The advantage of measuring each bottle and dividing by 2 or whatever number of batches you are making is that you then compensate for any error in your own measuring device.
So hrst, as you have used this kit, does part 2 contain less than 100ml?
BTW: although you have to use three bathes, they call it two bath kit, because they don't count the STAB as bath.
So hrst, as you have used this kit, does part 2 contain less than 100ml?
Anyway, my point was that with 1 liter kit you certainly can mix it all at once. It is so much easier and "safer" that way against any kind of measuring errors.
It may be that the instruction is wrong about splitting, and you should have mixed the whole liter at a time without measuring anything; or, it can be that the instruction and concentration is right and they put a wrong amount in the bottle.
However, I have a "feeling" that the most general way for color chemicals is that the bottles have the actual, correct amount that, when mixed as instructed, will give right concentrations.
But again, can't know about Tetenal. Maybe you should ask them.
Here I can only get the powder Tetenal C-41 kit delivered to me.
I (clumsy European) strongly prefer liquids as they completely avoid the hassle with mixing and undissolved residues in the bath. Also, if the volume in the bottle of concentrate is as advertised, partial mixing is much easier with liquid concentrate than with powder.Manufacturers probably feel that Europeans are too clumsy to deal with all those intimidating powders.
I thought of this but I figured that Tetenal will never admit to a filling mistake. I wouldn't if I were them. (Perhaps I'm being a bit too negative here.)
Maybe they were lucky to have mostly non-complaining customers.
I wouldn't worry about possible discontinuation of RA4 paper in the near future. Don't forget that a lot of digital images get printed to RA4 paper via light jet, since it still seems to be cheaper and/or more durable than color inkjet prints. Obviously a lot less is printed today than ten years ago, since most digi snappers are content with looking at their photos on the LCD screen of their cameras. But still: the availability of RA4 paper does not only depend on the few remaining color film shooters, so it should be around for a while.Also, looking at what's available for RA4 (paper especially), I'm starting to have doubts about the process's future.
I received a 575 foot roll of Kodak Supra and 100-8x10" packs of Kodak Endura and Fuji Crystal Archive II last week. I don't think RA-4 paper is going to run out soon.
Two workflows? Enlarger, adjust dichroic head mixing box for contrast (B&W) or color balance (RA-4), expose paper, develop, stop, fix (OK, blix), wash, dry... what is the difference in workflow to which you refer???
Will printing on 'digital paper' give an as-good result? Is it hard/harder to get the colours right? Those are concerns I have.
I much prefer condensor enlargers for b&w, so that means two enlargers. I use different trays for colour and b&w; the colour chemistry especially is hard to remove from plastic trays, IME. I use different lighting to judge the colour prints. Also a different safelight. Different paper & chemistry, obviously (anybody use their colour stop bath for b&w?). Washing and drying are different (I use FB for b&w): no toning and no 'hypo-clear' bath for RA4, no taping it to a glass to dry flat.
Both processes happen in the same darkroom; that's about how far the overlap goes, for me at least.
I received a 575 foot roll of Kodak Supra and 100-8x10" packs of Kodak Endura and Fuji Crystal Archive II last week.
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