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  1. #51

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    Quote Originally Posted by Stephen Frizza View Post
    Hello Apugers

    I have been very quiet on APUG lately and have been busy in my lab doing some experiments and tests. As it seems this Kodachrome one ended up online here as a result of me posting it on my personal Facebook Page.

    There are some things I should mention about this test....

    1stly : I have absolutely no intention of offering it as a service. The Cost, The limited amount of chemistry I have for this process and the fact no new film stock is being produced means this just wont happen.

    2nd : While the thread states HOME processing people should be aware that I am working in a fully equip professional photographic lab which without I could not have done this process.

    3rdly: While Kodachrome is process K-14 I did not strictly process this in k-14 chemistry. It was processed using an butchered version of this process and other improvised adaptations which can yield a result but the chemistry does not keep nor can I guarantee the archival properties of the final product. Its a one shot process.

    Thanks for the interest in one of my personal tests .

    -Frizza
    You do realize you now officially stole the title from Dwayne's Photo for "Last roll of Kodachrome processed", correct? You also stole the tile of "Last roll" from Steve McCurry as well. Congrats on re-writing photographic history!

    Awesome

  2. #52
    mikecnichols's Avatar
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    Quote Originally Posted by PeteZ8 View Post
    You do realize you now officially stole the title from Dwayne's Photo for "Last roll of Kodachrome processed", correct? You also stole the tile of "Last roll" from Steve McCurry as well. Congrats on re-writing photographic history!

    Awesome
    They'll just keep it the same and add the word "commercially" in whatever books covering said subject.

  3. #53
    Photo Engineer's Avatar
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    Quote Originally Posted by ME Super View Post
    Correct me if I'm wrong, but if you had three sheets (R, G, and B, to keep it simple...) you wouldn't necessarily have to re-expose to Red, Green, and Blue light, you could (since the exposure is on three separate sheets) re-expose each sheet to white light, then redevelop the R sheet in the cyan developer, the G sheet in magenta developer, and the B sheet in the yellow developer, right? That would eliminate the complexities of filtration and exposing only one side. Of course then you'd have the registration problem when you went to put it back together. IDK.

    ME Super
    This is exactly correct. And, the color developers would be much simpler.

    Registration would not be a significant problem, as many processes used it in the past. The real problem is the thickness of 3 sheets of support which may cause some sharpness problems. IDK for sure.

    PE

  4. #54

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    Thanks PE. That's what I thought. Sharpness problems would probably be lessened for projection (or even scanning) if the three positives were bigger than 35mm, or even medium format. Of course if you're gonna scan it, all you really need is the separation negatives and put it back together in post - which of course makes it a hybrid process. At least for me the reason to shoot chromes is for projection (secondarily to have a good color reference in-hand to give the printer for prints).

    <tongue-in-cheek>Who's gonna start making this new Apugchrome film and a camera to shoot it in? </tongue-in-cheek>
    ME Super

    Shoot more film.
    There are eight ways to put a slide into a projector tray. Seven of them are wrong.

  5. #55
    Photo Engineer's Avatar
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    I have just about everything to do this, but want to confirm sources and chemicals with Steve.

    PE

  6. #56
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    Quote Originally Posted by Ken Nadvornick View Post
    This (highly interesting) thread is living testament to the power once exercised by Kodak's marketing department. The marketing personnel may all be dead and gone, but their legacy lives on.

    Ken
    I think there are a few Kodak marketing people still with us.

    My Dad looked still reasonably spry today when I visited him. He may have been retired since the mid 1980s, but he was employed by the marketing division of Kodak Canada for the previous quarter century or so.

    And as was common in his time, he had a pretty good knowledge about the practical technicalities of Kodachrome and Ektachrome, because that was important if you worked in the marketing department.
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

  7. #57
    Stephen Frizza's Avatar
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    Quote Originally Posted by Worker 11811 View Post

    I can't imagine how it could be done in regular hand tanks. Spiraling film on and off the reels, once wet, would be nearly impossible.
    Correct spools, reels for a complete film would be a nightmare and I have not and will not explore that avenue. All my tests were with very easy to manage strips no longer than 5 or 6 frames.
    "Its my profession to hijack time" ~ Stephen Frizza.

  8. #58
    Stephen Frizza's Avatar
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    Quote Originally Posted by Nzoomed View Post
    Correct me if im wrong, but as far as i understand, Kodachrome is essentially a B&W film made of 3 layers sensitised to each of the 3 primary colours?
    correct.
    "Its my profession to hijack time" ~ Stephen Frizza.

  9. #59
    Stephen Frizza's Avatar
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    Quote Originally Posted by wblynch View Post
    If it were me I would create a 'stretcher' or rack where the film strip gets mounted all flat out. Then a set of long troughs, or tall cylindrical tanks that the stretcher would be immersed in. You could easily control the reexposure by side and light color by placing the rack on a light bar.

    Although I'm sure you would have to process in darkness, it could be an assembly line type of affair. Drop in tank1 for time, pull the rack out and on to light bar 1, then on down the line.
    For my printing stages I used one of those curved black duping easels it held the film nicely, protected the side i wanted protected during the re exposure etc...
    One thing that is paramount in the process is making sure when you expose a layer you expose it completely without effecting the other layers. In exposing a layer completely the dye development baths will dye the film correctly however if you don't entirely expose the entire red or blue layer to completion when it comes time to doing chemical reversal of the green layer the left over silver halides in the other layers develop in the magenta dye bath and cause colour contamination (sorry Ron if you think my terminology is off) but im sure u know what I'm referring to at this step.
    "Its my profession to hijack time" ~ Stephen Frizza.

  10. #60
    Stephen Frizza's Avatar
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    Quote Originally Posted by Photo Engineer View Post
    I have just about everything to do this, but want to confirm sources and chemicals with Steve.

    PE
    Ron I will send you a private message about source of chemistry for the process.
    "Its my profession to hijack time" ~ Stephen Frizza.



 

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