Increasing RA4 contrast. How?
rob...@hksrv01.hk.ncc.se
C.M. Hicks <c...@eng.cam.ac.uk> wrote:
>Comparing my prints (10x8 on Fuji Super FA3 glossy) to the minilab
>processed ones of the same negs neither the colour saturation nor the
>contrast of my prints is as high as the commercial ones. This is not a
>problem on the whole as the minilab prints are almost all over-
>contrasty, but some of my images would benefit from more colour and/or
>contrast. I was processing in trays on a warmer at 30C and my exposures
>were typically 15sec at f8 to f11.
>
>So, how can I increase the colour and contrast of my prints?
What chemistry are you using? Try developing longer. I use Amaloco
room-temperature RA-4 in trays (it is very similar to Tetenal's room
temperature RA-4 chemistry) at around 20C and haven't experienced what
you mention. I usually develop for 1 1/2 minutes instead of the 1 minute
that Amaloco recommends. Try increasing your development time. Also check
your darkroom for stray light.
>One possibility that I have considered is that the paper I used was
>"off" - there was no manufacture or expiry date printed on the packet.
>Additionally it was on display in the shop at room temperature despite
>the packet recommending refrigeration to below 10C. Had I noticed at
>the time of purchase I would have taken my custom elsewhere.
I don't think so. All professional shops around here used to store the
color paper in refrigerators but now keep it out in the room. I haven't
noticed any decrease (or increase) in quality.
--
Robert Claeson Email rob...@hk.ncc.se
Zone V
Photographer, writer and computer consultant.
C.M. Hicks
actually this was my first attempt at any colour, though I am pretty
experienced with B&W.
Comparing my prints (10x8 on Fuji Super FA3 glossy) to the minilab
processed ones of the same negs neither the colour saturation nor the
contrast of my prints is as high as the commercial ones. This is not a
problem on the whole as the minilab prints are almost all over-
contrasty, but some of my images would benefit from more colour and/or
contrast. I was processing in trays on a warmer at 30C and my exposures
were typically 15sec at f8 to f11.
So, how can I increase the colour and contrast of my prints?
One possibility that I have considered is that the paper I used was
"off" - there was no manufacture or expiry date printed on the packet.
Additionally it was on display in the shop at room temperature despite
the packet recommending refrigeration to below 10C. Had I noticed at
the time of purchase I would have taken my custom elsewhere.
Any comments?
Christopher
--
=====================================================
Christopher Hicks http://www.eng.cam.ac.uk/~cmh
c...@eng.cam.ac.uk Voice: (+44) 223 332767
=====================================================
RobertS926
writes:
>A couple of nights ago I had my first go at RA-4 colour printing -
>actually this was my first attempt at any colour, though I am pretty
<experienced with B&W.
>Comparing my prints (10x8 on Fuji Super FA3 glossy) to the minilab
>processed ones of the same negs neither the colour saturation nor the
>contrast of my prints is as high as the commercial ones. This is not a
>problem on the whole as the minilab prints are almost all over-
>contrasty, but some of my images would benefit from more colour and/or
>contrast. I was processing in trays on a warmer at 30C and my exposures
>were typically 15sec at f8 to f11.
>So, how can I increase the colour and contrast of my prints?
>One possibility that I have considered is that the paper I used was
>"off" - there was no manufacture or expiry date printed on the packet.
>Additionally it was on display in the shop at room temperature despite
>the packet recommending refrigeration to below 10C. Had I noticed at
>the time of purchase I would have taken my custom elsewhere.
>Any comments?
There are two things to remember in color printing from negative material.
The first is that there are grades of color paper. I don't know the Fuji
grades and what "super" is, but almost all commercial printers use the
highest contrast papers to give the prints more "punch". Serious printers
are careful to match paper to the situation. High contrast papers can do a
terrible job on some scenes - like weddings.
Secondly - you mentioned that you were a new printer. It has been my
experience that new color printers tend to not give quite enough exposure.
It is harder in color printing because not only are you looking at
contrast, you have to be careful with color balance. The test is to see
how much exposure you can give and still hold areas like flesh tones in
balance. Shooting a typical white person will see his or her flesh tones
improving with additional exposure. Too much exposure and you get a red
hue which is not correctable by filtration. I would try to reprint some of
the shots with additional exposure and see how hey compare.
Bob Sobolevitch
Berwyn, PA = USA
RON SPEIRS
> A couple of nights ago I had my first go at RA-4 colour printing -
> actually this was my first attempt at any colour, though I am pretty
> experienced with B&W.
>
> Comparing my prints (10x8 on Fuji Super FA3 glossy) to the minilab
> processed ones of the same negs neither the colour saturation nor the
> contrast of my prints is as high as the commercial ones. This is not a
> problem on the whole as the minilab prints are almost all over-
> contrasty, but some of my images would benefit from more colour and/or
> contrast. I was processing in trays on a warmer at 30C and my exposures
> were typically 15sec at f8 to f11.
>
> So, how can I increase the colour and contrast of my prints?
A few years ago, there were some articles in Darkroom & Creative Camera
Techniques about a method to increase color print contrast. They were by
a person named Anderson, and were referred to as the "Anderson Process".
Unfortunately, these were written back before RA-4 replaced EP-2, but the
process should be adaptable to RA-4. Basically, this is how it worked:
A piece of paper is exposed to the color negative at normal filtration.
It is then processed in the color developer and washed. Then it is bleached
(but not fixed) in ferricyanide/bromide bleach. (With RA-4 paper, you would
probably use chloride in place of bromide.) Then the paper is exposed to
a strong light. Regular development follows, with developer (again), stop,
and bleach/fix. The development-wash-bleach-exposure sequence may be repeated
several times for even more contrast increase.
There is another variation to this process: The normally exposed paper is
first developed in Dektol, instead of color developer. Bleach and re-exposure
follow as described above.
The theory of this process was: Normally, as a color developer is developing
the image, silver halides are being reduced to silver, and dye clouds are
forming in the vicinity of the developing silver particles. Apparently, not
all of the silver halides get fully developed, and giving them a chance in
the developer a second (or more) time develops more of them. Of course, with
the Dektol variation, only the silver halides get developed in the B&W
developer; the color-forming compounds are left untouched awaiting the later
color developer step.
Developing color paper first in B&W developer was described over 12 years
ago by Patrick Dignan, who published a darkroom newsletter for many years.
Highlights of these newsletters were published into two books, "Simplified
Color Formulas", and "101 B&W Formulas" (or similar titles). Photographer's
Formulary in Montana used to carry these books. Maybe they still have them?
This method can be used in another way: After the print is developed in
the B&W developer, it is washed and dried. Then a waterproof masking
compound (Maskit) can be selectively applied to areas that are to remain
black and white. Then the print is bleached, rexposed, and redeveloped in
the color process. After the print is finished, the masking compound is
peeled away leaving black and white areas in a color print.
Lotsa' things to play with.
Ron Speirs, Evans & Sutherland Computer Corp., Salt Lake City, Utah
Christopher Hee
For Sale
Bessler 23C Enlarger w/50mm Lens
colorhead/timer option
Like New........................
$225.00
Christopher
Santa Clara Ca
(408) 764-5636