Have someone this book in pdf format? I’m interested how to calibrate the VC.
Any help please?
Have someone this book in pdf format? I’m interested how to calibrate the VC.
Any help please?
Some info here: https://www.photrio.com/forum/thread...or-head.42839/
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
What kind of head are you using? Make and model?
Omega Superchromega DII
I find the book, and I buy.
Amazon.co.uk has some but I do not know if they ship to Romania or not. US Amazon will not ship there. I had a color head but eventually just switched to under lens filters. For split-grade printing it was easier than adjusting the dials in the dark.
The magic you are looking for is in the work you are avoiding.
http://www.searing.photography
Why the need to calibrate?
I use a Beseler 45s head. I consider no filtration to be "grade 2," or "normal." To increase contrast, I add magenta without yellow, and to decrease contrast, I add yellow without magenta. (Cyan always zero.) Very simple and straight forward.
I really like and use the zone system. (May the force be with you.) That's where I end up doing calibrations for contrast control, based on the given scene. (i.e. N, N+1, N-1, etc.) In my view, much better to have the desired contrast built into the negative.
When I print, to taste of course, I always end up using magenta filtration between 20 to 30. This is not deliberate; it just ends up this way. I've never used yellow filtration to decrease contrast. So, calibrating VC settings would be of no advantage in this situation. I use no filtration when I print test calibration negatives.
Not saying this is necessarily better. (Though, it is more me.) Just an alternate approach.
Neil,
My approach is much the same as yours. I find I like prints made on VC paper with a bit of magenta filtration (around 30 or so) better than those made at a lower-contrast setting. It's something to do with the mid-tone curve I think. I like to calibrate development-time tests to about 30M these days. Back when I used graded papers, I calibrated to Seagull G grade 2.
Anyway, I don't bother with speed-matching or calibrating paper speed, etc. If I need more contrast, I dial in more magenta; less, I reduce magenta (or add yellow if I'm on that side of "0"). I'm always ratcheting up to 170M or down to 170Y for burning anyway.
I've learned to guesstimate exposure time changes for changes in contrast settings instead of trying to speed match. Subsequent prints always need refining anyway, so getting in the ballpark is all I need. For larger changes, I'll just make another test strip.
These days, I think in terms of more or less basic contrast instead of grades. The color head lets me achieve intermediate "grades" easily too, so no more split-developing prints (which I did as a matter of course with graded papers).
Best,
Doremus
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