Buying Dye Transfers

The big sale is over. It was last fall: M. Johnson and Ctein held another going out of business sale. The inventory just keeps taking up space. After 5 years, it hasn’t gone down enough. And we need to flog something, so… Like Mad Man Muntz ( an original TV discount sales store) we go out of business until we pay off the electric bill.

Why does this matter to me? The same reason weeds in the garden do: what you feed grows; if it takes over the garden, there is no garden.

Why Buy Prints?

I buy art because it satisfies my expectations. It does this by challenging me; brings me to another set of expectations. The more the work feeds my work, the more likely I will buy. I do collect. I don’t invest.

should you buy because it is a dye transfer?

I ask myself: is it immediately useful, instructive, completing : will it continue to enrich me; provide more questions, motivations for my work.

Am I buying out of fear of missing out? If yes, then I’d skip it.

The Pitch

The pitch is the alert. The premise of the sale: act now, act fast, this is a limited offering, this is rare, this is worth much more than you will pay.

How many times do you go out of business .. for as many times as there are buyers at the gate.

  • the online adographer.
  • the ad before the ad.
  • a memo to announce the forthcoming memo
  • colonel blimp reporting
  • ctein being, blimpishly ctein..

Prestige of Process –

Self promoter who has become the big name by writing about. You are collecting a one time sale. There is no after life for this work.

The Ctein shelf: these are souvenirs. Souvenirs of someone else’s vacation trips.

Buying An Example

A mature artist has an after market. ctein doesn’t. His sales are to aficionados, so are of value only among themselves. They are scraps, examples. He isn’t placed in the conversation in any way other than that of the tech writer— a long way from meaning, but very close to standard commerce.

You Could Have Bought

During the month long sale what else could you have bought around that price ($700)?

How about — Barbara Morgan original print sold for $900; William Eggleston chromogenic sold for $790; Jerry Uelsmann sold for $1085.

These were auction prices with buyers premium.

However, Jim Marshal sold for 781 w/bp. A Steichen for Vanity Fair sold for $535 w/bp.

If you wanted it because it was a dye transfer, you could have bought a dye transfer off eBay for less than $150 — from proctor & gamble, reader’s digest, or similar publication art departments. You will even have a good example of commercial art retouching from decades past. You would have a reference document demonstrating why dye transfers were the mainstay of advertising — easy to retouch.

What’s so hard about Dye Transfer

Back in the day of dye transfer, photography was a trade taught in the US Miitary as well as private trade schools, many of which gladly accepted GI Bill tuition payments.

Large labs, processing hundreds of prints a week, divided the work into skill layers. As someone improved they were assigned to other tasks. Prove yourself often enough and you will have made it to a secure will paid career.

jobs. skills. steps

  • load film, clean, mop
  • soup film
  • mix chemcials for lab
  • make masks/seps
  • make mats
  • manage dyes and do rollup

The last task is key to the final result: rollup. This is primarily autographic; skill of hand, eye, timing with feedback. All the previous steps come together well, or the print fails.

Most of those who fail at dye transfer do so because they lack courage. They make the task harder than it is. Not even rollup is difficult, just needing attention.

Anyone who can teach dye, can teach anyone who can learn, in about 45 hours. This assumes you can get film in and out of a camera, and in and out of chemicals.

The hardest part about dye transfer was those who sold their weekend teaching skills to timid camera counter conversationalists.

Kodak’s Frank McLaughlin used to take people through the steps over the telephone. That’s how hard it was.

Frank wrote the latter editions of Kodak’s Dye Transfer Guide, the edition I pan elsewhere. I discount it since it was incomplete, as it tried to be thorough. The editions from the 50s was thicker, better, but referenced other materials. They were usually given away upon request; they did have prices marked.

A text that was used by many during the buildout of the Silver Rush was written by Mindy Beede. She is derided by many of the “not so many” print crowd. The slow brews that make as many as 20 prints in a career. If you wanted to learn, start with her book.

learning dye transfer

A — doesn’t match the information in B, and C; however, it is available. Items B and C are from my materials collected over years as a commercial printer.