webionaire

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.

an overnight. Not every error is the same error; not every color error is a crossover. Most aren’t.

separations. telling theory from experience. the cowboy from the hat

pigment diameters: a pigment isn’t a colorant of a fixed size. It doesn’t have to “fail to fit thru those tiny nozzles” in a jet printer to be a pigment. That test is a failure to thrive in a learning world.

[the green curve on the right is crossing over the blue curve] If it could be shifted to the right…

Structural pigments don’t have color.

“A dye is a colorant which is molecularly dispersed or solvated by a carrier. The carrier can be a liquid or a solid at room temperature. A commonly used carrier is water or a mixture of water and organic co-solvents. Each individual dye molecule is surrounded by molecules of the carrier. In dye-based inks, no particles are observable under the microscope.”

“Pigments are colored, black, white or fluorescent particulate organic or inorganic solids which usually are insoluble in, and essentially physically and chemically unaffected by, the vehicle or substrate in which they are incorporated. They alter appearance by selective absorption and/or by scattering of light. Pigments are usually dispersed in vehicles or substrates for application, as for instance in the manufacture or inks, paints, plastics or other polymeric materials. Pigments retain a crystal or particulate structure throughout the coloration process.” –CPMA – Color Pigment Manufacturers Association, Inc.

not a crossover. most of the green horns would think it was. this gif was made from two separate, seemingly balanced prints. at least the grey steps were correct.

The problem with pigment, carbon printers’ results are: Undercolor. undercolor — CMY have degraded, overlapped out of balance. UCR mask reduces these colors so that the K will be image content. Exposure controls amount removed. Soup the mask to a contrast that reduces in the shadow of the separation negatives.

mask is option in best match colorant sets.

the essential is matrix, dye, blank

masking is an aid to holding the Chrome for the paper

webionaire

Separations: start here

why did the forum Crossover

Share this:

Share this: