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Old 19th August 2015, 09:34 AM
Martin Reed Martin Reed is offline
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Default Colour via BW Separations

Did a quick test of something I'd meant to do for a while, red, green & blue separations on B&W panchromatic film (Fomapan 200 in 120 in this case). Using the tricolour separation filters 25, 58 & 47B.

Processing was Ilfotec LC29. Scanned, & then put into a Photoshop file as RGB 'channels'. No adjustments apart from increasing brightness, as the negs were underexposed (& possibly underdeveloped, guessed temperature as the thermometer had packed up).

Was amazed at the 1'st time result (hopefully attached) & intend to take it a lot further. Has anybody else experimented along these lines?
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Old 19th August 2015, 12:00 PM
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Argentum Argentum is offline
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I shouldn't ask but WHY?
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Old 19th August 2015, 12:03 PM
marty marty is offline
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Hi, there. Indeed amazing and promising result, certainly opens a new world of things to play with. It's something I've wondered about but never really got to point of trying it out.
Good luck and good light with your experimentation.

Cheers, M.
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Old 19th August 2015, 01:43 PM
JOReynolds JOReynolds is offline
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Default Congratulations!

Yes, I have made many masks and separations in the past, but I must take off my hat to you for doing it on 120 film. Your registration is almost perfect - how did you manage that in Photoshop? I used to rely on a punch and a pin-registration panel (a bit like a carving board with blunt spikes) to reassemble the image.
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Old 19th August 2015, 02:05 PM
Martin Reed Martin Reed is offline
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Originally Posted by Argentum View Post
I shouldn't ask but WHY?
Well, it's a new trick, innit? There's quite a few reasons why I'm personally interested, but the strongest one is in having a crack at working back towards the commercial 3-filter processes, the best known probably Vivex, as used by Madame Yvonde in the 1930's, which in my opinion are some of the most beautiful colour portraits ever made;

http://www.users.waitrose.com/~felice/godessgallery.htm

Because it's 3 separate exposures through dense filters it limits the subject matter, & is obviously very difficult with live subjects. But there might be some compensation in different, & possibly expanded colour values than from what's left of the chromogenic films. And there are some quirky things that show up, such as the colour shimmering on the fence in that test, from shadows of moving foliage.

But a more general reason, if it is possible to relatively easily produce colour images from boring old B&W film, isn't that another factor that might interest people & draw them into analogue photography?
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Old 19th August 2015, 02:06 PM
Mike O'Pray Mike O'Pray is offline
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This looks really good, Martin.If anyone has the time I'd appreciate some info or a link to such info that explains what is required to do this in a darkroom.

There is someone in the U.S. who makes excellent pin registration equipment for things like "contrast masking". Not cheap of course but excellence seldom is. I have even looked at his excellent site but I have now forgotten his name

Mike
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Old 19th August 2015, 02:27 PM
Martin Reed Martin Reed is offline
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Quote:
Originally Posted by JOReynolds View Post
Yes, I have made many masks and separations in the past, but I must take off my hat to you for doing it on 120 film. Your registration is almost perfect - how did you manage that in Photoshop? I used to rely on a punch and a pin-registration panel (a bit like a carving board with blunt spikes) to reassemble the image.
Well, I'd like to say it was months of patient research, but no, I did a search & found this very well written procedure by Scott Bilotta;

http://www.vintagephoto.tv/photoshop_assembly.shtml

The main concept is copying the images into Photoshop using 'channels' - previously I'd tried fiddling about with layers & got somewhere, but it wasn't very satisfactory. Once set as the channels each of the images can be tweaked for contrast, brightness etc.

Also by assembling the images before copying using the 'Script ~ Load Files into Stack' options that takes care of registration & apparently even rotates if necessary.
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Old 19th August 2015, 02:40 PM
Martin Reed Martin Reed is offline
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Originally Posted by Mike O'Pray View Post
This looks really good, Martin.If anyone has the time I'd appreciate some info or a link to such info that explains what is required to do this in a darkroom.

There is someone in the U.S. who makes excellent pin registration equipment for things like "contrast masking". Not cheap of course but excellence seldom is. I have even looked at his excellent site but I have now forgotten his name

Mike
Seriously, Mike, I just had a bash. If you've got the camera well mounted, all you need is the filters, then follow the loading into Photoshop as written up by Scott Bilotta. So if I got that on a first attempt, it intrigues me what might be obtainable using a lot more fine tuning.

Eg. all the different film types, including ultra high speed grainy like Delta 3200. Then the influence of different developers, such as pyro, or sharp-working like Rodinal. But there's high colour saturation, so possibly soft & fine grain treatment might work well.
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Old 19th August 2015, 03:06 PM
Martin Reed Martin Reed is offline
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Quote:
Originally Posted by JOReynolds View Post
Yes, I have made many masks and separations in the past, but I must take off my hat to you for doing it on 120 film. Your registration is almost perfect - how did you manage that in Photoshop? I used to rely on a punch and a pin-registration panel (a bit like a carving board with blunt spikes) to reassemble the image.
I've got to stress this isn't a darkroom related process at all, apart from loading the tank & processing the film. That's why it's so simple, all that's involved is the 3 exposures, processing then scanning & assembly in Photoshop. Although you might spend time tweaking, the basic Photoshop sequence only takes a minute or so.
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Old 19th August 2015, 03:47 PM
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Fair enough, just wondered.
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