Also, Arista RA4 color paper processing kit is designed to work between 75 - 108 degrees F which may help resolve some of the grain issues. As you know, Kodak's chemistry is developed more for volume processing in machine processing, such as a Colenta processor and the aforementioned for tray. Curious what chemicals are you using?
Thanks Ethan for showing this process. My guess about the grain is that the temperature hasnt reach its optimum for processing. See you guys in your next video. Cant wait.
I wonder if the color temperature of the artificial light switched on in the lab affects (?). I'm interested for making prints out of slides, does this process have a name to search for? Thank you for the videos and sharing knowledge!
Thank you for this insightful video. I work with an 8x10 colour neg process, but producing only colour negatives and invert to a positive after scanning. I too at the start, experienced little to no online resources about working with this process. As for the filtration, I think you have a pretty good combination and don't think it's necessary to get it perfect. I also noticed greys tend to go red, which makes sense due to the pigment dyes in the paper and how they react to light at the time of exposure. That particular element I noted as a positive characteristic and not worth resolving! As for the grain, I wonder if it's the B&W developer? If you were to lower the Developer strength by adding more water? This giving more time for the tones to develop, especially in the highlights, and may resolve the grain issue. I use D-76 diluted to about 1:4 believe it or not for my B&W paper neg and find due to it's slower characteristics helps to deliver better tonality. Perhaps this could help? I will try this for myself and and see where it leads me. Thank again!
What about putting the corse colour filters over the strobes 🤔 use them outside for some interesting effects. I’ve used an orange flash with tungsten film subject in colour and the background a dramatic blue
That grainy pattern to me looks like light that goes through the paper and gives the print its texture. Paper negative to paper negative contact prints give the same results.
The reticulation might be cause by the low temp. Color chemistry is design to work at around 90-100º F. If you want to keep developing @ ambient temp. add 5 grams of Potassium Hydroxide
I don’t know if you guys are still doing direct positive color prints but I’m wondering if you have experimented with doing direct positives using the “cell phone as a source in an enlarger” concept. Or perhaps reverse processing c41 film and direct positive printing from that? (Thought there being the c41 might have a beneficial orange mask). Just a suggestion that could be interesting to see.
hi maybe u need to use a hotmirror filter in front of ur lense to cancel the redish color of ur gray shirt (and some other red effects). the fuji crystal paper is active to UW&IR light and the most textiles (and every surface) have reflection properties to IR and UW. (every digital camera has a hotmirror filter in front of the sensor to determinate the red colors beyond the human spectrum)
Im sure you've already figured this out but that texture is mottling from being a lower quality paper. Its not as noticeable on glossy and non existent on higher end papers like Endura or Fuj type C
I guess this means we can start direct printing of color slides now (without internegatives)?! I have a bunch of Aerochrome slides that I will love to optically print.
I'm both amazed and confused, so is it regular black and white negative paper? Is there a written blog about the process? Can you please explain further, I want to do this, please please please.
It uses black and white developer and stop bath for the first two steps, processed in total darkness. This converts the already in-camera- exposed parts of the color emulsion layers to a negative B&W silver image. Then the paper is flashed with white light, to totally expose the remainder of the paper's emulsion - the part that didn't get exposed during the in-camera exposure. The paper is briefly rinsed to prevent stop bath from contaminating the color developer. Then the paper is processed in the color developer. This develops out the part of the emulsion layers flashed by white light - which is the opposite of the colors exposed in-camera and developed in B&W chemistry. Then the blix (bleach + fix), which bleaches out the initial silver gelatin negative image from the first step, and fixes the image, leaving a color positive image. I don't know of an online tutorial.
Hello :) I can't seem to get this answered, but does anyone know all the color correcting gels that were used for the final image? Really want to try this in the future and I know of 3 gel pack combo's used as demonstrated online. Sadly, the camera doesn't show all the gels used in this video. Thanks so much! Be well :)
I don't think we entirely kept track during this session. I'll ask Ethan and see if he can remember. I know we put on a number of yellow gels. A large part of this is the fun of experimentation.
I think maintaining the temperature of the color developer and blix will be a big challenge; although those can be done in the light - so if it's too cool, you can develop by inspection. Perhaps best done in the summer months! And getting accurate colors is a challenge, we're still working on that part. In-camera filtration is necessary, to simulate the orange-like tint of a color film negative's base color. But I suspect the "white" light secondary flash exposure may need to also be color balanced. Simple gel filter should do, so it may not be that hard, but requires a lot of testing. I'm not sure about film speed of the paper. Ethan was using power packs in-studio. Again, those summer southwest US sunny days may be necessary.
RA4 paper is so freaking cheap, only comparable with X-Ray Film, and I don't know why, but it's easier (at least where I live) to find RA4 Chemicals than C41 ones
