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RH Analyser Pro Calibration Question

NortheastPhotographic

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Maine!
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Before I go down the calibration rabbit hole, I just thought I'd ask if anyone has figures for Ilford Multigrade Classic FB (The new formulation) and Ansco 130.

I assume the supplied calibration is for Multigrade IV and Dektol 1:3. But my understanding is that I should make calibrations for each paper/developer combination I intend to use? Personally I'm going to standardize on Ilford Multigrade Classic and the new RC paper for proofing, plus Ansco 130. Call me boring, but I think throwing more variables than that into my system will just lead to choice paralysis, which I have enough of!

Anyway, if you happen to have calibration figures that would be great! BTW I'm using an LPL 4550XL with a VCCE head. Also feel free to tell me if I"m over thinking this.
 
I have the Analyzer pro 500 for the Ilford multigrade 500 head. I never did a true calibration but I usually add 1/4 to 1/3 stop for classic where the average grade recommended is grades 2-3.5. 1/2 to +1 stop for ilford warmtone FB glossy in Ansco 130.
 
I use the Analyzer Pro with Ilford Multigrade Classic FB, but I develop my prints with Ilford's multigrade paper developer, not Ansco 130.

What you might want to do is to use the paper speed and contrast range data supplied by Ilford for MG Classic FB as a starting point for your calibration. I went through the laborious calibration exercise outlined in the Analyzer Pro calibration guide, but got some strange results (I may have made an error somewhere along the line) so I went with the info in the Ilford data sheet and found it pretty close. I made a few minor tweaks to the calibration as I went along, but nothing major.

The Analyzer Pro is a really useful device that saves me a lot of time in the darkroom, I've been really happy with the results I've been getting with it.
 

That's probably good advice. Maybe I should start with tweaks instead of trying to do a full recal. Ilford lists the ISO as 230 for grades 00-3 and 210 for 4-5. Pretty minor tho noticeable.

So the unit is automatically calibrating dry down? Does that mean when you're proofing a print wet you have to previsualize the darker values in a dry print? Or dry one quick I suppose?
 

I usually just use a hair dryer to quickly dry a proof print in order to get a good idea of what it will look like once fully dried down. Works pretty well.
 
The number I have been using for MG classic for the last 4 years are as follow Offset 1/2=12,0-12,1=11,2=12,3=12.4=13.5=13 Contrast 1/2=189= 0=165,1=148,2=119,3=098,4=071,5=066,should work fine
Richard
 
At the other hand: calibrating isn't that complicated and it will give you a set of data that fits exactly the way you work and the circumstances in your darkroom. The first time i did it, it took a whole evening to figure it out, but since it takes about an hour to get it right for a new paper. And it sure is worth while.
 
I have numbers at home for the Classic but I'm using a color filter module on my 4550XLG and I'm pretty sure it will give different results. At any rate I'll try to remember to post them later. You'll still want to fine tune them via the calibration process, it's not as big a pain in the butt as it sounds and you only need to do it once.

I normally use Bromophen (Dektol) but when I've used anything else I've never found it to make much of a difference.
 
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Admittedly this is coming from the manual sounding a little confusing when I got about half way into the process of calibration (just reading not trying). I'm sure it's easier in practice... I think there are some videos I can watch to see the process.
 
Here are my numbers. I suspect they will be a good start for you but I think you'll get very different results with grades 4 and 5 compared to what I get with the color filter pack.

Paper: Ilford Multigrade Classic FB
Timer: RH Designs Analyser Pro
Enlarger: LPL 4550XLG with dichroic filter module

FilterGradeExposureContrast
162Y00+3148
90Y0-1125
68Y/10M1-1102
41Y/32M2-295
23Y/56M3-188
6Y/102M4-1668
170M5-2665
 
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