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  1. #11
    Lee L's Avatar
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    For reference, the print viewing filter kit:

    http://www.bhphotovideo.com/c/produc...lor_Print.html

    also available elsewhere.

    Lee

  2. #12
    Photo Engineer's Avatar
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    A lot of your printing "problems" will depend on whether you are using Endura or CA papers. CA papers are harder to print from Kodak films than Fuji films, but Endura papers are less difficult to switch back and forth.

    I have made the same switch as described in the OP and also included Gold 400 in the mix. The biggest change was the Gold 400 which was shot with electronic flash, while the Fuji and Kodak (400 and 160) films were almost identical when shot with daylight.

    A color checker is invaluable though to judge the overall color. It has gotten to where I can judge the roll just by looking at the negative of the checker on a light table. The neutral scale tells me a lot. Of course, comparisons of neutral scales are quite useful, as is the use of a bluish filter to filter out the mask.

    PE

  3. #13
    markbarendt's Avatar
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    Wow, thanks all! I need to read and digest it now.
    Mark Barendt, Beaverton, OR

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  4. #14
    markbarendt's Avatar
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    Okay,

    I've got viewing filters on the way and I think I have something I can use as a color card. I do like the paint chip idea!

    I do also have an electronic color checker/exposure meter (model D200/MP160/CS3) that I could use to judge prints with a bit of imagination but I'm not after that kind precision or a workflow that involves an electronic judge.

    I should probably clarify that when I say I want to "nail the color", it just means I want to get "control of color and exposure" quickly. I am in no sense trying to match a technical specification for any print. All I want is a print that looks good when it is hung, using my eyes as hrst suggested.

    I'm probably going to do a "ring around" once I get a good print too.

    As the darkroom comes together better I'll be adding the shop lamp with the nice bulbs.

    Also as suggested I'll be coming up with a chart for each film to get me in the ball park.

    Part of my challenge though is that, probably like may of us, the systems I'm using aren't necessarily "consistent". Sure, my RB and Nikons will give me consistent exposures but "Helga" won't and then I hand process my C-41 films in small tanks, in an a homemade water bath; I'm careful but this is not exactly going to give me the 100F +/- .5 that the directions call for every time and even though I have an agitation regime, the agitation of the film is directly related to my agitation (or lack thereof) at the moment.

    Good info on the paper differences too PE. I'm actually using Arista paper right now to get the concepts down because it's so inexpensive. I do like the idea of using a more forgiving paper.

    Going forward, even though the consensus seems to be that judging color during focusing is hard or impossible I'm going to experiment with that idea some too.

    What I'm looking for right now is simply ways to be able to adjust quickly and you have all been quite helpful so far. Thanks
    Mark Barendt, Beaverton, OR

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  5. #15
    Bob Carnie's Avatar
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    Mark

    The single best method is to have a colour wheel chart in your viewing room and a mounted ringaround chart to help you see colour.
    After thirty years of colour correcting in all types of labs I can tell you the best , and I mean the best printers have and will refer to a ring around once in awhile to refresh their eyes.
    Most colour inbalances are a combination rather than a single colour adjustment and having this ring around helps tremendously .

    I have one being designed to print out that I can tube you and any others interested in the new year. It is being prepared for photoshop courses I am teaching but is totally viable for your situation.
    There will be a fee for this but it would definately be a handy dandy piece of gear for those workers struggling with colour correction on an enlarger.


    Bob

  6. #16
    DanielStone's Avatar
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    hey bob,

    just out of curiosity, what's the largest negatives you guys are able to print from?

    thanks

    -Dan


  7. #17
    Bob Carnie's Avatar
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    11x14 on Black White only for colour we scan and lambda
    Quote Originally Posted by DanielStone View Post
    hey bob,

    just out of curiosity, what's the largest negatives you guys are able to print from?

    thanks

    -Dan

  8. #18
    markbarendt's Avatar
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    Quote Originally Posted by Bob Carnie View Post
    The single best method is to have a colour wheel chart in your viewing room and a mounted ringaround chart to help you see colour.
    Great thought Bob, Wikipedia had a wheel or two I could print on my laser.

    Ring around is next.
    Mark Barendt, Beaverton, OR

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  9. #19

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    Something I would suggest is to not switch film stocks during print sessions; or, if you do, be prepared to make changes. Every stock is slightly different and requires a different filter pack. Even going from Kodak VC to Kodak NC creates a need for a different filter pack. To go even further, examine your negatives and your guide prints (if you have any) and group negatives with similar lighting conditions together when you print. I find that it helps to examine my negative before I put it in the enlarger and I do look at it while I'm focussing it as well, but I think that this helps more with judging densities than color balance.

    Tim

  10. #20
    Bob Carnie's Avatar
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    good advice

    Quote Originally Posted by tim elder View Post
    Something I would suggest is to not switch film stocks during print sessions; or, if you do, be prepared to make changes. Every stock is slightly different and requires a different filter pack. Even going from Kodak VC to Kodak NC creates a need for a different filter pack. To go even further, examine your negatives and your guide prints (if you have any) and group negatives with similar lighting conditions together when you print. I find that it helps to examine my negative before I put it in the enlarger and I do look at it while I'm focussing it as well, but I think that this helps more with judging densities than color balance.

    Tim

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