All transparencies. But anything that was printed was first exposed to a pre-fogged sheet of color neg, or, using special color neg material from Kodak. The pre-fogging worked better.
I was tasked with making prints from 35mm color Kodachrome and Ektachrome slides that Weston's sons brought into the lab where I worked nights while attending college, Jones Photocolor. I didn't do them all, but I was taught by the owner how to use the enlarger to pre-fog a sheet of 5x7 neg material before I placed the carrier with the slide in. Once those 5x7 sheets were processed and checked, they were placed in either our 5x7 Elmer vertical enlarger for up to 20x24 prints or our custom horizontal (on rails in a large room) enlarger for the 40x60 prints for museums or shows. In some cases, we exposed transparency film for airport backlit billboards for Wells Fargo and a few airlines. 45" wide by 30' long film tacked up to the wall in the dark using taped on plastic guides, one sheet at a time. That was all we could process at a time on our Holtzmueller drum processor. It had to be accurate enough and properly replenished so each roll matched exactly once they were hung. Someone else did the trimming and edge reinforcements for display. More fun! On Apr 16, 2013, at 13:41 , John Sessoms wrote: > Perhaps even more so, as I'm pretty sure most of his color photography was > made with Kodachrome. Anyone know of work Adams did with color negative film? > > I don't, but if there is, I'd appreciate a link. Joseph McAllister Too much gear, not much time -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
