Roger - I should have stipulated that Bob's original query was in fact in reference to
color separations. He is taking the path of scans corrected in PS then output on the
Lambda, while I personally use an extemely precise narrow-band colorhead, so the
nature of his problem is analogous to the kind of work I sometimes do. The more variable one can pin down and not worry about, the better. It's can be hundred times more complicated than simple black-and-white printing, but fun and rewarding too.
I understood Drew, no problem.
But the discussion seemed to diverge in usual forum fashion to include the idea that HC110 is so unique it's very difficult if not impossible to reproduce. That may in fact well be true. I note that the Freestyle product says it lacks the color and viscosity of the real stuff. But they do say it works at the same dilutions, times, and temperatures to produce substantially similar results (or words to that effect,) at least in the usual pictorial photography, so HC110 may not be all that special, or it may be special in ways that don't much matter for usual pictorial photography but could for color separations.
Roger - the main point is standardization. Once a substitute product appears, one
must assess the probability of it being around awhile. In these times, that's getting
more and more difficult. I had the forethought to work out separation negative formulas on both TMY and TMX film, with the assumption that if one got cut from the
list, it would be TMY first. And indeed, 8X10 TMX appears that it will be the more
difficult of the two to acquire in the future. For the moment, HC-110 looks like it
has a secure following in North America. If it goes, then people like me will be tempted to try a substitute, or formulate a new one. That's something I started working on two years ago but don't consider a priority. The key would be whether
or not a particular developer can produce a straight line at a very low gamma.
Nope, I was wrong.Originally Posted by Keith Tapscott.
Thanks for all the replies , I posted on hybrid and APUG and have received lots of information to digest.
Drew is correct, I am worried about moving forward and being consistent, as this project develops*pun intended* I may output film for others and I am very concerned about repeatability , consistent quality , and a method for those people interested in this film to gage where their files need to be in regards to numbers.
I suspect it will be as simple as giving out L channel numbers as end points for specific processes and leave it at that , time will tell. Maybe I will be able to provide my profiles for the processes we work on , not sure yet.
The key to me is the developer and its relationship to the large area of film it is trying to attack and for that my developer, once chosen should not change and be locked into the workflow.
I thank all of you for your suggestions.
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