From: Peter Marshall (petermarshall@cix.co.uk)
Date: 09/23/03-04:39:59 AM Z
Martin Reed published some of his work on the process in AG+ magazine
volume 14. If you can't find it in a library you can buy the back issue
online at
http://www.bjphoto.co.uk/ag-plus/agbackissues.shtml
Peter Marshall
Photography Guide at About http://photography.about.com/
email: photography.guide@about.com
_________________________________________________________________
London's Industrial Heritage: http://petermarshallphotos.co.uk/
The Buildings of London etc: http://londonphotographs.co.uk/
My London Diary http://mylondondiary.co.uk/
and elsewhere......
> From: Steve Bell <sbell1@artic.edu>
> Subject: Autochromes
> Date: Tue, 23 Sep 2003 01:21:12 -0500
>
> Autochrome got mentioned in pure-silver list a couple weeks ago but
> with no technical discussion... just for records - not worth searching
> for it.
>
> > so does anyone have any info on how possible this process is today?
>
> If you can make color matrix layer just like Lumiere's, the rest is
> just a matter of making a fast, extremely fine grained, panchromatic
> reversal plate emulsion, which is probably not terribly difficult. I
> do not think you can buy any panchromatic emulsion or any emulsion of
> this speed, so you have to make one yourself. But again I think the
> emulsion is the least of the problem.
>
> The color matrix might be easier to make like Dufaycolor film. I
> checked this keyword (as well as Agfa color plate) in google but
> nothing came out. I'm not old enough to know them real time, but these
> are explained in some details in Baker (1948) Photographic Emulsion
> Technique 2nd ed.
>
> Dufaycolor film used color matrix consisting of colored lines of about
> 500 lines per inch instead of Lumiere's method, allowing the use of
> coarser grained emulsion.
>
> Some high-resolution inkjet printers may be capable of making a
> pattern like that used by Dufaycolor film, to which panchromatic slide
> emulsion is to be coated and exposed through the pattern. But I am not
> sure if you can find inks made of pigments that are resistant of
> post-exposure processing of the film. Or you might want to do
> as closely as Lumiere's method. I think glass support must be used for
> all but low-resolution Dyfaycolor type matrix process.
>
> Baker explains that the fast reversal emulsion for Autochrome-like
> processes should contain plenty of tiny grains that are not meant to
> be exposed in camera, but are to be developed during reversal process
> to provide excellent and high resolution blocking of undesired
> colors. Anyway, the clever technique Baker talks about for the
> emulsion part isn't difficult to anyone who makes fast, dry plate or
> film emulsions. Making a good color matrix seems much more challenging
> to me.
>
> Baker refers to E. J. Wall's "History of COlor Photography" for
> problems with color matrix techniques.
>
> --
> Ryuji Suzuki
> "Reality has always had too many heads." (Bob Dylan, Cold Irons Bound,
> 1997)
>
>
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