Quote Originally Posted by Ed Sukach
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.
Sorry Ed, nothing intended by my response but transmitting correct information. I see too many myths and errors compounding themselves and have found myself becoming a compulsive 'corrector' of these. My apologies.

BTW, I am one of the co-inventors of the yellow developer for Kodachrome (CD-6). I know the process well. It is very complex but was regularly done by hand in research at Kodak with 35mm film. All you need is time and patience.

PE