| Moderated by: chrisbet, | Page:   1 2 3 |
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| Film stock - Page 3 | |
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| Posted: Sun May 26th, 2024 07:57 |
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21st Post |
Peter_LO
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chrisbet wrote:The camera was serviced by Rob at Vintage Cameras Galore - he does work for the London Camera Exchange and came recommended. Thank you Chris. I'll ask him to see if he can fix the ADR of my FM2 - I'm still puzzled how a very minor drop of the camera could break this feature.
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| Posted: Sun May 26th, 2024 08:06 |
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22nd Post |
chrisbet
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Here is his email address - sales@vintagecamerasgalore.com
____________________ If it is broken it was probably me .... |
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| Posted: Sun May 26th, 2024 10:25 |
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23rd Post |
jk
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Back in the 70/80/90s I had a colour darkroom but I found that it meant that I was spending a day or half a day locked away in the dark which was pretty antisocial. That said the Cibachrome prints I made then still look great. There was another Agfa paper that was similar to Cibachrome but used less toxic chemicals but I cant remember its product name. I will try to search for it.
____________________ Still learning after all these years! https://nikondslr.uk/gallery_view.php?user=2&folderid=none |
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| Posted: Tue May 28th, 2024 23:14 |
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24th Post |
jk
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The Agfa paper for making prints from slides was Agfachrome PE CU 310/312. More info here.... https://www.photomemorabilia.co.uk/Colour_Darkroom/Early_Agfa.html#anchorAgfaCUinDrums Agfachrome PE CU 310 and CU 312 Papers Agfa-Gevaert introduced Agfachrome paper in 1979 as a reversal colour printing paper for making colour prints directly from colour transparencies. The paper was similar in structure to the negative colour printing paper MCN Type 5 and the emulsions were coated onto a polyethylene coated paper base (PE). Two finishes were available, glossy 310 and smooth semi-matt 312. In the darkroom the paper had to be handled in total darkness. It was recommended that a first trial print was made without any correction filters in the enlarger filter draw, or the dials of the colour head set to zero, and a trial exposure made at a lens aperture of F8. Whatever the colour cast of the test print, the opposite colour filter to the cast was used to arrive at a correctly balanced print. A yellow cast was corrected by inserting magenta and cyan (blue) filters in the filter draw or by dialling up magenta and cyan filters in a colour head. The method of colour correction was exactly the opposite to printing a colour negative. In 1980, Agfachrome paper was obtainable in sizes from 5 x 7 inches to 20 x 24 inches in 10, 25 and 100 sheet packings. Pictures of the packaging are shown below.
____________________ Still learning after all these years! https://nikondslr.uk/gallery_view.php?user=2&folderid=none |
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| Posted: Tue May 28th, 2024 23:20 |
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25th Post |
Peter_LO
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Same here JK. My colour darkroom in Hong Kong could double as a sauna as it was so tiny (around 30 sq feet) but I had to keep the heater on when printing colour. In fact I brought this - and most of my darkroom equipment to the UK, but I'm not sure whether I'd like to use them again.   Click here to comment on this image.
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