B/W prints from color negatives

fotophox · May 12, 2005

This would require a filter, wouldn't it? Presumably, without a filter, the red parts of the negative would not register on the red-insensitive paper.

ann · May 12, 2005

when printing color negatives to black and white materials is accomplished much easier if one use the Kodak panulure paper, which comes in grades.
These papers must be exposed and developed in complete darkness.

We have had people use traditional b&w papers with color negatives, with some success, or complete failure. The prints made with these materials have a somewhat different look; they tend to be gainy. There will be contrast issue and increased exposure will be needed.

Have seen prints made with the traditional filters but usually because of the natural mask filters haven't been needed.

It would be best to just test what will work for you, in your environment and with your equipment.

gordrob · May 12, 2005

Have a look at the attached web site. Load the adobe file at the bottom and go to page 96 in the sample chapter of Ctein's Post Exposure book. This should answer any questions you have about Panalure or the use of any other process to get B&Wprints from color negs.

http://ctein.com/booksmpl.htm

Neal · May 12, 2005

Dear fotofox,

In addition to Panalure, Kodak sells b&w paper that develops in RA-4 chemicals. Photocolor (marketed by Paterson) sells an easy to use room temperature kit that works nicely in trays. I've read that Kodak Flexicolor chemicals also work at room temperature, but I've never used them that way.

As long as you don't mind working without a safelight (same for Panalure) there is no problem. I use examination gloves rather than print tongs when processing RA-4 to make it easier to find the print.

Neal Wydra

Woolliscroft · May 12, 2005

Panalure is wonderful stuff, although I now have to import it specially into the UK as Kodak don't sell it here any more. I think only the medium grade is still made. One of the beauties of it is that you can still use filters as you would with B&W film to darken skies etc, albeit everything obviously works backwards with a negative. As Neil says, you can't use a safelight, but you soon get used to that. Incidentally, if nothing else, it is very useful for contact printing colour film. Life really is too short to contact print in colour (except from LF obviously).

David.

Nick Zentena · May 13, 2005

Eh? Colour contact prints are relatively simple. If you keep notes then just set the enlarger and timer to the normal settings for that film. Might not be perfect but good enough if you're just proofing a roll of film. Or you could make a print with an average negative on the roll and then use those settings for the contact print.

Woolliscroft · May 13, 2005

Nick Zentena said:
Eh? Colour contact prints are relatively simple. If you keep notes then just set the enlarger and timer to the normal settings for that film. Might not be perfect but good enough if you're just proofing a roll of film. Or you could make a print with an average negative on the roll and then use those settings for the contact print.

Each to their own I guess. All I want the contacts for is film identification and am often doing batches of up to 50 films at once and the Panalure versions get done a lot faster. It just depends on what you want the contacts for.

David.

Nick Zentena · May 14, 2005

I just don't see it. You're still exposing 50 sheets of paper. Processing? RA-4 is pretty quick. Sorry I just don't understand how you're saving time.

Woolliscroft · May 14, 2005

I guess probably because being a bit of a perfectionist, I wouldn't be happy in colour unless I had the colour balance just so. In B&W I only have to worry about exposure. OK, maybe a personal failing. As I say, each to their own.

David.

gbroadbridge · May 14, 2005

Woolliscroft said:
Incidentally, if nothing else, it is very useful for contact printing colour film. Life really is too short to contact print in colour (except from LF obviously).
David.

??? I do RA4 contact sheets all the time.

Enlarger M605 height 22", f4, Focus on blades, 4 second exposure. 45Y45M. Fuji Crystal Archive. Develop 60 sec Stop 30 sec Blix 60 secs. Wash 60 secs. Dry with hair dryer 60 sec

Done

Patterson Printmaster RA4 chemistry @ 20C.

Graham.

Woolliscroft · May 14, 2005

Whatever.

David.

pentaxuser · May 24, 2005

Neal said:
Dear fotofox,

In addition to Panalure, Kodak sells b&w paper that develops in RA-4 chemicals. Photocolor (marketed by Paterson) sells an easy to use room temperature kit that works nicely in trays. I've read that Kodak Flexicolor chemicals also work at room temperature, but I've never used them that way.

As long as you don't mind working without a safelight (same for Panalure) there is no problem. I use examination gloves rather than print tongs when processing RA-4 to make it easier to find the print.

Neal Wydra

I have never tried B/W prints from colour negs but would like to try. However I am able to use RA4 paper for colour prints in a very good safelight called a DUKA 50.

Is there something different in Panalure compared to say Kodak Supra Endura or Fuji Crystal Archive which prevents the use of a safelight. Working in total darkness is quite daunting and it would appear unnecessary unless, as I say, that Panalure is quite different from Fuji or Kodak RA4 paper.

I would appreciate any comments on this. As a community we need to be sure that if we say total darkness is required then we are right. Otherwise we succeed in either putting off newcomers to this kind of printing or making life more difficult than it already is compared to our bretheren who do everything in photoshop.

kn

Woolliscroft · May 25, 2005

I think Kodak do quote a safelight you can use with Panalure. I have never bothered though. It is amazing how easy it is to work in complete darkness once you get used to it. The secret is to have everything in a known place before you start. Panalure's emulsion side feels different to the paper face, so it is easy to make sure you have it the right way up on the enlarger and the easel makes sure you put it in the right place. It's really no harder than working with film in the dark.

David.

Neal · May 25, 2005

Dear kn,

I would hate to put someone off working with RA-4 (or Panalure). I should have added that I find it very easy to work without a safelight. It is an inexpensive option, particularly if you don't plan on making a lot of prints on panchromatic paper. Check out the color printing section. There is a fellow there who is building his own safelight that is almost as inexpensive as not buying one at all.

Neal Wydra

B/W prints from color negatives

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