set the overall contrast, and density of the blacks.

The filters come in a couple of formats - some are used below the lens, while others are used in filter drawers in the enlarger's head. I don't know whether your enlarger has such a within head option.

If you have a colour (dichroic) head, you can change the colour of the light using that, and may therefore not need separate filters. There are charts available that help you calculate appropriate settings.

You are not necessarily restricted to Ilford filters. I use Kodak Polycontrast or Polymax filters with Ilford paper. Some people also use other colour filters, like theatrical gels.

From time to time Ilford has offered special promotions, which include a filter set and a package of paper for one reasonable price.

Filter sets seem to come up regularly on Ebay. There may also be some APUG regulars in your area who might have an extra set that you could buy from them at a low cost.

As for the red filter, I rarely use mine, but it can be used to re-position an easel if you've accidentally moved it. Almost all black and white paper isn't sensitive to the red light.

You also might look at the instructional materials on the Ilford website - go to the "Applications" Tab at this link:

http://www.ilfordphoto.com/applications/page.asp?n=27

You also might consider a good book - if you search on APUG you will find whole threads of recommendations.

Good luck, and have fun.

Matt

 

[gb hill]

Thanks Matt, Your comment's do make sense to me. Though I never thought light giving off colors that would affect the print. I will make notes you gave on what # filters block which type of light to give me the contrast I want in my print. I also found an old book I had. The Basic Darkroom Book by Tom Grimm. I will give it a good read over as well as the Ilford website. I'm looking forward to getting started.
cheers, gb

 

[edtbjon]

Some extra to what Matt said.
See to that you have some RC (resin coated) Multicontrast paper to start with. I take it you want to get started with some "maybe ordinary but still your own prints" and once you've got the hang of it you can move on to more "sophisticated" materials and techniques.
The filter sets are graded in between 00 and 5 in half grades. A "normal" negative should give you a "normal" print with filter #2.
So, what is "normal"? Well, given outdoor e.g. landscape photographs, it is actually in between fully overcast sky with no or faint shadows and a blue sky with sharp harsh shadows. I.e. "slighly overcast" with somewhat fuzzy shadows. As you have got a 35mm enlarger, you are probably shooting 36 exposures film, so you can easily see all of these light conditions on a single roll of film. This is where the different filters come in very handy. You can adjust the paper to the various contrasts of the negatives.
If you find that you often use the harder filters (#3-#5), you have to develop the film a bit more. If the softer filters are used and you still have problems getting anything to show in the lighter areas of the print, you have to develop the film a bit less. There is plenty of information on how to do this on this and other places.
Finally, have fun with it.

//Björn

 

[fschifano]

VC or Multicontrast filters are fragile things and easily damaged by mishandling and moisture. Pick one up with wet hands and see how easily they can be damaged. For that reason, I would not buy a set of these things used from Ebay. You don't know how they were treated, and often a used set will have at least one badly damaged filter in. Buy the size you need new. If you take care of them, they'll last a long time.

How do you know which to use? That easy, and it's why it's good to make contact sheets of every roll of film you shoot. Make your contact sheet using the #2 filter, using just enough exposure to get the blank parts of the film to print just slightly, about 1/3 stop lighter, than the blackest black your paper can deliver. The shots that look good will enlarge well using that filter, or perhaps one just a little harder, maybe 2 1/2. Results will vary a little depending on the paper and the developer used, but it will be close. If there's a frame that looks too soft or flat, use a higher numbered filter. If a frame looks too contrasty, use a lower numbered filter. With time and practice, you'll be able to tell which filter to use by examining the contact sheet.

 

[pentaxuser]

When you get the filters try a typical neg in the processed film and print it at each grade and half grade. This isn't wasting paper but learning by doing and observing. One of the prints will look right and you then know that that's the grade or thereabouts that right for your negs. Pin the whole set to a board in the darkroom just to to remind you of what each grade looks like.

With the right easel you can get 4 x 4x5 prints from each 8x10 so 10 grades including half grades costs 2-3 sheets of 8x10 only but will give a great return for the time and money spent doing it.

pentaxuser

 

[edtbjon]

Just to rant on from pentaxusers post:
Doing these 13 prints will cost you some $10 or so if you print them on 8x10". That is a very low cost for something which is very useful to you.

//Björn