the Dye Guy

If you are of the internet age, of those who know more about dye transfer as a mystic process from a distant age. As a process steeped in, and dripping with the badge of chemical craft — meticulous step by step make no error darkroom work, then you probably know few names of its thousands of practitioners.

You know those who have been proclaimed by the forums as keepers of the skill. They aren’t the folks I knew. Of course I knew of Eliot Porter, but then I also knew of his assistants as well as some of the printers who worked at the labs who printed for him.

The photographer most people know is William Eggleston. A man of many printers.

The person most of you from the pop-photo, camera store, workshop trained photographers have heard of is Ctein. He isn’t the person I think of as the main dye guy. To me, he is a tech writer who was given work by Frank McLaughlin of Kodak.

I have mixed feelings about this post. Ctein can’t do any harm — neither can he do any good — not for you, not if you are trying to learn about making prints. The information of doing that exists in better, more usable form in several books and places. The process as it is done in this century is fading again. The last orthomatrix film coating was in 2018. That was done by a coater that no longer has the equipment used for that type coating.

What bothers me is the sense of privilege along with the power given to someone who spent so much time staking claim to a skill so widely held — an ability to make prints many times more often, to even higher demands with a seemingly endless array of problems. A commercial lab doesn’t often reject possible clients. Our success was based upon solving a clients problem, not by setting out the reason we wouldn’t take their job. “we’d have to change a printer”

limitations … perhaps after years doing dyes didn’t provide enough profit to afford two printers in his second stage..

he doesn’t have to tell his story; others will repeat it. By association they gain favor.

“I know great people, must mean I’m a great person.”

So, what’s my problem. None. I understand all of this — I even understand that you will not change your viewpoint. You shouldn’t.

Too bad you never met the real dye guys.

Ctome on Shipping & Handling

art as a line item. Good for the small survivor shop. Rules to keep away the rabble while you continue to dabble.

Sometimes we post the reasons you shouldn’t do business with us. With these rules, we define our expectation — probably based upon a past dealing that failed. With these rules you eliminate future action. Why?

Perhaps because you are so “booked” that you can’t do the work. So booked, but unable, unwilling to expand your business, either with people or process. Seems like something that someone in their late ages should have solved in some way other than blocking the doorway.

Likely, this person has encountered lower interest prospects — time wasters, as it turns out. Time wasted because they don’t actually see your value. Why is that? What is it that you can’t present?

Today on the Johns site, ctome expands about custom printing – a major component is in the back room grit of shipping and handling. It is another extended sales piece — “It will be good, because, well, as I’ve said many times before: I am good.”

ctome on shipping
an exegesis on the shipping and handling factor of making art for the sale
done in[deep meaning] (parentheticals) {hiding the smell of old man stale humor}

\\\Sesquipedalian Loquaciousness///