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  1. #11
    lee
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    Lee, thank you for the filter numbers. For some reason I though that the blue was #47, not 48. Thanks for setting that straight.

    No, after looking at this for awhile I think I am wrong and you are right. #47b sounds correct. it was very late last night when I wrote that. Sorry and thank you for setting me straight.

    lee\c

  2. #12

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    Tom,

    You are right, less exposure and more development will give me more contrast, Les has told me so before. I do know, or at least strongly suspect, that my color head will not give the paper's full contrast, so poping a grade 5 filter should help me some. This is not a life or death situation, as most of my negatives get good results from my set up as it is, but I'm sure it could be a little better.

    Lee, so it is #47/#47b...

    Has anyone ever compared a blue separation filter to a grade 5 filter? This is really just curiosity at this point.

  3. #13
    lee
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    Andre,
    I have always heard that the filter should be a #47b. I don't think there is much difference but there must be some or why would they make a #47b?

    lee\c

  4. #14

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    I have looked very quickly at it and found this out:

    #47b has a filter factor of 8
    #47 has a filter factor of 6 (I think)

    so the "b" is a darker (perhaps purer) blue...

  5. #15

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    It is not only the degree of "blueness" of the filter but more importantly the spectral bandpass of these filters. If you evaluate this on the basis of the spectral characteristics of the high contrast portion of the paper emulsion that you are using and match the filter spectral response to the paper's spectral sensitivity then you will more nearly activate the paper in the manner that you wish.

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