Judy Seigel (jseigel@panix.com)
Mon, 28 Jun 1999 20:28:05 -0400 (EDT)
On Mon, 28 Jun 1999, Wayde Allen wrote:
> To answer the other guys question about how this compares to "normal"
> Sabattier printing, it simply seems to be a different process. That is
> why he called it "pseudo-solarization". The chromoskedasic process
> generates various colors in the print whereas I don't believe that that
> happens with the normal Sabattier process. Judy can correct me
> on that one if I'm wrong.
>
> One thing I'd like to see would be a breakdown of the chemistry involved
> with the Chromoskedasic printing. Both the Scientific American and Dr.
> Jolly's articles simply use the chemicals based on empirical studies. If
> nothing else, it would be nice to know what the ingredients in the two
> Kodak products used actually cause this effect.
>
Wayde, I've never done the chromskedasic printing (do you want to do it if
you can't say it?), but as I recall, the only relation to Sabatier is
tendency to an edge effect -- tho if I daresay we'll hear pronto if I'm
wrong.
As Ed Buffaloe described in P-F #2, you can get 2nd exposure tones almost
red, certainly reddish brown in a dandy split-tone effect, by adding
potassium bromide to the second developer.... but that's about the limit
of the "colors" without actual toning. Tho I guess I should add that
selenium toning Sabatier prints on Brovira often gave nearly red for the
second exposure areas without special developer.
Checking the Silver Mirror "Update" in the latest Photo Techniques, I note
again that the process is recommended for Kodabrome RC grade 4. The update
seems to refine the "Silver Mirror" formulas & instructions (nothing on
the Chromsekadasic). But what I'm STILL wondering is why that instead of
the SS toner, which works on any paper, any grade, including (especially)
fiber based, *no fail*. Am I missing something? (True, not everyone has
this article from P-F #3, but many do.... Was it the Aqua Regia fumes what
done 'em in?)
But Wayde, my impression of the Chromoskedasic color effects -- and some
related effects Pierre Cordier used to get -- is that they are
*enormously* variable according to the paper and the rest of the sequence.
Whether that can be laid out in a chart of what causes what... I wouldn't
count on it...
Judy
> > - Wayde
> (wallen@boulder.nist.gov)
>
>
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