Balancing act – A brief look at ECN2 vs. C41 colors

When ‘Cinestill’ film came around, I just had to try it – although I have mostly used the original Kodak Vision3 stock instead of the remjet-less Cinestill variants. Frankly, I didn’t get along with it, and I’ve been quite vocal about it on the forums, too. But a couple of years after my initial bout of experimentation, I felt it was time for a re-assessment. Here’s a brief reflection on color balance of Kodak Vision3 250D film. After all, color balance is perhaps the most pressing matter when it comes to using Vision3 films for still photography.

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Puzzling paper problem – A carbon transfer print surface anomaly

There has been this tiny problem bugging me for a couple of months. It popped up when I moved to DAS sensitized tissue for my carbon transfer prints. Some sort of micro-scale unevenness in tone. It reminded me a little bit of some form of reticulation – but not quite. But I think I’ve cracked this nut now, and it’s actually much more obvious and benign than I had imagined it to be.

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Creative possibilities in RA4 printing

Sometimes I read comments on RA4 printing like “it doesn’t allow for much creativity given the required tight process controls”. Well, I don’t agree. Recently, when I read a comment along these lines, it triggered me to list the more creative ways RA4 printing can be done. Here’s that list, with a brief explanation to go with each entry.

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