Basic Photography Course

the feeling of coldness. Portraits, on the other hand, are

usually warm with glowing flesh tones, reflecting health
and happiness. Because of tightly controlled and
standardized processing of color negatives, contrast is
not a major variable in color printing. There are several
color papers manufactured that provide higher than
normal contrast. Generally, these high contrast papers
are used for illustrative purposes and not normal
pictorial photography. Consult the Photo-Lab-Index for
more information on color papers.

some neutral areas (ideally, a gray card). The subject
matter of the negative should be typical of the printing

job or of those negatives that will be printed in the future.

It is unlikely that you will produce an acceptable

color print on your first attempt. When you are
considering the density and color balance of a test print,
think in terms of the three dye layers and their individual
exposures. When the paper is exposed through the color
negative, the cyan, magenta, and yellow dye images
control the amounts of red, green, and blue light that
reach the emulsion layers of the paper. Increasing the
exposure of the emulsion layers of the paper increases
the dye density of that layer and vice versa.

The negative must be free from dust and placed in

the enlarger, with the emulsion side down toward the
lens (base side up). The base side is facing you when
you can read the manufacturer's lettering on the edges
of the film. You must be sure that no stray light escapes
from around the edges of the negative. Masks of black
paper or black masking tape in the negative carrier
prevent stray light from fogging the paper.

ENLARGER SETUP

It is helpful to think how the color quality of light

affects the paper. Remember that the color negative and
the color paper produce negative images. The more red
light the paper receives, the more cyan dye produced.
The more green light the paper receives, the more
magenta dye is produced in the green sensitive layer.
The more blue light the paper receives, the more yellow
dyes created in the paper.

Setting up the enlarger and cropping the image on

the easel is basically the same in color printing as in
black and white; however, when possible, remove the
filter pack and compose and focus under white light. By
removing the filter pack, you can project a brighter
image on the easel, making composing and focusing
easier.

Color paper is balanced in manufacturing so a

combination of magenta and yellow filters in the printer
light source color balances a print from properly
exposed negatives. Because of the variations in the color
temperature of light sources (both picture taking and
printer), processing, and light-sensitive emulsions, the
required combination of filters can change from
negative to negative. You must evaluate the test print in
terms of density and color balance and determine which
filter combination and exposure time accurately
represents the original scene.

MAKING COLOR PRINTS

The procedures for setting up the enlarger and

composing and cropping the image in color printing are
basically the same as black-and-white printing. The
major difference is that custom color printing on an
enlarger must be carried out in complete darkness.

THE COLOR NEGATIVE

12-6

When making your first test print, you should use a

negative that is properly exposed; it should also contain

Since enlarging equipment varies considerably, it is

difficult to specify exact exposure times and filtration
for a properly exposed print. You should start with a
basic filter pack that has already been established in your
imaging facility, or consult the data sheet packaged with
the color printing paper or use the Photo-Lab-Index as
a reference to arrive at a starting exposure time and filter
pack

JUDGING TEST PRINTS

When making color prints, you must always obtain

the proper print density before you evaluate the color
balance. Several ways are used to judge test prints.
Before test prints are viewed, however, there are some
lighting factors to be considered.

Viewing Conditions

The color quality of the viewing light source

strongly influences the apparent color balance of the
print. Ideally, the light in the evaluation area should be
the same color quality and intensity as the light under
which the final print is to be viewed. From a practical
standpoint, some average conditions are used.

Several factors are important in specifying light

sources for viewing color prints. These are intensity,
color temperature, and color rendering index. The
intensity of the light source influences the amount of
detail that can be seen in a print. For good viewing, a
light source should provide an illuminance of 1400 lux

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Basic Photography Course

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DOFMaster for Windows On-line Depth of Field Calculator DOFMaster for Mobile Devices On-line Depth of Field Table Hyperfocal Distance Chart Articles FAQ Recommended Books Support Contact Links Home As an Amazon Associate I earn from qualifying purchases.	contents <- previous page next page -> the feeling of coldness. Portraits, on the other hand, are usually warm with glowing flesh tones, reflecting health and happiness. Because of tightly controlled and standardized processing of color negatives, contrast is not a major variable in color printing. There are several color papers manufactured that provide higher than normal contrast. Generally, these high contrast papers are used for illustrative purposes and not normal pictorial photography. Consult the Photo-Lab-Index for more information on color papers. some neutral areas (ideally, a gray card). The subject matter of the negative should be typical of the printing job or of those negatives that will be printed in the future. It is unlikely that you will produce an acceptable color print on your first attempt. When you are considering the density and color balance of a test print, think in terms of the three dye layers and their individual exposures. When the paper is exposed through the color negative, the cyan, magenta, and yellow dye images control the amounts of red, green, and blue light that reach the emulsion layers of the paper. Increasing the exposure of the emulsion layers of the paper increases the dye density of that layer and vice versa. The negative must be free from dust and placed in the enlarger, with the emulsion side down toward the lens (base side up). The base side is facing you when you can read the manufacturer's lettering on the edges of the film. You must be sure that no stray light escapes from around the edges of the negative. Masks of black paper or black masking tape in the negative carrier prevent stray light from fogging the paper. ENLARGER SETUP It is helpful to think how the color quality of light affects the paper. Remember that the color negative and the color paper produce negative images. The more red light the paper receives, the more cyan dye produced. The more green light the paper receives, the more magenta dye is produced in the green sensitive layer. The more blue light the paper receives, the more yellow dyes created in the paper. Setting up the enlarger and cropping the image on the easel is basically the same in color printing as in black and white; however, when possible, remove the filter pack and compose and focus under white light. By removing the filter pack, you can project a brighter image on the easel, making composing and focusing easier. Color paper is balanced in manufacturing so a combination of magenta and yellow filters in the printer light source color balances a print from properly exposed negatives. Because of the variations in the color temperature of light sources (both picture taking and printer), processing, and light-sensitive emulsions, the required combination of filters can change from negative to negative. You must evaluate the test print in terms of density and color balance and determine which filter combination and exposure time accurately represents the original scene. MAKING COLOR PRINTS The procedures for setting up the enlarger and composing and cropping the image in color printing are basically the same as black-and-white printing. The major difference is that custom color printing on an enlarger must be carried out in complete darkness. THE COLOR NEGATIVE 12-6 When making your first test print, you should use a negative that is properly exposed; it should also contain Since enlarging equipment varies considerably, it is difficult to specify exact exposure times and filtration for a properly exposed print. You should start with a basic filter pack that has already been established in your imaging facility, or consult the data sheet packaged with the color printing paper or use the Photo-Lab-Index as a reference to arrive at a starting exposure time and filter pack JUDGING TEST PRINTS When making color prints, you must always obtain the proper print density before you evaluate the color balance. Several ways are used to judge test prints. Before test prints are viewed, however, there are some lighting factors to be considered. Viewing Conditions The color quality of the viewing light source strongly influences the apparent color balance of the print. Ideally, the light in the evaluation area should be the same color quality and intensity as the light under which the final print is to be viewed. From a practical standpoint, some average conditions are used. Several factors are important in specifying light sources for viewing color prints. These are intensity, color temperature, and color rendering index. The intensity of the light source influences the amount of detail that can be seen in a print. For good viewing, a light source should provide an illuminance of 1400 lux contents Basic Photography Course <- previous page next page ->	As an Amazon Associate I earn from qualifying purchases.
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