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  1. #11
    Ed Sukach's Avatar
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    Quote Originally Posted by Nick Zentena
    Now I've got a colorstar 3000 and I let it do all the thinking. Often the settings it chooses are around what my perfect print would be. Rarely varying by very much. The prints I make with the analyzer are better IMHO. The little box adjusts exposure so I can crop to whatever size I want. OTOH it can be fooled at times but I blame that on me.
    No kidding!! I use one of those, too... in fact, it's the one piece of gear I consider to be indispensible.

    I would have gone off the deep end, long ago, without it ,... and probably would have abandoned color printing altogether without it.

    It still helps to THINK, though.
    Carpe erratum!!

    Ed Sukach, FFP.

  2. #12

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    Yup thinking is good-). I still need to program a channel for white. I'm wondering if I can just change the density by two stops on my base settings? Right now it's keeping me sane with trying lith printing. With 6+ minute developer times test strips would drive me crazy.

  3. #13
    Ed Sukach's Avatar
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    Quote Originally Posted by Nick Zentena
    Yup thinking is good-). I still need to program a channel for white. I'm wondering if I can just change the density by two stops on my base settings? Right now it's keeping me sane with trying lith printing. With 6+ minute developer times test strips would drive me crazy.
    Hmmm. I'm not sure that would work. Could you create a channel for - in the case of "negative white" - infinite density in magenta, yellow or cyan .. and infinite density overall? Conversely, in "positive white" there would be NO density in all... ?

    I have channels set for - Color; Agfacolor 100 Exposed with Dynalites - developed with Tetenal C41, and printed on Ilfocolor developed in Tetenal RA-4 - using a gray card for reference; Agfacolor 400 - otherwise the same processing and printing as previous; another channel using "Fair Caucasian Skin", instead of a gray card; Another - "Gray card in Daylight" - and so on.

    I'll do a test strip before each "session". Interesting to see the "chemistry batch - to batch" variations, the stability or lack of it, over time or in lot-to-lot variations of paper --

    I've done a few "Painting with Light" images, where the model is illuminated solely by light from a transparency projected through a Hasselblad PCP80. The technical aspects of all this are complex: the lamp in the projector has a color temperature of something like 3600K - and I'm using Daylight (5500K) film - but all bets would be off anyway, considering the changes to the light, passing through the transparency. I've set a channel for "Fair Caucasian Skin" from a gray card held by the model, under those conditions, and analyze accordingly, using the ColorStar. The models' coloring looks natural, and the colors of the projected transparencies appear to be unaltered.

    I'm sure this would be a exercize enough to drive me up a wall without the ColorStar.
    Carpe erratum!!

    Ed Sukach, FFP.

  4. #14

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    Some times with a print with large white areas the density is off. By eye I'd say 1/3 of a stop maybe a little more. The colours are fine but the printing is just too light. What I'm guessing is the analyzer is being fooled by the large amount of white the same way a reflective light meter might.

    I could just spot the other areas in the print more but usually the white area is the important one. The nicest thing with the analyzer is I can just expose a drum full of paper and then go process. Knowing that the final result will be right. The only two areas I'm having any problems are the white images and cross processed ones. I can't get any wierd colours out of the cross processed stuff. Stuff looks way too normal-)

  5. #15
    b.e.wilson's Avatar
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    Blightly,

    Your experience with color negatives matches mine with color negatives: color is troublesome.

    But my experience with printing color slides on Fuji Type 35 or Kodak Radiance is very different. Once the filter for the type of paper is established (it's typically 5-10 of two colors, ie. 10C5Y for my current box of Fuji Type35), then all prints are made with that filter. Of course, I change it for artistic reasons, but if I want a print to match the slide, I print it with one setting for that box of paper and find the results match quite well if I don't mess up the exposure.

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