Calvin and the Shallow Market

The try-buy: one order to try, then done.

A one-buy try and done. The curious will lead you into market deserts — a product for his own use if more useful.

First Factor of Success: willing to fail

The pigment market exists because of the failures of …. nope. It exists as an extension of the alt-photography born in the alternative 60s. Finding a different way, a distinct path was a significant landscape of the 60s conversion of photography and art. Pigment printing, gum or carbon is advanced as being archival, long-lasting, and durable; far more lasting than dye-based photography.

“After two years of research, the Natural Pigment color pastes are now on sale. I also restocked the synthetic pigments, and updated the yellow. “ 2022

I thought the pigments didn’t succeed in market, but reading his current site, they are all in stock, in different packaging than before, ready to ship.(Jun 2023) ‘rl’

Often, shallow markets are maintained by persons supplementing their worklife, bringing skills of one field into another. Electronics crosses into chemical darkroom.

// pools: why don’t they readily form? LFF /Kodak requires proper intermediate — success bridge gap// age-skill

ability to recover. resilience after failure. time to fail. Salvich/Efke ..

//how does Backer Market work, succeed in funding success.

Can it support you, how well, for how long. Can you grow; more people, more products.

Why aren’t others making, doing what you do? Questions any investor would ask; ask yourself. Sometimes the only answer is that it is the only thing you can do to satisfy the deeper part of yourself. That part unreached by financial analysis.

Your reason can be, as many people’s are: you hangout with interesting people.


  • Moe, W., and Fader, P. (2003). Using advance purchase orders to forecast new product sales. Mark. Sci. 22:146. doi: 10.1287/mksc.21.3.347.138
  • Mollick, E. (2012). The dynamics of crowdfunding: determinants of success and failure. J. Bus. Ventur. 29, 1–16. doi: 10.2139/ssrn.2088298
  • Mollick, E. (2014). The dynamics of crowdfunding: an exploratory study. J. Bus. Ventur. 29, 1–16. doi: 10.1016/j.jbusvent.2013.06.005
  • Burtch, G., Ghose, A., and Wattal, S. (2016). Secret admirers: an empirical examination of information hiding and contribution dynamics in online crowdfunding. Inf. Syst. Res. 27, 478–496. doi: 10.1287/isre.2016.0642
  • Burtch, G., Hong, Y., and Liu, D. (2018). The role of provision points in online crowdfunding. J. Manag. Inf. Syst. 35, 117–144. doi: 10.1080/07421222.2018.1440764
  • Butticè, V., Colombo, M. G., and Wright, M. (2017). Serial crowdfunding, social capital, and project success. Entrep. Theory Pract. 41, 183–207. doi: 10.1111/ etap.12271

Making Grey

Principles of color photography.

neutrals

Selective and nonselective neutrals– a foundation concept in the technology of color photography. The illustration that we have many paths to grey, none of them is the perfect path. For any decision about a colorant (dye or pigment) we must consider more than making a neutral, even a set of dyes making a neutral results in different color volume. This is the why a film looks different: the relationships among the real color and the created color. Industry chooses the colors that they can sell. Old texts, as well as the experiments, remain useful, valid today. They form the foundation. Those equations are accurate — math has a way of doing that.

The means to the solution. The tools of presenting or testing, examining the experiments have changed drastically since the foundation years. We can readily present to others results they couldn’t imagine. That has changed the learning, not the theory.

we can easily compare gamuts using at hand Apple tools. this color cube is what a set of balanced Kodak dyes from dye transfer (1985) covers compared to the background cube of an HP Z printer on glossy baryta paper from 2015.

Clearly, implementation of the theory has advanced.

dye transfer color inset into HP inkjet

Key names: Evans, Friedman, Spencer, Wall.

  • R. Burnham, “Visual Selection of Color Film Neutrals,” J. Opt. Soc. Am. 48, 215-224 (1958).
  • W. Brewer, W. Hanson, and C. Horton, “Subtractive Color Reproduction. The Approximate Reproduction of Selected Colors*,” J. Opt. Soc. Am. 39, 924-927 (1949).
  • Wall, History of Three-Color Photography
  • Friedman, History of color photography,
  • Spencer, Colour photography in practice
  • Evans, Principles of Color Photography