(1) The density range of a color print is much lower than that of a
transparency viewed by transmitted light.
Therefore, evaluate prints for
density not by comparing them to the transparency but by examination of
highlight and shadow densities.
(2) Remember that just like exposing reversal color film, when making
exposure corrections for reversal paper, add exposure time or intensity
(f/stop) to make a lighter print; subtract time or intensity to make a
darker print.
b. Color Balancing. The easiest way to evaluate the color balance of a
reversal color print is to compare it to the original transparency.
(1) Judge the middle tones to see variations of color in the middle
tones of the transparency. If it is hard to determine the color that is in
excess, view the print through filters such as those in the Kodak Color
Print Viewing Filter Kit.
(2) In printing reversal color paper, the filter which makes the
print look best represents the correct color to add to the printing light.
This is unlike printing color negatives where the color of the filter which
makes the print looks best is subtracted from the light.
Use figure 5-1 to help you determine filter pack changes for color reversal
paper.
Figure 5-1.
Filter pack adjustments for reversal
(3) When making changes to the filter pack, remove filters whenever
possible; e.g., if the test print has an excess blue color, remove magenta
and cyan filtration rather than adding yellow.
5-5
SS0514
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