see them; for example, when your test print has too much green, you “tell” the printer to subtract green from the filter  pack  When  your  test  print  has  too  much  magenta, you “tell” the printer to add green to the filter pack, and so on. more acceptable than color prints with a slight color cast to the “cold” side. This is particularly true when the subject  in  the  photograph  involves  people. The principles of color in theory are the same in subtractive and additive printing. The difference is that the additive printer uses the primary colors of red, green, and blue. When you make corrections on an additive printer, the printer is actually controlling the time that the additive colors are allowed to expose the paper through  either  pulsed-xenon  tubes  or  CC  filters;  for example, when your test print has too much green and you subtract green from your filter pack, the printer is actually allowing more green light to reach the paper, which produces more magenta dye in processing. When the test print has too much magenta and you add green to your filter pack, the printer is actually reducing the amount of green light allowed to reach the paper, which reduces the amount of magenta dyes produced in processing. Incidentally,  you  should  not  discard  the  test  prints. Instead, write on them the actual exposure conditions and your predicted changes to the test print. These records will help you to gain the greatest practical value from past work and to develop the judgment needed for easier  color  printing  in  the  future. Briefly defined, a standard negative is an average color negative that has been properly exposed and processed and makes an excellent print. In other words, it has been printed previously, and an accurate record of the filter pack required and other printer settings for a particular type of paper is available. A standard negative is used as a reference for comparison purposes. The standard  negative  is  useful  in  several  ways: Most  additive  printers  automatically  compensate and change the density when the filtration is changed; however, as in subtractive printing, you must achieve the  correct  density  before  making  color  corrections. COLOR  PROOF  SHEETS 12-10 Once the basic filter pack is determined for a typical negative, the same exposure conditions can be used on future prints, providing the same types of film and paper are used. A proof sheet can provide a convenient aid in printing color negatives. The same technique used for making black-and-white proof sheets on an enlarger is used for making color proof sheets. Except when you are making color proof sheets, the enlarger height and lens-to-easel  distance  should  be  kept  constant.  When you  are  making  an  8x10  enlargement  from  each negative, the same enlarger height that produces an 8x10 print should be used. When you must change the enlarger  height  from  the  negative  previously  printed, adjust the lens opening to compensate for the difference in  illumination. The standard negative is typical of the majority of negatives to be printed. When most of your negatives are outdoor shots on Kodak Gold 35mm film, the standard  negative  should  obviously  be  an  outdoor  shot on Kodak Gold 35mm film. The standard negative must be  normally  exposed,  normally  processed  through  your imaging facility, and a typical subject with typical lighting; that is, the lighting ratio and light direction should be similar to most of your production negatives. Assuming the exposure level for the contact prints is correct, exposures will be about the same when the negatives are placed in the negative carrier and enlarged. Some minor adjustments may be needed, however, to provide the highest quality print possible. Navy imaging facilities  strive  for  a  color  balance  within  05CC- because the “perfect” color print is very subjective. In most color prints, a slight color to the “warm” side is A gray card included in the image area of a standard negative is extremely helpful. The gray card can be used to determine whether the negative received the correct exposure; for example, a Kodak Vericolor III negative is properly exposed when the gray card density in the negative is between 0.65 and 0.85 when read through a red filter on the densitometer. For other types of film, consult the Photo-Lab-index to locate the proper density measurements. When used in a standard negative, the gray card must receive the same exposure as the subject. One good practice is to have a standard negative for each  general  category  of  photographic  assignments produced  by  your  imaging  facility.  These  standard negatives  should  be  produced  with  the  equipment, THE  STANDARD  NEGATIVE Comparing the printing characteristics with those  of  other  color  negatives Comparing different paper emulsions Checking processing Programming  color  analyzers  and  automated printers