Let me start by giving credit to Bruce Barnbaum. Many years ago I read an article that he either wrote or one that described his printing methods. He was extolling the virtues of using color heads over cold light heads to make black and white prints with variable contrast paper. I decided to give it a try and have never looked back!
At first it sounds counter intuitive … making black and white prints with a color head, but it turns out to make great sense!
When I first started printing as a teenager I had an Omega B22. From there I graduated to a more solid Beseler 23C, and then on to an Omega D2V and several variants of the Beseler 45MX. Like most people in the Seventies I used the standard issue condenser heads that came with these machines. But then I came across Fred Picker and read the Ansel Adams trilogy (The Camera, The Negative, and The Print). The result … I converted to cold light, which among other things dispenses a softer and more diffuse light.
I’m not going to argue the merits of cold light vs. condenser light sources, except to say cold light is better (less visible dust spots, less harsh prints, greater luminosity, no negative buckling, and more)!
I bought an Aristo cold light and mounted it onto the Beseler. At the time I was still using graded paper. I wasn’t an early adopter of VC. It took some years before it could hold it’s own with the best graded papers. But I finally made that switch due to the dwindling availability of graded papers and the tremendous improvement of VC papers. Thankfully, VC was finally able to deliver the goods that only graded stock had been able to do. Phew!
I eventually moved onto the wonderful and well-built Zone VI Type 2 enlarger with a dedicated Zone VI VC head. I had the Zone VI for several years until I heard about Devere enlargers. Built in the UK, they are straightforward solid machines made to withstand a nuclear effect!
Now back to Bruce Barnbaum. It was around this time that I came across the aforementioned piece advocating color heads as an efficient, flexible and more precise alternative for cold light. Like cold light, color heads are a diffusion light source. A different method of diffusion for sure, but so close in results that it doesn’t matter for all intents in purpose. And let’s face it; if it’s good enough for a Master like Barnbaum, well it’s good enough for me!
Needless to say I found and purchased a Devere 504 with a Devere color head from a local color lab scaling down its darkroom business. Simply stated, I LOVE THIS ENLARGER (but more on that at another time)!!
For me the color head provides all of the benefits of cold light, but is far easier to use and enables greater precision! Best of all, they are plentiful and cheap! All enlarger manufacturers made them and they’re easily available on eBay, Craigslist, APUG, etc. And yes, I also use one on my Leitz Focomat V35 too. Sure, I own the dedicated black and white diffusion VC heads that came with both of my enlargers, but truth be told, why would I want to use them? In my experience the color heads just flat out offer so much more flexibility and ease of use.
So how do I use color heads with VC paper? There are different approaches, and your mileage may vary as they say on the forums, but after so many years of printing with graded paper my that’s the way my mind thinks, so that’s the way I come at it. It’s fast and yields great results. I simply take the paper manufacturer’s recommended color head settings for the “grades” I usually make test strips of and dial in the settings on the color head (Note: I don’t use strips but whole sheets of paper). Grade 2 and 3. I examine both papers under my viewing light to determine the proper basic exposure for each “grade”. Then I make a pilot print for each one. Using my viewing light again, I then dispense with one of the “graded” pilot prints (e.g., Grade 3). Now I go to work to fine-tune the one I have chosen (e.g., Grade 2) and create the finished fine print. Of course I can easily dial up or dial down the contrast for subtle change if I need to. In the past with graded papers I would use Selectol Soft with Dektol or Zone VI developer to lower contrast between grades, or more vigorously agitate the print in Dektol/Zone VI to slightly raise contrast. Finally, I can burn in using the chosen “grade” setting I’ve made, or I can simply dial in harder or softer settings depending on the effect I wish to achieve. So effective and so easy!
So if you are ready to get an enlarger (Note: I didn’t say buy because you might easily pick one up for free!) do consider one with a color head. And if you are currently printing with a black and white head of some kind think about picking up a color head and giving it a go. I think you will be pleasantly surprised!
good article…important comment about using a whole sheet of paper…test strips are a waste and after reading Bruce’s book never went back to using test strips
Peter,
Thanks for checking in! Glad you thought it was useful. In my opinion color heads are the way to go and anyone using thin strips of paper for testing are not getting enough information to make fully informed decisions prior to making their pilot print!
Best,
Michael
Im having a heck of a time figuring out the Cold Light head I have and the proper requirements.
Im trying to break it down into very simple steps.
The older NEW stock, Aristo D2 I bought online says V54 on the top of the light can, so I presume NO FILTERS are required to compensate for the light source?
And NO FILTERS would be needed if you used graded papers
AND Filters would ONLY be needed if you used Multi Grade Paper?
Those are my questions, and if a Light filter was required, which one?
Aristo says:
1. The tag on the cold light head says Roslyn NY which
would mean the unit was manufactured from the late 1980’s to 2003ish time frame.
2.In the mid 2000’s the units were mfg by Aristo Lighting, Inc in Waterbury CT and only the V54 colors were offered. The V54 lamp color is an agean sea blue/green color
3.The V54 color was developed to be used on VC and graded papers along with contrast filters.
If you have an older color it would need a color correction filter plus a contrast filter.
4.By comparison of a V54 to the older colors… the V54 is much more intense by about 1.5 – 2 f stops.
5.When in New York- Port Washington and Roslyn- they were known as Aristo Grid Inc.
When they moved to Waterbury CT they where known as Aristo Lighting Technology.
6. You can not make any of the older blue colors to have an output like the V54.
It’s Halo (older technology) vs Tri-band (newer technology) phosphors.
7.If an older color lamp-
You can use it for graded paper in conjunction with contrast filters and color correction filter.
If a V54 colored lamp-
Can be used with VC or graded papers with contract filter. No color correction filter necessary.
8. The color correction filter take the red out of the phosphor wavelength emitted by the older lamp colors as they had RGB spectrums (Halo phosphors).
Back in 1982 the phosphor manufacturers technology changed in how they could produce phosphor and were able to have cleaner more specific spectrums (Tri-bands).
The V54 is a Tri-Band color that only has Blue and Green in its spectrum – no red. It is more intense then any of the older colors.
9.The only replacement lamp I currently make for the Aristo D2 cold light head is the D2-HI-LO-V54 lamp.
This was designed for the Aristo D2-HI cold light head- but does work on the Aristo D2 unit.
Price is currently $175.00 ea. I currently have a few in stock. If I run out -the lead time to produce is 4-6 wks.
Shipping depends upon your location. We can do this on Visa or MasterCard.
(I don’t charge your card until it’s packed and ready to ship. )
10.When produced at the Waterbury location – a complete assembly with the V54 lamp
Would have metal tag adhered to the canister w/ p/n D2-HI-C-V54-[110V].
If someone had and older color and replaced the lamp over the years- there would not be an indication
of the lamp color on the part number tag.
There would be a small chance of a “V54” marking on the lamp itself by one of the electrodes.
But only if the bender used a part of the glass blank that had this mark it on it- but not typical.
11.Only way to know is to do test strips to validate.
If it is a V54 colored lamp- It can be used with VC or graded papers with contrast filter.
No color correction filter necessary.
The V54 is a blue/green lamp.. think agean sea green type color…. Not a “blue”
Robert,
Thanks for checking in. Based upon my understanding of what you are saying you have an older Aristo V54 cold light head designed to work with graded papers as is. No filters for graded. Filters would be used with VC paper. I believe if a light filter were necessary, it would be a 40cc yellow.
Hope this helps!
Best,
Michael
Hi Michael,
Thanks for the reply back.
What you stated is what I am thinking as well.
Just double checking, What should the light source color of an older Aristo V54 look like?
Blue or Green ?
I seem to remember my last (1994) Aristo cold light head produced a blue light and I used a yellow filter. I could be wrong, my memory is going.
Thanks again!
Robert
Robert,
Happy to help! If it is the older model dedicated to graded paper then it will be more a of a blue light.
Best,
Michael