color photography has lost most of its processes. Usually for the same reason — people only need one; the new one.
When I began working, the person I worked for was a chemist who had worked on the Chromotone process, among others. He was an industrial chemist. An odd job in those days. He had become a photographer, in true military fashion, after being drafted and trained in photography… I suppose they could have made hime a cook, in which case I’d have never learned so much about the processes of color photography.
Mimesis eventually mimes itself a copy of a copy — the barber’s walls
Above from an overnight — finding that it mates with a technote. technight : below
making duplicates or copies is trivial — schematically. circa 1980, we in labs had ready available lab films suited to the process flows of this note. I’ve written notes about the how-to using current emulsions — somewhere on webionaire.
above and below. how I know.
[The mode of literary criticism in which Mimesis operates is often referred to among contemporary critics as historicism, since Auerbach largely regarded the way reality was represented in the literature of various periods to be intimately bound up with social and intellectual conventions of the time in which they were written. In this he followed Giambattista Vico.]– wikip
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To make a set of mats, expose them and set aside the three mats in a safe-box. To develop, use the mixing directions, amounts as though you were souping 4 mats, but use that mixed developer in thirds. Take 1/3 and develop each mat in your developing tray. This assumes a very standardized procedure that has controlled balance and contrast. Clearly, if you are processing mats to different contrasts, then you cannot develop using the same mixed working solution. Time is not a good adjustment to matrix contrast change. Tanning of the gelatin does not occur directly with development time. The oxidation of the tanning developer does not affect the matrix tanning as much as it would intuitively seem. The experienced darkroom tech coming to dye transfer cannot wholly bring their prior B&W experience to the matrix phase of dye transfer.
the matrix is the matrix — another world with other meanings
Sadly, none of this instruction will be useful to you these days, since none of the Kodak materials are useable. Any matrix film you could find is too old for proper dye transfers. They will have ‘age fog’ of the gelatin itself. Even if using the Efke film (sponsored by Jim Browning)it is so old that I wouldn’t use it as a reference to dye transfer from the age when fresh supplies were available in great quantity.
Even the most recent incarnation of Matrix films (Gecko, and Del Rio), which were being made when this post was originally made (2014), are out of production(2018 was the last date).
some links to formulas: Tanning Developers …& … PRIVATE page
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