![]() ![]() ![]() All colors within a scene are recorded through varying combinations of these yellow, magenta, and cyan dyes. COLOR NEGATIVE PROCESSING In negative color film, the dye couplers produced are complimentary to the primary colors of light therefore, a blue light records as yellow, a green light records as magenta, and a red light records as cyan. Always consult the Photo-Lab-Index for the most current information concerning film and paper processes. The Eastman Kodak Company continually strives to improve their processes by making them more environmentally safe. The most common processes used in the Navy are Kodak Flexicolor for color negatives and Kodak Process E-6 for color reversal films. The type of process used depends on whether the film is a negative type of film or a reversal (slide) film. White light affects all three emulsion layers. Primary colors affect one emulsion layer only, while complementary colors affect two emulsion layers for example, the color cyan affects the blue and green sensitive layers. As discussed in chapter 2, color films have at least three emulsion layers. They are far more popular than black and white. Now, color materials have been improved and are used extensively in the Navy. It required special cameras and specialized films that could be processed only by the manufacturer of the film. At one time color was difficult to work with. Studio in Vermont are highly regarded, if you’re serious about diving into the world of digital printmaking.COLOR PROCESSING Color adds realism to photographs. Cone, for example was one of the first people to use quadtone black inks, four black inks of varying densities that produced truly neutral (or custom-toned) monochrome prints of stunning quality. Jon Cone, who has created a wide range of pigment ink sets that work in commercial printers and provide even greater tonal range for specific printing needs, most commonly (but not limited to) black and white images, especially some of the split-toning methods that originated in the darkroom. I’m not talking about the low-cost cartridge-refilling companies I’m referring to companies like In addition to the big three printer manufacturers, a small cottage industry composed of third-party vendors has arisen that provides custom ink sets. I plead guilty as should most of us in the inkjet printer world, who have mistakenly been referring to this phenomenon for years.] Metameric failure,” not metamerism, that I’m referring to above. [I’ve since been corrected-a color vision researcher helpfully informed me that it’s “ ![]() Moab, to name three, have been so successful with their natural-fiber papers, even though they don’t have the brightness that we have become used to in the world of the consumer inkjet. Glossy papers, with their slick finishes, are usually the worst offenders in terms of print life, but any paper with so-called optical brighteners-used to make a paper’s finish bright, bright white-will have some issues with either ultraviolet light or atmospheric pollutants, as Wilhelm terms gases like ozone, which can quickly break down dye inks on unprotected prints. It’s important to note that the paper (called the substrate by printer geeks) is as important as the ink in measuring print life. (You can find out just about anything in this field on Wilhelm’s site I highly recommend it if you’re interested in lots of information on the topic.) Wilhelm Imaging Research, the leader in this field. Pigment inks are much more stable and can last more than 200 years on some paper types under ideal (museum-quality lighting and framing) conditions, according to testing done by As a result, the graphic art and fine art markets turned to pigment inks. The dye inks used in most early inkjet printers exhibited signs of fading or shifts in color after a short period of time (as quickly as days, in some cases). The most important reasons for using pigment inks are archival print life and color stability. ![]()
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