I offer my sympathy and condolences for the loss of vision in your left eye.
I manage burning less difficulty but most complicate task is to identifying exact location of dodging point and seeking for advise for better solutions.
At least for your burns you could take a work print and cut out the burn area. It would be easier, I imagine, to hold an 8x10 mask over an 8x10 enlargement, for example. I lost my left eye to Steroid medication, so I really understand your complication. Re Koraks point about seeing on the card, it should be a white card, not black, and if using a Work print the comprehension of place within the print is enhanced.
Yes, I do turn off safelights while exposing and am using LPL 7452 enlarger with quarts 250w halogen lamp.
Is that configured with a condenser light source, a variable contrast light source, or a colour printing light source?
Here is my enlarger spec and I set B&W mode while printing;Is that configured with a condenser light source, a variable contrast light source, or a colour printing light source?
I only use condenser enlargers, Leitz up to 6X9 and a Durst for larger negatives.
Just out of curiosity, when using an enlarger with any of the options in the previous post of Matt:
Will the projected image be the same in terms of brightness? Compared to the simple condenser enlarger, using mostly the 150watt bulbs?
I use 150 watt bulbs 70% of the time, and 75watt or 250watt bulbs for the remaining 30%.
Why not turn the aperture up full and without any paper below and the darkroom light off, practice the dodging/burning you require. Then when you come to do it at the printing aperture with paper, you will have a much better idea of what you have to do.
Matt said:
All of which is to say that it is difficult to pin down how bright the image is for @OKK , without knowing the exact configuration.
Right!
Matt said:
All of which is to say that it is difficult to pin down how bright the image is for @OKK , without knowing the exact configuration.
Right!
Matt, Which head would you recommend (Colour, VCCE or B&W ) for best brightness? I do only B&W printing.
The different options are rarely evaluated in that way - you are the first I've ever encountered with a desire to have higher light levels for normal B&W printing. I see more requests for advice on how to lower the light output, because most modern papers are quite sensitive - they offer higher "speed" - and higher light levels lead to printing times that are too short.
Someone who makes a large number of exceptionally large colour prints - mural size prints, as an example - would be most interested in high light levels.
Normally I would suggest reaching out to the Canadian distributor for LPL enlargers - KHB Photographix - as the owner, Kevin Brown is a a great source of information. I sourced the information about light sources I posted earlier from KHB's website. Here is KHB's website link: http://www.khbphotografix.com/.
I do think though that if you increase the light levels, you will run into problems with too-short printing times.
Perhaps the colour head might help with that, in that it might permit you to add more red to the light from the enlarger - the paper isn't sensitive to moderate levels of red light, but your eyes are.
Perhaps the colour head might help with that, in that it might permit you to add more red to the light from the enlarger.
How does that work with a LPL 7452 ?
To add red with a colour head:
Add the same filtration for all three filter settings.
Then subtract cyan.
Hmm. Meanwhile you are increasing yellow filtration (minus blue) and increasing Magenta (minus green) prolonging your exposure time.
Or just leave cyan at zero all the time and let all the red through all the time.
Meanwhile you are increasing yellow filtration (minus blue) and increasing Magenta (minus green) prolonging your exposure time.
And because filtering always results in a reduction of light, dialing up the cyan filter and then dialing it back down does not allow you to add more red to the light from the enlarger.
Changing the Yellow and Magenta can do as you describe, but Cyan has nothing to do with Black and White papers.
I am afraid I do get my knickers in a knot when changing Yellow and Magenta filters is conflated with Cyan, particularly when suggesting discussing neutral filtering, for example. Although I must admit that your post # 41 was a new take on Cyan adjustment.(I looked for a happy tetter totter or up/down emoticon, but could not find one.)
I feel that people who talk about changing cyan values as regards Black and White are confusing things with their Colour printing experience.
I have diverted OKK's post enough, though.
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