Under the useless information heading comes this secret from the past. Ektapan film could be used as the (almost) only film needed to make dye transfer (imbibition) prints. It could be used to make masks, separations, and even the matrix itself; that last is the big secret.
Full disclosure: it couldn’t do all those things better than the specialized films used for masks, seps, and mats; it could serve well, well enough to be a simple solution for workshops and weekend workers to acquire the foundations of making dye transfer prints. In school, I would take students through in several circuits of the process, each pass around we would add more control, increasing the understanding of choices to make — how the image was made.
Ektapan could also be used as a collotype film. It was a nice emulsion; not just for studio photographers shooting color and B&W negatives of the same thing.
Notice the DK-50, HC-110, & T-Max RS lines.
you can also see the similarity of DK50 & HC110. dilution makes them the same!
I used the Dilution B for Seps; Dilution F for masks.
Exposing and developing (tanning) Ektapan as a mat wasn’t the same as Kodak Matrix film. Two reasons, Ektapan is panchromatic, so required total darkness for working. Kodak Tanning Developer didn’t work well enough; contrast was too low, or else way to high. So we relied upon tanning bleach method.
Details won’t help you now. I offer this to you as a point of reference; as something you can consider as an alternative way of recovering a process. Try what is at hand. Don’t wait for the perfect something from someone else.
More, another time, about origin stories. Getting beyond the now state.
Will a sheet of fixed out arista litho film hold dye? A question from a few days back that I have decided to post more about.
Two sheets of film; both dyed in cyan dye. The upper one with the arch of color is Kodak matrix film partially washed off. That’s what the arch is: no emulsion. The cyan is fogged, age mottled emulsion after being dyed.
The lower, empty, blank, unstained square of film is Arista Litho that has been stained with the same cyan dye as the matrix film — stained for over 8 minutes — that stain drained off with less than 40 seconds in rinse. It didn’t base stain — there wouldn’t be highlight carry over.
This isn’t a stripped emulsion, we aren’t at film base.
What does this demonstrate?
Try it. No matter who you hear an answer from, try the experiment in your studio with your equipment. Set your own standards; have your own goals.
Why did I do this? Because I wanted to know; to confirm my memory of making matrix films from true raw, so ever many years ago. Dye won’t stick if an emulsion won’t, however, a dye sticks to ‘soft’ gelatin — gelatin of a type. It will stick to many types of colloids — collodion, gelatin, albumin, etc. It isn’t easy to get all things arranged: emulsion, dye, receiver; all compatible, durable, useable to your purpose.
The first question asked by the new member of a tech talk group. They have every reason to think the existing members have the answer. The correct answer; one which is useful. We ask for directions, thinking the farmer will answer knowingly, taking care to provide accurate instruction.
“How do I get to Baskiqs farm from here?
A: “Well, I wouldn’t start from here, if I were going.”
Which brings us to an example from our world. Can you fix out a sheet of ready available film as a support for a new coating of a dye transfer emulsion? The small, but loud response, from the large online dye forum is: No. You must strip the emulsion off; then re-sub it. Another correspondent claims that Arista Ortho film never clears of color, even after the anti-halation dye is fixed and washed out — there remains a stain.
Reason: the base retains color which will interfere with exposure. — dye transfer is exposed thru the base of film, unlike most processes. This is so that the tanned, hardened image remains on the film after being ‘washed off’ in hot water. Of course old matrix film carries fog, both visible and gel-fog – that stuff that means the matrix film is hardening differentially across its surface, just from storage, maybe pressure of being stored in a stack.
Can we test this for ourself? Sure. Fix out two pieces of film. Look -> that’s what I did.
fixed out matrix film v. ortho film base color
The Arista Ortho fixed as clear as Kodak Matrix film [4150]. Does it hold dye as the Forum formula holds? Will it stain? Can you simply put any piece of fixed out film into a dye bath to dye it? Will it dye permanently? If it did, wouldn’t that be a kick in the head to all those dye mordant kits that have been sold over the years — well, that were sold years ago, when people made slide shows.
I know the answer; have done the test — [results later ]
You need a base, an emulsion, and a way of coating it onto the base. With that, you have what you could have bought 40 years ago. You still won’t be able to make an imbibition print, however, you are several steps closer. Just make certain someone doesn’t trip you on your way.
Art is, at base, a do it yourself life, suited to those driven to try something.
reminder, the process was first devised in the 40s at a time when little of our current basic materials or fundamental knowledge had been put into place. Kodak’s version of the process didn’t stabilize for nearly 15 years.
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