The Monochrome print and the colour enlarger.

Many years ago I was in a position to purchase a medium format film camera. This led to a complication in the darkroom in that my then current enlarger was for only 35mm film. An extra expense I had not budgeted for! At that time multigrade headed enlargers were quite expensive second hand and a bit thin on the ground. By chance 'the other half' noticed an ad in the local paper, it was for a medium format colour enlarger that came with some other bits to do with colour printing. I had not considered that a colour enlarger maybe just as good. The person I spoke to did not know what size negatives it took. So going to have a look was a gamble but then I only had to go round the corner. To my surprise it was all in mint condition and the enlarger would deal with negative sizes up to 6 x 7 - I was hooked! Apparently the seller had only used it a few times and decided to go digital. We struck a deal and the rest as they say is history.

Once the enlarger was home I dismantled it and gave it a good clean and checked it was all in good working order, not that I expected to find a problem. The big surprise was how dusty the inside was. It was gently cleaned with a soft damp cloth and wiped dry so as not to leave any residue marks. 

The next thing I needed to know was how to set the filters values for use with black and white multigrade papers. I chatted to a friend who pointed me in the right direction. After a bit of digging in the library I came up with a number of values for different makes of enlarger my one included. I thought the values should all be the same. But have discovered that the values are a suggested starting point. I have a set of multigrade filters that I used with my other enlarger at least now I will not have to check them for dust.

 There is a lot of speculation on the subject of using colour enlargers with multigrade papers. They split into two camps - the purists that say the multigrade filters only give the papers true contrast and people like me who check things out for themselves. I am at an advantage in that I have used both methods. Personally I have not noticed a difference but then I have not done a like for like comparison. Would I do one? The only way I can answer this is to say If I was to become dissatisfied with my results I may check to see if there was a difference.

 

The following are the values for Variable contrast papers for different makes of enlarger. The values are for the yellow and magenta filters the Cyan should be set to zero at all times.

Ilford settings
	1		2		3		4
Grade	Y	M	Y	M	Y	M	Y	M
0	150	25	92	16	75	12	110	16
0.5	110	33	74	22	55	16	73	22
1	85	42	56	28	42	21	57	28
1.5	70	55	46	37	35	27	46	36
2	55	70	36	46	27	35	36	46
2.5	42	80	28	53	21	40	28	53
3	30	90	26	60	15	45	20	60
3.5	18	112	12	75	9	56	12	74
4	6	135	4	90	3	67	4	90
4.5	0	195	0	130	0	97	0	130
5	0	200	0	130	0	97	0	130

The numbered columns represent different makes of enlarger

1. Dunco, Devere, Chomega, Beseler, Jobo, Kaiser, Omega, Paterson, LPL,Kodak.
2. Durst.
3. Meopta
4. Leitz
5. kodak
6. Durst

Kodak
Grade	5		6
	Y	M	Y	M
0	130	0	130	0
1	75	10	65	15
2	50	20	40	35
3	30	35	20	60
4	10	100	10	100
5	0	200	0	180

It has been many many years since I obtained my enlarger and the resulting prints I have produced with it I have been pleased with, so much so that I have not tested the accuracy of the enlargers filters with Ilfords set. If it ain’t broke why try to fix it!

Since writing this ilford have introduced multigrade five making the above tables relevant to multigrade 4 only.  when purchasing paper you should always check the manufactures tables that come with the paper for the latest filter values.

Print 1

Print 2

Print 4

Print 5

Technical data:

1. 35mm film, Agfa apx, iso 100, developed in ID11, Printed on Ilford multigrade RC gloss. developed in multigrade.
2. 120 format FP4+ iso 125  , 6x6 negative, developed in ID11,  Printed on Ilford multigrade RC gloss. developed in multigrade
3.  120 format FP4+ iso 125, 6x6 neg, developed in ID11, Printed on Ilford multigrade RC gloss. developed in multigrade.
4. 120 format fomapan 100, iso 100, 6x6 neg, ID11, Printed on Ilford FB gloss natural tone, developed in multigrade.

Mottled prints

The one thing I like about traditional photography is it can be unpredictable. Even though the method you use is tried and tested, guaranteeing to a certain extent, good results, when the unexpected happens there are a lot of questions. Checking the method and chemicals used is great when a clear mistake can be tracked down, but what happens when there isn't?

 Sometime ago I pulled a set of FP4+ 120 format negatives from the processing tank that at first glance looked normal. I was studying the negatives in their sleeve when I noticed that the grain was not as usual.

Anyway, I did no more about it until I printed a number of them, then it became apparent the grain structure was different, so much so that it gave the photographs a mottled affect. I was not impressed, however once the prints where dry I filed them away. 

I went back over the way I processed the negatives, checking everything, but could not find an obvious reason for the way they had turned out. To add to the mystery it was not present on all of them. At the time I had just started using a new batch of PMK Pyro developer. I asked myself a lot questions about: 'did I mix it properly?' 'in the right order?' etc. etc. but could not come to a clear answer. So I shelved the developer metaphorically and literally.

The reason I'm telling you all this is that recently I have been looking through some of my boxes of prints when I came across these pictures again. The funny thing is I now quite like those mottled pictures, so much so that I'm going to print some of the other negatives and do some reprints on different paper. I find it baffling that when revisiting prints or negatives that did not appeal at the time, either compositionally or technically, they have now come into vogue. It is almost as though you are not mentally ready for what your eye is telling you works. In other words you need to keep an open mind even if it is not what you set out to do.

Since writing this I have been reprinting some of the negatives making me question again whether it was a developer fault. There is only one way to find out. 

It is now 2021 and the fault is down to the backing paper in some cases if it is 120 format film.

I have now found the fault. 

 

Mature paper developer

Mature multigrade developer with FB paper.
Notice that it has a very subtle warmth to it.

I happened to mention to a group of dark artists that I use mature developer when printing my photographs. I was a little taken aback in that they did not understand what I was saying and possibly a number of you reading this will not either. Basically it means that I cut fresh developer with old and exhausted developer from other printing sessions. Not always from the same manufacturer. It is something I have done for years and have not given a second thought to.

The technical bit:

Starting with the papers light sensitive coating, they can be made from three materials Silver bromide, silver chloride and silver iodide. These are combined to make three types of coating chloride,bromide and chlorobromide. A number of other chemicals are also added to help things along. The way in which these chemicals are mixed together affects how the final print looks. Chloride rich papers are slower and warmer in tone. Where bromide predominates it leads to faster acting and colder toned papers. As a common rule the material named first has the most influence on the way the paper reacts. Bromide papers are the most light sensitive producing neutral or cold blue black tones.

Fresh multigrade developer with FB paper.
Although the picture is of a cold subject the tone
of the scene is cold as well.

The most commonly mixed materials found today are chlorobromide papers. They are a compromise between speed and colour. By adjusting the percentages of these chemicals the manufacturer can alter the tone from warm to cold and vary how sensitive to light they are. I have found that the new Kentmere RC papers to be very sensitive to light producing a cold look to the print. It's quick reaction to the developer means that full development of the picture can be achieved in less than thirty seconds when developed with fresh Ilford multigrade. Chlorobromide papers tend to tone better than Bromide. If you are going to use gold toner then a chloride rich paper is the better than bromide rich paper as it hardly responds.

This is was printed on Kentmere RC paper with
 fresh developer. It was fully developed in less than
thirty seconds.

Although the tone and tint of black and white papers are subtle it has a great affect on the viewers response. Neutral and cold tones tend to create a distance emotionally, a sense of looking in from the outside. While warm looking images draw the viewer in engaging them emotionally. There is a tendency to use these different tones for certain subjects, cold and neutral tones with landscapes, abstracts and modern architecture. With warm tones being used with subjects like portraits, still life and nostalgic pictures like churches and old barns. We maybe used to seeing them used in this way but there are no rules but those you make for yourself and even then they should not be set in stone. By learning to manipulate and control the tone of the paper you are printing with, opens up new ways of engaging the viewer in your vision of the world.

Printed on warmtone  FB paper using
a sepia tone developer. Again the warmth is
very subtle. when compared to the picture
above.

When talking about tone and colour of monochrome papers it is important to understand there is a difference between tone and tint. The tone of a paper is influenced by how much chloride or bromide there is in the coating of the paper. More chloride means slower warmer pictures.

Paper bases come in different colours/ tints such as off white, cream and variations on the theme. At one time warm tone papers could be made on a brilliant white base but these days the base paper has a tint to it, this allows the manufacturer to reduce the amount of chloride in the mix increasing the speed of the paper and still call it warmtone even though it is the tint we see. Tints are most noticeable in the high lights and tones in the shadows. Because the colour shifts are so subtle an untrained eye may not notice the difference until it is pointed out to them.

This is the most important bit when it comes to manipulating the tone of a paper. The main thing film and paper have in common is grain it maybe invisible to the eye but the bigger it is the blacker it appears. When the paper is placed in the developer the grain increases in size as it grows so it changes in colour. From a yellow to begin with it turns reddish, then brown and finally black which is the point of full development.

Printed on  Ilford multigrade FB paper.
 It has been developed in an almost exhausted developer
giving it a pinkish look.

This is valuable knowledge when it comes to changing the tone of a print for example: If you over expose your print more than the exposure your test strip suggests and then under develop the print by say a quarter of your usual development time this will help to increase the warmth of your picture. If you combine a warmtone developer and paper it will greatly increase the effect.

Now to the technical bit behind the mature developer. What happens; as the developer starts to exhaust, so it has trouble fully reducing the silver halides in the emulsion. This means the developer cannot turn the silver completely black therefore it leaves it in the warmer less processed state. You can induce this state by adding fresh developer to an old/ exhausted one which will leave your prints with a wonderful but subtle warmth. The old, new combination should only be used up to a dilution of one to one. Beyond this can lead to sudden exhaustion of the developer.