Quote Originally Posted by Photo Engineer
Ed, the yellow color to the negative is due to color masking, not an intent to offset color balance to eliminate cyan filtration (although it has that side effect).
This mask corrects color and eliminates the impurities introduced by the organic dyes used. That mask is tailored specifically for each film and therefore the yellowish orange cast will vary as will the relative speeds of the 3 color layers to balance the film.
Interesting. I did not choose to "grind very fine" in my post. The end result is that color negatives will appear to be "too yellow" when inspected visually. I remember the "old" AgfaColor, without whatever masking, that did not exhibit the "yellow cast". For a long time, that was my most favorite film.

It is only in "special circumstances" as - now, where I will produce prints of a model illuminated by the color transparency images of flowers, trees, stone walls, etc,, projected through a Hasselblad PCP80 Projector, that any cyan filtration will be necessary. That is a technical challenge: 5500K daylight film used to capture an image illuminated by a 3800K (??? - something like that --) lamp - all bets would be off anyway, after the light passes through the transparency.

BTW - I've found the Camera and Darkroom issue describing the Kodak K-14 process - January, 1989; and I'll post it here or as an Article (nostalgic) when I find time. Hopefully, I will find some time.
Shades of Seattle Film works - the first step was "Rem-Jet" removal -- 5-10 seconds @ 85 deg. F. Sixteen steps total, including the last: "Dry 4 min. @ 105F.

My interest in Camera and Darkroom (oops - named Darkroom Photography then...) has not waned - I MISS that magazine.