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> Foma 131 dry down |
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#1
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Foma 131 dry down
Hi pals.
I did my own tests with this paper yesterday and I am a bit surprised by the results. I tried (Les McLean's method) dry down time compensations from 8% to 20% (in 2% steps) a no one was right compared with the wet strip. It is possible for this paper to need a further compensation? |
#2
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Quote:
__________________
"To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which will never be seen again" Ralph Waldo Emerson. Timespresent Arenaphotographers |
#3
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Hi Trevor. Glossy surface.
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#4
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No way!!!!!!
It was my mistake. I am using a stop clock pro timer and I set the compensation in positive. I set +09% when I had to set - 09% I will make tests again. |
#5
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Easily done - now looking forward to your new test results
__________________
"To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which will never be seen again" Ralph Waldo Emerson. Timespresent Arenaphotographers |
#6
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#7
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Following Les's procedure I use -12% for MGFB Matt
To be honest it that number is a bit of a compromise - the highlights would need less but the shadows really block up as the paper dries. However, when you settle on a value of compensation, it is a terrific technique for managing dry-down Incidentally, I too made the mistake of adding compensation when I first tried the exposure for the dry down test. I hadn’t realised Richard had cunningly adding both positive as well as negative compensation factors. The positive factor is required for some toning processes, apparently. Martin |
#8
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Doesn't that suggest that a contrast adjustment factor is also required; a change to a slightly lower grade?
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#9
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Some people think of "wet-up" rather than dry down in which case they'd want to give test prints more exposure. I heard somewhere that some toning processes can reduce overall density requiring a positive compensation. So you have the option of positive or negative .
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#10
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Quote:
I settled on -12% as it seemes to represent the mid tones best I like the results I can get with MGFB Matt but it isn't the easiest paper to work with Martin |
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