In Camera Tricolor separations, HOW?

[Kirk Fry]

All,

Thanks, this is wonderful. So I am not completely nuts, this looks like a fun project. I am going to give it a shot. The image registration part bothered me but that seems to be doabel after scanning. In the analog days this would have been a killer. The clipping corners idea of negatives has already saved me time. Two holders, 3 separations and one with out filters.

Thanks all.

Kirk

[Donald Qualls]

Oh, damn. Registration solved.

Now I'm going to have to get some tricolor filters that will fit one of my lenses, or a Cokin-style holder.

MUCH simpler to just shoot C-41 in my Speed Graphic, but that doesn't produce silver gelatin negatives that can reasonably be expected to last into the 22nd century...

[pierre506]

The normal picture:

Tri-color：

[jnantz]

i've been making stereoscopic trichromes for a little while .. you have to cross your eyes to get the effect
and ... its worth the headache afterwards

[pierre506]

Yes，the stereo results are stunning.

[John Layton]

Kirk...you should really try contacting Jim Browning who lives in Lebanon, NH. He's a (traditional) dye-transfer guru...a seriously vanishing breed for sure! Very confident that he's among the most knowledgable tricolor separation folks alive today. At any rate...give'm a google!

[sanking]

A couple of images made from three-color separations on panchromatic film. The separations were made with a 5X7 view camera on 5X7 panchromatic film, through Red 25, Green 58 and Blue 47 filters. I originally made same size contact prints with these separations with three-color carbon, and slightly larger prints with three-color carbro.

The attached images were created by scanning the original separation negatives and assembling the color layers in Photoshop. With the use of digital controls the image quality is much better than I was able to achieve in the past, though so far I have only printed these files with an inkjet printer. However, I started to make three-color carbon prints again a couple of years ago and plan to reprint one or both of these images soon with digital separations. Many things have changed over the years, but the actual analog component of making three-color carbon prints remains a lot more challenging than just exposing and developing the separations.

Sandy

[EarlJam]

My dad was born in 1921 and came of age in the Technicolor era. He had a fascination with bi- and tri-color photography and built a two-color camera out of an old folding camera. I have one print from that camera, a picture of his younger brother, probably taken in 1938.

My dad also collected Curtis and Devin tri-color cameras, in a variety of sizes from 2.25 x 3.25 to 5 x 7. With one of the Curtis cameras was a 1948 price list which provides some details on the process. See pages 9 through 11 of the attached. Apologies for the low-ish resolution on the scan. PM me for a better copy (roughly 3 MB).

Curtis_b_001.pdf

[Drew Wiley]

There's an old Devin tricolor camera on the conversation piece shelf of the local photo stre. It's too beat up to be worthy of restoration. The ultimate tricolor cameras were Technicolor movie cameras. But if one were shooting primarily distant subjects without a parallax issue, they could simultaeously trigger three separate small cameras precisely mounted and aligned. Some people just use three separate exposures and hope that nothing moves. If I were rich, I'd order a beamsplitter prism custom coated with neutral density plus separation color. But I'm getting too old and lazy for any of this. I do know how to make color separation negs from chromes. Maybe one of these days I'll try to make a pin-registered back for my 8X10 and try the real deal.