Hey all--
I'm currently making my prints using a B22 I picked up for a song on Craigslist. I shoot a lot of stereo pairs, especially in 35mm, and generally I like to print them small to create an intimate viewing experience as well as minimizing eyestrain. Most of them get printed at 3.5x5.
Even with my 80mm EL Nikkor and 75W bulb, this print size tends to create very short exposure times on the paper. I've noticed when I go below about 10 seconds at a bare minimum, the pairs almost always come out with visible tone differences due to the relative inconsistency between two 4-second exposures (compared to, say, two 20-second exposures). I am using a timer for my enlarger, so this isn't just human error with a metronome.
After doing a lot of research, I've concluded the best way for me to get longer exposure times for consistency's sake (and for other project where I want to have a lot of time for careful dodging and burning) is to use some kind of neutral density in my filter drawer.
I have two options here: stack multiple contrast filters, or get some ND gel like this stuff from B&H:
https://www.bhphotovideo.com/c/product/163139-REG/Rosco_102302092124_E_Colour_209_3_Neutral.html
Has anyone used that stuff in a filter tray for their enlarger before? The simplicity of adding one layer per stop of additional desired exposure time is compelling. However, if I can achieve the same result using my contrast filters, that seems like a good alternative as well.
So I guess my question is, if I stack a Grade 1 filter and a Grade 3 filter, the contrast should come out identical to just using a single Grade 2 filter, right? And similarly, using a grade 1, 2, 4, and 5 filter all at once would balance out to the same print contrast as a single Grade 3? Please let me know if averaging the grades is not the correct way to anticipate contrast.
I'm currently making my prints using a B22 I picked up for a song on Craigslist. I shoot a lot of stereo pairs, especially in 35mm, and generally I like to print them small to create an intimate viewing experience as well as minimizing eyestrain. Most of them get printed at 3.5x5.
Even with my 80mm EL Nikkor and 75W bulb, this print size tends to create very short exposure times on the paper. I've noticed when I go below about 10 seconds at a bare minimum, the pairs almost always come out with visible tone differences due to the relative inconsistency between two 4-second exposures (compared to, say, two 20-second exposures). I am using a timer for my enlarger, so this isn't just human error with a metronome.
After doing a lot of research, I've concluded the best way for me to get longer exposure times for consistency's sake (and for other project where I want to have a lot of time for careful dodging and burning) is to use some kind of neutral density in my filter drawer.
I have two options here: stack multiple contrast filters, or get some ND gel like this stuff from B&H:
https://www.bhphotovideo.com/c/product/163139-REG/Rosco_102302092124_E_Colour_209_3_Neutral.html
Has anyone used that stuff in a filter tray for their enlarger before? The simplicity of adding one layer per stop of additional desired exposure time is compelling. However, if I can achieve the same result using my contrast filters, that seems like a good alternative as well.
So I guess my question is, if I stack a Grade 1 filter and a Grade 3 filter, the contrast should come out identical to just using a single Grade 2 filter, right? And similarly, using a grade 1, 2, 4, and 5 filter all at once would balance out to the same print contrast as a single Grade 3? Please let me know if averaging the grades is not the correct way to anticipate contrast.
