Direct camera exposure on Ilfochrome

[Alan Davenport]

It's been done. I saw a webpage some time back, don't remember whose, for someone doing just this. He/she was determining the basic filtration for the batch of paper, using that in the camera, and exposing 8x10s directly, developing and selling. He/she would expose a bunch of sheets any time there was a good subject...

This whole thing sounds outrageously entertaining to me, but I suspect the initial learning curve will be expensive.

[bob carnie]

John Smith's posts says it all and looks a lot like the prints I have made using cibachrome paper in the camera.
Studio still lifes would be an easier subject matter in regards of the testing and consistant lighting and colour balance that is required .

[SAShruby]

You need also add UV filtration too. I did it as well. If you want to have satisfactory prints you would need:

Color meter
CC filters
UV Filter

Cibachrome Processor or trays.
Special chemistry P-3 for manual or P-30 for processor.

8x10 Camera
Film Holder
Lens
3-4 stage filter slot

Lots of time
Lots of paper
Lots of testing
Lots of patience
Good stomach (stinky processing)


Reward: Priceless.

[Wayne]

You need also add UV filtration too. I did it as well. If you want to have satisfactory prints you would need:


Cibachrome Processor or trays.
Special chemistry P-3 for manual or P-30 for processor.

I'm confused by this selection. P30 (or the new Pwhateveritscalled...3.5?) should work just as well if not better than P3 in trays I would think (drums would be better), and P3 is intended for use in processors. Its been a few years since I've done cibas, am I forgetting something?


Wayne

[SAShruby]

I'm confused by this selection. P30 (or the new Pwhateveritscalled...3.5?) should work just as well if not better than P3 in trays I would think (drums would be better), and P3 is intended for use in processors. Its been a few years since I've done cibas, am I forgetting something?


Wayne

P-3 is for trays and P-30 is specially designed for processor.
HTH.

[Marco Annaratone]

I have been doing it for more than a year now. All the info I found on the net was either grossly incomplete or pure rubbish, I must say.

There are complex relationships between color temperature shift and reciprocity issues (that create not just a variation in exposure times but color shifts as well). It can all be worked out with a lot of effort, an expensive set of filters (Lee), a good color temperature meter, and the school of hard knocks. All this if you want to get a really white snow, for instance (as it should be, at least for me). If you relax some of your constraints and accept a slight (but often pleasant) color cast the whole process gets much simpler.

I develop in a Jobo drum, and here too you have a number of variables that ought to be taken into account.

It is not rocket science but calls for lots of experimentation.

Good luck!

[Wayne]

P-3 is for trays and P-30 is specially designed for processor.
HTH.

OK you said it again but you are still mistaken. Both P3 and P30 are designed for use in processors. P30 is specifically designed for home use, which generally means tubes or small processors like the ICP-42 or Cap-40. P3 is intended for large commercial processors. P30 can be used in those home processors without titanium rods, unlike the much stronger P3 (bleach) which will destroy steel rods. Neither is designed for use in trays, although a small number of people do it anyway. I think I've heard of a half dozen, with me being one of them, very temporarily. Even the weaker P30 bleach isnt fun to work around in open trays.


Wayne

[SAShruby]

I have been doing it for more than a year now. All the info I found on the net was either grossly incomplete or pure rubbish, I must say.

There are complex relationships between color temperature shift and reciprocity issues (that create not just a variation in exposure times but color shifts as well). It can all be worked out with a lot of effort, an expensive set of filters (Lee), a good color temperature meter, and the school of hard knocks. All this if you want to get a really white snow, for instance (as it should be, at least for me). If you relax some of your constraints and accept a slight (but often pleasant) color cast the whole process gets much simpler.

I develop in a Jobo drum, and here too you have a number of variables that ought to be taken into account.

It is not rocket science but calls for lots of experimentation.

Good luck!

Marco,

I agree, it takes a lot of effort and investment to achieve the desired result. Color balance is a very important step, and before you can even take one picture, you need to find out the initial color filtration for your paper and add it to your overall color correction of the scene. You need to take out the UV light completely, so UV filter is a neccessity.

Cheers,

[ralphotos]

Yes I did fabricate a couple of cameras to do daylight exposure on Ilfochrome. I am presently doing 16x20 images with a custom built camera that has a built in mirror for image reverting. I use an apo artar 24 inch lens which gives even illumination at f25 which will require exposure times of 3 to 5 seconds in full sun. My ilfochrome deluxe super glossy looks color balanced using an 85 filter and warming polarizer filter fuzed together with mineral oil and placed at the nodal point in the lens. Normal processing seems about right or some first developer dilution with increase in process time will reduce contrast some. Asa seems about 2 so do a little experimenting. This is a great way to get one off images of super sharp quality and nice color. Good luck , Ralph

[Drew Wiley]

P-3 and P-30 give the same results. The pro version P-3 is much more economical to
use. You'd have to be insane to use either in a tray unless you have a donor for a
lung transplant. Best to balance your studio lights with gels over them, rather than
piling up a lot of filters on the lens itself and compromising sharpness. And remember,
what works when your paper is fresh will need to be altered as the paper gradually
ripens.