Secret Dye Transfer School

This is an expanded version of { Everyone loves a secret…. } with questions.
Avoid tidepools of inactivity; don’t get caught in their stagnation.

THE SECRET IS: TRY. NO SCHOOL TEACHES COURAGE.

The secret case of Eggs. You cook eggs at home, getting very good over the first dozen. A chef trained at CIA will cook that dozen eggs several ways in their first morning. The secret is variation — faster feedback between effort and result.

How to poach an egg… or, how I poach an egg… based upon its size, use of poach … cooking is easy, but it is a manual skill. The analogy should be obvious. I would never spend time trying to teach someone how to cook, if they are afraid of making mistakes. The arrogant amateur is deadly in a commercial lab.

Commercial labs had more information, more experience than Kodak about the the use of dye transfer materials. We even told them about ways of correcting the magenta dye (restrainer). Labs experimented more frequently. The bigger the lab, the more varied the requests. Full shift labs had more types of products. Only small labs specialized in dyes . No one kept secrets from anyone else. okay, we tried to keep client lists hidden. At least we didn’t publish them.

Big labs probably came to dye transfer after it became a mature, consistent product. Mixed dyes was the first success. Type C’s, Printons, dupes, etc … these products provided the profit for dye transfer to be a service. Dyes were, for the most part, a glory part. Those in “pickle alley” specialized in dyes almost to the product type; their photographer clients did, so they did.

Kodak made different papers …one retouchers and illustrators preferred, another popular in portrait studios, and the common one, Type F.

Would you take a class to learn dye transfer printing? Would it take you nearly 20 years to make your first print? If it did, whose problem is that? Suppose you bought the supplies, the books, equipped a lab; all that, yet you never used a box of the material. What secret kept you from trying to print?

In my experience, I have never known anyone to succeed without ernest initial effort. With dye transfer, the printers who make their third print within the first week of effort get the furthest. These are the printers that are solving new, more complex problems for most of their thousand image career.

Frequently, timid people never acquire the skills they think they should. AFter all, they are literate; they collect information, data sheets, magazine articles. Every article they read tells them of the difficulties, as the author promises great reward. What a view from the heights.

https://www.photrio.com/forum/search/754152/

Prints? Uncovered conspiracy?

IB Photochemistry — from Aug, 2007 to Feb, 2025 – a very long journey getting to a point of.. what… what does he have? A manual from a small Northern California lab. This manual reveals: the answers are on their wall placards, not in this document. [ may be Garelick, or Teoli]

someone spending time uncovering a conspiracy… of their invention?

Lack of knowledge doesn’t mean someone is hiding it from you. Lack of experience is your failure.

How many prints do you think he has made?

Kodak had a training facility in Rochester. It served their marketing group’s learning needs . The dye transfer commercial labs didn’t learn from that facility. In-house, industrial labs like GE, or GM, etc went there. Labs with many dye transfer employees wouldn’t go — the information would have been geared to too low level. MEC was opened in 1972. What did all those labs, the largest of which began before 1960, do for learning before ’72?

Multiiple shift, commercial dye labs, had wider range of experience than Kodak. We saw many problems, having to solve them with elegant, complete answers — usually at a small profit. We optimised by experience. Knew more by doing more.

big labs had a head start. They had employees who had learned in the forties … were running sections in the 50s. The process experience transcended single-vendor, single product type.

Theory was studied in service to experience.

  • Try it..
  • if it doesn’t work, explain
  • write it up…
  • stick it on the wall

Kodak Lab Days.

Kodak changed over the decades of my contact with them. In the 60s, they seemed very accessible. By the 80s there seemed less knowledge, but with more datasheets. Instead of information, they provided brochures… many handouts.

Frank M. –[ someday, more..]

Kodak’s final days … from letter sent to labs in their marketing mailings list.

We also received such things as:

  • CIS Current Information Summaries
  • and my favorites: From the desk of — the best were from Jeannette, Frank, Louis, Bob S., “girl group”

this day in 1898, the U.S. Supreme Court, in United States v. Wong Kim Ark, ruled 6-2 that Wong, who was born in the United States to Chinese immigrants, was an American citizen. It was the first Supreme Court decision to rule on the citizenship status of a child born in the U.S. to noncitizen parents.

To the Wileys-and-Garelicks: please, get the dates correct; woth that achieved, your data may make sense.

Possible set of dates: 1936 – 1957 [ much foundation; most of the theory] 1957-1977[ the changing nature of Kodak along with the nature oc the commercial color lab] . Next, the dates become, in my file folders: 1981, 1986, 1988, 1991, 1996.

Last Dyes

The last dyes are like embers from the fading analog engine. The revivalists are rushing to ride the final fashion like Lauren Lauren’s Leica slung, long lean strappy dangling from her pampered bridal shoulder. Both, she and her camera, accessorizing his success.

Dye transfer prints will decorate many a wall. Some may hang for most of the year.

THE REAL : The show — meaning from the real world. The gallery world seeming more connected to factual effort.

Dye Transfer had an early glow, mystery of process, mystique of object value. The process was time and material consuming, making it in the fuller sense something for advertising, appealing as Veblen Good to the Haute Bourgeoisie.

“I was reading the price list of this lab in Chicago and it advertised ‘from the cheapest to the ultimate print’. The ultimate print was a dye-transfer…. The color saturation and the quality of the ink was overwhelming. I couldn’t wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed … better than the previous one.” —William Eggleston in conversation with editor and writer Mark Holborn, 1991

:

CVI, Color Vision Imaging laboratory, Manhattan, 1981. Guy Stricherz (b. 1948) graduated from western Washington University in 1974. He went to New York city in 1977 to work for Frank Tartaro who was one of a dozen masterful printers. Even at that time the process was falling out of use. It had peaked by 1980. Irene Malli (b. 1964) graduated from Cooper Union; after graduation she worked as a printer before answering an ad for CVI in 1989. CVI was moved to Vashon Island from NYC in 2004. Some of their recent clients: Larry Burrows, Bruce Davidson, Thomas Demand, William Eggleston, Mitch Epstein, Ernst Haas, Hiro, Evelyn Hofer, Graziela Iturbide, Zoe Leonard, Arnold Newman, Irving Penn, Christopher Williams.

Frank Tartaro was another user of the idea of “tone zone” masking.


The best memory is based upon your experience. Make your own.

THE IMAGINED: Unfortunately The Last Dyes show brings out the zombie experts of the hobby forums. Killers of a process they view from sideline. The show provides opportunity to talk as tho they had a privileged seat; bring out their old bar counter stories, a chance to repeat their prejudices of process. This is the use for the brag boards.

Question the tale of the salesman. I didn’t call him on his bullshit, so you have been left with his constant crap for a decade. Mea Culpa.

They don’t learn enough because they don’t ask, they aren’t curious. They don’t do enough because they lack courage. They fear failure more than they crave doing.

The false information is imprinted onto the naive minds. False tales aren’t questions, even though he is doubted. Why trust any part of his complex tale if the beginning direction is in error. Part of his ongoing commitment to his fantasy story of his skill is due to my being so bored with him at the St. Regis meeting, I fed him his own ignorance agreeing in order to escape. No one used Tanning Bleach in a commercial practice past 1952 — the mats weren’t sharp, nor durable enough for the uses of commercial printing. There was one use of tanning bleach: schools doing Pan Matrix film– this was rare, caused by group darkroom restrictions. AND the Army never made Matrix Film; they did buy it, while after Korean War, the Department of Defense sold the surplus materials. K&L (Len Z.) bought thousands of sheets which gave him a price advantage for several years.

The Army doesn’t make sandbags nor shoelaces. Not even CCA made their materials; they did have a need for large “trans” materials which Kodak refused to make. They couldn’t. They didn’t have the ready knowledge, so CCA tried two different coaters; NG was able to make the materials using a design provided them by Robert M. of Defender.

Lasting Lie Transfers: turning sales speak into history. The story is now being told by people who didn’t even participate until the story was over
eggleston show brings out stale fish stories; stolen valor from the photo fantists

  • “he was a machinist ” — about Eliot Porter; he wasn’t a machinist. His mode of making DTs didn’t require him to have “made his own” transfer equipment. He was a long time woodworker. He discovered the “black box” printing system. His self-made items are all wooden. No metal, no punch-pin system.
  • ” soft image– dye bleed” — the reason Condax was brought into Kodak was because of the improvement of Tanning Development over Bleach Tanning. Two immediate improvements: sharpness of transferred image, and improved color clarity with existing dyes.
  • ” don’t hold highlights well” — hmm, how about all those suds and softgoods ads? Or, Eggleston’s White Ceiling Fan.
dye diffusion effect

a piece of the elaborate custom equipment made by Eliot Porter for his dye transfer lab.


Google has found my post from 2013, titled: The Last Dye Transfers .. coincidence a long time coming

For those considering another possible use of matrix film– think it as a mask. I did. See this patent which I’d discovered around 1961: https://patents.google.com/patent/US2371746