Color Reversal Process Part 2
ฝัง
- เผยแพร่เมื่อ 20 ต.ค. 2024
- Joe visits the studios of Ethan Moses, equipped with his 8” by 10” sliding box camera, for more experiments with refining the color reversal print process, including both strobe and daylight exposures, during which Ethan channels his alter ego personality known as Chad.
Chad’s video: • Chad's Camera Reviews ...
www.cameradactyl.com
I could watch an hour long video of just you guys developing these color reversals in the developer. Watching the color come in as the developing progresses is really magical. That 240mm f4.5 lens makes some great looking portraits for such an experimental process.
These are amazing you guys! Motivation to finish my 8x10 camera build. Also, Joe is the closest we’ll get to Jeff Bridges having a TH-cam channel!
You guys make an awesome team! Loving these playful instructional / experimental videos!
It's just magic watching those colour prints develop before your eyes, love it.
I followed your filter instructions and got my best print yet with Fuji crystal. Now to try it with Endura.... Thank you!
Watching that develop is awesome
Oh my! This is so cool.
I was searching for info on color paper negatives and found your experiment. My initial plan was to do paper negatives on color paper and then make contact prints for positives. I've got a roll of Fuji's new paper, Maxima released in 2018, it has no printing on the back so you can easily contact print through it. But your process is far more exciting - I've got to give it a go. Thanks for sharing this!
could you not develop a blank sheet of c41 4x5 film and use that as your filter for the correct colour balance? may be a strong filter factor but should be the right colour temperature for the paper?
Love the pony clamp focus lock system!
That clamp usually holds my filament spool from sliding on its axle!
@@CAMERADACTYLCameras $17.95 at Cameradactyl dot com!
That change in the 2nd dev from neg to pos is amazing - i spent ten years working in a darkroom as a printer - Stay safe
Good progress, thank you for sharing! Love to see more of it.
Great results you got there. I currently work on getting the filtration right. I have skin tones under light figured out... kinda, but a very specific tone of green turns orange. And i can recommend little filters from good. I was able to get the right flirtation with only 2 stops darkening. I rate my paper Fuji archive matte at 12- 16 iso and with filter iso 3-4. I love the look of color 4x5 portaits. Thank you for teaching this technique.
Hey Leo, may I ask what filters you used to get good skin tone?
Thank you! Stay safe
WOW Heisenberg of print processing! Great knowledge and idea!
I'll look forward to your ULF experiment. That's exciting. I have a ton of chemistry from when I supported a processor at a local school, RIP. I also have film dev from when I owned an old Jobo for processing film, RIP. Need the lift for that. I have lots of RA4 paper as well and 8x10 holders, but no camera. Would love to print larger anyway. Thanks for more details on the filters (I have those Ilford filters) and more data on the ASA. As with most things photo, lather, rinse, repeat till you find your bliss.
that worked out fabulous! Kudos!!!!!!
I was wondering in regards to filtration, has anyone tried a 4x5 blank developed negative to incorporate the orangish film color that's missing in this process?
Friends, you are great!
At your suggestion, I wanted to do something similar myself!
Greetings from the Altai mountains!
Super cool! I wanna try this. Thanks for sharing!
Thank you for all these explanations, but the loading of the color paper in the film holder must be done in inactinic light or complete obscurity ?
Must be loaded in total darkness.
What RA4 chemistry did you use?
Hi, why I have green unexpose borders after reverse, can you help me? THANKS
getting bigger and better! (:
This looks amazing, I am wondering if I can use this for my landscapes
How long do you reckon the latent image will last? Would the combo of the BnW filters work for any scene under daylight white balance conditions?
You'll have to experiment with filtration to get the right color balance, that seems to be what people are doing.
As for how long the latent image lasts (meaning after exposure but before development), I haven't done any experiments with latent image retention, but I do know with B & W paper it can last a long time.
@@Joe_VanCleave thanks, I shall definitely give this a go!
I assume you could use this process for enlarging from color slides on the paper with an enlarger ?
I have some c41 chemistry to mix once I have enough rolls to dev so I'll give this a go with my 8x10 Fuji paper. Super exited.
Its exciting guys!
Contact printing of slides is now possible. You could go digital by exposing with paper taped to an LCD screen with an image on it.
I wonder how the paper would respond to exposure under incandescent lamps.
Joe, did you solve grain issue?
I'm enjoying watching this process of trial and error and success. I just thought of a factor not discussed, but maybe you guys have explored it. Does the temperature of the light you're using to flash the paper, after the stop bath but before the ra4 developer, affect the color balance? My thought is that if it does, you could modify your room's light (ie flood light with a filter on front above the sink) to balance the color. Just curious if you've tried changing that factor.
We've discussed it for sure, Ethan thinks the white light is sufficient, since the parts of the emulsion not initially exposed in-camera all need to be fogged prior to the color development/blix steps.
@@Joe_VanCleave It's certainly sufficient, the prints look great. I'm just curious if changing the temperature of light at that stage would cause a shift in colors. Keep it up and thanks for sharing this stuff with everyone.
Man! That 8x10 quality is intense. I've got to order some ra4, I have a box of ra4 paper just begging to be used for this
16x20 is where all the cool kids are going.... maybe
Update the chemistry is ordered
Couldn't you guys just fix a sheet of c-41 film and use it as the filter?
interesting!
Awesome Stuff!
I will get my 11x14 camera next month. I will surely test this. Regarding the lens, you could try a Wollaston lens, which you can buy from Reinhold Schable (just google for it).
Great idea! What about the details of chemicals, sequences and timings though? Would be useful if possible...
Yes, I'll be doing a detailed video about that, when I receive my own chemicals and begin working with the process in my darkroom.
Joe will be more thorough in the future I am sure. for now: th-cam.com/video/BkcIk8M4KVc/w-d-xo.html
Is the chemical for color negative printing highly toxic? I also start thinking of enlarging color positive films in the darkroom using this method.
Wear gloves and follow the MSDS.
Thanks for the infos! I am trying now . but all the pictures come out very very blue , and blue turns red ... I added couple of BNW filters 00 and 01.. any pointers? ANyway thanks for your videos !!!!.
Try a few B & W contrast control filters, grade 0 and/or 1.
This is great, I was wondering if anybody has tried Kodak endura metallic paper as I've got a ton of that.
I have a 1050mm f4 Plastigmat B&L could make a 60x60in print !
maybe the proper color filtration is a C41 'clear' film
This Looks great.
Would be nice to get some data on first developer. I'd love to enlarge my slides with this process
The first developer was black & white paper developer. He was using Kodak Dektol (mixed into a stock solution from a powder), but you could also use the liquid concentrate type that just needs to be diluted with water to make a working solution, such as Ilford Multigrade Paper Developer. Although we haven't personally tested very many paper developers with this process, I suspect most would work fine.
The issue with Dektol is you have to mix the entire packet of powdered chemicals to make a gallon of stock solution; then dilute the stock solution into a working solution. But the stock solution doesn't last but for a few weeks to a few months. Whereas using liquid concentrate it's more economical in terms of waste - especially if your print volume is low.
The stop bath he used was photography-grade acetic acid diluted for prints. But I've also used white vinegar for B&W prints. The stop bath just changes the pH of the emulsion from base to acidic, to stop the developer action.
Color filtration will be crucial to getting accurate colors when reproducing slides. This RA4 paper is intended for printing color film negatives that have an orange-like color cast. The easier way would be if you have a color head on your enlarger, it would help you dial in the color balance easier.
@@Joe_VanCleave Thanks. So basically it is exposing and BW developing the picture in complete darkness, stopping it and then RA4. Any BW first developer can work but things to try and adjust is Developing time first developer, exposing time and filtration.
Well, sounds like a bunch of fun in the next summer
Que grandes!
Is the chemical reusable by any chance?
Yes, it isn’t a “one shot” process.
@@Joe_VanCleave that’s wonderful to hear. Great for the wallet! Thanks so much for your reply.
So how close to looking like a real Cibachrome print do these look.........I understand they are completely different processes
The problem is finding the proper color filtration during the exposure. It's largely an experimental process.
Дякую!