>>3471896What do you need to know anon?
Colour prints (RA-4) are a bit of a hassle. You have to work in complete darkness. Printing and developing them is treated like developing film:
once you have the enlarger focused and the filtration dialed in, easel fixed in place, turn off the lights and load the easel with the paper by feel. expose it, load the paper into a drum (it's essentially an enlarged dev tank), then turn on the light.
Then develop like film, pouring the chems in and out of the drum, according to the specified times.
Once done, check exposure and colour balance. Use a viewing filter set for colour balance, or waste a shitton of time and paper while figuring it out manually. A viewing filter set is a piece of cardboard with little windows cut out, each window covered with a different plastic film, of different colour and density. You look at your print through the different colours, and the one that makes it look the most neutral (or to your liking), you check the filtration written next to that window and dial it in you enlarger. Then your print will come out as it looked through that coloured window.
If your need to dial in an extreme correction in filtration (either because you messed up the initial filtration or if you shot under strongly coloured artificial light and you want to correct to neutral), the exposure will be a bit off after you dial in the filtration. Then you'll need to make a final print to correct the exposure.
Essentially you need an extra round of test prints compared to B&W, to get exposure *and* colour balance right. And each round of development has to happen in a drum and not a tray, unless you're experienced in working in absolute darkness. So it takes more time, you can't tell straight away the colour balance after of 1-2min of the print in the developer tray - as you do with B&W - you have to complete development of a print before you can evaluate colour balance and exposure.
If time's not an issue, you can do it.
