Kodak E-142 User Manual

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
*
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