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Last Updated
03/31/2019
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION. |
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PHOTOGRAPHIC PRINT MAKING (COLOR) sa DYE TRANSFER PRINTING (PHOTOGRAPHIC) sa PHOTOGRAPHIC PRINT PROCESSING (COLOR) sa TRANSPARENCY PRINT MAKING (COLOR) xx PHOTOGRAPHIC PRINT MAKING xx PHOTOGRAPHY (COLOR) Simple and inexpensive tricolor astrophotography. Produce a colored astrophoto from three black-and-white negatives shot through different filters. The joy of color printing. Getting started in making your own color prints of astrophotos. Tip on making color prints using a cold-light enlarger and filter packs. How photographer Reginald Wickham produces unique color prints by using sandwiches of film and color key material. A description of an amateur Ektaprint 3 color system, complete with 8x10 daylight processing tank, available from Kodak in London, England. Tips on using the system and ideas which can be applied to your own color printing. How to make color prints from either negatives or transparencies on the same paper (GAF's Type A) using Uniprint chemistry. Ed Scully recommends essential equipment for making color prints from slides or negatives. Basic color course. Part 7. How to print color negatives in the home darkroom. How filters affect the resulting colors. Printing color. Tips on getting started. Advanced color printing. Part 1. Standard negative aids color printing quality. Advanced color printing. Part 4. The Mitchell system for printing tough negatives. Advanced color printing. Part 5. A guide to printing non-standard color negatives. Advanced color printing. Part 6. How to evaluate color prints. How to get brilliant colors and bright whites when C printing. Additive and subtractive color printing procedures. A comparison test of the two processes. Color printing without guesswork. Foolproof, universal system is soundly rooted in the sensitometric characteristics of film, paper and processing, but requires no densitometer. How to perform a series of calibration tests. Part 1. Tips on preventing a color shift when making two different size enlargements from the save negative. Color printing without guesswork. Part 2. Principles of calibration. Color printing without guesswork. Part 3. Program correction and exposure considerations. Using a gray scale and other techniques to differentiate between leuco cyan problems and crossover problems. Color printing without guesswork. Part 4. Converting your color analyzer to make color reflection readings from your test prints. Control reciprocity failure in color printing by changing lens opening rather than exposure time as magnification changes. Some tips. Color printing without guesswork. Part 5. Precision exposure control. Difference between Type A and Type B color print processes explained. Color print contrast control. Two simple printing techniques to decrease or increase the apparent print contrast. Keeping your standards high. Tighten up your darkroom printing techniques. Use of color analyzer, ringarounds, standard test negative, process controls, etc. are discussed. Gray and white card substitute. A valid alternative standard. Using the "Expo/Disc" diffuser to make a full-frame control negative on every roll of color print film. C-print contrast reduction. Latent image manipulation. Color comparators. Determine filtration systematically. Description of a low-tech system for making top quality color prints. Color negative masking uses a homemade pin registration system. Color print exposure. Shadow and highlight control. Confessions of a color printer. An abbreviated technical history of research which led to the Bertram W. Miller method of color printing. Part 1. Print contrast. Derivative color prints direct on paper. How to make multiple exposure color prints from high-contrast black-and-white internegatives. Includes tips on modifying an enlarger to guarantee perfect registration of the various negatives. Confessions of a color printer. An abbreviated technical history of research which led to the Bertram W. Miller method of color printing. Part 2. Color purity. Color printing refinements. Color balance and exposure. Confessions of a color printer. An abbreviated technical history of research which led to the Bertram W. Miller method of color printing. Part 3. The importance of contrast. Confessions of a color printer. An abbreviated technical history of research which led to the Bertram W. Miller method of color printing. Part 4. Using a color analyzer to integrate a color negative. Making good color prints without using a color analyzer. A process control system which requires a ringaround easel, diffuser filter, and inexpensive enlarging meter. Chromoskedasic (colored by light scattering) duotone pseudosolarization. A novel method for producing color images on black-and-white photo paper by treating with both Ektamatic S30 Stabilizer and Dektol developer. Tricolor printing without guesswork. Part 1. Arrastres (color dye cross-absorptions) and their impact on color reproduction. Tricolor printing without guesswork. Part 2. (1) How to use conventional color negative printing paper. (2) How to modify a black-and-white enlarger for color use. Tricolor printing without guesswork. Part 3. Dye transfer alternatives. Critical exposure guides for color prints. Eliminate the need for test strips by incorporating a neutral gray card in color negatives. Frequently recurring secondary references (white shirt, skin, deep shadow, ...) can also provide the exposure standard. A discussion of how this process works. All I know about color printing (up to now). Bob Mitchell describes a straightforward system for making good quality color prints. Part 1. The practice of incorporating a gray card image whenever the light changes. All I know about color printing (up to now). Part 2. Applying the gray card information. Jump into color. How to make the transition from black-and-white to color using a basic darkroom set-up. Some tips. Make color prints using the KWIK-PRINT color proofing system originally developed for the graphic arts industry. Getting started in color printing. A look at the facts involving difficulty, time and cost. Simple but sophisticated strategies for color contrast control, including doing your own silver masking. How to color black-and-white negatives with food coloring and then make color prints on Ektacolor 74 RC paper. A close look at Kodak's new Ektaflex color-printing system. Make novel color prints (collages) by contact printing magazine pages onto color slide paper. Creating color. With litho film, a bit of masking and a touch of registration, you can make color prints from your black-and-white negatives. Printing color negatives. Once you catch onto color correction, making prints from color negatives is a breeze Brief round-up of color printing options. Looks at quality, sharpness, permanence, contrast match, processing ease and cost. How to use color filter grids as a starting point when using a new type of paper, an unfamiliar film, or a strange lighting situation. How to keep clear, precise records of color printing data. Tricolor pointillism. Use a coarse grain screen, three primary color gels, and the additive printing process to produce images that have a "painterly" look. Make color-toned b&w photographs by printing on Ektacolor 78 color paper through color printing filters. Color printing handbook. Part 1. Color basics, materials and processes, color filtration, and the standard image. Color printing handbook. Part 2. Equipment for color printing. Color printing handbook. Part 3. Making color prints. Color printing handbook. Part 4. Advanced techniques. Includes dodging and burning, color control, contrast control, giant transparencies, etc. Color printing for cheapskates. How to get the biggest bang for your color printing buck. How to add a photographic signature to your prints. Solving snags in color printing. Preventive medicine for streaks, scratches, stains, and other problems. Calibration of your color printing operations can save time, materials, and frustration. The right light. How viewing color prints under various light conditions (incandescent, fluorescent, daylight, etc.) can assist you in selecting the correct color balance for a given location. Tricolor versus white-light. Experiment compares additive color printing with subtractive color printing. Tip: Photograph (and keep) the box in which your color print film comes. Use this to determine if print color rendition is acceptable. Masking, the key to controlling color print contrast. Both the conventional method of making contrast-reducing masks and the Polaroid method for occasional users are explained. Simple answers to your color questions. Part 1. Getting started in color printing. Color poetry. Part 1. The medium and the method of making composites. Part 2. Overcoming darkroom difficulties in composite printing. Simple answers to your color questions. Part 2. Color correction. Controlling color in your 2nd, 3rd, and 4th prints. The darkroom and the artist. How to manipulate color prints to achieve the desired artistic effect sought. Some tips. Color control in the darkroom. Use color slides, b&w litho film and color paper to make prints with an artistic flare. Simple answers to your color questions. Part 4. Suggestions for troublefree printing. Printing contrasty color negatives. How to flash color print paper using a plastic diffuser. Kwik-Print process. Use this contact color proofing system to produce colored images from b&w negatives. Related article shows how to transfer the image to artist's paper. Photos illustrate step-by-step how to make your own color prints and the equipment you will need. Understanding the color shifts which occur in printing from negatives and slides. Repeatability and precision in color requires controlling all of the controllable variables. Some tips. Tips on how to arrive at the proper filtration and exposure time using the five basic color processes (Kodak, Unicolor, Caltura, Mitchell and Colorval). Analyze your color prints by viewing them through a color contact sheet. Color printing at home is not cheap, but it can be very satisfying. Tips on getting started. A look at the tricolor Carbro process for making permanent color pictures. Continuation of July 1973 article. Discussion of the use of the zone system in color work by means of color separation onto black and white film. Ed Scully discusses what you should expect when you begin making your own color prints. Tips and comments on color printing eminating from a one-day Omega Color Printing Workshop. The case for negative color. The surest way to get the best color prints is to do them yourself, starting with color-negative film. Includes tips on flashing, dodging and burning-in. Professional lab gives tips on how to create color negatives that are suitable for greater enlargements (bigger than 16x20). Produce special effects. (1) Print b&w negatives on color paper. (2) Double print two negatives (color or B&W) on color paper. How to get almost any color print you want made from a slide or negative. Description of the various print-making services and the techniques used. Third annual survey of color processing labs looks at the level of photofinishing quality. How to make composite color prints from sandwiched negatives. How to arrive at the correct exposure quickly when making color prints. How to print your color negatives on Cibachrome. You must first duplicate your negative on Vericolor Slide Film using a 3200K light source. Kwik-Print: a system for producing unique color prints on various surfaces (paper, plastic, fabric, etc.). Can be used to create color from b&w negatives. Forethought is the key to successful printing from color negatives. Some tips. Color printing. Not difficult, but requires discipline. Some tips. Seven steps to correct color. How to change and match an object's color using Adobe Photoshop's LAB mode. How to perform color corrections to photographs using Photoshop. Color management. How Photoshop 5.0 handles color profiles. Custom color. How to change an object's color using Curves in Photoshop. Tips on making color prints using the Kodak Ektaprint 3-color system. The system is based on Ektacolor 30RC and 37RC papers. All I know about color printing (up to now). Part 3. Contrast range and exposing your negatives. All I know about color printing (up to now). Part 4. Conclusion. (1) Tweaking your Colorbrator print. (2) Mini prints. (3) Easel ideas. ... etc. Miller method III. Computerized color printing without guesswork. How to eliminate all visual color and density judgements in color printing by using a good color analyzer, a color reflection densitometer, and a computer program that does all the work. Part 1. Miller method III. Computerized color printing without guesswork. How to eliminate all visual color and density judgements in color printing by using a good color analyzer, a color reflection densitometer, and a computer program that does all the work. Part 2. Contrast-control masking for color printing. Part 1. How to process T-Max 100 film in Muir SoftShot developer to make contrast-reducing masks. Contrast-control masking for color printing. Part 2. How to expose and print with masks. Create large-format "instant" color images using Cibachrome print material in the camera instead of film. Shows how to filter the light, make the exposure, and process the result. Basic color darkroom. Making your first enlargement. How to get the color balance right. Tricolor printing. Part 1. How to create priceless color prints with a minimum investment in equipment. Tricolor printing. Part 2. How to make and fine-tune the print. Color prints from B&W negatives. Tips on producing monochromatic "color" prints using a local 1-hour color lab or in your own darkroom. Mohlerization. Print manipulation process involves scratching sections of the emulsion off a damp print to create interesting results. Make color covers for a report, brochure or proposal using photographic methods. Suitable for a limited number of duplicates (15-50 copies). Now it's easy to make color prints at home. A review of the equipment needed and the various papers and chemicals available for home printing. Developing strategies. A guide to the special services your photo processor can provide which can often salvage a problem photograph. Instant color enlarging without trays. Use Polaroid color film to make enlargements from 8-, 16-, or 35-mm color film. Using 3M color-key, plus printing through filters onto high contrast film to create some very startling color prints. How to make color prints the easy way, by using the Rapid Access color paper kit. Est. cost: $15 for ten 8x10 prints. Equipment and accessories needed to make color enlargements in your black and white darkroom, along with their costs. Getting started in color printing for $100. How to print your own color photographs. How to turn run-of-the-mill black and white negatives into wild and vivid prints using high-contrast printing and color-based enlarging papers. A guide to working with 3M Color-Key, Diazo, Kolvar, Select A Chrome, Transparex and other non-silver processes. Tips on using 3M color-key materials and other color materials and dyes to create interesting photos. Color printing. A skeptic finds it easy to learn. Nine home color print making systems which make prints from color negatives are compared. Use the Kodak Color Darkroom Dataguide to save paper, time and money. Viewing filters for color printing. How they work and how to use them to make professional quality color prints. Creating fantastic color from black-and-white. Use Kodalith film and Cibachrome paper to make "kinetic color graphics" from ordinary negatives. A beginner's guide for getting good color in color prints. Why you should process your own color films and make your own color prints. An introduction to color theory as it applies to making color prints. How to process your first color print, using a conventional negative-to-positive system. Color-printing basics. Before you correct the color, you must determine the proper print exposure. What you can do to get better color prints from your photofinishing lab. The basics of additive color printing. Part 1. The basics of additive color printing. Part 2. The finer points. Print flashing techniques for use in color print making. Advice on selecting a color lab that is willing and able to compensate when printing from different brands of color film. How to choose and use custom color labs. The machine print trouble-shooter. A guide to determine if bad pictures are your fault, or the camera's, or the lab's. Coming to grips with grain. Using Kodak's Print Grain Index to predict how grainy a big color enlargement will be. What produces the best color print: slide film or print film? Results of a test of several films. Understanding color printing. The basics of how color is formed in photographic images. How to use a simple b&w condenser enlarger to print color negatives onto color paper and then process them in three, open trays at room temperature. Printing color negatives. An introduction to the relationship between the six photographic colors and how color paper reproduces color images. Making color prints in open trays using a b&w enlarger, filters, and ambient temperature RA-4 chemicals. Printing color negatives in the darkroom. Beginner method, advanced method, performing color balance, evaluating the test print, etc. | |||||||||
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