Black-and-White Tips and Techniques for Darkroom Enthusiasts

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Contents

• BLACK-AND-WHITE PAPERS
  • WHY USE VARIABLE-CONTRAST PAPERS?
  • ARCHIVAL ASPECTS OF RESIN-COATED PAPERS
  • TEST-EXPOSURE PRINTS AND STRIPS
  • KODAK CHEMICALS FOR PROCESSING KODAK BLACK-AND-WHITE PAPERS
  • TEST SOLUTIONS FOR PRINT STOP BATHS AND FIXING BATHS
  • HAND-COLORING PRINTS ON KODAK PROFESSIONAL P-MAX ART RC PAPER

BLACK-AND-WHITE PAPERS

KODAK PROFESSIONAL BLACK-AND-WHITE PAPERS

¹ Surface (texture and sheen)
C--Creamy, lustre
E, G--Fine-grained, lustre
F--Smooth, glossy
N--Smooth, semi-matt
S--Ultra-smooth, high-lustre
V--Suede, double-matt

² Base Weight
SW--Single Weight
MW--Medium Weight
DW--Double Weight
HW--Heavy Weight
PW--Premium Weight (extra heavy)

³ For graded papers only. Indicated by numbers after the base weight.

⁴ At 68° F (20° C) with continuous agitation.

⁵ For direct lighting, use a 15-watt bulb and keep the safelight at least 4 feet (1.2 metres) from the paper. For indirect lighting (safelight illumination bounced off ceiling), use a 25-watt bulb.

⁶ For lower contrast.

Note: Do not ferrotype F-surface RC papers. They dry to a natural gloss without ferrotyping.

Note: For more information, see KODAK Publication No. E103BP (PDF-30K), KODAK PROFESSIONAL Black-and-White Papers, available from dealers who sell Kodak products, or you can contact Kodak in your country for more information.

WHY USE VARIABLE-CONTRAST PAPERS?

Kodak offers an impressive selection of resin-coated (RC) and fiber-base variable-contrast papers to suit just about any application. Why choose a variable-contrast paper?

ONE BOX DOES IT ALL

With graded papers, lab operators must decide which grades to have on hand to meet their customers' printing needs. Usually, labs use grades 2 and 3 as their standards, keeping a box of grade 1 for those contrasty and extra-dense problem negatives. They may also keep a box of grade 5 for making high-contrast prints and prints that include phototypesetting, to bring out the blacks of the type while producing clean white backgrounds.

Often operators will find that the contrast and speed characteristics of their grade 1 and 5 papers have changed somewhat over time because they are used less frequently.

In addition to keeping different grades of paper, labs keep a variety of paper sizes and surfaces. It's difficult to predict which sizes and surfaces customer negatives will require, and therefore, waste seems inevitable.

This is no longer true with KODAK PROFESSIONAL POLYMAX II RC and POLYCONTRAST III RC Papers! One box of paper for each size and surface is all labs need to meet all contrast situations. These Kodak papers can simplify and economize the stocking procedure for any darkroom.

THE LATEST TECHNOLOGY

With variable-contrast papers such as KODAK PROFESSIONAL POLYMAX II RC and POLYCONTRAST III RC Papers, all the contrast grades are in the same box. You don't need to worry about differential aging characteristics from one grade of paper to another, and all the "grades" in the box are on exactly the same emulsion. With today's technology, we can produce much more consistent and accurate papers than ever before.

We can say with confidence that KODAK PROFESSIONAL POLYMAX II RC and POLYCONTRAST III RC Papers are the most consistent papers in the world. When these papers are manufactured, on average, they do not vary from their aim speed and contrast points by more than ¹/₆ stop. This is a level that many manufacturers have not been able to obtain with their films! Our "buy-back" program, in which we purchase and test papers from around the world, confirms these statements.

Speed and contrast characteristics are maintained over time--in some cases for more than three years. This holds true no matter where you buy the paper. These papers will be consistent from the top of the box to the bottom of the box, and from box to box--especially important for big print runs when print contrast and density must match from print to print over hundreds or even thousands of prints. Consistency also helps master printers, because they don't have to waste paper on making tests when they change boxes or paper emulsions.

EXTREMELY WIDE CONTRAST RANGE

Besides greater consistency, these papers have an extremely wide contrast range. Typically, graded papers range in contrast from grade 1 (or possibly 0) to grade 5. POLYMAX II RC Paper, with proper filtration, can produce paper grades equivalent to grade -1 through grade 5 (with POLYCONTRAST III RC Paper, grade 0 through 6). The grade range is so extreme that Kodak needed to make new grade designations. Of course, achieving these grade numbers depends on the spectral quality of the imaging light source.

This expanded contrast capability gives labs a powerful advantage. There's virtually no negative they can't print. For example, we've made excellent prints from thick, contrasty, hand-coated glass-plate emulsions, and from negatives on KODAK PROFESSIONAL T-MAX 400 Film processed in the range of 60-percent underdevelopment to 240-percent overdevelopment.

SMALLER CONTRAST INCREMENTS

In addition to having greater contrast ranges, KODAK PROFESSIONAL POLYMAX II RC and POLYCONTRAST III RC Papers also provide contrast in smaller increments than graded papers.

Because Kodak's variable-contrast papers are manufactured with a blue/green-sensitive emulsion, it's possible to change the contrast of these papers with magenta and yellow filters. KODAK POLYMAX Filters are composed of varying amounts of magenta and yellow dyes to provide contrast grades in increments of one-half grade. This lets you obtain a much closer contrast match to the negative than is possible with graded papers.

POLYMAX Filters are speed-matched in two groups: grades -1 through 3 ½ and grades 4 through 5+. This facilitates a filter change without making a difficult exposure adjustment. Additional finer values of magenta or yellow CC filters or dichroic color-head filtration can provide very subtle gradations of contrast.

For the ultimate in control, you can vary the paper contrast within the same print--something that is impossible to do with graded papers! For example, in a problem situation, you could print a landscape with a -1 filter to bring out the detail in the clouds and add density to the sky.

CURVE SHAPE DESIGNED FOR KODAK PROFESSIONAL T-MAX FILMS

As more photographers adopt PROFESSIONAL T-MAX Films as their standard, it is especially important that labs use POLYMAX II RC Paper, which was designed to bring out the best qualities of these films. And the characteristics that make it especially suitable for T-MAX Films also make it useful with more conventional films.

The curve of POLYMAX II RC Paper was enhanced to provide an extended toe to increase rendition of highlight detail. This lower-contrast slope of the highlight portion of the curve produces a much finer gradation of tones and less grain! (This is not a subtle difference; make the tests and see for yourself.)

Our surveys show that many negatives are overexposed or overdeveloped (or both). The increased lower-contrast range of POLYMAX II RC Paper is particularly useful with contrasty or overdeveloped negatives, and lets you print negatives that were impossible to print before.

In addition, the shoulder contrast of the paper curve was increased to produce greater separation of shadow tones. This higher-contrast shoulder produces blacker blacks sooner, permitting darker blacks than papers with inherently greater D-max.

POLYMAX II RC Paper is especially useful for the "matched-highlight" method of printing. To use this method, make the best print of the detailed highlights that you can, and then examine the shadows. If the shadows are too weak, try a higher-contrast filter; if the shadows are too dense, try a lower-contrast filter.

KODAK PROFESSIONAL POLYCONTRAST III RC Paper has inherently higher contrast in the highlights and lower contrast in the shadows than POLYMAX II RC Paper. These characteristics benefit those who want crisp, clean, sharply defined highlights coupled with more gradual contrast in the shadows.

SIMILAR HANDLING CHARACTERISTICS

KODAK PROFESSIONAL POLYCONTRAST III RC Paper has developer incorporated into the emulsion just like KODABROME II RC Paper. Therefore, you can expect similar development characteristics, and fast processing through a KODAK ROYALPRINT Processor. POLYMAX II RC Paper is not intended for use in a ROYALPRINT Processor. Other characteristics such as type of developer used, safelights required, drying, etc., are similar to those of other RC papers.

ARCHIVAL ASPECTS OF RESIN-COATED PAPERS

Some photographers--and photography instructors--still hold outdated prejudices toward resin-coated (RC) papers. They have serious doubts about the longevity of RC papers--even to the point of not using them for contact sheets and work prints.

Now the photo industry has had decades of experience in manufacturing RC supports. In fact, no fiber-base color papers have been on the market for quite some time. Today Kodak offers an extensive family of RC papers--with characteristics that suit just about any application you can name. In view of the advances in RC papers, let's take a look at their "archival" aspects.

HOW DO RC PAPERS DIFFER FROM FIBER-BASE PAPERS?

In the late 1960s, photographic manufacturers began to produce papers with a new type of support. They coated both sides of the paper support (the fibrous cellulose part) with a layer of extruded polyethylene resin. Then they applied the emulsion over the polyethylene.

The chief advantages of RC papers are faster processing and significantly reduced curl compared to older fiber-base (baryta-coated) supports. Because the processing solutions don't soak into the paper support (the resin keeps them out), the processing and wash times can be much shorter. These advantages are significant in both tray and machine processing.

In spite of the long-held view that fiber-base papers have superior archival characteristics, fiber-base papers may more often show problems with fading. When photographers are in a rush to get the job done, the fiber-base print may fade rather quickly because it is loaded with retained fixer (hypo). Most of the hypo in a print is trapped in the nooks and crannies between cellulose fibers in the paper support, not in the gelatin emulsion.

It is much easier to wash hypo out of RC prints than fiber-base prints. In an RC print, only the cut edges of the paper support are exposed to the processing solutions, and edge penetration of hypo is negligible. The tiny amounts of hypo absorbed through the cut edges would have to diffuse through the resin layer to get at the image. Even if that did occur, the level of hypo would not be enough to discolor the image. The old fears of "edge penetration" are unfounded.

WHAT HAPPENED WITH THE EARLY RC PAPERS?

Very early RC papers did have two big archival keeping problems that no one suspected, but they had nothing to do with hypo. They both had the same root cause. Before manufacturers discovered the cause and brought it under control, some photographers had decided that RC papers couldn't be trusted to last out the year. Today, the perception lingers, but the problems have been solved.

Put yourself in the place of the photographic engineers who needed to explain and solve the two-part mystery:

1. Reports came back from the field during the early and mid-1970s that the emulsion layer of framed and displayed RC prints (black-and-white and color) cracked in a random mosaic pattern. Similar prints that were kept in the dark, or displayed under identical circumstances without framing, were unaffected.
2. Other field reports indicated that resin-coated black-and-white prints (not color) showed unnatural fading, orange-red discoloration of the image, and a mirror-like metallic sheen in parts of the silver image. (Cracking often accompanied this black-and-white image discoloration.) This problem also occurred only in framed and displayed prints.

What was going on? Intensive research finally pointed to the culprit: the white pigment titanium dioxide (TiO₂) that was added to the polyethylene resin layer on the face side of the print to make it white and reflective. While the prints were on display, the TiO₂ pigment absorbed light energy and generated a very active form of oxygen that attacked the resin layer and caused the cracking.

Also, the oxidizing agent formed by the irradiated TiO₂ is a very small molecule. It diffused through the resin to the gelatin emulsion, where it could oxidize and fade the metallic silver image of black-and-white prints. The metallic sheen and orange-red discoloration were the result of this oxidant breaking down the silver image particles. The dye image of color papers had more resistance, so fading was insignificant. In unframed prints, the active oxidizing agent could diffuse through the resin and the emulsion to escape into the air. It was only when the oxidizing agent was trapped by a frame that the cracking and fading occurred.

When these problems became common knowledge, they supported the natural skepticism of many photographers. The conviction grew that RC papers were definitely not "archival."

Once the manufacturers understood the problem, they had to decide what to do about the generation of oxidants by TiO₂ embedded in the polyethylene resin. The usual answer was to include antioxidant compounds in the paper support and resin layers of the print.

By the late 1970s, "stabilized" RC supports eliminated the problem. Very sophisticated testing and accelerated aging procedures indicated that decades of normal display wouldn't cause resin cracking or silver-image oxidation in stabilized papers.

One unfortunate side effect of some antioxidants was a tendency to turn yellow themselves, causing a yellowish stain around the borders on both sides of the prints. Manufacturers also corrected this problem by altering the antioxidant additives.

WHAT ABOUT TODAY'S RC PAPERS?

Current Kodak products benefit from this long technical evolution, and are far superior to their predecessors.

The American National Standards Institute (ANSI) has been preparing a new American National Standard on the permanence characteristics of black-and-white photographic papers. This document includes test methods for resin cracking and print yellowing. It will form the basis for consumers to assure themselves that current RC papers are indeed safe from the earlier problems of cracking and fading on display, and yellowing with time.

The best scientific estimates of the comparative life expectancy of RC and fiber-base prints show little practical difference. Both will last for a very long time under reasonable storage and display conditions.

Believing that all RC prints are greatly inferior to fiber-base prints in terms of archival keeping has no technical basis. Specific problems such as resin cracking have been eliminated, and accelerated aging does not reveal any other inferiority.

For true long-term keeping of both RC and fiber-base black-and-white prints, we recommend treatment with a selenium, sulfide, or gold toner. This will protect the silver image from atmospheric contaminants. But today's technology ensures that with proper processing and storage, your RC prints will have a very long life.

TEST-EXPOSURE PRINTS AND STRIPS

Test-exposure prints and strips serve the same function, but are different in size. A test print is a sheet of photographic paper exposed and processed to find out if your exposure and contrast estimates are correct. (Although your first test print may look good enough to be the final print, don't be disappointed if it doesn't.)

A test-exposure strip is a 1- or 2-inch-wide strip of enlarging paper cut from a larger sheet. Because it's more economical to expose test strips than full test prints, we'll focus on test-exposure strips here.

With your negative in the negative carrier of the enlarger, focus the image and adjust the enlarger lens to a "best-guess" aperture. Turn off the enlarger. Open the easel and insert the test strip emulsion side up. Be careful to place the strip so that it records a representative sampling of important image tones in the negative. Close the easel or use masking tape to hold the strip flat, and make a series of test exposures.

Make a 5-second exposure of the entire strip. Then cover one fifth of the strip with an opaque object such as a sheet of heavy cardboard, and expose for 2 seconds. Cover an additional fifth of the strip, and expose for 3 seconds. Cover another fifth, and expose for 4 seconds. Cover another fifth, and expose for 6 seconds. This will provide a series of five exposures ranging over two stops in approximately 1/2-stop increments, as shown:

Process your test strip, and evaluate it after it dries. If the entire strip is under- or overexposed, open or close the lens aperture two stops and repeat the test.

Judge which portion of the strip has the best overall exposure. If it looks flat or muddy, use paper of a higher contrast grade or use a higher-numbered filter with a variable-contrast paper. If it has a very harsh, contrasty appearance, use a lower contrast grade or lower-numbered filter.

Now that you know the approximate exposure and best contrast, you may want to make one final test strip, with very small differences in exposure time between steps, to determine the very best overall exposure time before making a full print.

KODAK CHEMICALS FOR PROCESSING KODAK BLACK-AND-WHITE PAPERS

DEVELOPERS AND ACTIVATORS

For developing the latent image on black-and-white papers. With some papers, developer choice helps to control print tone and contrast.

Our standard developer for tray processing--a must for every darkroom. Produces neutral or cold tones with cold-tone papers and warm tones with warm-tone papers. Offers high capacity and uniform development rate. Supplied in powder form.

Produces warm tones with warm-tone papers. Supplied as a concentrated liquid that dilutes one part concentrate with nine parts water. Results are similar to those produced by EKTONOL Developer. Designed for tray processing.

Produces neutral or cold tones with cold-tone papers. Supplied as an easy-to-use liquid that dilutes one part concentrate with nine parts water. Results are similar to those produced by DEKTOL Developer, but with the convenience of a liquid. Designed for tray processing.

Provides softer contrast and increased shadow detail. Designed for tray processing. Supplied in powder form.

Liquid concentrate for machine processing of black-and-white papers. Compatible with fiber-base and RC papers. No starter required.

For use in the KODAK ROYALPRINT Processor, Model 417, for processing water-resistant, developer-incorporated papers. Supplied as a liquid.

For processing Kodak stabilization-type papers. Supplied as a liquid.

STOP BATHS

Used to stop development rapidly and uniformly, and to extend the life of the fixer.

A liquid concentrate with built-in color indicator to signal exhaustion. Dilute one part concentrate with 31 parts water. Also for use with film.

Concentrated liquid stop bath that turns purplish blue to signal exhaustion. Dilute one part concentrate with 64 parts water.

For use in the KODAK ROYALPRINT Processor, Model 417. Supplied as a liquid.

STABILIZER

For processing KODAK EKTAMATIC SC Paper in stabilization processors.

FIXERS

For removing undeveloped silver halide.

General-purpose, single-solution, hardening fixer for papers (1:7) and films (1:3). Supplied as a liquid concentrate.

A general-purpose hardening fixer for films and papers. Available in powder form.

A single-solution, liquid-concentrate, hardening fixer. For use with KODAK POLYMAX T Developer and other developers. Dilute one part concentrate to seven parts water for paper; one part concentrate to three parts water for film.

A fast-acting hardening fixer for machine or tray processing. Consists of two liquid concentrates: Solution A (the fixer concentrate) and Solution B (the hardener concentrate). Also for use with film.

Liquid non-hardening fixer for processing of resin-coated papers in continuous or roller-transport processors.

For use with the KODAK ROYALPRINT Processor, Model 417. Supplied as a liquid.

PROCESSING AIDS

For general or selective bleaching of black-and-white prints, negatives, and transparencies. Available as a two-part powder. When bleaching prints, use a weaker dilution than for negatives and transparencies. Start with one part Solution A (potassium ferricyanide) to seven parts Solution B (hypo).

Ideal when water or time is at a premium. Use to facilitate the removal of hypo (fixer) from black-and-white fiber-base papers, films, and plates. Available as a powder.

For preparing an acid hardening fixing bath. Also for use after toning.

KODAK Chemicals for Processing KODAK PROFESSIONAL Black-and-White Papers

KODAK Chemicals	KODAK PROFESSIONAL RESIN-COATED PAPERS
	POLYCONTRAST II  RC	POLYMAX II RC	PANALURE SELECT RC	KODABROME II RC	P-MAX Art RC
Developers-Tray Processing
DEKTOL
EKTAFLO, Type 2
POLYMAX T
SELECTOL-SOFT
Developers and Activators-Machine Processing
POLYMAX RT Developer and Replenisher
ROYALPRINT Activator
Stop Baths
EKTAFLO
Indicator
ROYALPRINT
Fixers-Tray Processing
PROFESSIONAL Fixer
KODAFIX Solution
POLYMAX T
Rapid
Fixers and Stabilizers-Machine Processing
POLYMAX RT Fixer and Replenisher
ROYALPRINT
Washing Aid
Not necessary for resin-coated papers

Note: Some developers may be better suited for enhancing paper characteristics. Refer to the individual product descriptions.

TONERS

The color of a toned print depends on the formula and dilution of the toner; the paper type, surface, and stock tint; and the processing. Toners extend the life of prints that may be exposed to oxidizing gases or subjected to adverse storage or display conditions.

Produces a variety of brown tones on neutral- and warm-tone papers.

Produces warm brown tones on cold-tone papers or yellowish-brown tones on warm-tone papers. Includes bleach and redeveloper.

Produces several cold-brown hues with warm-tone papers. Higher dilutions (1:20 and 1:40) provide slightly cooler tones and enhanced maximum density.

Toning Produced with KODAK Papers and Toners

*Developer used for tray processing.

Note: Follow the instructions supplied with KODAK Toners to produce the tones listed in the table. N, VS, S, M, and F indicate the degree of color change under most conditions. Toning is not as predictable as most other photographic processes; at times, prints may tone more or less easily than the information in the table indicates.

TEST SOLUTIONS FOR PRINT STOP BATHS AND FIXING BATHS

Proper processing is your first step toward assuring that your black-and-white prints will enjoy a long life. Proper processing includes use of a fresh stop bath and fixing bath.

An exhausted stop bath will cause stains on prints, neutralize the acid in the fixer, and reduce the hardening properties of the fixer. An exhausted fixer, or one that contains an excess of dissolved silver halide, won't remove all of the unexposed silver halide from the paper. As a result, prints will fade or turn yellow after a time.

To avoid problems caused by exhausted solutions, you need a simple way of determining the condition of these baths. Some stop baths, such as KODAK Indicator Stop Bath, contain an indicator that changes color when you should replace the solution. However, the appearance of most fixing baths and acid stop baths changes very little during their useful life. By preparing test solutions from the following formulas and using them according to the directions, you can check the acidity of your stop bath and the silver content of your fixing bath quickly and easily.

STOP BATH TEST SOLUTION, SBT-1

Preparing the Solution

Use a clean, dry mixing vessel to prepare the solution.

1. Start with 750 mL of distilled or demineralized water at 78° F (26° C).
2. Add 6.0 g of sodium hydroxide.
3. With stirring, add 4.0 g of bromocresol purple.
4. Mix for 15 to 20 minutes. Then add 3.0 mL of phosphoric acid (80 percent).
5. Add water to make 1.0 litre.

Testing the Stop Bath

Fill a clean, dry 50 mL test tube about three-quarters full with the acid stop bath. Add two drops of Stop Bath Test Solution, SBT-1. An acid stop bath that is still useful will remain yellow. If the acid has been neutralized, the bath will turn purple. Discard it and replace it with fresh solution.

Under a safelight equipped with a KODAK OC Safelight Filter (light amber), the yellow color is not noticeable, but the purple color appears dark.

You can also add Stop Bath Test Solution, SBT-1, directly to the tray containing the stop bath. While stirring, add the appropriate volume of test solution according to the table:

Again, if the liquid darkens under safelight illumination or turns a light purple in room light, the bath is exhausted; discard it. Do not allow prints to remain in the stop bath containing the test solution longer than 2 minutes; slight yellow stains may result.

FIXER TEST SOLUTION, FT-1

Preparing the Solution

Use a clean, dry mixing vessel to prepare the solution.

1. Start with 750 mL of water at 78° F (26° C).
2. Add 190 g of potassium iodide.
3. Add water to make 1.0 litre.

Testing the Fixing Bath Single-Bath Fixer

To 5 drops of Fixer Test Solution, FT-1, add five drops of the fixing bath and five drops of water. If a yellow-white precipitate forms instantly, discard the fixer. Disregard any slight milkiness.

Test the baths separately as follows:

First Bath: Test as described above for a single-bath fixer.

Second Bath: To five drops of Fixer Test Solution, FT-1, add five drops of the fixing bath and 15 drops of water. If both tests produce a yellow-white precipitate, replace both baths with fresh solution. If only the first bath forms a precipitate, replace the first bath with the second, and replace the second bath with a fresh bath.

STORING THE TEST SOLUTIONS

You can store mixed solutions in tightly stoppered brown glass bottles for one year.

HAND-COLORING PRINTS ON KODAK PROFESSIONAL P-MAX ART RC PAPER

Hand-coloring offers a creative option that combines photography and fine art. This technique can give new life to antique black-and-white photographs or add a unique touch to modern portraits, commercial photographs, and fine-art prints.

For best results, use P-MAX Art RC Paper to make prints that you plan to hand-color. The heavy weight, double-matt surface, neutral-black to warm-black image tone, and excellent "tooth" of this paper make it an ideal choice for hand-coloring.

BEFORE YOU BEGIN

• Work with prints that are at least 15 percent lighter than normal.
  
  
• Natural-looking skin tones are easier to reproduce if prints are toned with KODAK Sepia Toner (CAT 169 1757) or KODAK Brown Toner (CAT 146 4452).
  
  
• Color lighter tones first (e.g., fair skin) as a guide for darker tones.

MATERIALS YOU'LL NEED

• Color media
  
  
• White non-porous palette with wells for holding liquid dyes
  
  
• Applicators--sable brushes, cotton swabs, loose natural cotton, toothpicks, wooden skewers, paper towels
  
  
• Removers--kneaded rubber eraser, 5-percent clear, pure household ammonia
  
  
• Spray lacquer
  
  
• Steam source (for setting dry dyes)

USING TRANSPARENT OILS

Transparent oils such as Marshall's Photo Oils can help you achieve a broad range of results. They are easy to apply and remove, allow print details to show through, and are made specifically for use on photographs. Follow this procedure:

1. Wipe the print with a cotton tuft moistened with Marshall's P.M. Solution (or equivalent). Then dry it with a clean cotton tuft.
   
   
2. Apply small amounts of color with a cotton tuft or swab, using a circular motion. Rub the color to a thin, even layer with clean cotton.
   
   
3. Remove stray color with Marshall's P.M. Solution or a kneaded rubber eraser.
   
   
4. Clean out highlights with a dry cotton swab to give colored areas more definition. Buff highlight edges with cotton.
   
   
5. When the print is completely dry, spray several light, even coats of lacquer over the finished print.

USING LIQUID RETOUCHING DYES

Liquid retouching dyes, such as the KODAK Liquid Retouching Color Set (CAT 190 1743), are useful for creating brilliant hues in small areas or subtler effects in large areas.

For small areas, apply the dye with controlled brush strokes or a stippling action. Use distilled water to pre-moisten large areas that you plan to color. Then dilute the dyes with distilled water, and use a "wash" or watercolor technique.

You can remove liquid dye by wiping it with 5-percent clear ammonia, followed by distilled water.

USING DRY DYES

Dry dyes, such as KODAK Retouching Colors (CAT 189 0888), are well suited for coloring large areas and achieving subtle pastel tones. Follow these steps:

1. Dry the print thoroughly with a hair dryer to remove residual moisture.
   
   
2. Soften the dye cake by breathing on it. Do not use water to soften the cake.
   
   
3. Pick up the dye from the cake and apply it with a cotton tuft, working in a circular motion, and covering the area completely.
   
   
4. Buff the colored area with clean cotton until the color is smooth and even.
   
   
5. For more definition, remove color from the highlights by using cotton and Remover for KODAK Retouching Colors (CAT 194 6730).
   
   
6. Buff to blend the edges.
   
7. To set the color, hold the print 6 to 8 inches from a steam source for about 10 seconds.
   
   
8. Remove unwanted dye before steaming with remover. After steaming, you can remove color with a 5-percent clear ammonia solution.

OTHER COLORING OPTIONS

Many color media are available, each with different levels of color-fastness and ease of use. The following are just a few suggestions:

• pastels for soft-looking, large-area applications
• opaque oils and acrylics for a brush-painted look
• pencils for small details
• felt-tipped markers for selective bold colors
• oil stick for the combined qualities of opaque oils and pastels
• airbrush for even color with good control
• watercolors for delicate, luminous color
• food dyes and natural plant dyes for effective, inexpensive color
• artist's inks for a wide range of strong colors

Note: The Kodak materials described in this publication are available from dealers who supply KODAK PROFESSIONAL Products. You can use other materials, but you may not obtain similar results.

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Kodak, Kodak Professional, Azo, D-76, D-76R, Dektol, Duraclear, Duraflex, Duraflo, Duratrans, Eastman, Ektachrome, Ektacolor, Ektaflo, Ektagraphic, Ektamatic, Ektamax, Ektapan, Ektonol, Elite, HC-110, Kodabrome, Kodabromide, Kodaline, Kodalith, Microdol-X, P-Max, Panalure Select, Photo-Flo, Plus-X, Polycontrast, Polymax, Precision Line, Readyload, Royalprint, Selectol-Soft, T-Max, Technidol, Tri-X, Verichrome, and Xtol are trademarks.

O-3 • Revised February 2002