absolute beginner - questions

[Florian1234]

All right gentlemen,
in order to enlarge some prints for the first time after one year (that time was embedded with in a course and not very fruitful) I might need some help from you passionate routinees.

I have an enlarger without possibility to change gradation (not sure about the English term). So, I need paper with fixed gradation, right?
When using PE-paper, which one should I take to get classic loking prints from my negatives? I want real blacks and a good contrast. How do I dry the prints?

Which developer do I need for the paper? The negatives are mostly from APX, Tri-X or HP5+ films developed in D-76. Is Dektol good then?

I hope my questions are somehow not too far away as a beginner and that you can help me a bit. Thanks in advance.

 

[marcr1230]

The paper grade should be selected based on the negatives and the desired results
if the negatives are normal contrast, you are good generally with grade #2 or possibly #3
if you want to lower the contrast of the results, select a lower grade paper. To increase the contrast , a higher grade

Check the enlarger carefully, most B&W condenser enlargers built in the last 25 years will have a filter drawer for Variable Contrast filters. Color enlargers will have 3 color dials that can be used with VC paper if you look up the correct settings.

 

[martin s]

You could just get some Multigrade filters and use them to get the grade you want (with multigrade paper).

I've tried a few paper developers and they made no difference to me, so I just stick with Tetenal which is available locally and in bulk.

martin

 

[dap]

#2 graded paper is considered "standard", but results may vary among different paper companies. Another thing to keep in mind - VC paper printed without any VC filters falls into the general range of a #2 graded paper.

That being said, if I were you I would buy an under the lens VC filter kit (ilford makes one) - it is made for enlargers that don't have a filter drawer.

 

[Fotohuis]

Check carefully if your enlarger has no filter drawer.
Otherwise buy the MG filter kit (for under the lens).

Suggestion PE/RC MG IV to start with. You can use any MC developer. For starting a neutral tone. You can always go to a more cold tone or warm tone MG developer.

Drying: on the air or a föhn (hair dryer).

A suggestion for your APX100/400 and Tri-X 400: Rodinal (Agfa) new brand label R09 one shot "made in Germany". But only if you like grain. 1+25 - 1+100 in dilution, easy in use (liquid concentrate), very long lifetime (>10 years).

Best regard,

Robert

 

[MartinP]

Like everyone has said, check for a filter draw and use that, or arrange an under-the-lens set of multigrade filters.

I must admit that for drying resin-coated prints smaller than 40cm I just use a rubber coated clothes-peg (or two), at a corner, and hang them up to drip-dry. For bigger prints, or fibre-based paper, some sort of home-made drying rack would be better.

 

[Benjamin Marks]

All right gentlemen,
So, I need paper with fixed gradation, right?
When using PE-paper, which one should I take to get classic loking prints from my negatives? I want real blacks and a good contrast. How do I dry the prints? Which developer do I need for the paper? The negatives are mostly from APX, Tri-X or HP5+ films developed in D-76. Is Dektol good then?

Paper comes in several varieties: fiber coated (can be either fixed contrast 0-5 [with 5 being higher contrast] or multi-grade) and resin coated (that is: plastic, which tends to be multi-grade). A multigrade paper with no contrast filters is probably about a grade 2-2.5. Resin coated papers can be hung from a clothes line to dry. They require little washing, but in my experience are less archival than fiber. Fiber papers do better if they are dried face down on a clean fiberglass screen (there are print dryers out there, but I think the expense is unnecessary if you are starting out). There are also blotting books of absorbent acid-free paper that can help with drying. If you use a hair dryer on fiber papers, you may get some curl to the paper (emulsion and fiber base can retain different amounts of water). "Real blacks" are a function, mostly of how much silver is in the paper and how much exposure you give it. Typically, for a well-exposed negative your first "true black" is a minimum threshold of exposure (i.e. time the enlarger light is on) through unexposed film base. You can expose more, but the blacks won't get any blacker.

Choose a developer that is easy to get; choose one and use it for a while. Dektol is good. Agfa used to make a liquid called "Neutol" -- also good. Sprint makes a liquid concentrate that can be diluted 1:9. Pick one and a development time that will be consistent (e.g. 2-3 minutes - do not vary it - this will become one of your controls for consistent result).

Good luck!

Ben Marks