2 films and a Heiland Splitgrade

[analoguser]

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I have a dilemma which I find interesting to say the least. This past winter I purchased the Heiland Splitgrade controller along with the comfort accessory for use with my Leitz V35 Enlarger. After the initial set up I was getting very good prints with the system. I was shooting Ilford Delta 100 professional film, developing in Xtol: 1+3, 20º C, 14 and 1/2 min and getting excellent negatives and excellent prints using Ilford Multigrade IV fiber based glossy paper using the Splitgrade system.

 

As most dark room enthusiasts know I’m sure, this paper has now gone out of production and has been replaced by By Ilford’s new fiber based “Classic”. After some trial and error testing I have discovered that if I give the new paper 0.8 the exposure which I gave the old Ilford paper I get similarly good results.

 

Now the problem:

 

Recently I have been shooting Kodak 400TX professional, rated ASA 200 which I have developed by the “stand development” method: Rodinol 1 +100 (yes I still have some) 20º C for one hour with two gentle turns of the tank at 30 min. I rinse the film a few time to stop the development and then fix as usual with Ilford Rapid fixer 1+4 for five minutes (same as the Ilford Delta 100.)

 

These negatives look great to the naked eye. I see lots of detail and they look like they have good contrast. They look as good or better to me than the Ilford Delta 100 negatives. But when read by the Splitgrade System they read out with very little contrast. The Splitgrade System will read these negatives typically with a recommendation of grade 0.3 or some times even grad 0.0. If printed this way they are very low contrast and flat looking as one would anticipate.

 

I have tested one of my Ilford negatives and gotten a good print then immediately done a 400TX negative and gotten “flat” low contrast prints.

 

If I measure a 400 TX negative and get a contrast reading of grade 0.3 or grade 0.0 and arbitrarily boost (guess) the contrast to grade 1.5 to 2.5 I get a good print.

 

Can anybody explain this?

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[Michael Hiles]

As most dark room enthusiasts know I’m sure, this paper has now gone out of production and has been replaced by By Ilford’s new fiber based “Classic”.

 

 

I am sorry, I have no suggestions regarding the Splitgrade system - but I am surprised about your statement about Multigrade IV FB. Ilford still lists it on their web site, and I have seen it recently in a good photo shop... I see the new Classic product, but Multigrade IV FB is still appears to be there.

[Jeff S]

Don't know the answer, but if you don't get a response here, you might PM fotohuis, who has helped answer related questions. Or you might email Erwin Puts, who wrote this glowing review of the Splitgrade system. If all else fails, you could of course email the company.

 

Jeff

[analoguser]

Thanks for looking at my thread. Perhaps I should try posting it under the Heiland thread? I will look at the suggested reference.

[Michael Hiles]

Notwithstanding that I don't know much - Heiland has different profiles for paper (definitiely) and film (I have an e-copy of their instruction booklet). Is it possible that you need to change film profiles? Also, I assume that you are using the same paper profile when changing films... That would be a requirement.

 

I suspect also that Heiland has a profile for the new Ilford paper.

[Louisgeorge]

Check that you have not set it on "Multipoint" mode. This happened to me recently when I allowed someone to use my darkroom. I couldn't work out what the problem was and why I seemed to get such low contrast readings until I emailed Jurgen Heiland. He responded immediately and diagnosed the problem. It is all in the instruction booklet.

 

Cheers, Louis

[fotohuis]

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The Heiland Split grade is working as densitometer hence in classical B&W film mode (Conventional) independing of the brand.

But the right paper profile should be selected.

 

Normally you will measure in Continous mode. In Multipoint mode you have to select the right areas in your negative.

Do not measure small spots or candle light. And always measure on the working aperture of your enlarger lens.

 

So it should work in the right way unless somehow you have the wrong measuring mode, very unusual compensation values in your split grade menu (grade/time) or something like that. This is also the case when selecting any Chromogenic film instead of working in Conventional film mode.

[tobey bilek]

One can not go by visual inspection specially with T Max. Then you add in some funky development scheme and there are more issues.

 

Adjust your time so a 7 stop subject prints correctly on #2 paper. I use a grey scale and make it match the original with no burn or dodge, only exposure change.

The needs to be separation in blacks and whites and the blacks need to be true black and white needs to be white. You have now found the correct EI and development time..