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  #31  
Old 1st September 2015, 05:07 AM
robinb robinb is offline
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thanks martin

I have been working on a alternate frame rgb idea for a few months
nothing to do with film or darkroom but but possibly interesting anyway

robin
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  #32  
Old 1st September 2015, 09:06 AM
Martin Reed Martin Reed is offline
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Quote:
Originally Posted by Mike O'Pray View Post
...The buses and trams which I assume were bright red appear to be a muted orange but did not look strange. In fact had you not known there were red they looked perfectly natural.

Certainly the film looked as good as some of the early 50s to 60s super eight stuff you see which were genuine colour film. The muted colour look is one I favour anyway

I recall in the 1950s and early 60s seeing I think cinema films which were called Eastman Deluxe which I preferred to Technicolo(u)r.

Interestingly nearly all cowboys films were heavily saturated Technicolor which I assume the makers thought suited the Old West genre …
The Technicolor of the 1950's would still have been the 'dye transfer' system from 3-strip negatives, & most film makers turned the saturation up till it hurt. But it was possible to use it to make subtle colouration as well. Powell & Pressburger's 'A Matter of Life & Death' used it to fade the colour to & from monochrome.

Friese-Green seems to be undergoing re-evaluation because after restoration it's actually possible to view his films reasonably easily. The alternate dark frames of red & green primary colour apparently made for a migraine inducing experience!
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  #33  
Old 1st September 2015, 09:24 AM
Martin Reed Martin Reed is offline
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Originally Posted by robinb View Post
thanks martin
I have been working on a alternate frame rgb idea for a few months
nothing to do with film or darkroom but but possibly interesting anyway
robin
Hi Robin, regarding the more specialist filters, just found to my surprise that Kodak still have a large range of Wratten filters available through their motion picture division. They disappeared from the professional catalogue years ago. Includes the steep cut tricolour filters 29, 98, 99, etc;

http://motion.kodak.com/motion/Produ.../wrattten2.htm
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  #34  
Old 20th October 2015, 09:47 AM
Martin Reed Martin Reed is offline
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Default Ag Magazine Tricolour

Have attached a PDF reprint of an article by William Curwen who's worked extensively with tricolour photography, and written a scholarly overview of the technique. I missed it when it was first out!

This is from the late Chris Dickie's AG magazine, Autumn 2005. I'm sure the author or Chris would approve of recirculating it.
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File Type: pdf Colour_Combination_Ag_41_Opt.pdf (2.57 MB, 283 views)
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  #35  
Old 20th October 2015, 10:26 AM
Lostlabours Lostlabours is offline
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Thanks Martin.

Ag magazine was a valuable resource, we could do with something similar today.

Ian
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  #36  
Old 20th October 2015, 11:07 AM
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Domingo Domingo is offline
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Thanks for this great article, Martin.
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  #37  
Old 21st October 2015, 07:55 PM
Martin Reed Martin Reed is offline
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A new invention, CHOCO-COLOR! Save on filter costs while working your way through a tin of Quality Street. A bit more R&D required, this wasn't onto film, just did 3 (d*gital) shots onto my phone, hopefully film will be a bit more tolerant. But a bit surprised it's working first attempt.
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  #38  
Old 23rd October 2015, 12:43 PM
Martin Reed Martin Reed is offline
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Default Toffee-Color Actually Works!

After a problem with the Hazelnut Toffee switched to the Cocoanut Cream (more blue) & those 3 out of the Quality St selection, when used as filters gave this result.

The muted colour is surprisingly accurate, I just adjusted to match the grey scales on each of the 3 negatives. Taking saturation up +40 gets it to the sort of saturation one expects from modern colour materials, while again staying quite accurate.
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  #39  
Old 23rd October 2015, 08:53 PM
Jerry Bodine Jerry Bodine is offline
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Quote:
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
You are likely thinking of Lynn Radeka:
Website - http://www.radekaphotography.com/
Masking Kits - http://www.radekaphotography.com/maskingkits.htm
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  #40  
Old 23rd October 2015, 09:58 PM
Mike O'Pray Mike O'Pray is offline
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That's the man, Jerry. Thanks

Mike
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