Re: Ilford Silver papers ??
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Thanks very much for great info to move forward !!
SS
Real Photographs are Born Wet !
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On Oct 13, 2024, at 7:23?PM, Christina Z. Anderson <christinazanderson@...> wrote:
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Steve,
You are correct. Yellow inks and magenta inks do filter light like yellow and magenta filters. But the balance in these profiles is there, and I always start with a no. 2 filter set in the
enlarger (that¡¯s the filter I use for curve iterations) and then I have the ability to go down in contrast and up in contrast with enlarger filters just like normal if I want to vary the image, even with the yellow and magenta inks within the negative itself.
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If I really wanted to get into the weeds in BW printing I might spend time increasing M and Y inks in different increments to see how the image changes, but for now I just need a great profile
for the BW darkroom to teach in my classes. I find students start my Experimental Darkroom class pretty ¡°analog¡± and by the end I would say one to none are doing anything other than using digital bw negatives to make their work. It¡¯s just too easy.
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Douglas Ethridge who wrote the Silver Gelatin in the Digital Age book in the Focal Press series is a master BW printer and his book is full of good information on printing in the BW darkroom
but also on how to edit an image even before it becomes a negative. I have much to learn from him on both that end and also his QTR info.
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Chris
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Thanks so much to Christina and Richard, I am very new to this D Neg and rely on Clay a lot. ?One thing, I see the Quads that were sent for both Classic and W-Tone Ilford silver papers have a small amount of Magenta and Yellow in the Curve.
?My understanding of MC papers suggests that any color would have some impact on the actual contrast of the resulting silver image, Thoughts ??
Thanks very much in advance,
Steve Sherman
On Oct 13, 2024, at 9:47?AM, Christina Z. Anderson <christinazanderson@...> wrote:
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I¡¯m attaching my P900 quads that work well for these two papers. Try them and see if they work for you, but at the very least they will be a good starting point to print and run through
QCDN again. I assume you¡¯re using P700/P900.
I do use more inks than you do, though. Your steps 10, 15, 20 are flatlined. If this were to happen I, too, do exactly as Richard suggested: manually adjust the numbers.
I used to use 1- or 2-part profiles with all other printers (3800, 3880, P800) but for some reason when I got to the P900 it behaved differently so I¡¯d get these plateaus or areas of flatness/posterization
in palladium, BW, and cyanotype. Very frustrating. That¡¯s what made me switch to using QCDN and 3 part profiles because I had no idea where to even start to introduce another part (Ron Reeder generally used 2 parts and I used 1 part when he and I co-wrote
the book), although with lumen prints I only still use 1 part (K and Y only) because of the amount of ink necessary to hold back light for a day exposure.
The other thing which may be heresy but I keep a slight ¡°belly¡± (a Clay Harmon term) on my curves so they bowl down from the straight line slightly which works well with BW. A little more
drama and darkness.
Greetings,
??????? Anyone have a suggestion on how to correct the blips seen in the photos of higher values for both Ilford Warm Tone, and Ilford Classic silver gelatin multi-contrast papers ??? Repeated re-linearizations does not correct
Thanks in advance,
Steve Sherman
<BW-ILFORD-MG-Classic.quad><BW-ILFORD-Warmtone.quad>
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