It had been a while since I printed. I remember using a Ilford Multi head with dial contrast. This is different. I'd like the option of using a cold head with variable contrast paper. I have a durst that was modified to fit an aristo cold head. I'm guessing that it's an old one.

I've got some system 7 filters, and I'll be ordering ilfords shortly. I have to add the filter below the lens. My first prints were on Polymax RC, with no filtration at all, and they came out very muddy. I was using Dectol developer. Today, I'm using Ilford Paper developer, and I've started using these old crappy system 7 filters. I finally have black... I think.

I'm reading how some here use a yellow cc filter. I don't know that I have any room to install a filter between the cold light and the neg carrier. If I institute the yellow... will I need another filter to print and get black? I shoot deep black and white flesh tones... so I do need things to go black.

Among my new toys, I have LPD and Dr. Beers Variable Contrast Developer. I haven't put them to use as I wasn't sure if they would work well with RC paper.

Another issue I'm having is time. I had read that the cold heads are known for short exposures. My last print (11X14) was at f/4, with a 3.5 contrast filter (system 7) and exposure time was 53 seconds. That doesn't sound right to me. The neg isn't overexposed, in fact it was dead on.

Any information that could help me clear things up would be greatly appreciated. If anyone has time to help me start over... that too would be appreciated.

christian

-- Christian Behr (info@christianbehr.com), May 06, 2002

Answers

When I use my cold light and VC paper, I put a yellow stage lighting gel between the actual light tube and the diffuser panel. It is about the same as 40 yellow. It makes the bluish cold light match the tungsten source exactly. I then just use my regular below the lens multigrade filters. Without the yellow in there it gives about a grade 3 1/2 all the time. That is not always a bad thing, so I do remove the gel sometimes, which lets a more light through. I lose about one stop from the tungsten to the cold light becuase of the gel, but that still leaves me less than 20 seconds and f8 or f11. That is with a 4x5 head. Make sure the cold light is as close to the film as it can be, as well, you don't need any gap in there like with condensers on smaller film.

-- Chris (bwdesert@yahoo.com), May 06, 2002.

So I opened it up and saw a small yellow filter. It's smaller than the larger diffuser below it. I noticed that it doesn't cover the whole image... and parts are left out... making an uneven print.

If I'm using graded papers, do I need the yellow filter at all? I am losing my mind with all of this... and I really want these prints to look good.

Without the yellow... it prints like a 3.5 filter correct? Is there any compensation needed when printing with graded papers. Which graded paper would give me the contrast of a #2 1/2 Ilford Multigrade filter?

Maybe I'll try adding more of a yellow filter to it. I have a stage filter like you suggested, it's a gel filter for lighting... so I'm sure it could handle the heat of the head. Should I add this or try the graded pics.

christian

-- Christian Behr (info@christianbehr.com), May 06, 2002.

Contact Aristo at www.aristogrid.com to get information about making the head compatible for variable contrast printing using the V54 replacement bulb. If you know what model Aristo head you have, you may be able to purchase a replacement bulb from B&H Photo.

-- Michael Feldman (mfeldman@qwest.net), May 06, 2002.

Christian,

The light you have is suitable for graded papers but will not work for lower contrasts with variable contrast papers. Call Aristo direct and they will ship you a bulb for VC papers. It is very easy to replace and pretty self-explanatory. The guy at Aristo was very helpful when I made the same conversion a couple of years ago.

-- James Chinn (JChinn2@dellepro.com), May 07, 2002.

I second the motion to contact Aristo and get a V54 lamp. I am using one in my D2 with kodak under the lense filters and have no trouble. Also while you are experimenting I'd try B&W 65 or Formulary 130 paper developer both available from Photographers Formulary www.photoformulary.com . A wonderful source for all kinds of photo chemistry.

-- Ronald J LaMarsh (ronald.lamarsh@med.ge.com), May 07, 2002.

It has been my understanding and experience that cold light heads involve longer exposure times. this has also been my personnal experince. Nomal times being in the 27 to 30 second range.

-- Ann Clancy (clancya@attbi.com), May 07, 2002.

My converted to tungsten output cold light is anout one stop slower than the tungsten, like I mentioned before. I have no prints that need more than 20 seconds, even at f8 with the cold light. Mine matches the tungsten exactly with the yellow gel in there, even down at grade 0 or 1. At this point I would have absolutely no inclination to ever replace the older tube on my cold light with the different color just to gain one stop of light and end up with the same contrast anyway. It's a little slower, but not that much to matter.

-- Chris (bwdesert@yahoo.com), May 09, 2002.