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PHOTOGRAPHIC PRINT MAKING (COLOR) entries in Index to How To Do It Information
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.

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.
ASTRONOMY Nov 1983 (v.11#11) pg. 51

The joy of color printing. Getting started in making your own color prints of astrophotos.
ASTRONOMY Nov 1989 (v.17#11) pg. 86

Tip on making color prints using a cold-light enlarger and filter packs.
CAMERA & DARKROOM Jul 1992 (v.14#7) pg. 4

How photographer Reginald Wickham produces unique color prints by using sandwiches of film and color key material.
CAMERA 35 Mar 1973 (v.17#2) pg. 34

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.
CAMERA 35 Jun 1974 (v.18#4) pg. 6

How to make color prints from either negatives or transparencies on the same paper (GAF's Type A) using Uniprint chemistry.
CAMERA 35 Oct 1974 (v.18#7) pg. 8

Ed Scully recommends essential equipment for making color prints from slides or negatives.
CAMERA 35 Aug 1978 (v.23#7) pg. 20

Basic color course. Part 7. How to print color negatives in the home darkroom. How filters affect the resulting colors.
CAMERA 35 Jan 1979 (v.24#1) pg. 16

Printing color. Tips on getting started.
CAMERA 35 Dec 1980 (v.25#12) pg. 24

Advanced color printing. Part 1. Standard negative aids color printing quality.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1984 (v.5#2) pg. 20

Advanced color printing. Part 4. The Mitchell system for printing tough negatives.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1984 (v.5#5) pg. 21

Advanced color printing. Part 5. A guide to printing non-standard color negatives.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1984 (v.5#6) pg. 22

Advanced color printing. Part 6. How to evaluate color prints.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1985 (v.6#1) pg. 34
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1986 (v.7#2) pg. 6

How to get brilliant colors and bright whites when C printing.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1986 (v.7#1) pg. 19
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1987 (v.8#1) pg. 16

Additive and subtractive color printing procedures. A comparison test of the two processes.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1987 (v.8#3) pg. 41

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1988 (v.9#1) pg. 26

Tips on preventing a color shift when making two different size enlargements from the save negative.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1988 (v.9#2) pg. 18

Color printing without guesswork. Part 2. Principles of calibration.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1988 (v.9#2) pg. 28

Color printing without guesswork. Part 3. Program correction and exposure considerations.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1988 (v.9#3) pg. 20

Using a gray scale and other techniques to differentiate between leuco cyan problems and crossover problems.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1988 (v.9#4) pg. 8

Color printing without guesswork. Part 4. Converting your color analyzer to make color reflection readings from your test prints.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1988 (v.9#4) pg. 41

Control reciprocity failure in color printing by changing lens opening rather than exposure time as magnification changes. Some tips.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1988 (v.9#5) pg. 14

Color printing without guesswork. Part 5. Precision exposure control.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1988 (v.9#5) pg. 27

Difference between Type A and Type B color print processes explained.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1988 (v.9#6) pg. 7

Color print contrast control. Two simple printing techniques to decrease or increase the apparent print contrast.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1989 (v.10#6) pg. 33

Keeping your standards high. Tighten up your darkroom printing techniques. Use of color analyzer, ringarounds, standard test negative, process controls, etc. are discussed.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1990 (v.11#3) pg. 28

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1990 (v.11#4) pg. 34

C-print contrast reduction. Latent image manipulation.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1990 (v.11#5) pg. 29

Color comparators. Determine filtration systematically. Description of a low-tech system for making top quality color prints.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1990 (v.11#5) pg. 42

Color negative masking uses a homemade pin registration system.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1990 (v.11#6) pg. 30

Color print exposure. Shadow and highlight control.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1990 (v.11#6) pg. 52

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1991 (v.12#3) pg. 48

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1991 (v.12#4) pg. 32

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1991 (v.12#4) pg. 54

Color printing refinements. Color balance and exposure.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1991 (v.12#5) pg. 41

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1991 (v.12#5) pg. 64

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1991 (v.12#6) pg. 58

Making good color prints without using a color analyzer. A process control system which requires a ringaround easel, diffuser filter, and inexpensive enlarging meter.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1992 (v.13#1) pg. 42

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1992 (v.13#6) pg. 30
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1993 (v.14#5) pg. 28

Tricolor printing without guesswork. Part 1. Arrastres (color dye cross-absorptions) and their impact on color reproduction.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1993 (v.14#3) pg. 55

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1993 (v.14#4) pg. 34

Tricolor printing without guesswork. Part 3. Dye transfer alternatives.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1993 (v.14#5) pg. 40
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1994 (v.15#2) pg. 3

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1994 (v.15#5) pg. 32

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1995 (v.16#5) pg. 32

All I know about color printing (up to now). Part 2. Applying the gray card information.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1995 (v.16#6) pg. 36

Jump into color. How to make the transition from black-and-white to color using a basic darkroom set-up. Some tips.
DARKROOM PHOTOGRAPHY Mar-Apr 1979 (v.1#1) pg. 51

Make color prints using the KWIK-PRINT color proofing system originally developed for the graphic arts industry.
DARKROOM PHOTOGRAPHY Mar-Apr 1979 (v.1#1) pg. 82

Getting started in color printing. A look at the facts involving difficulty, time and cost.
DARKROOM PHOTOGRAPHY May-Jun 1980 (v.2#3) pg. 62

Simple but sophisticated strategies for color contrast control, including doing your own silver masking.
DARKROOM PHOTOGRAPHY Dec 1980 (v.2#8) pg. 41

How to color black-and-white negatives with food coloring and then make color prints on Ektacolor 74 RC paper.
DARKROOM PHOTOGRAPHY Jul-Aug 1981 (v.3#4) pg. 76

A close look at Kodak's new Ektaflex color-printing system.
DARKROOM PHOTOGRAPHY Nov 1981 (v.3#7) pg. 30

Make novel color prints (collages) by contact printing magazine pages onto color slide paper.
DARKROOM PHOTOGRAPHY Feb 1982 (v.4#2) pg. 70

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.
DARKROOM PHOTOGRAPHY Sep-Oct 1982 (v.4#6) pg. 70

Printing color negatives. Once you catch onto color correction, making prints from color negatives is a breeze
DARKROOM PHOTOGRAPHY Dec 1982 (v.4#8) pg. 56

Brief round-up of color printing options. Looks at quality, sharpness, permanence, contrast match, processing ease and cost.
DARKROOM PHOTOGRAPHY Dec 1982 (v.4#8) pg. 58

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.
DARKROOM PHOTOGRAPHY Jan 1983 (v.5#1) pg. 70

How to keep clear, precise records of color printing data.
DARKROOM PHOTOGRAPHY Feb 1983 (v.5#2) pg. 46

Tricolor pointillism. Use a coarse grain screen, three primary color gels, and the additive printing process to produce images that have a "painterly" look.
DARKROOM PHOTOGRAPHY Nov 1983 (v.5#7) pg. 74

Make color-toned b&w photographs by printing on Ektacolor 78 color paper through color printing filters.
DARKROOM PHOTOGRAPHY Jan-Feb 1984 (v.6#1) pg. 85

Color printing handbook. Part 1. Color basics, materials and processes, color filtration, and the standard image.
DARKROOM PHOTOGRAPHY Sep 1984 (v.6#5) pg. 45

Color printing handbook. Part 2. Equipment for color printing.
DARKROOM PHOTOGRAPHY Oct 1984 (v.6#6) pg. 19

Color printing handbook. Part 3. Making color prints.
DARKROOM PHOTOGRAPHY Nov 1984 (v.6#7) pg. 36

Color printing handbook. Part 4. Advanced techniques. Includes dodging and burning, color control, contrast control, giant transparencies, etc.
DARKROOM PHOTOGRAPHY Dec 1984 (v.6#8) pg. 40

Color printing for cheapskates. How to get the biggest bang for your color printing buck.
DARKROOM PHOTOGRAPHY Sep 1985 (v.7#5) pg. 31
Added Info DARKROOM PHOTOGRAPHY May-Jun 1986 (v.8#3) pg. 5

How to add a photographic signature to your prints.
DARKROOM PHOTOGRAPHY Oct 1985 (v.7#6) pg. 14

Solving snags in color printing. Preventive medicine for streaks, scratches, stains, and other problems.
DARKROOM PHOTOGRAPHY Oct 1985 (v.7#6) pg. 64
Added Info DARKROOM PHOTOGRAPHY Mar-Apr 1986 (v.8#2) pg. 11

Calibration of your color printing operations can save time, materials, and frustration.
DARKROOM PHOTOGRAPHY Nov 1985 (v.7#7) pg. 44

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.
DARKROOM PHOTOGRAPHY May-Jun 1986 (v.8#3) pg. 46

Tricolor versus white-light. Experiment compares additive color printing with subtractive color printing.
DARKROOM PHOTOGRAPHY Jan-Feb 1988 (v.10#1) pg. 49
Added Info DARKROOM PHOTOGRAPHY Nov 1988 (v.10#4) pg. 4

Tip: Photograph (and keep) the box in which your color print film comes. Use this to determine if print color rendition is acceptable.
DARKROOM PHOTOGRAPHY Dec 1988 (v.10#5) pg. 13

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.
DARKROOM PHOTOGRAPHY Apr 1989 (v.11#4) pg. 24

Simple answers to your color questions. Part 1. Getting started in color printing.
DARKROOM TECHNIQUES Winter 1980 (v.1#1) pg. 52

Color poetry. Part 1. The medium and the method of making composites. Part 2. Overcoming darkroom difficulties in composite printing.
DARKROOM TECHNIQUES Spring 1980 (v.1#2) pg. 19, 23

Simple answers to your color questions. Part 2. Color correction. Controlling color in your 2nd, 3rd, and 4th prints.
DARKROOM TECHNIQUES Spring 1980 (v.1#2) pg. 61

The darkroom and the artist. How to manipulate color prints to achieve the desired artistic effect sought. Some tips.
DARKROOM TECHNIQUES Oct 1980 (v.1#3) pg. 10

Color control in the darkroom. Use color slides, b&w litho film and color paper to make prints with an artistic flare.
DARKROOM TECHNIQUES Dec 1980 (v.1#4) pg. 23

Simple answers to your color questions. Part 4. Suggestions for troublefree printing.
DARKROOM TECHNIQUES Dec 1980 (v.1#4) pg. 28

Printing contrasty color negatives. How to flash color print paper using a plastic diffuser.
DARKROOM TECHNIQUES Dec 1980 (v.1#4) pg. 31

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.
DARKROOM TECHNIQUES Mar 1981 (v.2#1) pg. 30, 40

Photos illustrate step-by-step how to make your own color prints and the equipment you will need.
MODERN PHOTOGRAPHY Nov 1968 (v.32#11) pg. 126

Understanding the color shifts which occur in printing from negatives and slides.
MODERN PHOTOGRAPHY Sep 1970 (v.34#9) pg. 78

Repeatability and precision in color requires controlling all of the controllable variables. Some tips.
MODERN PHOTOGRAPHY Mar 1971 (v.35#3) pg. 46

Tips on how to arrive at the proper filtration and exposure time using the five basic color processes (Kodak, Unicolor, Caltura, Mitchell and Colorval).
MODERN PHOTOGRAPHY Apr 1971 (v.35#4) pg. 74

Analyze your color prints by viewing them through a color contact sheet.
MODERN PHOTOGRAPHY Jun 1971 (v.35#6) pg. 86

Color printing at home is not cheap, but it can be very satisfying. Tips on getting started.
MODERN PHOTOGRAPHY Jan 1972 (v.36#1) pg. 48

A look at the tricolor Carbro process for making permanent color pictures. Continuation of July 1973 article.
MODERN PHOTOGRAPHY Dec 1973 (v.37#12) pg. 74

Discussion of the use of the zone system in color work by means of color separation onto black and white film.
MODERN PHOTOGRAPHY Aug 1974 (v.38#8) pg. 16

Ed Scully discusses what you should expect when you begin making your own color prints.
MODERN PHOTOGRAPHY Nov 1974 (v.38#11) pg. 22

Tips and comments on color printing eminating from a one-day Omega Color Printing Workshop.
MODERN PHOTOGRAPHY Apr 1976 (v.40#4) pg. 33

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.
MODERN PHOTOGRAPHY May 1977 (v.41#5) pg. 90

Professional lab gives tips on how to create color negatives that are suitable for greater enlargements (bigger than 16x20).
MODERN PHOTOGRAPHY Feb 1980 (v.44#2) pg. 34

Produce special effects. (1) Print b&w negatives on color paper. (2) Double print two negatives (color or B&W) on color paper.
MODERN PHOTOGRAPHY May 1981 (v.45#5) pg. 86

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.
MODERN PHOTOGRAPHY Jul 1981 (v.45#7) pg. 68

Third annual survey of color processing labs looks at the level of photofinishing quality.
MODERN PHOTOGRAPHY Mar 1982 (v.46#3) pg. 82

How to make composite color prints from sandwiched negatives.
MODERN PHOTOGRAPHY Jul 1982 (v.46#7) pg. 80

How to arrive at the correct exposure quickly when making color prints.
MODERN PHOTOGRAPHY Jul 1982 (v.46#7) pg. 90

How to print your color negatives on Cibachrome. You must first duplicate your negative on Vericolor Slide Film using a 3200K light source.
MODERN PHOTOGRAPHY Nov 1982 (v.46#11) pg. 44

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.
MODERN PHOTOGRAPHY Nov 1983 (v.47#11) pg. 110

Forethought is the key to successful printing from color negatives. Some tips.
MODERN PHOTOGRAPHY Jun 1986 (v.50#6) pg. 24

Color printing. Not difficult, but requires discipline. Some tips.
MODERN PHOTOGRAPHY Jul 1988 (v.52#7) pg. 52

Seven steps to correct color. How to change and match an object's color using Adobe Photoshop's LAB mode.
PHOTO ELECTRONIC IMAGING 1996 (v.39#12) pg. 21

How to perform color corrections to photographs using Photoshop.
PHOTO ELECTRONIC IMAGING Jun 1998 (v.41#6) pg. 32

Color management. How Photoshop 5.0 handles color profiles.
PHOTO ELECTRONIC IMAGING Aug 1998 (v.41#8) pg. 28

Custom color. How to change an object's color using Curves in Photoshop.
PHOTO ELECTRONIC IMAGING Jan 1999 (v.42#1) pg. 50

Tips on making color prints using the Kodak Ektaprint 3-color system. The system is based on Ektacolor 30RC and 37RC papers.
PHOTO METHODS FOR INDUSTRY Feb 1974 (v.17#2) pg. 12

All I know about color printing (up to now). Part 3. Contrast range and exposing your negatives.
PHOTO TECHNIQUES Mar-Apr 1996 (v.17#2) pg. 7

All I know about color printing (up to now). Part 4. Conclusion. (1) Tweaking your Colorbrator print. (2) Mini prints. (3) Easel ideas. ... etc.
PHOTO TECHNIQUES Sep-Oct 1996 (v.17#5) pg. 60

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.
PHOTO TECHNIQUES Mar-Apr 1997 (v.18#2) pg. 43

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.
PHOTO TECHNIQUES May-Jun 1997 (v.18#3) pg. 65

Contrast-control masking for color printing. Part 1. How to process T-Max 100 film in Muir SoftShot developer to make contrast-reducing masks.
PHOTO TECHNIQUES Sep-Oct 1997 (v.18#5) pg. 46

Contrast-control masking for color printing. Part 2. How to expose and print with masks.
PHOTO TECHNIQUES Nov-Dec 1997 (v.18#6) pg. 47
Added Info PHOTO TECHNIQUES Jan-Feb 1998 (v.19#1) pg. 12
Added Info PHOTO TECHNIQUES May-Jun 1998 (v.19#3) pg. 56
Added Info PHOTO TECHNIQUES Nov-Dec 1998 (v.19#6) pg. 16

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.
PHOTOGRAPHIC Feb 1980 (v.8#10) pg. 54

Basic color darkroom. Making your first enlargement. How to get the color balance right.
PHOTOGRAPHIC May 1981 (v.10#1) pg. 35

Tricolor printing. Part 1. How to create priceless color prints with a minimum investment in equipment.
PHOTOGRAPHIC Oct 1981 (v.10#6) pg. 42

Tricolor printing. Part 2. How to make and fine-tune the print.
PHOTOGRAPHIC Nov 1981 (v.10#7) pg. 72

Color prints from B&W negatives. Tips on producing monochromatic "color" prints using a local 1-hour color lab or in your own darkroom.
PHOTOGRAPHIC Aug 1986 (v.15#4) pg. 36

Mohlerization. Print manipulation process involves scratching sections of the emulsion off a damp print to create interesting results.
PHOTOGRAPHIC Apr 1996 (v.24#12) pg. 23

Make color covers for a report, brochure or proposal using photographic methods. Suitable for a limited number of duplicates (15-50 copies).
PHOTOMETHODS Mar 1977 (v.20#3) pg. 46

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.
POPULAR MECHANICS Jun 1975 (v.143#6) pg. 78

Developing strategies. A guide to the special services your photo processor can provide which can often salvage a problem photograph.
POPULAR MECHANICS Jul 1988 (v.165#7) pg. 102

Instant color enlarging without trays. Use Polaroid color film to make enlargements from 8-, 16-, or 35-mm color film.
POPULAR PHOTOGRAPHY Apr 1967 (v.60#4) pg. 97

Using 3M color-key, plus printing through filters onto high contrast film to create some very startling color prints.
POPULAR PHOTOGRAPHY Feb 1968 (v.62#2) pg. 98

How to make color prints the easy way, by using the Rapid Access color paper kit. Est. cost: $15 for ten 8x10 prints.
POPULAR PHOTOGRAPHY Nov 1968 (v.63#5) pg. 24

Equipment and accessories needed to make color enlargements in your black and white darkroom, along with their costs.
POPULAR PHOTOGRAPHY Dec 1969 (v.65#6) pg. 60

Getting started in color printing for $100.
POPULAR PHOTOGRAPHY Dec 1970 (v.67#6) pg. 90

How to print your own color photographs.
POPULAR PHOTOGRAPHY Jul 1971 (v.69#1) pg. 30

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.
POPULAR PHOTOGRAPHY Jul 1971 (v.69#1) pg. 93

A guide to working with 3M Color-Key, Diazo, Kolvar, Select A Chrome, Transparex and other non-silver processes.
POPULAR PHOTOGRAPHY Dec 1971 (v.69#6) pg. 118

Tips on using 3M color-key materials and other color materials and dyes to create interesting photos.
POPULAR PHOTOGRAPHY Jul 1972 (v.71#1) pg. 44

Color printing. A skeptic finds it easy to learn.
POPULAR PHOTOGRAPHY Dec 1972 (v.71#6) pg. 110

Nine home color print making systems which make prints from color negatives are compared.
POPULAR PHOTOGRAPHY Oct 1973 (v.73#4) pg. 126

Use the Kodak Color Darkroom Dataguide to save paper, time and money.
POPULAR PHOTOGRAPHY Mar 1976 (v.78#3) pg. 46

Viewing filters for color printing. How they work and how to use them to make professional quality color prints.
POPULAR PHOTOGRAPHY Apr 1976 (v.78#4) pg. 80

Creating fantastic color from black-and-white. Use Kodalith film and Cibachrome paper to make "kinetic color graphics" from ordinary negatives.
POPULAR PHOTOGRAPHY Dec 1979 (v.85#6) pg. 82

A beginner's guide for getting good color in color prints.
POPULAR PHOTOGRAPHY May 1982 (v.89#5) pg. 54

Why you should process your own color films and make your own color prints.
POPULAR PHOTOGRAPHY Jul 1982 (v.89#7) pg. 28

An introduction to color theory as it applies to making color prints.
POPULAR PHOTOGRAPHY Jun 1983 (v.90#6) pg. 85

How to process your first color print, using a conventional negative-to-positive system.
POPULAR PHOTOGRAPHY Dec 1983 (v.90#12) pg. 14

Color-printing basics. Before you correct the color, you must determine the proper print exposure.
POPULAR PHOTOGRAPHY Dec 1984 (v.91#12) pg. 39

What you can do to get better color prints from your photofinishing lab.
POPULAR PHOTOGRAPHY Mar 1986 (v.93#3) pg. 66

The basics of additive color printing. Part 1.
POPULAR PHOTOGRAPHY Jun 1986 (v.93#6) pg. 28

The basics of additive color printing. Part 2. The finer points.
POPULAR PHOTOGRAPHY Jul 1986 (v.93#7) pg. 34

Print flashing techniques for use in color print making.
POPULAR PHOTOGRAPHY Dec 1987 (v.94#12) pg. 94

Advice on selecting a color lab that is willing and able to compensate when printing from different brands of color film.
POPULAR PHOTOGRAPHY Dec 1989 (v.96#12) pg. 36

How to choose and use custom color labs.
POPULAR PHOTOGRAPHY Oct 1993 (v.57#6) pg. 49

The machine print trouble-shooter. A guide to determine if bad pictures are your fault, or the camera's, or the lab's.
POPULAR PHOTOGRAPHY Sep 1996 (v.60#9) pg. 72

Coming to grips with grain. Using Kodak's Print Grain Index to predict how grainy a big color enlargement will be.
POPULAR PHOTOGRAPHY Feb 1998 (v.62#2) pg. 46

What produces the best color print: slide film or print film? Results of a test of several films.
POPULAR SCIENCE Jul 1980 (v.217#1) pg. 57

Understanding color printing. The basics of how color is formed in photographic images.
SHUTTERBUG #266 Nov 1992 (v.22#1) pg. 49

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.
SHUTTERBUG #277 Oct 1993 (v.22#12) pg. 74

Printing color negatives. An introduction to the relationship between the six photographic colors and how color paper reproduces color images.
SHUTTERBUG #312 Sep 1996 (v.25#11) pg. 78

Making color prints in open trays using a b&w enlarger, filters, and ambient temperature RA-4 chemicals.
SHUTTERBUG #343 Apr 1999 (v.28#6) pg. 206

Printing color negatives in the darkroom. Beginner method, advanced method, performing color balance, evaluating the test print, etc.
SHUTTERBUG #359 Aug 2000 (v.29#10) pg. 264