I just switched to using oriental paper from agfa classic, with mixed results...I love the blacks, the highlights are very bright, but is there a way of cutting down the contrast at all? Does anyone that uses oriental always pull the film a stop to cut down the contrast? I was printing with a 00 filter and it was probably more contrasty than agfa with a 5!! Any tips for good paper developer? I used d-72 and was thinking about a developer that could warm the paper up a bit-
Thanks
Jack: Developing both new and old Seagull in Dektol and Clayton developers I have not noticed what you describe with Tri-X negatives. The grades per the filters were very close to what I would expect using graded paper, and no adjustment was necessary to development time. I use Ilford filters. If you are using a cold light head that is not the modern color for doing this (I think Aristo calls it the V54 tube, it is a bright aquamarine color) that could explain your problem. I did find it impossible to tame contrast with this or other VC papers until I changed the tube. Contrary to suggestions from Kodak and others, I don't think you will be happy trying to use yellow filtration to make an old head work like the V54. I actually have found Seagull relatively soft compared to Forte, which seems a good 1 1/2 grades more contrasty, at least with Dektol. I have no experience with D-72, but perhaps you could dilute it some and see if that helps? The filters which worked a couple decades ago don't seem appropriate for modern materials, but I assume you have a recent set of filters since you're referring to an "00."
The enlarger is pretty modern, ill try using filtration provided by a color head- I do have some dektol I need to mix up-
Also, It seems to take forever to expose and develop and eats up the developer very fast...what was a 15 second exposure with agfa was around 90 seconds using the oriental (grade 2). It also took a lot of time to bring the highlights up in the development tray even when using straight d-72-
jack
I find that times with the v54 tube are, if anything, too short. Sometimes I have to use a neutral density filter to avoid very small stops for printing. Good luck.
Hi Jack,
D-72 is the older formulation of Dektol. If the D-72 you are using is in a Kodak package, that might be the cause of your problem. Since D-72 was discontinued by Kodak quite a while ago, your paper developer is probably expired. I does not seem likely that the problems you are experiencing with the Oriental Seagull paper could be the result of the enlarger lamp or the VC filtration. Fresh Dektol developer should solve the problem.
Agfa Classic is a warmer tone paper than Oriental. Adding a little potassium bromide to your tray of Dektol developer will clear the highlights and produce a slight olive tint with Oriental Seagull. Toning in Kodak Rapid Selenium Toner will change that olive tint to a rich eggplant purplish black tone. If you want warm tones, use the same technique and stay with the Agfa Classic paper.
Jack,
You are talking about variable contrast Oriental Seagull, aren't you? If you are using Graded (#2) paper with 00 variable contrast filtration, it would take forever to expose, since the paper would be receiving mostly green light, and graded paper is more sensitive to blue light.
i thought that 00 was lowest contrast, 5 highest contrast? The problem im having with this paper is that the mid tones are almost non existant. It does look very robert adamsy though, which is nice.
Jack,
You are correct,# 00 is the lowest contrast. It is almost pure green light falling on the paper. #5 is the highest contrast. It is almost pure blue light falling on the paper. If you are using grade 2 Oriental, it is not variable contrast paper and would respond to green light (a #00filter) the way you describe. Is your Oriental paper graded #2, or is it variable contrast? Is your Kodak D-72 developer mixed freshly from scratch, or is it from an old outdated package? You didn't make it clear in your response.
I haven't tried Oriental paper lately, but might offer some suggestions about warmer developers. I used to mix D-72 and also decided I wanted a warmer developer. I tried several other formulas before I settled on Ansco 135 as my standard developer about 12 years ago. When I want still warmer tones I mix up a batch of Ansco 110, which I have been diluting 1:3 with Forte Fortezo.
Its Grade 2...ive never printed with non variable contrast paper...how different is it to print with this stufff?
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