[rollei_list] Re: Old film
- From: Jerry Lehrer <jerryleh@xxxxxxxxxxx>
- To: rollei_list@xxxxxxxxxxxxx
- Date: Mon, 30 May 2005 16:48:19 -0700
Richard,
I have seen the Carbro process being worked on in the NY Daily
Mirror labs. It required a bit more meticulous work than Dye
Transfer, but it was claimed to be superior. I dunno, but Len
Zoreff's work is still seen around.
jerry
Richard Knoppow wrote:
> ----- Original Message -----
> From: "Jerry Lehrer" <jerryleh@xxxxxxxxxxx>
> To: <rollei_list@xxxxxxxxxxxxx>
> Sent: Monday, May 30, 2005 3:48 PM
> Subject: [rollei_list] Re: Old film
>
> > Richard,
> >
> > One of my summer jobs in NYC was in a Lab, processing
> > Anscochrome and enlarging Ansco Printon prints. The
> > Anscochrome transparencies were not too bad, but Printon
> > was baaaad!
> >
> > My last summer job was at Kurshan & Lang processing
> > commercial Ektachrome sheet film and working on Dye
> > Transfer prints for Lenny Zoref. I even tried
> > Flexichrome,
> > or was it called Crawfordcolor? Remember those?
> >
> > Jerry
>
> I remember Flexichrome because I wanted to try it. I
> think it may have been purchased by Kodak from Crawford, but
> am not sure. For those not familiar with this Flexichrome
> was a dye absorption material using a gelatin matrix similar
> to (but not the same) that used in dye transfer, that one
> painted with dyes in a sort of paint by the numbers method.
> The dye set was very extensive. If done skillfully the
> result was excellent but it was a real specialty similar to
> the kind of oil coloring that looks like a real color photo
> and not just sort of tinted. I doubt if there were many
> people who were really good at this. Flexichrome was popular
> for advertising art since anything could be any color at
> will.
> My memory was that Printon had a bad reputation.
> Evidently it was capable of at least acceptable quality if
> handled just right. I've only ever seen a couple of Printon
> prints that were OK looking. Its virtue was simplicity. By
> memory the processing took only a few steps similar to
> modern color materials. Kodak color materials were processed
> like color film in a finicky multi-step process. AFAIK, at
> least throgh the 1950's the best quality printing was done
> on Kodak Dye Transfer material, with possibly some color
> carbro still being used. Both dye transfer and color carbro
> are extremely fussy requiring very good control over many
> things. Dye transfer is somewhat less fussy. From what I've
> heard about three color carbro from those who worked with it
> it was an exceptionally fussy process requiring
> referigerated processing rooms. I've seen a number of
> excellent dye transfer prints but color carbon prints do not
> seem to show up in museums. Its not permanence since it is
> an extremely long lived process. Perhaps there simply were
> not many in circulation.
> ---
> Richard Knoppow
> Los Angeles, CA, USA
> dickburk@xxxxxxxxxxxxx
> ---
> Richard Knoppow
> Los Angeles, CA, USA
> dickburk@xxxxxxxxxxxxx
>
> ---
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