Separations: start here

notations on making separation negatives. bits from the past intended for today.

wratten filter numbers

direct seps are easiest, but you create “time seps” as well — trichromie.

contact seps are easier than enlarged seps. 
learn what standard light is -- then you can begin to translate "old" literature. Use the theory and experience of those who made their living in labs.

contact: standard light
 standard light - tungsten -
first, early innovator lab: Evans & Peterson Color 
K&M filtermatic and K&M Point Light … Omega ULE system
3 FC = .3 density from a 3.0 wedge density
AIM ~= .4 shadow negative

using silver density steps will introduce you to the “green problem” — aka, green gaps
calibrate with color strips &&& silver wedges

derive “Relative Exposures” of the sep set
29, 61, 47b

notes from tabula rosa: super XX to Tmax. XX is twice over. convert those historical refs to current start points. Oh. use HC-110 B at 72F
visual evaluation/ no densitometer, make a BW print onto known paper.
print the Green Sep, unless GREEN is the dominant scene color. (then use red)

First seps from: DuPont Fine Grain Pan (20x) easy

Grain of seps: 1975-80)
Plus-X -- lowest, best enlargement
Sep Type 1 (reciprocity notes)
XX - highest grain
         -Green: less exposure longer Development
DS Base exposure: (working with ‘factors’)
(25) Red ~=~ 1
(58) Green +1/3
(47) Blue + 2 2/3
OR take blue as the base exposure, then apply ND filters to the RED & GREEN exposures.

— newton ring 
offset powder // gum glass
watch RH of film room.
don't mix exposure, storage, processing stages in same room.
tmax contact [at asa 6]
29	24 sec
61	14 sec
47b	135 sec

HC 110 A,B  // C,F
DK50  st, 1+1 // 1+2, 1+3
D76	st, 1+1 // 1+3
Seps // masks
from back in the day:
Dupont 16D  6,7,8,9  == for gammas of .6 to .9 /.Sure made it easy.
watch how you dry the seps. angles matter. never force dry (use "secret" dryer)
learn how to mix D76 so it doesn't "shift" on you. Oh, avoid those who don't know how.


two shoes

  • the path is the destination
  • the destination isn’t on any path
  • MA (japanese)


PS. what do I currently use? Ilford: delta, ortho plus, fp4+ — not Kodak. I have it. Have used it. don’t now.

dye transfer: one film process

Under the useless information heading comes this secret from the past. Ektapan film could be used as the (almost) only film need to make dye transfer (imbibition) prints. It could be used to make masks, separations, and even the matrix itself. that last is the big secret.

Full disclosure: it couldn’t do all those things better than the specialized films used for masks, seps, and mats; it could serve well, well enough to be a simple solution for workshops and weekend workers to acquire the foundations of making dye transfer prints. In school, I would take students through in several circuits of the process, each pass around we would add more control, increasing the understanding of choices to make — how the image was made.

Ektapan could also be used as a collotype film. It was a nice emulsion; not just for studio photographers shooting color plus B&W negatives of the same thing.

Notice the DK-50, HC-110, & T-Max RS lines.

you can also see the similarity of DK50 & HC110. dilution makes them the same!

I used the Dilution B for Seps; Dilution F for masks.

Exposing and developing (tanning) Ektapan as a mat wasn’t the same as Kodak Matrix film. Two reasons, Ektapan is panchromatic, so required total darkness for working. Kodak Tanning Developer didn’t work well enough; contrast was too low, or else way to high. So we relied upon tanning bleach method.

Details won’t help you now. I offer this to you as a point of reference; as something you can consider as an alternative way of recovering a process. Try what is at hand. Don’t wait for the perfect something from someone else.

More, another time, about origin stories. Getting beyond the now state.