![]() ![]() It is good to understand that you are actually filtering out blue (hard) and green (soft) light by using yellow and magenta filters. ![]() "Or should I just experiment until I work it out?" So why is the 20Y?"ĭual colour settings and single colour settings are two different techniques. ![]() But the equivalent for this for Durst is 75Y and 10M. less magenta and more yellow is less contrast. Again, more magenta and less yellow is more contrast. The settings for dual colour filters revolve around using both filters to try to keep the times (seconds) the same for all the grades. More magenta is less green light hitting the paper and therefor more contrast. Between Grade 2 and 5 you are manipulating the strength of the magenta filter. The settings for single colour (either yellow or magenta) revolve around grade two (no colour filter) So if using that technique, between grade 00 and grade 2, you are manipulating the strength of the yellow filter, so increase the yellow (to filter out more blue light) to decrease the contrast. "What if I’d like to decrease the contrast? Should I just use less magenta or just yellow? " The Foma data cannot be right if they are saying white light and 20M are the same grade. Ilford's data says a durst (170) of 20M is a Durst (130) of 10M and a Kodak of 5M and a Meopta of 20M. Ilford's info sheets have two different Dursts a max of 170M and of 130M Only about 2 stops slower than most neutral tone papers, but you figure that out when doing test strips. It's a warmtone paper, but in terms of how it works when enlarging onto it, it's just like any other paper. Since the problem description is not very specific ('uncontrolled' could mean many things) it's kind of difficult to give specific advice, but given that your enlarger works well with other papers, it should work perfectly fine with Fomatone as well. Combining it with variable contrast filtering works fine of course, but is usually not necessary if the negative is of fairly average contrast.Īre you testing with your paper negatives that you have posted about earlier or a regular negative? I'd start with making a normal print with a regular film negative to get the basics right before introducing more deviant variables, so to speak (paper negatives, lith printing). You mention you want to do lith printing, but is that also what you're currently testing with or are you making regular prints on this paper first only to move on to lith in the future? Keep in mind that in lith, usually we control contrast by varying the intensity/duration of exposure and the duration (and strength) of development. In my experience, Fomatone responds as expected from any VC paper to variable contrast filtering (whichever approach used, whether it is blue/green or magenta/yellow). The enlarger is in great condition I use it for b&w and RC papers without any problems at all.ĭo you have any idea what I do wrong or miss?įirst of all, the paper you use is variable contrast and not a fixed grade 2, so in principle you're correct in trying to use filters to manipulate contrast. I tried it with less yellow, more yellow, less magenta but it was uncontrolled from then. As I couldn’t find the equivalent for Kodak I felt lost and tried to figure it out myself without luck. So I wanted to lower the grade but for grade one the instruction says 20Y. ![]() So I dialed it and all I got was super contrasty nothing. So 20M For Durst and Meopta is 32M for Kodak. The paper’s instruction gave 20M for grade two though I don’t understand why it’s there if it’s grade two anyway but that’s just my lack of knowledge. The colour setting what I use for the LPL is for Kodak. The paper’s instruction only gives details for Durst and Meopta enlargers and as this paper blue and green sensitized I only have to use magenta or yellow. It was only okayish so I wanted to change the grade. I’d like to get into lith printing and got Fomatone MG 132 paper for this process.Īs it’s a grade two paper I first tried it without any filtration control with a LPL C6700 dichroic enlarger. ![]()
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