Why use color film?

[Drew Wiley]

Brian - my apologies for the confusion. I don't publish my own masking methods, though I'm not deliberately trying to keep them secret. But if you did compare my own methodology with Stephen's then with someone like Chris Burkett, you would
discover three very different approaches which all work at the practical level. Masking is a whole field to itself, and to some of us at least, fun and visually rewarding.

[Alan Davenport]

I understand why LF photographers use B&W film ... But why bother with color film?

To quote my dad: Not "no", but "why"?

Because B&W film, in general, is not conducive to color photography.

[Robert Hughes]

For example ...?

[Chris Strobel]

Brian - my apologies for the confusion. I don't publish my own masking methods, though I'm not deliberately trying to keep them secret. But if you did compare my own methodology with Stephen's then with someone like Chris Burkett, you would
discover three very different approaches which all work at the practical level. Masking is a whole field to itself, and to some of us at least, fun and visually rewarding.

So how does one learn these masking techniques?

[sanking]

For example ...?

That looks like three-color work with B&W film using separation filters?

Fact is, one can do some outstanding color work with B&W film making separations through Red, Green and Blue filters.

Sandy King

[Alan Davenport]

Fact is, one can do some outstanding color work with B&W film making separations through Red, Green and Blue filters.

Sandy King

s'true. That's why I said, "in general." Few photographers, even large format types, are going to be willing to make three separate negatives, then combine the channels. That's why I use color film.

[Drew Wiley]

Robert - makes me wish I had a three-shot camera. If I was doing studio still-lifes I'd
set up a big process camera with a pin-registered vacuum back and do all my color work with black-and-white film.

[Drew Wiley]

Chris - there are people like Howard Bond doing masking workshops for black and white, but color is much more specialized depending on the exact print media. Bob Pace was the last person I know of who attempted to put out a detailed manual, offering one for dye transfer and another for Cibachome, but copies of these are hard
to find and many aspects of each media have changed since then. Ilford published very
elementary masking instruction with their books back in the 70's, but most people already know the ABC's. Very few people mask color negs (two of us have just posted). It is also difficult to acquire registration equipment unless you are patient. Condit formerly made it. There are a couple outfits which mfg 4x5 kits but not 8x10;
and another one which will take your money and deliver nothing. If you have basic machine shop skills you can make your own. The fact is, most of the knowledge base for this kind of work, as well as the relevant equipment, fell under graphic arts or prepress usage. For larger film there are multiple sources for punch and register supplies, or you can search fleabay under Industrial rather than Camera to find lots of used stuff. Registration Punch usuall works, or Film Punch. You also need a matching
pin glass in a contact frame. After that it's all details - kinds of filtration, special
developers, on and on. Sometimes the older photo books including Kodak Graphic Arts
guides from the 40's,50's,and 60's contained useful information. Otherwise, you pretty
much have to ask specific questions on a forum like this one.

[Ivan J. Eberle]

Ektar 100 is great stuff-- but it's been available in 35mm for more than a year, almost a year now in 120 roll film.

[Chris Strobel]

Chris - there are people like Howard Bond doing masking workshops for black and white, but color is much more specialized depending on the exact print media. Bob Pace was the last person I know of who attempted to put out a detailed manual, offering one for dye transfer and another for Cibachome, but copies of these are hard
to find and many aspects of each media have changed since then. Ilford published very
elementary masking instruction with their books back in the 70's, but most people already know the ABC's. Very few people mask color negs (two of us have just posted). It is also difficult to acquire registration equipment unless you are patient. Condit formerly made it. There are a couple outfits which mfg 4x5 kits but not 8x10;
and another one which will take your money and deliver nothing. If you have basic machine shop skills you can make your own. The fact is, most of the knowledge base for this kind of work, as well as the relevant equipment, fell under graphic arts or prepress usage. For larger film there are multiple sources for punch and register supplies, or you can search fleabay under Industrial rather than Camera to find lots of used stuff. Registration Punch usuall works, or Film Punch. You also need a matching
pin glass in a contact frame. After that it's all details - kinds of filtration, special
developers, on and on. Sometimes the older photo books including Kodak Graphic Arts
guides from the 40's,50's,and 60's contained useful information. Otherwise, you pretty
much have to ask specific questions on a forum like this one.

Maybe I'll just stick with b&w