[rollei_list] Re: the pleasures of Rolleiflex
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: <rollei_list@xxxxxxxxxxxxx>
- Date: Mon, 3 Aug 2009 16:30:22 -0700
----- Original Message -----
From: "Mark Rabiner" <mark@xxxxxxxxxxxxxxxx>
To: <rollei_list@xxxxxxxxxxxxx>
Sent: Sunday, August 02, 2009 7:21 PM
Subject: [rollei_list] Re: the pleasures of Rolleiflex
The Cibachrome process evolved quite a bit from the 70's
through the 90's.
Me I made one or two on the early super duper gloss if
there was some "see
red thing in picture" statement to be made and from very
flat slides but
later the mat stuff just got more and more viable and
could be printed from
family normal slide. Some looked like C prints they were
so smooth you could
not tell the difference.
A teacher in school had what he called Synchro sun
photography as part of
the direct positive printing course. And that's at high
noon or whenever!
The more light there was. The more you needed the flash.
That's Phil Flash
to people of a younger age range. I was walking down
Broadway flashing away
tonight. Slow sync. Happy trials. Slide melts.
Mark William Rabiner
FWIW there were color printing processes before
Cibachrome that had equal or better longevity. Both dye
transfer and three color carbon fit this catagory. Three
color carbon is especially long lived because the image is
made up of pigments rather than dyes. This process was used
for high quality advertising illustration from about the
early 1930s to the 1950s although it had been largely
replaced by dye transfer or direct photography of Kodachrome
originals by the end of that period. It is an extremely
fussy process even in comparison to dye transfer. Since it
was used mostly as an intermediate step in producing four
color photo-mechanical printing plates its life was not a
consideration and the much easier dye transfer process began
to displace it as soon as a decent commercial version became
available.
At the time the original art was produced mostly by
making color separation originals, either step-by-step with
a repeating back or in a beam splitter camera. Large format
Kodachrome began giving color separation negatives
competition as soon as it was available. The transparencies
could be retouched and photographed directly. One can see
the difference in color advertising of 1940s vintage where
the use of Kodachrome originals resulted in better
saturation and noticably sharper images.
Materials for both dye transfer and carbon are still
made as specialty items. Carbon can make very beautiful
prints but using it for color is just as fussy as ever.
--
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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