Autochrome collection, https://www.largeformatphotography.i...=1#post1493016
Autochrome collection, https://www.largeformatphotography.i...=1#post1493016
Tin Can
I didn't take this photograph. I'm not quite that old, or talented. I assembled the 5x7 separation negatives in Photoshop. It was possibly taken at the NY Daily News color studio, run by Harry Warnecke, a pioneer color portrait photographer of celebrities, politicians and noteworthy personalities.
Scott
There are a lot of paths to it. I'm set up to do 8x10 in-camera separations (sequential), then pin-register enlarge them. Maybe next month I'll print an image or two if I get a break from other projects. TMax 100 is the most cooperative film in terms of matched linearity, which of course, is going to have quite a bit longer scale than doing this with a digital camera. Both Curtis and Devin cameras sometimes get reconditioned. You can get custom-made new pellicles and filters; it's a chore and expensive. I'd rather see it done with a beamsplitter prism if you want simultaneous exposures; but that would end up even heavier and require expensive custom machining. Of course, technicolor movie cameras had all this solved. In was routine to use view cameras separations for dye-transfer or color carbro still-life separations. Tri and quad carbon printing is more common today; but gum and casein printing is also around. A number of websites are dedicated to various approaches, both antique and present.
Hello,
For those interested in "Trichromie", you can find a huge source of informations on the following link : http://trichromie.free.fr/trichromie.../11/23/PDF2015
Henri has made a lot of searches upon this subject and it gives a lot of "how to" and concrete (read strongly documented) explanations. Have fun.
Jérôme
My dad grew up in the Los Angeles area, not far from Curtis' Highland Park and later Griffith Park locations, and was enamored by their cameras. Over time, he built up a collection of tri-color cameras from Curtis and Devin, in plate sizes from 2.25 x 3.25 to 5 x 7. Amongst the collection was a 1947 Curtis price list, which is quite informative as to the process; see attached.
Edit: Here's a scanned, two-color dye transfer print my dad made with negatives from a homemade camera, of his younger brother circa 1938.
This is from a 6x7cm roll film back on a Crown Graphic. The great thing about Seagulls is they aren't nervous. It wasn't about to move from its perch regardless of all the commotion I made with my gear.I love this technique. All of the images posted are keeping me inspired to do more. Keep the images coming!
Scott
Last edited by RedGreenBlue; 11-Apr-2019 at 19:45.
I can't find any scans at the moment, but I've used this technique several times. I especially love it during sunset when the sun is moving fast in the sky and the shadows take on a rainbow effect. I've even done some still lifes with days to a week between exposures (to let flowers die). I print these using either 4 color gum or casein. For the black (key), just take the photo without any filters, and reduce the exposure of the film or printed layer to give you about 20% of the regular density. You could probably cut the pigment to 20% and expose and print normally too, but I haven't tried..
One problem I have to deal with is keeping the large format camera steady between exposures. I always tend to bump it a hair between pulling the film holders in and out. It's not a big issue since I'm printing from digital negatives. It's easy to align everything in software.
I'd really like to try a CMYKOGV print, but from what I read in my research, this technique (in the printing world) was virtually impossible before computers came along to control the relationships between the colors and that just seemed like a lot of work to figure out on my own. Maybe one day...
Bookmarks