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ASSESSING THE RESULTS
Particularly when you start printing , it is unlikely that you will get both the exposure and filtration right first time . Colour is , in any case , a subjective variable , and at the printing stage you may decide to alter the balance . Judging the results after printing a slide is easier than from a negative , as the original slide is at hand for direct comparison . A negative , on the other hand , can only be judged properly for colour once it has been printed , so that there is no absolute reference standard . In either case , it is a good idea to tackle the assessment in two stages . First , judge the exposure , then the colour balance .
The test print will give you a series of exposures to choose from . Keep a note on the back of the test print of the enlarger settings ; if you followed the recommendations given on page 109 , the shortest exposure will have been five seconds and for each adjacent strip an additional five seconds . Remember that extra exposure , when printing from a negative , gives a darker image , while extra exposure with a slide results in a paler print . Look for clean highlights and rich , dark shadow areas , with the majority of tones in a typical scene having average density .
Next assess the colour balance . With experience , it is fairly easy to see in which direction the image has drifted away from neutral , but it helps at the start to have a reference .
It does not matter that the images are different ; look for the same degree of colour imbalance and read the filter recommendation alongside . As you can see , negatives and slides need opposite filtration adjustment .
An alternative method is to use one of several proprietary kits for finding the best filtration . One useful tip for when you start printing for the first time , with an unfamiliar enlarger and paper , is to take a photograph that contains the two easiest colours to judge - neutral grey and average skin tones . We are so familiar with these that our eyes can discriminate colour shifts without diffi- culty . An 18 % grey card ( used for reflected exposure metering ) is ideal . The prints can then be compared next to this .
Making filtration test
Use the exposure test as a basis for estimating the likely filtration . Accurate estimation at this stage comes with experience , but at the start you may find it casier to try a few different filtrations ( right ) Do not make the changes too great , and remember to compensate in exposure for filtration changes . Make three or four exposures with different filter combinations .
This table shows filter factors from which you can calculate your new exposure to allow for filter changes - divide your original time by the factor ( s ) for the filter ( s ) you have removed . Then multiply the result by the factor ( s ) for each filter you have added second .
These strips of different colour filtrations ( below ) show the effects of using varying strengths of the primary and complementary filters . Many printers make their own customized colour cast identification chart called a ringaround . This is a series of prints made at different , known filtrations from a very well exposed negative . To make your own , start with a ' perfect ' print from the chosen negative , then make a series of prints , changing the filtration in units of ten up to 30 or 40 units in each . of the filter colours . Mark the prints for reference .
ASSESSING THE RESULTS
Particularly when you start printing , it is unlikely that you will get both the exposure and filtration right first time . Colour is , in any case , a subjective variable , and at the printing stage you may decide to alter the balance . Judging the results after printing a slide is easier than from a negative , as the original slide is at hand for direct comparison . A negative , on the other hand , can only be judged properly for colour once it has been printed , so that there is no absolute reference standard . In either case , it is a good idea to tackle the assessment in two stages . First , judge the exposure , then the colour balance .
The test print will give you a series of exposures to choose from . Keep a note on the back of the test print of the enlarger settings ; if you followed the recommendations given on page 109 , the shortest exposure will have been five seconds and for each adjacent strip an additional five seconds . Remember that extra exposure , when printing from a negative , gives a darker image , while extra exposure with a slide results in a paler print . Look for clean highlights and rich , dark shadow areas , with the majority of tones in a typical scene having average density .
Next assess the colour balance . With experience , it is fairly easy to see in which direction the image has drifted away from neutral , but it helps at the start to have a reference .
It does not matter that the images are different ; look for the same degree of colour imbalance and read the filter recommendation alongside . As you can see , negatives and slides need opposite filtration adjustment .
An alternative method is to use one of several proprietary kits for finding the best filtration . One useful tip for when you start printing for the first time , with an unfamiliar enlarger and paper , is to take a photograph that contains the two easiest colours to judge - neutral grey and average skin tones . We are so familiar with these that our eyes can discriminate colour shifts without diffi- culty . An 18 % grey card ( used for reflected exposure metering ) is ideal . The prints can then be compared next to this .
Making filtration test
Use the exposure test as a basis for estimating the likely filtration . Accurate estimation at this stage comes with experience , but at the start you may find it casier to try a few different filtrations ( right ) Do not make the changes too great , and remember to compensate in exposure for filtration changes . Make three or four exposures with different filter combinations .
This table shows filter factors from which you can calculate your new exposure to allow for filter changes - divide your original time by the factor ( s ) for the filter ( s ) you have removed . Then multiply the result by the factor ( s ) for each filter you have added second .
These strips of different colour filtrations ( below ) show the effects of using varying strengths of the primary and complementary filters . Many printers make their own customized colour cast identification chart called a ringaround . This is a series of prints made at different , known filtrations from a very well exposed negative . To make your own , start with a ' perfect ' print from the chosen negative , then make a series of prints , changing the filtration in units of ten up to 30 or 40 units in each . of the filter colours . Mark the prints for reference .
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