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  1. #81

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    If your enlarger has a colorhead, that's all you need to print color negs, plus a simple processing
    drum and some sort of temperature control, and ventilation of course. It's pretty easy to do. No need for some expensive digital printing device. They use the same paper as you can in the home
    darkroom anyway. Both Mitsubishi and Fuji distribute color papers in Asia, and Kodak might too. RA4
    paper also tends to be cheaper than premium black and white paper. Chrome film, however, is going
    to be a lot harder to print in a conventional darkroom due to the demise of Cibachrome, which got
    quite expensive anyway.

  2. #82
    Mainecoonmaniac's Avatar
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    True Drew. Cibachrome is contrasty stuff and it's hard to master printing it. RA paper is pretty cheap. When I did a lot more RA a few years back and wanted to print a transparency, I'd do internegs.

  3. #83

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    Internegs are a bit tricky too unless you have mastered masking first. I'm working with the new Portra 160 sheet film at the moment and am testing masked vs unmasked standardized transparencies to fine-tune the process. I'm pretty optimistic that I'll get result quite superior to
    old-school ITN film. The big problem is the rapidly escalating cost of Kodak 8X10 neg film. So right
    now the experiments are obviously on 4x5.

  4. #84
    Roger Cole's Avatar
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    You don't need the colorhead. I've printed hundreds of color prints using CP filters in the filter drawer. Not as convenient but works just fine.

  5. #85
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    Quote Originally Posted by RattyMouse View Post
    I have not been to Beijing in years. I have to get up there sometime as I am burning out on Shanghai.

    Do you shoot medium format? What (135mm) effective focal length do you shoot if yes?
    I shoot small medium and large format! In MF I have a Mamiya 6MF with 50, 75, and 150mm lenses. (maybe about 35, 50, 100mm equivalent)

    There is a good group on Facebook for Beijing based photographers, called Beijing Photo Walks, if you want to connect with a community of mostly expats who do street shooting.

  6. #86

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    Quote Originally Posted by chuck94022 View Post
    I shoot small medium and large format! In MF I have a Mamiya 6MF with 50, 75, and 150mm lenses. (maybe about 35, 50, 100mm equivalent)

    There is a good group on Facebook for Beijing based photographers, called Beijing Photo Walks, if you want to connect with a community of mostly expats who do street shooting.
    I wish you were in Shanghai. I'd love to see large format shooting up close. Never had any experience with that.

    Not a facebook user but thank you anyways!

  7. #87

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    Quote Originally Posted by DREW WILEY View Post
    Chrome film, however, is going
    to be a lot harder to print in a conventional darkroom due to the demise of Cibachrome, which got
    quite expensive anyway.
    Do we even have an optical / analog material left to print from chrome? I used to do lots of Fuji type R back in the day.

  8. #88

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    Type R papers were discontinued long ago due to the ascent of Ciba. Now to print a chrome you
    either have to scan it, make an interneg for chromogenic paper, or do a much more convoluted and
    therefore more fun yet expensive color separation route onto dye transfer or color carbon. So for practical purposes, analog printing directly from chromes is nearly extinct. Old school interneg film
    has a bit of an upsweep to the curve, so by what degree you exposed it, you could control the
    highlight gradation. If you started out with a low contrast chrome, you could expect blaah. Masking
    with the appropriate modern color neg film will allow you to place the entire scale of the chrome onto
    the straight line part of the curve. You also mask up or down for contrast. More work, but really a
    much nicer level of reproduction. Internegs got a bad rap back when commercial labs often did them half baked. But there's no reason they can't be done precisely.

  9. #89
    Mainecoonmaniac's Avatar
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    I know what you mean. Interneg negatives are never as sharp and if you don't do them right, you'll be struggling with color cross overs printing it.

  10. #90

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    There's no loss of sharpness if done correctly by emulsion to emulsion contact, or by precision enlargement onto sheet film in a vacuum holder using an apo graphics lens. Some labs used hokey duplicating cameras where the film plane was never ideal. The stereotype that internegs are inherently poor is equivalent to thinking all photographics prints are poor because someone is accustomed to a one-hour lab at the drugstore. Perhaps the largest reason for crossover in both
    internegs and positive dupes is that a lot of the film being used was getting badly out of date.
    But there are some tricky points of certain dyes in the original not reproducing correctly. Velvia is
    not the easiest film to interneg, though I have successfully done it. The nice thing about masks is
    that you can tweak the curve and not just contrast. No need for Photoshop if you prefer lab work.



 

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