[pure-silver] Re: largest camera ever used

The idea was NOT to make a print. Rather each B&W negative was converted into a positive and then projected onto a screen through the same color filter as the original was taken. Walla! beautiful color.
----- Original Message ----- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx> 
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Thursday, November 30, 2006 9:06 PM
Subject: [pure-silver] Re: largest camera ever used
----- Original Message ----- From: "John Roseborough" <platinumprinter@xxxxxxx> 
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Thursday, November 30, 2006 5:06 PM
Subject: [pure-silver] Re: largest camera ever used



How did you printthem?  Dye Transfer, Tri-Color Carbon, or?

John Roseborough
Platinum Printer
----- Original Message ----- From: "Dave Valvo" <dvalvo@xxxxxxxxxxxxxxxx> 
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Thursday, November 30, 2006 5:41 PM
Subject: [pure-silver] Re: largest camera ever used



Wow!  What did you use for an emulsion and How did you process it?

Dave
PS: regarding my example: Surprised no one picked up on my using three B&W negatives to get color image.
I am also curious although color separation negatives can be printed on conventional chromographic materials. The problem is that they are made with the expectation that the negatives will have the color masking used in chromographic materials. In the 1930's and 1940's when color separation cameras were widely used for advertising illustration most of the prints were made by tri color carbro up to the time Kodak made Dye Transfer available, then DT prints began to displace the carbro. There was an earlier dye transfer method available called Dye Imbition. I think Kodak bought this from an independant company. I no longer remember the details of the differences but Dye Transfer was easier to use and relatively less fussy. Three-color carbro was evidently a bear being done mainly by specialist labs who did nothing else. I've never seen one of these prints in person but have seen recently made reproductions, they were gorgeous. The old four color haftones usually look pretty pastel and for a time I thought this was a characteristic of the carbro prints. Half tones made from dye transfer prints looked better and those made directly from Kodachrome tranparencies looked much better.I have no idea why this was. Three-color one shot cameras and three-color carbro seem to have persisted until the 1950's. It would be interesting to know just how late suppliers like Thomas Curtis and National Photocolor/Devin survived. 

---
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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