In black-and-white printing, the controlling variables are primarily density and contrast. In color printing, the variables include density and the color of individual objects in the scene as well as the overall color balance of the print. The mood of a color print can be changed by altering the color balance. A winter landscape may be printed on the blue side to intensify

the feeling of coldness. Portraits, on the other hand, are usually warm with glowing flesh tones, reflecting health and happiness. Because of tightly controlled and standardized processing of color negatives, contrast is not a major variable in color printing. There are several color papers manufactured that provide higher than normal contrast. Generally, these high contrast papers are used for illustrative purposes and not normal pictorial photography. Consult the Photo-Lab-Index for more information on color papers.

It is unlikely that you will produce an acceptable color print on your first attempt. When you are considering the density and color balance of a test print, think in terms of the three dye layers and their individual exposures. When the paper is exposed through the color negative, the cyan, magenta, and yellow dye images control the amounts of red, green, and blue light that reach the emulsion layers of the paper. Increasing the exposure of the emulsion layers of the paper increases the dye density of that layer and vice versa.

It is helpful to think how the color quality of light affects the paper. Remember that the color negative and the color paper produce negative images. The more red light the paper receives, the more cyan dye produced. The more green light the paper receives, the more magenta dye is produced in the green sensitive layer. The more blue light the paper receives, the more yellow dyes created in the paper.

Color paper is balanced in manufacturing so a combination of magenta and yellow filters in the printer light source color balances a print from properly exposed negatives. Because of the variations in the color temperature of light sources (both picture taking and printer), processing, and light-sensitive emulsions, the required combination of filters can change from negative to negative. You must evaluate the test print in terms of density and color balance and determine which filter combination and exposure time accurately represents the original scene.

MAKING COLOR PRINTS

The procedures for setting up the enlarger and composing and cropping the image in color printing are basically the same as black-and-white printing. The major difference is that custom color printing on an enlarger must be carried out in complete darkness.

THE COLOR NEGATIVE

When making your first test print, you should use a negative that is properly exposed; it should also contain some neutral areas (ideally, a gray card). The subject matter of the negative should be typical of the printing job or of those negatives that will be printed in the future.

The negative must be free from dust and placed in the enlarger, with the emulsion side down toward the lens (base side up). The base side is facing you when you can read the manufacturer's lettering on the edges of the film. You must be sure that no stray light escapes from around the edges of the negative. Masks of black paper or black masking tape in the negative carrier prevent stray light from fogging the paper.

ENLARGER SETUP

Setting up the enlarger and cropping the image on the easel is basically the same in color printing as in black and white; however, when possible, remove the filter pack and compose and focus under white light. By removing the filter pack, you can project a brighter image on the easel, making composing and focusing easier.

Since enlarging equipment varies considerably, it is difficult to specify exact exposure times and filtration for a properly exposed print. You should start with a basic filter pack that has already been established in your imaging facility, or consult the data sheet packaged with the color printing paper or use the Photo-Lab-Index as a reference to arrive at a starting exposure time and filter pack