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  1. #11
    MurrayMinchin's Avatar
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    Unsharp masks are useful to be sure, but doesn't that leave the quiver half full? Sharp masks like the Shadow Contrast Increase Mask can really blast finely detailed blacks back into a print after a CRM. The inter-positive for the SCIM can also be used to burn in annoying bright spots as well, like sky through foilage or bright, distracting branches (after other areas to remain uneffected have been opaqued).

    Donald, what would be a SCEM?

    Murray

  2. #12
    L Gebhardt's Avatar
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    I have only tried CRM for printing on Ilfochrome. It makes a huge difference. I am going to buy a registration system soon as i am getting tired of eye balling it. I just made two prints where the mask slipped and I need to redo them.

  3. #13
    MurrayMinchin's Avatar
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    Hi "L",

    If you're doing colour, have you ever seen Christopher Burkett's work?

    www.christopherburkett.com

    He's set the bar pretty high for colour printers using masks!

    Murray

  4. #14

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    Quote Originally Posted by MurrayMinchin
    Unsharp masks are useful to be sure, but doesn't that leave the quiver half full? Sharp masks like the Shadow Contrast Increase Mask can really blast finely detailed blacks back into a print after a CRM. The inter-positive for the SCIM can also be used to burn in annoying bright spots as well, like sky through foilage or bright, distracting branches (after other areas to remain uneffected have been opaqued).

    Donald, what would be a SCEM?

    Murray

    I use the term Shadow Contrast Enhancement Mask as the same term as your SCIM.

  5. #15

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    Quote Originally Posted by MurrayMinchin
    Hi "L",

    If you're doing colour, have you ever seen Christopher Burkett's work?

    www.christopherburkett.com

    He's set the bar pretty high for colour printers using masks!

    Murray
    Yes, his work is really fine. Years ago when I did Cibachrome as my color process, I used unsharp masking to reduce contrast. In that case, I used black and white low density masks to reduce the contrast in transparency materials. In that context the mask became a black and white internegative of the transparency positive. The alternative back then was to use a color internegative that had been produced from a color transparency and to print the internegative onto color reversal paper. I have seen some really fine color prints made with that process.

  6. #16
    MurrayMinchin's Avatar
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    Hi Donald,

    I've been thinking of getting away from using HC-110 for masks. How does Dektol behave at high dilutions? My early masks with HC-110 at high dilutions with normal agitation were heavily mottled with a "paisly" (?) pattern. To get a smooth/even density I had to plunge then lift the mask by each corner once every 15 seconds, or 4 times by each corner per minute...does Dektol require such aggresive aggitation at high dilutions?

    Murray

  7. #17
    MurrayMinchin's Avatar
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    Oh...and another question comes to mind...HC-110 requires at least 1/4 US oz of concentrate per 5x7 Arista APH mask. How much Dektol stock solution is required per mask?

    Murray

  8. #18
    L Gebhardt's Avatar
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    Quote Originally Posted by MurrayMinchin
    Hi "L",

    If you're doing colour, have you ever seen Christopher Burkett's work?

    www.christopherburkett.com

    He's set the bar pretty high for colour printers using masks!

    Murray
    I haven't seen his work until now. Thanks for bringing it to my attention. I feel that I still have a long way to go before I get his level. Do you know if most of his prints are from negatives or positives? I couldn't really see that from his site, though it was good to see that he doesn't use digital at all.

  9. #19
    MurrayMinchin's Avatar
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    I don't know which film he uses, but he prints on Cibachrome.

    Murray

  10. #20
    L Gebhardt's Avatar
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    Quote Originally Posted by MurrayMinchin
    Hi Donald,

    I've been thinking of getting away from using HC-110 for masks. How does Dektol behave at high dilutions? My early masks with HC-110 at high dilutions with normal agitation were heavily mottled with a "paisly" (?) pattern. To get a smooth/even density I had to plunge then lift the mask by each corner once every 15 seconds, or 4 times by each corner per minute...does Dektol require such aggresive aggitation at high dilutions?

    Murray
    I have been using Ctein's version of Muir SoftShot developer with FP4+ to make my contrast reducing masks. It is a very nice low contrast developer wich works much better than D76 (as per Ilford) for making the contrast reducing masks. It is not mottled at all. I don't know if these qualities are what you are looking for, but if you want I can send you the recipe (it's in Post Exposure).

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