TECHNICAL DATA / COLOR PAPER
K OD AK PR OFESSIONAL
ULTRA III P aper
January 2003 • E-142
—NOTICE—
KODAK PROFESSIONAL ULTRA ENDURA Paper replaces
KOD AK PROFESSIONAL ULTRA III P a per. ULTRA ENDURA
Pape r also pro vi des an alt ernat iv e to K ODAK PROF ESSI ONAL
Digital III Color Paper
KODAK PROFESSIONAL ULTRA III Paper is a fast,
resin-coated multilayer paper for optical printing of color
negatives or internegatives. It provides the higher contrast
needed for such commercial applications as
point-of-purchase and trade-show materials and large
display prints. It offers consistent, high-quality output for
greater productivity and less waste. It is optimized for
commercial applications and is designed for printing with
automatic printers or enlargers.
Use KODAK EKTACOLOR RA Chemicals for Process
RA-4 to process this paper.
This paper replaces KODAK EKTACOLOR ULTRA II
Paper. It is available in sheets and rolls in F (glossy ),
E (fine lustre), and N (smooth lustre) surfaces.
ULTRA III Paper incorporates a number of technical
improvements. It provides higher color saturatio n and more
accurate colors than EKTACOLOR ULTRA II Paper. Labs
will benefit from its improved latent-image keeping, reduced
heat sensitivity, and excellent print consistency due to
improved reciprocity.
Compared to EKTACOLOR ULTRA II Paper, this paper
offers these features:
FEATURES BENEFITS
•Improved color
reproduction
• Improved highlight
reproduction
• Improved shadow
rendition
• Excellent reciprocity
characteristics
• Faster red printing speed • Higher productivity for
• More accurate reds, greens,
and magentas
• Brighter blues and cyans
• More satur ated yellows
• Truer reproduction of high-key
scenes
• Cleaner highlights
• More retention of detail in
shadows
• Easier matching of color
balance and saturation in prints
regardless of the degree of
enlargement
• Improved first-print yield from
under- and overexposed
negatives
• Easier dodging and burning
enlargements
FEATURES BENEFITS
• Excellent latent-image
keeping from 1 minute to
24 hours
• Optimized spectral
sensitivity
• Elimination of print-ou t
and thermal yellowing
• Improved processing
consistency in the lab
• Better alignment between
paper, film dyes, video
analyzer, and printer spectral
response
• Improved printing compatibility
and image quality with KODAK
PROFESSIONAL Films
• Longer print life under dark
storage conditions
STORAGE AND HANDLING
Store unexposed paper at 13°C (55°F) or lower in the
original sealed package. High temperatures or high humidity
may produce unwanted quality changes.
To avoid moisture condensation on paper that has been
refrigerated, allow it to warm up to room temperature before
opening the package. For best results, remov e the paper from
cold storage the day before you use it, or allow the paper to
warm up for the appropriate time from the following table.
Warm-Up Times (Hours) to Reach
Room Temperature of 21°C (70°F)
From a Storage
Size
8 x 10-inch
(100-sheet box)
16 x 20-inch
(50-sheet box)
20 x 24-inch
(50-sheet box)
8-inch x 575-foot roll 10 7 4
30-inch x 100-foot roll 8 6 4
40-inch x 100-foot roll 9 7 5
Handle paper carefully by the edges. The paper is
packaged with the emulsion side of all sheets facing in the
same direction. For complete light and moisture protection,
use the inner bag and the two-part cardboard box t o store the
paper.
Temperature of
–18°C
(0°F)
432
322
322
2°C
(35°F)
13°C
(55°F)
©Eastman Kodak Company, 2001
DARKROOM RECOMMENDATIONS
Handle this paper in total darkness. Be sure that your
darkroom is lighttight. Eliminate stray light from enlarger
heads, timers, LEDs, etc.
Note: Usin g a safelight will affect your results . If absolutely
necessary, you can use a safelight equipped with a KODAK
13 Safelight Filter (amber) with a 7
1
⁄2 -watt bulb. Keep the
safelight at least 4 feet (1.2 metres) from the paper. Run tests
to determine that safelight use gives acceptable results for
your application.
EXPOSURE
Printing Equipment
Expose this paper in automatic printers or enlargers
equipped with tungst en or tungs ten-h alogen light so urces o r
photo enlarger lamps (e.g., No. 212 or 302). Set up and
balance the printer or enlarger according to the
manufacturer’s instructi ons .
Do not use fluorescent lamps to expose this paper. Use a
heat-absorbing glass to remove infrared radiation. Because
voltage changes affect light outpu t and color quality, use a
voltage regulator.
Keep negatives and the equipment optical system clean.
Mask negatives to eliminate stray ligh t. You can use the
white-light or the tricolor exposure method.
White-Light Exposure Method
Control color balance with dichroic filters built into the
printer or enlarger, or with KODAK Color Printing (CP)
Filters (Acetate) placed between the lamp and the negative.
You can use any number of filters between the light source
and the negative. If you use cyan filtration, use filters with
the suffix “-2” (e.g., “CP10C-2”).
1. Start with a filter pack of 50M + 70Y to make a test
print.
2. Evaluate the test print under light of the same color and
brightness that you will use to display th e final print.
(See “Viewing”.)
3. Judge print density first. If necessary, make another
print by adjusting the exposu r e as recommended in the
table below:
4. Then judge the color b alance. You can use the KODAK
Color Print Viewing Filter Kit, KODAK Publication
No. R-25, to evaluate your test print. The kit con tain s
18 color-print viewing filters and instruction s to help
you determine filter adjustments for the white-light
exposure method.
If your
print is
CYAN
MAGENTA
YELLOW
RED Cyan Magenta + Yellow
GREEN Magenta Cyan + Yellow
BLUE Yellow Cyan + Magenta
S u b t r a c t t h e s e
filters
Magenta + Yellow
(Red)
Cyan + Yellow
(Green)
Magenta + Cyan
(Blue)
OR
Add these
filters
Cyan
Magenta
Yellow
5. Remove neutral density from your filter pack. For
example, if you determine that a filter pack of
40R + 10Y + 10C will give you a pleasing print:
a. Convert any primary filters (R, G, B) to their
subtractive equivalents (C, M, Y):
40R = 40M + 40Y.
b. Add filters of the same color: 10Y + 40Y = 50Y.
c. If the new filter pack has all three subtractive
colors, cancel the neutral density by subt racting the
smallest density value from all thr ee densities:
10C 40M 50Y
–10 –10 –10
30M 40Y =
filtration without
neutral density
If your
print is
TOO LIGHT
TOO DARK
Do this OR Do this
Open the lens
aperture to
increase the light
level
Close the lens
aperture to
decrease the light
level
Increase the
exposure time
Decrease the
exposure time
2 KODAK PROFESSIONAL ULTRA III Paper • E-142
6. Adjust the exposure for the new filter pack. An exposure
time that produced a print of satisfactory density may
not produce an acceptable density when you chang e the
filter pack. The following table gives filter factors f or
calculating exposure adjustments when you use
KODAK CP or CC Filters.
Filter Factors for CP Filters
Filter Factor Filter Factor
05Y 1.1 05R 1.2
10Y 1.1 10R 1.3
20Y 1.1 20R 1.5
30Y 1.1 30R 1.7
40Y 1.1 40R 1.9
50Y 1.1 50R 2.2
05M 1.2 05G 1.1
10M 1.3 10G 1.2
20M 1.5 20G 1.3
30M 1.7 30G 1.4
40M 1.9 40G 1.5
50M 2.1 50G 1.7
05C 1.1 05B 1.1
10C 1.2 10B 1.3
20C 1.3 20B 1.6
30C 1.4 30B 2.0
40C 1.5 40B 2.4
50C 1.6 50B 2.9
To use the factors, divide the old exposure time by the
factor for any filter you remove. If you add a filter, multiply
the time by the factor. If you add or remove two or more
filters, multiply the individual factors and use the result as
your factor. You may need to modify these factors for your
equipment.
Note: The filter factors listed in the table take into account
the effects of filter surfaces.
When you adjust the filtration in equipment that has
built-in dichroic filters, any noticeable differences in density
are due to differences in the color density of the print.
Suppose you have a print with acceptable density, but a
magenta balance. When you add magenta filtration to correct
the color balance, the print will become too light, so you
must use a longer exposure time.
A rule of thumb for magenta dichroic filtr ation is to
change the exposure time by one percent for every unit of
change in filtration. For example, if you increase the
magenta filtration by 20M, increase the exposure tim e by
20 percent. Changes in yello w dichroic filtration do not
usually affe ct the apparent print density. If you use cyan
dichroic filtration, use the filter factors in the tabl e above as
starting points for adjusting exposure.
Tricolor Exposure Method
Use KODAK WRATTEN Gelatin Filters No. 25 (red),
No. 99 (green), and No. 47B (blue) to give the paper three
separate exposures. Do not move the paper or the enlarger
until you have made all three exposures. Typical exposure
times for making an enlargement from a normally exposed
negative are given in the table below.
Times for an Aperture Setting of f/8
Filter
Red 3 seconds
Green 21.8 seconds
Blue 17.5 seconds
* For an enlarger equipped with a Photo Enlar ger Lamp No. 212 or
No. 302; the setting may vary with oth er types of lamps.
for PROFESSIONAL ULTRA III Paper
(6X Enlargement of a KODAK VERICOLOR III
Professional Film Negative)
Evaluate the test print under li ght of the same color and
brightness that you will use to display the final pri nt. (See
“Viewing”.)
Judge the print density first. If necessary, make another
print by adjusting the exposure as recommended in the table
below.
If y o u r p ri n t i s D o t hi s O R Do this
TOO LIGHT
TOO DARK
Open the lens
aperture to
increase the light
level
Close the l ens
aperture to
decrease the
light level
Increase all
exposure times
proportio nately
Decrease all
exposure times
proportio nately
Then judge color balance.
Subtract time
If your
print is
CYAN Red Blue + Green
MAGENTA Green Red + Blue
YELLOW Blue Red + Green
RED Blue + Green Red
GREEN Red + Blue Green
BLUE Red + Green Blue
from the
exposure
through
these filters
OR
Add time to the
exposure
through
these fil t ers
*
KODAK PROFESSIONAL ULTRA III Paper • E-142 3