john_sutherland

thanks guys

i tried changing all of intents in proof set up to no avail. i have sent an email to ron lussier to see if he would be so kind as to offer them to me. as for a profiling system, i guess i should push my university to get some kind of set up.

thanks again,

john

I have been using an epson 4000 for quite some time now, and a problem i keep

encountering is a smudging of greens, especially in grass. I often place large

swaths of grass in the foreground of my photos, and this degrades the image

considerably and marks it as obviously digital.

I ran across an illustration of this here:

http://www.gamutvision.com/docs/smudged_pines.html

I can barely make heads or tails of this article, other than a suggestion to

turn "black point compensation" on, which i already do, or to switch to a K3

printer, which i can't.

According to Norman Koren, the problem is in the (L)uminance channel, and seems

to be something that could be fixed in photoshop (i hope). or am I wrong?

Has anyone solved this problem or found better profiles for enhanced matte and

ultracrome inks? More importantly, is this solution free or at least cheap?

thanks,

john

Other metals can have an effect on the final result of Pt/Pa prints.

i once tryed printing ziatypes on the back of fully fixed Ilford fiber

paper, wich recievced a nice red tone, although the paper did not

coat very well and bubbled in places. also, it is recomended,

pretty much universally, that you should not use a brush with a

metal ferul for any alternative process.

Havinng said that , I have also tried processing ziatypes in

heavily used trays (University darkroom), and have seen nothing

suspect

hope this helps, john

in regards to my original post, i went to toyo's site, and it is indeed true that the camera only has 14 inches of bellows extention. I honestly can't say where i got 24" from, some brain fart i supose. i've been under this impression for a since i first looked up info on the 45cf, and now my skies are a little cloudier.

bummer

john

as far as the carbon fiber to plastic ratio goes, given the low price of it i would say that it is less cf and more plastic. but that does not matter to me, i figured it was just a selling point anyway. one of the reasons that i have been eyeballing this camera pretty hard (besides its economical price) is its weight and bellows draw. i think its supposed to reach 24" fully extended, further than any of the other toyo field cameras, and perfect for closeup work (my main use of 4x5).

let us know what you think of it once you've broken it in. i have been hunting for reviews of this camera and can't seem to find any, which frustrates me because i'm thinking of getting a 45cf, but would hate to waste what little money i have on a camera that falls apart after a year or two.

john

I currently use a c220, and must say that i have never been really impressed with the sharpness of its 80mm sekor lens. while it is sharper than the yashicamat i used previously, it is a nowhere near the quality of my instructor's rolleiflex. but my c220 is the school's camera, and has been handed down from student to student for god knows how long, so this could be why it isn't very sharp. my instructor also told me that he and a friend both had a c330, with the same size lens, and his was MUCH sharper by comparison, so there may be some quality control issues when these lenses were made as well.

my suggestion would be to borrow a friend's hasselblad or mamiya rb/rz or whatever med. format cameras you can find and run a roll or two through each, choosing subjects with very fine detail, and keeping film and development the same throughout. then compare enlarged sections of each.

Speaking of film and devloper, these along with other factors such enlarger alignment/lens quaility or scanner quality (whichever process you use) can also have a great impact on the fine detail you are seeking.

hope this helps!

john