Kodak recommended Portra for making dupe negatives from slides. Even that is a poor substitute for a real dupe negative or dupe positive film, neither of which exist today. As said, contrasts build when duping pos to pos and the results end up crappy.
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I wonder if the Motion Picture intermediate films might actually have a use here? (assuming you could find a MP lab who would sell you a very short offcut.)
Duplicate slides were best used to allow multiple users to project the same slide.
Think salespeople and slide presentations to customers.
Can you post a picture of the rig??I never really liked or used duplicate slides that stayed in the same format, the loss of quality was just too poor. So in the early 90’s if I had to supply a dupe to satisfy and end use vs the orginal, I had a 4x5 made from a 35mm slide on either duping positive or an interneg, usually the former.
Even that was never as good as a drum scan so it was really quite rare. Nowadays I don’t even send out for a drum scan because using my D850 scanner mounted to a hybrid use of a Sinar P2 and LED light source kind of puts any drum scan to shame. This is especially true of scanning Kodachrome slides that are really rich in color and have high levels of d-max to punch through, there sinmply is no comparison it is so good.
The alternative way for some of those was to use te Motion Picture workflow, with as many sets of slides as you wanted on Movie print film. of course before Kodak decided that long life print film mattered, slides on Movie Stock were not colour stable past about a year. Many
"canned" programs were also done as "Film Strips" - generally also on MP film. images half frame size, but all locked in order on one 3-6 ft roll of film.
but the others from negs are all mostly faded to the usual "Eastmancolor pink".
I doubt that new E6 processing options are going to magically appear in our home towns with the release of Ektachrome, so most of us will need to rely on mail-in processing. Photographers are already mailing in their Velvia and Provia, so mailing in Ektachrome will be no different. Things are never going to return to as they were in the past. Be thankful we still have film.
I am not sure why there is so much worrying going on about E6 Labs. I started home processing my E6 about 6 months. It was actually harder to source a working 35mm slide projector than it was to source what is needed for home processing E6 film.
The elephant in the room here, of course, for duplicating slides is the hybrid process. With that, you can lower the contrast enough to print your duplicates onto regular slide film.
You already have your best option for bold colors: Velvia.
How do you do it? When you say hybrid I am assuming you mean using a digital camera or scanner and then computer to adjust contrast.
Yep. Scan, adjust contrast if needed, burn to CD, and send off to Dwayne's. Works like a charm with negatives too. I've shot Portra 800 (in 120), then sent the lab scans off to Dwayne's to have 35mm slides made (since they don't do larger formats). The slides come back in 35mm slide mounts, with black filling in the frame on the sides to fill in where the picture isn't.
A issue we did not discuss so far if I remember right are filters, necessary when using reversal color films for slides. Thus especially colour correction filters in red and blue.
I experience such filters, aside of skylight 1A, as much more scarce used than projectors. And for instance Heliopan is phasing these out.
We can probably make the most important ones in our new *SNAP ON* line if there is a demand.
the original Wrathen Filters from way back when were made of Just coloured Gelatin, sandwiched between sheets of glass and in a holder. that sounds like what your technology is most similar to.
BTW, I see you now have the "Cibachrome" trademark on your site. is this a future product, or just an addition to your trademark portfolio?
wow, if you ever can produce the stuff in the future, i sure as want to get my prints don on it!it might be a very far future project. We have all Know How and all ingredients (still) but this is as complex as building a rocket.
Had these printers simply left in disgust and kept quiet, we might still have Ilfochrome today. Instead they created a huge racket on APUG about how utterly impossible it is to do Ilfochrome in a small amateur dark room, how only preflashed Kodachrome 25 would give suitable slide material for it, and that only with three different masks - all made from Verichrome Pan. Needless to say that it didn't help, that Ilfochrome materials were made by a company which would rather sell inkjet paper under a fancy name and which was therefore not exactly committed to analog photography.The biggest problem with any idea of re-introducing/re-manufacturing Cibachrome/Ilfochrome is the cost/quality equation that became so absolutely lopsided as to turn legions of devoted printers away from it in disgust.
it might be a very far future project. We have all Know How and all ingredients (still) but this is as complex as building a rocket.
If I were ADOX I would try to team up with Kodak to reintroduce Cibachrome since I'm sure many people would be more inclined to shoot slide film if they could print directly from slides on Cibachrome.
Kodak needs to increase the potential market for their reintroduction of Ektachrome as much as possible.
Who has to licence what at cost at EPA? EPA is a US authority, not a german one.PE's comment is correct, additional to the repeated replacement of machine parts affected by the process, EPA licensing (horrendously costly), specialist printers, ancillary costs...
Who has to licence what at cost at EPA? EPA is a US authority, not a german one.
Maybe you mean paying for installing safety devices to comply with a authority standards. But over here these would not be different from those concerning more standard photo-chemicals.
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