It also isn't going to work for C41 which has a single development step, and color neg is where I really want some control over this. It's true that the available E6 films lean more toward high saturation and in C41 we do at least have Portra, but where I'd really want pastel saturation occasionally would be for printing and since that can really only be done from E6 by hybrid methods now (sure, you can make internegs and that might work with this but it's a much more involved process with a lot more to work out) and hybrid allows you to do whatever you want with saturation.
Bleach bypass (or diluted bleach) in a jobo system will certainly give you desaturated colour - how it'll print on RA4 is anyone's guess...
I must admit I've never found myself wanting less saturation on analogue optical RA4 prints - sometimes the opposite!
E6 is like a caffeine & sugar hit, C41 on RA4 is much more subtle & holds the shadows!
Roger - you need to invest in a registration punch and frame. Contrast masking up or down is the way to go with color neg films. It's easy enough
after sufficient practice. No need to scan and manipulate digitally. But there's virtually nothing on it in print, like there was at one time for chrome
films. Other than the equipment needed, the specifics are quite different and a lot more subtle, and one needs to learn the real interrelation between contrast and saturation. The Fauxtoshop crowd tends to confuse saturation with sheer noise - turning up the volume till people can't
even discern the notes.
Drew, Stone didn't pull that film, this is done by changing FD times and generally gives you darker and less contrasty slides. Stone did incomplete CD, which gave him brighter and less contrasty slides. His reports of brownish shades indicate, that shortening CD does not underdevelop all three layers in sync. He may have more luck if he added some Acetic Acid to his CD and kept CD times the same. It looks like there is a lot of testing involved before one gets this right.
The leading mfg for registration gear for camera film was Condit, but it's getting difficult to find complete matched sets anymore, though once in awhile they do come up if you're patient. Durst had their own system, but it's even harder to find in good condition. If a person has some basic machine shop skills and access to a precision drill press or milling machine (not the kind of thing you buy at Sears), you could make your own gear or refurbish older equip. In terms of new stuff, Inglis and Radeka (sp?) have a limited amount up to 4x5, but I'm not personally familiar with it. It's easy to get punch and register gear for larger sizes of film, either used, or still in mfg from outfits like Olec-Stoesser and Ternes-Burton, but this is really matched to big sheet goods, like used in the printing industry or for large contact prints. Registering film by
eye over a lightbox can be done for the basic learning curve; but too much of that and you'll go insane.
Autochrome is more interesting to me, frankly.
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