Great ingenuity. I am sure people are keen to see color examples. If you have any to share, would you make a new topic/post and show us ?
@mcastilha , have you tried the colour head with medium format negatives?
The M605 head I have is good for FF, but on MF, it shows fairly noticeable unevenness.
That’s a good idea for the future. For now, I wouldn’t worry about it, since I only have a few medium-format negatives, all of which have been nicely digitized by labs. The enlarger column and base are so large and heavy that I actually prefer this setup for 35mm.
As hot air rises, what I usually do is open the hole meant for the E27 bulb conversion. Since the unit is upside down, that hole ends up being on top of the halogen bulb. Raising the unit a bit could also help improve airflow, and I’ll probably try that.
I don’t have a proper diffuser or film holder for medium format, although I’d like to. I should mention that I live in Brazil, and it’s quite hard to find this kind of equipment here.
Sselvidge,
Thank you! I’ll start by sharing some color shots I took on a recent trip to the UK. They were shot on Kodak Aerocolor 100, a color negative film with a clear base, which I find nice and easy to work with. These shots were underexposed by two stops (EI 400) and then pushed one stop (N+1).
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Let me try to post it again (I deleted the previous one while trying to edit it).
Now I’ll show you the process of a (fast) digital development of a shot taken on Kodak Pro Image 100 about 12 years ago. This stock has an orange mask, so I filtered it using the enlarger color head. The first screenshot shows the original RAW file from the camera, followed by a few steps to obtain a flat file to work on in Photoshop. By the way, I think the screenshots messed up the color spaces, as they look quite different from the ACR preview—but you’ll get the idea.
