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#11
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Thanks All (was: Color Printing Hassles)?
On Sun, 1 Feb 2004 14:49:30 -0500, "?" ?@???.??? wrote:
My only complaint about getting older is that you start to realize there simply is not enough time left to become competent in all the things that grab your interest; and that you really do have to choose where you spend your time. On the other hand you are already accomplished at so many things. Regards, John S. Douglas, Photographer - http://www.darkroompro.com Please remove the "_" when replying via email |
#12
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Thanks All (was: Color Printing Hassles)?
On Sun, 1 Feb 2004 14:49:30 -0500, "?" ?@???.??? wrote:
I am not sure I even see me getting much more than an "entry" level color enlarger (other than making sure it has 3 color wheels and is rigid). As most on this group are aware, I'm not very keen on entry level anything. Here are my recommendations for a decent color enlarger. Durst - M305 , M605 , 805 , L1000 , L1200 Omega - D5 , 670MXL , C76 Saunders - D6700 Most of the Rollei, Nikkor , Minolta , ESECO and some Phillips and Vivtar equipment is actually quite good. Just make sure that you get a complete package as negative carriers and lensboards are sometimes hard to find. Regards, John S. Douglas, Photographer - http://www.darkroompro.com Please remove the "_" when replying via email |
#14
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Color Printing Hassles?
On Sun, 01 Feb 2004 21:25:26 GMT, "Norman Worth"
wrote: The biggest hassle is making your first good print - getting the filtration and exposure correct for a typical negative. That drives eveyone up the wall. Once the primary exposure and filtration for you film, paper, and processing conditions is determined, other negatives will differ only sightly, if at all. I can't entirely agree. Oh the first prints can certainly be a challenge but for me the biggest challenge was in the minute changes from batch to batch in the films, paper and the processing. If one is starting a project which needs color consistency throughout then I suggest making the first 5 prints and allowing them to dry and be viewed outside the darkroom prior to continuing the project. Nothing like printing out 40~80 prints and finding that they are needed -5cc magenta. Experience. A really nasty teacher. Regards, John S. Douglas, Photographer - http://www.darkroompro.com Please remove the "_" when replying via email |
#15
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Color Printing Hassles?
On Sun, 01 Feb 2004 17:50:45 -0500, David Starr
wrote: That's the amazing part for me. In my RC-37 & 74 days, color balance changed depending on lighting source and from roll to roll. In the past 2 weeks, heres what i printed and the filtration I used....... One point worth addressing is the need for stable electricity. When I ran a mini-lab, we had to recalibrate the printer throughout the course of the day to allow for voltage drifts. It never got so bad that it was obvious but then we didn't let it. Regards, John S. Douglas, Photographer - http://www.darkroompro.com Please remove the "_" when replying via email |
#16
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Color Printing Hassles?
John said
"Experience. A really nasty teacher." I can't agree more. But it is the most effective. My daughter was selling some of her stuff at a flea market and a guy came along that was known to most of us. He bought something that they had agreed was worth $14. I watched him carefully as he cheated her out of a couple dollars as another customer took her attention. After that second customer left, I asked her how much she got for the necklace; she said $14. I told her to count her cash: $12. I then explained to her what had happened. She looked at me with amazed anger (the kind of look that usually takes a couple years of marriage for a woman to master) and asked why I had not told her. My response: "Because you would have learned nothing". -- Regards, Dewey Clark http://www.historictimekeepers.com Ebay Sales: http://cgi6.ebay.com/aw-cgi/eBayISAP...ems&userid=dsc Restorations, Parts for Hamilton M21s, Products for Craftsmen Makers of Historic Timekeepers Ultrasonic Clock Cleaning Solution "John" wrote in message ... On Sun, 01 Feb 2004 21:25:26 GMT, "Norman Worth" wrote: The biggest hassle is making your first good print - getting the filtration and exposure correct for a typical negative. That drives eveyone up the wall. Once the primary exposure and filtration for you film, paper, and processing conditions is determined, other negatives will differ only sightly, if at all. I can't entirely agree. Oh the first prints can certainly be a challenge but for me the biggest challenge was in the minute changes from batch to batch in the films, paper and the processing. If one is starting a project which needs color consistency throughout then I suggest making the first 5 prints and allowing them to dry and be viewed outside the darkroom prior to continuing the project. Nothing like printing out 40~80 prints and finding that they are needed -5cc magenta. Experience. A really nasty teacher. Regards, John S. Douglas, Photographer - http://www.darkroompro.com Please remove the "_" when replying via email |
#17
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Thanks All (was: Color Printing Hassles)?
John,
I agree with you. I tell people who want to improve/learn watchmaking as a vocation that should buy only the best and most complete stuff. I have the little Omega B22 which serves me well. I refer to it as *entry level* only because it is about as basic as you can get. Not even a distance scale (I super glued a key chain sized measuring tape to one of the condenser brackets). Still, I don't think I could ever part with it. It was from the days when manufacturer's said, "Ok, this should work; but, let's make it a little more solid just to be sure" That extruded center column is overkill by today's standards and the counterbalance system and focus system still do their jobs. I guess I develop emotional attachments to equipment that serves me well. I will certainly have saved your recommendations for color enlargers. Your list removes the guess work out for me. Thanks. -- Regards, Dewey Clark http://www.historictimekeepers.com Ebay Sales: http://cgi6.ebay.com/aw-cgi/eBayISAP...ems&userid=dsc Restorations, Parts for Hamilton M21s, Products for Craftsmen Makers of Historic Timekeepers Ultrasonic Clock Cleaning Solution "John" wrote in message news On Sun, 1 Feb 2004 14:49:30 -0500, "?" ?@???.??? wrote: I am not sure I even see me getting much more than an "entry" level color enlarger (other than making sure it has 3 color wheels and is rigid). As most on this group are aware, I'm not very keen on entry level anything. Here are my recommendations for a decent color enlarger. Durst - M305 , M605 , 805 , L1000 , L1200 Omega - D5 , 670MXL , C76 Saunders - D6700 Most of the Rollei, Nikkor , Minolta , ESECO and some Phillips and Vivtar equipment is actually quite good. Just make sure that you get a complete package as negative carriers and lensboards are sometimes hard to find. Regards, John S. Douglas, Photographer - http://www.darkroompro.com Please remove the "_" when replying via email |
#18
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Color Printing Hassles?
There are NO hassles.
But do it right. Do NOT try these tubes, they gives you a lot of hassles. Do not try to make 36 small prints from a 36 roll, let the lab do it. Do NOT use a color analyser - use a exposure meter like in black and white. I have a color analyser but use it only as an ordinary exposure meter. Analysers are good for mass production with integrated meassurements and NOT topp quality. If you want no hassles, use just one kind of film or a films that are identical from the point of printing ( for example the Kodak Portra films ). So, get you a good enlarger with a color head. An exposure meter and timer. For developing I suggest a vertical slot tank like the Nova (www.novadarkroom.com) with heating. You can get one for $100 - $200 at eBay. And, I forgot, do NOT use the low temperature kits that are on the market. Use Kodak chemicals at the recomended temperature (most versions needs 35 degrees centigrade). The chemicals can be in the Nova tank for months (there are special lids). You do not have to use new chemiclas, just regenerate. You save mony and can always make prints with one hour delay (for heating of the chemicals) Start with making a perfect neutral grey copy from a NOT exposed film frame. At the same time you calibrate the exposure measurement for a very light but not white spot (as black and white work). On my Omega ProLab II Chromega head this means 000-069-058 (but changing the bulb means you need some adjustment of the filtration). A differnt paper batch can sometimes give soem changies in the filteration. Sometimes. This filtration will be ok for most prints as long as the light balance was ok when you took the picture. Use correction filters when shooting, it gives better results then filtering in the dark room. I have this process running since a few years and it's consistent. I make 95 percent of the prints with the same filtration and the whites and greys are perfectly white or gray. I mostly make 30 x 40 cm prints and all on the same paper (Kodak Ultra Endura). The cost for one 30 x 40 cm print (chemicals and paper) is average about $2.00 - $3.00. The quality is as professional labs manual prints or better. The time needed is as usual black and white in the enlarger and 90 seconds for developing and bleechfix. 1 - 3 minutes intense washing is enough. Drying takes 5 minutes or so if you use a hot air. But please remember, the key to success is to use the same film, the same chemicals, the same paper and regenerate the chemicals right all the time. Are you the kind of person that likes to experiment with every possible film on the market, then you are looking for hassles. Feel fre to ask if you need more information about how to do it. Regards Victor "?" ?@???.??? wrote in message ... Aside from equipment (color head, analyzer, processing kit), what are the procedural hassles of printing in color? I likely would let the labs continue to process my film and print me an index sheet (about $4 per 36 roll of print film) I know total darkens is required and in my case an analyzer is likely needed to get my filtration correct. But that is about as much as I think I know. Right now, I use a Kodak Exposure sheet to get exposure from one or two prints on a roll. Then it is generally only processing time for my test prints. My darkroom (a converted bathroom) is a comfortable size for B&W up to 11X14 and I suspect adding color will make it less comfortable. I have read it can take upwards of an hour to get a color print. For most color shots, Ritz is good and the price ($8) seems fair. However, if I have something that the machine can't do automatically, then I go to the "real" lab in town (Baltimore) and the cost can hit $25. The staff there are very good at interpreting what I want; but the cost at both places makes me very judicious (I agree this is a good thing). But, like most who take photography half way seriously, I am a control freak and have some (hopefully after getting more info, none) desire to do my own color enlargements. Thanks for your thoughts. -- Regards, Dewey Clark http://www.historictimekeepers.com Ebay Sales: http://cgi6.ebay.com/aw-cgi/eBayISAP...ems&userid=dsc Restorations, Parts for Hamilton M21s, Products for Craftsmen Makers of Historic Timekeepers Ultrasonic Clock Cleaning Solution |
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