No, dyes were not removed imagewise. The dye transferred was already the image, and 3 colors were transferred in the best Technicolor process. They also had a 2 color process.
I have mentioned this before. I suggest you read a good history of color photography.
PE
OK, well i should learn that not everything you read on the internet is correct.
Ive got some 16mm technicolor films, they are amazing, have not faded in over 50 years!
Nzoomed,
Seen the strong interest you take into the industry and its development, and your lack of technical knowledge or misconceptions on technology, you really should refrain from gathering knowledge from forums but rather start a thorough study using textbooks or private lectures.
Does anyone else agree that we need optical printing on paper these days...
Ilfochrome was anything but "complicated" as color printing goes. Now as far as making it, I don't know. But dye bleach seems to me conceptually simpler than chromogenic processes, and using it was certainly nearly idiot proof.
I'm not sure if we "need" pos-pos printing papers though once slide film is a bit more available again it's certainly an easy thing to want. But optical color printing in general, yeah, we need that. Fortunately we have it, albeit only neg-pos these days but we have superb negative films.
No. Not right now we don't. Not even close.
Right now we need a reliable long-term source of quality photographic color transparency film. Printing from slides is pretty meaningless if slides are extinct, don't you think? In a world of constrained resources, there's a reason it's called the critical path.
And there's a reason that transparency film is on that path. And a reason that begging Film Ferrania to distract themselves from that critical path to address the issue of resurrecting Cibachrome is not.
Ken
P.S. Don't ever let yourself be persuaded to believe anything you blindly read on the Internet. Are you familiar at all with the term peer reviewed? And why the Internet isn't? Listen to PE and AgX. Research and analytical thinking are far more valuable skills to you than just clicking on another silly online button and repeating whatever you see...
Ok back on track.
I've never understood why the Cibichrome process had to be so complicated or expensive.
What I mean is, if you're just printing a positive off of a positive, isn't it just like exposing a positive from the real world?
Can't you just create a layer similar to the E6 process but layered on a paper base instead of an acetate base?
What am I missing?
Maybe they will make something like a CDUII film but who wants to make a copy first before printing, lots of extra work, degradation loss, etc,
This is the ONLY reason I've thought of switching to C-41 sheet film now that I'm printing.
A new Cibi-type print process would be a saver!
Can't you just create a layer similar to the E6 process but layered on a paper base instead of an acetate base?
E6 sacrificed detail in saturated colors and so red images lack detail. (see my previous post on this).
I hope this helps.
PE
It sure would!
But as far as RA4 printing goes, you could still digitally scan a slide, invert the image to a digital negative and print it onto the paper that way couldnt you?
I expect this is already being done?
Ok, some answers as far as I can give them here in limited time and space.
Cibachrome is not simple. It is difficult to coat and the process uses quite corrosive chemicals. To make good prints, you must mask the original to fix the errors in color reproduction, and to get a good result, the contrast must be carefully controlled.
A reversal film has a mid scale contrast of about 1.7 and a Dmax of about 3.0. Check the curves out on the Kodak or Fuji web site.
A reversal paper has a mid scale contrast of about 1.0 and a Dmax of about 2.0. Current curves do not exist except on wayback.
To make a print, the E6 product must be printed onto the type R product to give a pleasing result (Cibachrome is included as a type R product here).
Here is where the problem arises. In a type C print (C41), the entire print comes from the straight line portion of the curve but in a reversal (Type R) print, the image comes from the straight line and toe and shoulder which distorts the image, and thus you need an additional mask or you get bad results.
The need for 2 masks degrades sharpness and increases grain as well as increases cost and therefor pos-pos prints never took off as viable high quality imaging. In addition, in the efforts to give this high quality, E6 sacrificed detail in saturated colors and so red images lack detail. (see my previous post on this).
I hope this helps.
PE
Because the idea is NOT to use a computer but use an enlarger...
But people are currently doing just that with digital images.
Digital is not that bad for doing such work and makes adjustments alot easier.
Besides why are people printing Digital images with Ilfochrome?
There has to be a reason, perhaps its because of its archival properties? Or just general image quality? IDK
Ok back on track.
I've never understood why the Cibichrome process had to be so complicated or expensive.
What I mean is, if you're just printing a positive off of a positive, isn't it just like exposing a positive from the real world?
Can't you just create a layer similar to the E6 process but layered on a paper base instead of an acetate base?
What am I missing?
You're confused about a LOT,
First this is APUG so even suggesting digital anything here is a waste of time.
Besides that, no one is printing digital with Ilfochrome... Where did you get that?
People are printing digital images with a lambda/lightjet style digital enlarger into RA-4 paper...
I dont have a darkroom, and for the limited amount of film i shoot its not worth me setting up such equipment. Not to mention that there are very few RA4 labs in New Zealand, let alone myself doing it, would be extremely cost prohibitive. Its not ideal to send my strips of film to every lab i want to get prints from, so printing digital scans really is the easiest way forward for me.I don't care what YOU want to do, but the point of my work is to have a more hands on process, that's why I went back to school to learn darkroom printing, "to complete my training" so to speak, and part of that is color printing for my color work.
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