“is an ignorant crock of BS.” “..actual classic dye transfer dyes.. the expense of highlight gradation”

Frequently, the clerk from the door store mentions dye transfer as having a highlight problem. Taint true. Glassware, stemware, foam and suds were the great paycheck for dye labs. These were highlight intensive. The textures and tones of prints frequently excelling beyond what the original capture seemed to have. Emphasis in the print made this happen.

Portrait studios appealing to the Deb Weddings relied on Dye Transfers to provide the spark to the Bridal Dress… pearls and gloves in full glory.

Commercial labs had to make multiple prints for use in sample books, display prints in executive meetings. Light tones were required, more than darks — no one sold dark. Dmin was the measure; so much so that at the rollup stage this is where many labs held onto their mix of rinses and rocks.

Dye transfer excelled at delicate highlights — even in the hands of those that didn’t know to make double HL masks — two types of films needed [just so you know]. The forumatti think that highlight problems of Efke’s coating granules were universal. Not so — far from it. Dye transfer, as far ago as the 60s, held the power of the modulated paper.

Now you know, and the bore from the door store, now living off the snore store, doesn’t. But, you can’t stop the boys from bragging in the locker room. How does he get away with it– you don’t know what he doesn’t know. Why does he do it? You are his bully bait, and you don’t know it.