Kodak Endura starting point CMY

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ericdan

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I usually print on Fuji Pro paper and C(0) M(0) Y(50) works very well as a starting point for outdoor daylight frames.
What's a good starting point for Kodak Endura paper?
 

mnemosyne

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I usually print on Fuji Pro paper and C(0) M(0) Y(50) works very well as a starting point for outdoor daylight frames.
What's a good starting point for Kodak Endura paper?

Telling from my (admittedly limited) experience, it is highly unsual that you have determined a yellow only filtration for your paper. I have never experienced such filtration for a normal daylight shot, but then I am not an expert at all in RA4 printing. Maybe the type of light source or the paper itself plays a role.

To answer your question, I have only once directly printed Kodak (EP) and Fuji (DPII) paper alongside from the same negative trying to mach the look as exactly as possible. According to my notes the result was the following:
Kodak EP: 67Y / 85M / 35ND
Fuji CA DPII: 77Y / 82M / 42ND
10 ND values equal to about 1/3 stop of exposure.
However, when I look at the two prints now, the Kodak one seems to have ever so slightly more yellow in the midtone greys.
So it could well be that the ideal yellow filtration was a bit closer (higher for the Kodak) than I thought at the time.

I am sceptical that this of any relevance to you, because the details of the filtration will differ depending on the negative, the enlarger, the age of the halogen lamp, the age of paper, the type and temperature of processing etc. I am also not sure that the Fuji pro paper you purchase in Japan is directly comparable to Fuji pro paper that is manufactured and sold in Europe or the US.

It would be interesting to hear about your experience with the Kodak paper.
 
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ericdan

ericdan

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Printing Ektar on Endura paper I found that 0C 65M 50Y works very well as a starting point for daylight shots. I'm sure this also heavily depends on the enlarger being used.

6e699f940fc5c048387bbdb91e62d6d7.jpg



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Photo Engineer

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You will find that on the same enlarger, the same pack within a small variation will work for the majority of color prints on the same Paper sold in the same locale and developed using the same chemistry.

PE
 
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ericdan

ericdan

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well in that case... all my film was bought at the same store, all my film was developed at the same store, and all the paper I printed that day came from the same package.
The same starting point worked for Superia as well as Ektar actually.
 
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ericdan

ericdan

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For 5x7 prints I found it hard to get decent exposure times.
They were just to short, even at f/16, so I actually added ran at 30C 95M 80Y
 

mnemosyne

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Results look good! :smile:

A neutral density filter wheel in a color head comes in handy when printing color, especially when fine tuning exposure on small prints. Unfortunately quite a number of color heads (even pro ones) don't have that. When running out of options to extend exposure time one can also use camera ND filters on/under the enlarging lens.
 

BMbikerider

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I just cannot get on with FUJI Crtstal Archive paper and when dealers in UK offered rolled Kodak Endura paper that was like Manna from Heaven.
It is so stable with a lot of lattitude with filtration/negs. Like a lot of others I am usually in the 50Y 55M range with an LPL enlarger. Mt RA4 developer is Kodak Ektacolor used in a deep tank Processor (Nova 12x16 3 bath).

I think it seems to be about 1 stop slower than the Fuji equivalent so small enlargements can be handled with ease.

I have also made a paper dispenser to handle a 300mm" x 80M roll and I can run off and cut 12 x16 sheets or smaller down to 5" wide.
 
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