Printing black and white with a color head

[Casey Kidwell]

I know this has been touched on somewhat in the past but I couldn't find consensus. Having become thoroughly disgusted with fighting my Beseler 67c I'm purchasing an Omega D with color head. I'm curious who among you prints black and white with a color head. I've read one post that claims you get a max contrast equivalent of a #3 VC filter. I wanted to know if this is the fact and also, should I be concerned with fading of the dichroic filters. I appreciate any additional insight anyone might have on this matter.

 

[ic-racer]

I've read one post that claims you get a max contrast equivalent of a #3 VC filter.

Filters on each brand are not all equivalent. The scales they use are not standardized either. Anyone, please send me all your faded dichroic filters, I'll pay postage...

Omega and Durst at maximum magenta will print similar to the #5 Ilford filter with Ilford paper; I have tested these two. I cannot comment on the other brands but I'm sure others will chime in here.

The Chromega D color head would be like the ideal multigrade B&W head if you live in the US. Do you know which chassis it is on?

 

[ic-racer]

Here is a Beseler 67 dichroic head for $60 that would probably also work well for you. (there was a url link here which no longer exists)

 

[David William White]

Casey, what is your problem with the Beseler 67c prompting the switch?

 

[Casey Kidwell]

ic-racer I'm really not concerned about differences across various dichroic filter makes as much as switching from a conventional black and white enlarger with separate VC filters to a color head. Just want to make sure that I can produce equal or better quality prints vs a traditional B&W enlarger with vc filters. And if there are issues with older, well used color heads it could be an expensive fix. But if they are faded I'll send them to you postage paid! I'm buying a chromega D5.

David, I posted a previous thread here: (there was a url link here which no longer exists)

The fact that the Beseler 67 doesn't have available glass carriers and isn't as solid as I would like made me realize the need for a better machine.

 

[Kevin Kehler]

I purchased some Ilford filters after being tired of my colour head. The three problems I seemed to have were: overly time consuming to get initial contrast correct (due to colour fade, I could not rely on any charts as to what the contrast grade was and after a year of use, the numbers I used were no longer correct when I went to reprint); movement of the head when I tried to split grade print; and density change as I changed grades (if I changed any colour settings, I had to redo test strips since the head was not neutral density balanced). I don't have a filter slot so I twisted a coat hanger into hanging below the lens and I lay the filter on that. So, a colour head can work but I would never want to go back to using mine.

 

[Lee L]

I know this has been touched on somewhat in the past but I couldn't find consensus.

Finding consensus on the internet.... interesting concept.

VC filters vary. Papers vary. Enlargers vary. Paper developers vary. Find a copy of The Variable Contrast Printing Manual and you'll find data from testing some different combinations. A couple of items it mentions on the Super Chromega: it doesn't go higher than grade 4.5 on Kodak Polymax Fine Art (if you've got a stash of that around), and VC filters (or 47B and 58 filters) could be added to extend the contrast range beyond what's available with dichroic filter settings.

There is a space below the Super Chromega diffusion box, just above the negative carrier, where you can slip in 6x6 filters.

Lee

 

[Casey Kidwell]

Kevin, just out of curiosity what color head were you printing on? I've printed a lot of color on chromega heads and reprinted with the same filtering with fairly consistent results, so the inconsistency is interesting. Lee, I thought thought the two slots above the negative stage were condenser trays. If there's already a space for vc filters as a fall back, I have no worries.

 

[Bob-D659]

I dunno about fading dichroic filters, it's possible with really bright light sources, but a 250 watt halogen isn't quite in that category. Now burnt on dust, that's a big time problem. The two colour heads I obtained were reasonably clean inside, except no one had ever cleaned off the filters. So they had a nice gradient of cooked dust acting as a graduated coloured (non-neutral) density filter. No wonder they were consigned to the second hand shops. The cyan filter in the Super Chromega had enough dust stuck on it to drop the light an additional 1.5 stops.

 

[ozphoto]

I remember using an older Omega at college to print my B&W. Could *never* get a good contrast in the print unless I was printing around Grade 4 equivalent on the colour head. Used to drive me crazy with all the negs I printed and knew inside out, back in my own darkroom.

Ended up printing all my assignments back home - took me less time and on Grade 2 equivalent which gave nice tonal range. Maybe they were faded? No idea, all I knew was they printed terribly at college and beautifully at home.

 

[Tony Egan]

I purchased some Ilford filters after being tired of my colour head. The three problems I seemed to have were: overly time consuming to get initial contrast correct (due to colour fade, I could not rely on any charts as to what the contrast grade was and after a year of use, the numbers I used were no longer correct when I went to reprint); movement of the head when I tried to split grade print; and density change as I changed grades (if I changed any colour settings, I had to redo test strips since the head was not neutral density balanced). I don't have a filter slot so I twisted a coat hanger into hanging below the lens and I lay the filter on that. So, a colour head can work but I would never want to go back to using mine.

This is exactly my experience with colour heads and I only persisted for a few weeks before setting everything to neutral and buying some Ilford graded filters. The fundamental B&W multigrade printing principle of time for the whites, filters for the blacks could not be used reliably. I also set up an under the lens filter holder attached via the fixing connection for the red safety filter. Less wasted paper, better prints, no cursing!

 

[Casey Kidwell]

Uh oh. This isn't very confidence inspiring. At least it's a solid chassis and good light source with plenty of available accessories. Tony, not that it makes a diff, but what color heads are you using? And thanks for the help everyone.

 

[Lee L]

Lee, I thought thought the two slots above the negative stage were condenser trays. If there's already a space for vc filters as a fall back, I have no worries.

The condenser racks are on the condenser head. If the enlarger you're purchasing has those, then you're not "purchasing an Omega D with color head" (at least not a dichroic model that I know of), but a condenser head set up for B&W, or for color with 6x6 inch CP (color printing) filters.

The Omega dichroic color heads are typically larger and shaped like a box with a slanted back, and extend to the right of the negative stage. If you lift off the front panel to access the interchangeable "mixing box", you'll find a place below the mixing box to slide in 6x6 inch filters.

Google for images of 'Omega D condenser head' and 'Omega D dichroic head'.

Lee

 

[Casey Kidwell]

Sorry Lee, it's a color head. I'm just foggy on the appearance because I haven't picked it up yet or seen one in a while.

 

[Lee L]

Sorry Lee, it's a color head. I'm just foggy on the appearance because I haven't picked it up yet or seen one in a while.

No problem. I just wanted to make sure you got what you intended.

The salient point is that you can use 6x6 VC filters with both the Omega D condenser and dichroic heads if the range of the dichroic filters isn't enough for you.

Lee

 

[Casey Kidwell]

Thanks, I'm a happy man then.

 

[Kevin Kehler]

Kevin, just out of curiosity what color head were you printing on?

I have a Fujimoto G90 as my primary enlarger. Since the colour filters are close to lamp, the heat from the lamp and the change in light from the lamp warming up/cooling down is too irregular to rely on for repeatable prints. Not just repeatable over several months/years but over a long printing session.

I recently got several large-format enlargers but haven't had time or space to install it yet. Neither of them has a colour head.

 

[ic-racer]

Not all Chromegas are equal The early ones were NOT dichroic heads. Dichroic heads are the ideal setup for MG printing if you are using Ilford MG paper.

 

[jp498]

I'm using two enlargers with dichroic heads no problem. One is a chromega-B which is a simple low wattage bulb with no active cooling; never any problems. The other is a Beseler cb7 4x5; for that one, I had to take it apart, clean the insides, lubricate the various pulleys, change bulbs. All simple stuff that doesn't require any special skills or instruction. The active air cooling on the 4x5 means it sucks in more dust. Both are working nicely now. I can print 0-5 on both machines using ilford and foma paper. I like the ease of printing say grade 2.5 without filters. I think the quality is probably better than putting a grubby fingerprinted $10 filter in front of a lens that was probably many hundreds of dollars new.

 

[Casey Kidwell]

Thanks ic-racer and jp, good info. If I wasn't so damn poor right now I would buy an enlarger with a dedicated vc head and be done with it. But that's the boat I'm in.

 

[frednewman]

Hi Casey

I've always printed both B&W using a color head. Since I was printing both color & B&W it made more sense to have one enlarger for both. I recently was doing a paper test for a photographer and I got this really weird test results. Now he had just bought a Durst 4x5 enlarger with a color head and not being used to his new enlarger he forgot to put the filters back in so all the tests from 130Y to 130M were quite similar. Now Durst being really good enlargers I was hoping it was pilot error and not something wrong with his enlarger as he had just bought it. Luckily it was his error.

Printing with a color head gives you very precise control of contrast. You might want to calibrate you color head. In the article I wrote on Adox paper I did use Ilford VC filters because for most photographers it is easier to understand filter grades rather than 60M. With a color head I use a sequence: 150M, 120M, 90M, 60M, 30M, 15M (with the yellow filter set to 0), 0M 0Y, and the 15Y, 30Y, 60Y 90Y, 120Y, 150Y (with magenta set to 0). I will put that in the next article I do.

The other thing to remember is that even though a VC filter says a particular grade, you might not get that grade with that filter and paper combination. Please look at the last graph on the article on the Adox paper. Look at the results: with the grade 0 filter you get a grade 1 for the paper, the grade 1 filter give you a grade 2 for the paper and so on for the rest of the filters. This is quite typical results but knowing these results you could start printing with the grade 1-1/2 filter to start. You want to design your negative around your paper and light source.

Remember that a VC head is just a color head with yellow and magenta filters that the manufacturer has adjusted the amount of Y and M to give you a specific grade and just because they say it's a grade 2 doesn't mean it will be a grade 2 with your paper.

It's a lot to explain - so if you need more help you can email or call me (480-767-7105). Hope this helps.

Fred Newman

 

[Tony Egan]

Uh oh. This isn't very confidence inspiring. At least it's a solid chassis and good light source with plenty of available accessories. Tony, not that it makes a diff, but what color heads are you using? And thanks for the help everyone.

I tried many years ago initially on an LPL 6x7. Currently I am using a Beseler 4x5. I tried again with this one last year but gave up quickly. Putting a filter below the lens makes no visible difference to print quality but try it for yourself if you have any reservations.

 

[Sirius Glass]

I bought an enlarger that had a color head. That is what was available and in much better condition than all the others. I was shooting 35mm, but what the heck it could do upto 4x5s. I learned the use the color head for black & white and I have never looked back. Now when I can start working in California again, I will bring color too.

By the way now I also shoot 120 and 4x5 film.

Steve

 

[Smudger]

I was given a color head for my Beseler 23C, and gave up in disgust after a few printing sessions.
I could get nothing like the contrast of an Ilford #5 filter,and the exposure changes required between grades drove me crazy. If I need diffused light I can always put some opal glass below the condensers. I can live with the half-grade steps of the filters,and I sleep better as a result.

 

[ic-racer]

I was given a color head for my Beseler 23C, and gave up in disgust after a few printing sessions.
I could get nothing like the contrast of an Ilford #5 filter,and the exposure changes required between grades drove me crazy. If I need diffused light I can always put some opal glass below the condensers. I can live with the half-grade steps of the filters,and I sleep better as a result.

I think that head went from 0-200. Out of curiosity, which one 'drove you crazy?' the "Kodak" or "Leitz" chart? (they are both based on heads that go from 0-200)