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The longer time is about what I expected. The differences are fairly clear: the LED needs longer print times and has considerably lowered contrast. Again, both prints were scanned together, so the tones on one compare directly to the other. This will give me a feel for how exposure time and contrast selection would differ. Next up, a comparison of the two light sources through a grade 2 Kodak Polycontrast filter. I should probably be edge burning my prints anyway, which would only serve to cover up the slight loss of light in the corners. So the LED? It’ll do just fine, thank you. In real prints even the PH140’s oddball coverage, which is just discernible in the unmolested scan, does not make any noticeable impact. The PH140’s light spread is weird and awful looking, with very sudden and severe drop off into the corners, though the center isn’t quite so hot as with the LED! LED for the win, folks.Īgain, keep in mind that’s a highly exaggerated contrast level and that the first pair of patches are really what it looks like. Some of that might be down to the longer path taken by the light exposing the corners here this was a 4×4 inch patch, the enlarger head nearly bottomed out, so I’d expect some falloff in the corners under the circumstances. If there was such a thing as grade 50 paper, it might look like this:īlimey! So, the LED has a hot spot in the middle and falls off quite evenly toward the edges. Photoflow rinse after ilford rapidfix full#Next, some post-scan curves alchemy, slamming the white and black points toward each other so that the exposed patches are represented by the full available range of tones. Photoflow rinse after ilford rapidfix Patch#Not bad on either one just a tiny amount of visible variation, if anything the LED looks a little more even! Ignore the blotch in the top left of the LED patch that’s a thumbprint from slightly sloppy handling. This is how it appears on paper, with both tests scanned together for a direct comparison: I set up for 6×6 medium format as my 80mm is not necessarily designed to cover larger frames. I aimed for a mid-to-light gray with no contrast filters, which turned out to be about twice as long for the LED, all other settings the same. Though it certainly looks good by eye, the only way to know for sure is to make an exposure of an empty negative holder using each light source and compare them. I knew I’d see a change in contrast but honestly had no idea what to expect there. I expected to see longer exposure times as the PH140, an overdriven 75W incandescent, pumps out 1150 lumens compared to the Utilitech’s 60-watt equivalent 800 lumens. Part 2 saw me cobble together a vaguely alarming cardboard-and-hot-glue contraption to hold the bulb in the right place.įinally I made some comparison exposures to test for differences. Photoflow rinse after ilford rapidfix pro#In part 1 I considered ways to use a standard LED light bulb in place of the PH140 and ended up with the Utilitech Pro from Lowes. Off-the-shelf LED Enlarger Lightsource – part 3: contrast, exposure and coverage comparisons This entry was posted in Darkroom, Processing on by Paul Glover. Next trick will be to see if I can get away with just plain distilled water and no photo flo at all. Photoflow rinse after ilford rapidfix how to#So if you’re fighting this problem and are at a loss for how to fix it, this might just be the answer! Whaddya know but it worked! Half a dozen rolls finished up this way, sitting in distilled plus a drop of the wash aid for a few minutes, and not a single drying mark among the lot of them! No squeegee either, which reduces the chances of damage. I usually have that around anyway as I use it for mixing my stock solutions and diluted developer working solutions. But someone suggested distilled water for the final rinse, with just a drop of photo flo. But I’d still prefer not to have to deal with them. ![]() Sometimes I would be streak free and home clear, but more often than not, there they would be. I don’t, oddly enough, have trouble with drying marks on my prints. ![]()
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