are due to differences in the color density of the print. For example, you have a print with acceptable density, but a magenta balance. When you add magenta filtration to correct the color balance, the print will become too light, so you must use a longer exposure time.
A rule of thumb for magenta dichroic filtration is to change the exposure time by one percent for every unit of change in filtration. For example, if you increase the magenta filtration by 20M, increase the exposure time by 20 percent. Changes in yellow dichroic filtration do not usually affect the apparent print density. If you use cyan dichroic filtration, use the filter factors in the table above as starting points for adjusting exposure.
Tricolor Exposure Method
Use KODAK WRATTEN Gelatin Filters No. 25 (red), No. 99 (green), and No. 47B (blue) to give the paper three separate exposures. Do not move the paper or the enlarger until you have made all three exposures. Typical exposure times for making an enlargement from a normally exposed negative are given in the table below.
Filter | Times for an Aperture Setting of f/8* for |
8 X 10 Enlargement of a 120 size KODAK | |
| PROFESSIONAL PORTRA Film Negative) |
|
|
Red | 0.7 seconds |
|
|
Green | 0.9 seconds |
|
|
Blue | 1.2 seconds |
|
|
*For an enlarger equipped with a Photo Enlarger Lamp No. 212 or No. 302; the setting may vary with other types of lamps.
Evaluate the test print under light of the same color and brightness that you will use to display the final print. (See “Viewing.”)
Judge the print density first. If necessary, make another print by adjusting the exposure as recommended in the table below:
If your | Do this | OR | Do this | |
print is | ||||
|
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| ||
|
|
|
| |
TOO LIGHT | Open the lens |
| Increase all | |
| aperture to increase | OR | exposure | |
| the light level | times | ||
|
| |||
|
|
| proportionally | |
|
|
|
| |
TOO DARK | Close the lens |
| Decrease all | |
| aperture to | OR | exposure | |
| decrease the light | times | ||
|
| |||
| level |
| proportionally | |
|
|
|
| |
Then judge color balance: |
|
|
If your | Subtract these | OR | Add these | |
print is | filters | filters | ||
| ||||
|
|
|
| |
CYAN | Red |
| Blue + Green | |
|
|
|
| |
MAGENTA | Green |
| Red + Blue | |
|
|
|
| |
YELLOW | Blue |
| Red + Green | |
|
|
|
| |
RED | Blue + Green |
| Red | |
|
|
|
| |
GREEN | Red + Blue |
| Green | |
|
|
|
| |
BLUE | Red + Green |
| Blue | |
|
|
|
|
LATENT-IMAGE KEEPING
Under normal conditions, you should not notice shifts in the latent image with keeping times from 5 seconds to 24 hours. Therefore, you do not need to change your printing procedures to compensate for
PROCESSING
Use KODAK EKTACOLOR RA Chemicals for Process
When fully converted to this paper, your developer replenishment rate should be approximately 10% lower than with KODAK PROFESSIONAL PORTRA III and SUPRA
IIIPapers or KODAK PROFESSIONAL Color Metallic Paper. Review your process control charts and make adjustments as needed to stay in control.
For detailed information on replenishment rates and processing this paper in continuous or
website at www.kodak.com/go/photochemicals.
Do not use drying temperatures above 93° C (200° F) to avoid damaging prints. Underdrying can produce tackiness that tends to make paper stick when it is wound into rolls before cutting. Overdrying can cause curl and complicate transport in print finishing.
Do not ferrotype this
4 | KODAK PROFESSIONAL ENDURA Metallic Paper • |