Re: [Frameworks] Kodachrome

[Scott Dorsey]

> I gotta say, the more I learn about photographic chemistry, the more I am
> saddened that it has become such a rare, niche activity. 

It was once a field of very active research and development.  If you are
curious about B photography I strongly recommend getting a first edition
of C.E.Kenneth Mees' book _Theory of the Photographic Process_.  If you
are curious about color photography I recommend getting a third edition.
A lot of cool stuff was removed from later edition (like a huge amount of
information about gelatin physics) in order to fit the details about color.

Copies are out there and shouldn't be very expensive.  There are plenty of
other good books, but most of them will be found in the references in the
back of Mees.
--scott
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Re: [Frameworks] Kodachrome

[Nicole Baker]

I gotta say, the more I learn about photographic chemistry, the more I am
saddened that it has become such a rare, niche activity.  There's really
nothing else like it.

Nicole Elaine Baker
MFA in Visual Studies, 2019
Pacific Northwest College of Art
Hallie Ford School of Graduate Studies
*www.magiklantern.com *




On Wed, May 1, 2019 at 7:25 AM Scott Dorsey  wrote:

> > So, just for the fun of it let me ask, what happens if you process
> > kodachrome in C41 chemistry? Anything? Mud?
>
> Nothing, because all the cool stuff in C41 is in the film rather than in
> the processing.
>
> Each layer of C41 has the color dyes and couplers already in there with the
> silver halides and the sensitizing dyes.  On the top is the blue layer
> with no sensitizing dyes, then there is a deeply dyed yellow filter layer
> to block out all blue, then there are layers below sensitive to red and
> green.  The red and green layers are -also- unfortunately sensitive to
> blue (as natural halides are) so that yellow filter prevents them from
> getting them exposed by blue light.  It's not perfect and it doesn't block
> UV effectively, which is why occasionally pink flowers would photograph as
> blue on older Kodacolor emulsions.
>
> Anyway... so you expose the film and each of the layers gets a latent image
> appropriate to the color it's sensitized to, and you send it to the lab.
> It's first developed in an ordinary B developer to develop silver images,
> then a color developer connects the color dyes up to the silver.  The
> excess color dyes are removed in a clearing bath, the silver is bleached
> out,
> the dyes are stabilized, any residual silver is fixed just for stability,
> and the lights are turned on.
>
> Initially in the C-22 days these were done with multiple baths, but these
> days some kits have it down to just a developer/color developer and a
> blix.  Modern developing kits also do things like having multiple
> developers
> with different temperature sensitivities which compensate for one another,
> so you don't need the high precision water baths that you did when C-41
> first came out.
>
> One of the nice things have having split bleach and fix is that you can
> eliminate the bleach in order to leave a B image on top of the color dye
> image.  This gives you much lower saturation but about a stop greater
> sensitivity.  It's a useful effect to lower saturation but it was also used
> by press photographers in the seventies to get an extra stop out of the
> film.
>
> So... if you run B film through C-41... you get a B image... then it
> bleaches it away and you get a roll of blank film.  The color dyes don't
> get attached because they aren't there.  Same thing happens if you were
> to run Kodachrome or Agfacolor films through the C-41 machine.
>
> E-6 is a special case because the E-6 dye coupler chemistry is very similar
> to that of C-41 and they use the same color developing agent.  So you can
> cross process C-41 in E-6 chemistry and vice-versa and get an image, though
> your color rendition won't be anything approaching accurate.
> --scott
>
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Re: [Frameworks] Kodachrome

[Scott Dorsey]

> So, just for the fun of it let me ask, what happens if you process
> kodachrome in C41 chemistry? Anything? Mud?

Nothing, because all the cool stuff in C41 is in the film rather than in
the processing.

Each layer of C41 has the color dyes and couplers already in there with the
silver halides and the sensitizing dyes.  On the top is the blue layer
with no sensitizing dyes, then there is a deeply dyed yellow filter layer
to block out all blue, then there are layers below sensitive to red and
green.  The red and green layers are -also- unfortunately sensitive to
blue (as natural halides are) so that yellow filter prevents them from
getting them exposed by blue light.  It's not perfect and it doesn't block
UV effectively, which is why occasionally pink flowers would photograph as
blue on older Kodacolor emulsions.

Anyway... so you expose the film and each of the layers gets a latent image
appropriate to the color it's sensitized to, and you send it to the lab.
It's first developed in an ordinary B developer to develop silver images,
then a color developer connects the color dyes up to the silver.  The
excess color dyes are removed in a clearing bath, the silver is bleached out,
the dyes are stabilized, any residual silver is fixed just for stability,
and the lights are turned on.

Initially in the C-22 days these were done with multiple baths, but these
days some kits have it down to just a developer/color developer and a 
blix.  Modern developing kits also do things like having multiple developers
with different temperature sensitivities which compensate for one another,
so you don't need the high precision water baths that you did when C-41
first came out.

One of the nice things have having split bleach and fix is that you can
eliminate the bleach in order to leave a B image on top of the color dye
image.  This gives you much lower saturation but about a stop greater
sensitivity.  It's a useful effect to lower saturation but it was also used
by press photographers in the seventies to get an extra stop out of the film.

So... if you run B film through C-41... you get a B image... then it
bleaches it away and you get a roll of blank film.  The color dyes don't
get attached because they aren't there.  Same thing happens if you were
to run Kodachrome or Agfacolor films through the C-41 machine.

E-6 is a special case because the E-6 dye coupler chemistry is very similar
to that of C-41 and they use the same color developing agent.  So you can
cross process C-41 in E-6 chemistry and vice-versa and get an image, though
your color rendition won't be anything approaching accurate.
--scott

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Re: [Frameworks] Kodachrome

[Nicole Baker]

Wow Scott thank you. That was super informative! And fascinating.
So, just for the fun of it let me ask, what happens if you process
kodachrome in C41 chemistry? Anything? Mud?
I'm just starting out doing my own processing and I cannot get enough of
the chemistry.
Thanks again!


On Tue, Apr 30, 2019, 5:23 PM Scott Dorsey  wrote:

> Oh, you could probably get a K-14 line running.  Dwayne's Photo had one
> running a few years ago and still has the analytic chemist on staff
> although they don't have some of the other people on the line.
>
> The problem with K-14, which is also the wonderful thing about it, is
> that the dyes are not in the individual film layers.  So you have to
> develop it to B images, then bleach out the silver, then expose it to
> red light to get a positive latent image on the top red layer, develop
> it into B images, attach a red dye to the developed silver, bleach
> out the silver, expose it to green light to get a positive latent image
> on the green layer, develop it into B images, attach a green dye to
> the developed silver, bleach out the silver, expose it to blue light
> to get a positive latent image on the blue layer, develop it into B
> images, attach a blue due to developed silver, bleach out the silver,
> then remove all residual halides and harden the emulsion.
>
> This is leaving out all the stop baths and clearing baths.
>
> So you have three B developers involved, all of which are designed to
> have -slightly- different curves and which have to be kept under control
> by a chemist to make sure they hit the curves perfectly.  If you think
> crossover on E-6 is a nightmare, this is way worse because you have
> independent control over everything.
>
> Then you have three color re-exposures which have to be done precisely
> and cleanly.  The process control is very elaborate.  Very small changes
> can effect color a lot, so you are pretty much stuck with a big roller
> transport system and nitrogen burst agitation.  The one that Kodak had
> in Hawaii was over two miles long from end to end.
>
> With E-6 pretty much all the chemicals can be made up from common reagents
> except for the color developer.  With K-14 you have all kinds of dyes and
> dye couplers that have to be synthesized specifically for the K-14 lab.
> It's something that can be done, but it's nontrivial.
>
> Oh yeah... and to do all of that process control, you need not only to be
> able to do constant titration but also to run pc strips... and Kodak is not
> going to sell you brand new Kodachrome pc strips anymore.  I suspect that
> running out of strips is what finally got Duane's to shut their K-14 line
> down.
>
> The cool thing: because the dyes are added in after the fact and aren't
> part
> of the emulsion, you can use a much wider variety of possible dyes when you
> design the process.. dyes with a wider color gamut and much better
> stability
> than conventional Kodak-process color films.  This is why in the 21st
> century
> the one Kodak process that should have survived into the digital world is
> Kodachrome because it is so valuable as a long-term archiving material.
> --scott
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Re: [Frameworks] Kodachrome

[Scott Dorsey]

Oh, you could probably get a K-14 line running.  Dwayne's Photo had one 
running a few years ago and still has the analytic chemist on staff
although they don't have some of the other people on the line.

The problem with K-14, which is also the wonderful thing about it, is
that the dyes are not in the individual film layers.  So you have to 
develop it to B images, then bleach out the silver, then expose it to
red light to get a positive latent image on the top red layer, develop
it into B images, attach a red dye to the developed silver, bleach 
out the silver, expose it to green light to get a positive latent image 
on the green layer, develop it into B images, attach a green dye to 
the developed silver, bleach out the silver, expose it to blue light
to get a positive latent image on the blue layer, develop it into B
images, attach a blue due to developed silver, bleach out the silver,
then remove all residual halides and harden the emulsion.

This is leaving out all the stop baths and clearing baths.

So you have three B developers involved, all of which are designed to
have -slightly- different curves and which have to be kept under control
by a chemist to make sure they hit the curves perfectly.  If you think
crossover on E-6 is a nightmare, this is way worse because you have 
independent control over everything.

Then you have three color re-exposures which have to be done precisely
and cleanly.  The process control is very elaborate.  Very small changes
can effect color a lot, so you are pretty much stuck with a big roller
transport system and nitrogen burst agitation.  The one that Kodak had
in Hawaii was over two miles long from end to end.

With E-6 pretty much all the chemicals can be made up from common reagents
except for the color developer.  With K-14 you have all kinds of dyes and
dye couplers that have to be synthesized specifically for the K-14 lab.
It's something that can be done, but it's nontrivial.

Oh yeah... and to do all of that process control, you need not only to be
able to do constant titration but also to run pc strips... and Kodak is not
going to sell you brand new Kodachrome pc strips anymore.  I suspect that
running out of strips is what finally got Duane's to shut their K-14 line
down.

The cool thing: because the dyes are added in after the fact and aren't part
of the emulsion, you can use a much wider variety of possible dyes when you
design the process.. dyes with a wider color gamut and much better stability
than conventional Kodak-process color films.  This is why in the 21st century
the one Kodak process that should have survived into the digital world is
Kodachrome because it is so valuable as a long-term archiving material.  
--scott
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Re: [Frameworks] Kodachrome

[Ed Inman]

There have been some experiments along these lines, but the process is quite complicated and Eastman Kodak no longer supplies the chemistry. Wiki spells out the basic K-14 steps here:  https://en.wikipedia.org/wiki/K-14_process-Original Message-
From: Colin Brant 
Sent: Apr 30, 2019 7:03 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Kodachrome

I would be curious to hear from anyone able to cast light on why Kodachrome can't be processed as intended. After years of hearing the simple "no" I'd be interested to know the more complicated, chemical reason. Anybody?


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Re: [Frameworks] Kodachrome

[Colin Brant]

I would be curious to hear from anyone able to cast light on *why*
Kodachrome can't be processed as intended. After years of hearing the
simple "no" I'd be interested to know the more complicated, chemical
reason. Anybody?

*Ektachrome* -- as far as I know, the new formulation is only available in
the still 35mm and S8mm formats, while 16mm is still being promised for the
near future. But there is lots of old Ektachrome out there on ebay etc...

-cb

On Tue, Apr 30, 2019 at 3:06 PM Scott Dorsey  wrote:

> Kodachrome cannot be processed to a color image any longer.  Not K-14, not
> K-12, no way, no how.
>
> You can process it to a B image but what you get is poorer quality than
> what you'd get if you'd just shot B film.
>
> However, there is now a usable 16mm Ektachrome stock if you like that
> reversal look.  It runs E-6.
> --scott
>
>
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Re: [Frameworks] Kodachrome

[Brian Wilson]

As others have stated, Kodachrome may not be the best option, but the new 
Ektachrome would certainly be viable and give you something in the realm of 
what you’re looking for. 

Brian Wilson 

Sent from my iPhone

> On Apr 30, 2019, at 4:51 PM, Jon Behrens  wrote:
> 
> I would alike to help, but I think finding Kodachrome might be a stretch, but 
> not impossible , does it have to be Kodachrome?
> 
> Jon
> 
> Sent from my iPhone
> 
> On Apr 30, 2019, at 2:45 PM, Ed Inman  wrote:
> 
>> Kodachrome has some silver content so it can be processed as black & white. 
>> I used to do this to Super 8 Kodachrome films in the 70s using a standard 
>> b/w reversal formula. 
>> The only person I'm aware of who claims to be able to process it in color is 
>> Kelly-Shane Fuller of Piratelogy Studios but only in still camera lengths. 
>> https://shootfilmco.com/blogs/shoot-film-co/kodachrome-processed-in-color-seriously
>> 
>> -Original Message- 
>> From: Mark Street 
>> Sent: Apr 30, 2019 4:30 PM 
>> To: Experimental Film Discussion List 
>> Subject: [Frameworks] Kodachrome 
>> 
>> Dear All,
>> My former teacher and friend Barbara Hammer asked me to finish a film for 
>> her; she gave me the material before she died.  She asked 4 of us to do so; 
>> I'm turning my attention to the project now.
>> 
>> I had a crazy idea of shooting some Kodachrome.  Any way to purchase this 
>> outdated stock?  Any way of processing it assuming I can find a roll or two?
>> 
>> all the best,
>> Mark Street
>> www.markstreetfilms.com
>> 
>> 
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Re: [Frameworks] Kodachrome

[Scott Dorsey]

Kodachrome cannot be processed to a color image any longer.  Not K-14, not
K-12, no way, no how.

You can process it to a B image but what you get is poorer quality than
what you'd get if you'd just shot B film.

However, there is now a usable 16mm Ektachrome stock if you like that
reversal look.  It runs E-6.
--scott


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Re: [Frameworks] Kodachrome

[Jon Behrens]

I would alike to help, but I think finding Kodachrome might be a stretch, but 
not impossible , does it have to be Kodachrome?

Jon

Sent from my iPhone

On Apr 30, 2019, at 2:45 PM, Ed Inman 
mailto:edin...@earthlink.net>> wrote:

Kodachrome has some silver content so it can be processed as black & white. I 
used to do this to Super 8 Kodachrome films in the 70s using a standard b/w 
reversal formula.
The only person I'm aware of who claims to be able to process it in color is 
Kelly-Shane Fuller of Piratelogy Studios<http://www.piratelogy.com/> but only 
in still camera lengths.
https://shootfilmco.com/blogs/shoot-film-co/kodachrome-processed-in-color-seriously

-Original Message-
From: Mark Street
Sent: Apr 30, 2019 4:30 PM
To: Experimental Film Discussion List
Subject: [Frameworks] Kodachrome

Dear All,
My former teacher and friend Barbara Hammer asked me to finish a film for her; 
she gave me the material before she died.  She asked 4 of us to do so; I'm 
turning my attention to the project now.

I had a crazy idea of shooting some Kodachrome.  Any way to purchase this 
outdated stock?  Any way of processing it assuming I can find a roll or two?

all the best,
Mark Street
www.markstreetfilms.com<http://www.markstreetfilms.com>


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Re: [Frameworks] Kodachrome

[Ed Inman]

Kodachrome has some silver content so it can be processed as black & white. I used to do this to Super 8 Kodachrome films in the 70s using a standard b/w reversal formula. The only person I'm aware of who claims to be able to process it in color is Kelly-Shane Fuller of Piratelogy Studios but only in still camera lengths. https://shootfilmco.com/blogs/shoot-film-co/kodachrome-processed-in-color-seriously-Original Message-
From: Mark Street 
Sent: Apr 30, 2019 4:30 PM
To: Experimental Film Discussion List 
Subject: [Frameworks] Kodachrome

Dear All,My former teacher and friend Barbara Hammer asked me to finish a film for her; she gave me the material before she died.  She asked 4 of us to do so; I'm turning my attention to the project now.I had a crazy idea of shooting some Kodachrome.  Any way to purchase this outdated stock?  Any way of processing it assuming I can find a roll or two?all the best,Mark Streetwww.markstreetfilms.com

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[Frameworks] Kodachrome

[Mark Street]

Dear All,
My former teacher and friend Barbara Hammer asked me to finish a film for
her; she gave me the material before she died.  She asked 4 of us to do so;
I'm turning my attention to the project now.

I had a crazy idea of shooting some Kodachrome.  Any way to purchase this
outdated stock?  Any way of processing it assuming I can find a roll or two?

all the best,
Mark Street
www.markstreetfilms.com
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Re: [Frameworks] kodachrome 2 exp. 1975 kodachrome II

[Kevin Rice]

Hello Johannes  Milena,

There's no secret to it -- Kodachrome, like any modern mono-pack color film
stock, is three layers of spectrally sensitized silver gelatin (i.e. black
and white) emulsions. Any of these stocks can be processed as black and
white negative or reversal using whatever developer you desire, including
color developers in the case of Kodachrome which has no dye couplers to
bond with the oxidized agents of a color developer. Really, the only
adjustment one might make to the process is the addition of bromide (e.g.
potassium bromide [KBr]) to the developer of your choice in an attempt to
restrain some of the inevitable fogging that will occur due to the films
age. For now, though, I won't go into detail about this particular
procedure as it's a long discussion concerning how the film was stored, how
old it is, how it was exposed, etc...but what I will say is that we
recently processed a roll of expired super-8 Kodachrome II (Type A) as BW
negative using an unmodified D-19 recipe @ 38 degrees Celsius across 4
minutes with a standard agitation profile, and it gave good results. After
development, just fix to completion and remove the RemJet in the same way
as with your K40 and K25 films...

Hope this helps!

Kevin Rice
processreversal.org
pcn03031989.com
(720) 270.3857



 -- Forwarded message --
 From: Johannes Schrems johannesschr...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Cc:
 Date: Fri, 07 Mar 2014 08:55:25 +0100
 Subject: [Frameworks] kodachrome 2 exp. 1975 kodachrome II
  hi, we had the same remjet coating on the k40 and k25 films too and
 removed them easy after developing by hand.
 we do not mind the diy look afterwards.
 to all of you:
 i think there must be a way to develop kodachrome 2 in bw negativ.
 rocky mountain film lab and filmrescue.com are develping this film.
 anyone knowing someone working there how could ask for their secret?
 no one ever done this?
 pleace help!
 best regards
 johannes and milena


 Am 27.01.2014 22:01, schrieb Roger Wilson:
  Doesn't Kodachrome 2 have the remjet antihalation on it? Did you remove
 it first? I think then you just process it like regular bw but I've not
 done it myself so I can't say for sure.

  However, here is a list of chemicals that you use to make the remjet
 removal. I use this recipe for colour processing and it removes the remjet
 completely with no extra work. I use a morse G3 tank and run it through
 this recipe for 4 minutes max.
 This is the one from kodak ECN-2:

 WATER (27-38ºC) - 800ml
 BORAX - 20g
 SODIUM SULFATE (anhydrous) - 100g
 SODIUM HYDROXIDE - 1g
 WATER to complete - 1 litre



 Roger D. Wilson
 Film Scientist
 613 324 - 7504
 rogerdwil...@sympatico.ca
 http://www.rogerdwilson.ca

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[Frameworks] kodachrome 2 exp. 1975 kodachrome II

[Johannes Schrems]

hi, we had the same remjet coating on the k40 and k25 films too and 
removed them easy after developing by hand.

we do not mind the diy look afterwards.
to all of you:
i think there must be a way to develop kodachrome 2 in bw negativ.
rocky mountain film lab and filmrescue.com are develping this film. 
anyone knowing someone working there how could ask for their secret?

no one ever done this?
pleace help!
best regards
johannes and milena


Am 27.01.2014 22:01, schrieb Roger Wilson:
Doesn't Kodachrome 2 have the remjet antihalation on it? Did you remove 
it first? I think then you just process it like regular bw but I've not 
done it myself so I can't say for sure.


However, here is a list of chemicals that you use to make the remjet 
removal. I use this recipe for colour processing and it removes the 
remjet completely with no extra work. I use a morse G3 tank and run it 
through this recipe for 4 minutes max.

This is the one from kodak ECN-2:

WATER (27-38ºC) - 800ml
BORAX - 20g
SODIUM SULFATE (anhydrous) - 100g
SODIUM HYDROXIDE - 1g
WATER to complete - 1 litre



Roger D. Wilson
Film Scientist
613 324 - 7504
rogerdwil...@sympatico.ca
http://www.rogerdwilson.ca http://www.rogerdwilson.ca/
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Re: [Frameworks] kodachrome 2 exp. 1975 kodachrome II

[Johannes Schrems]

hi, roger,  thanx for your answer. we had the same remjet coating on the 
k40 and k25 films too and removed them easy after developing by hand.

we do not mind the diy look afterwards.
to all of you:
i think there must be a way to develop kodachrome 2 in bw negativ.
rocky mountain film lab and filmrescue.com are develping this film. 
anyone knowing someone working there how could ask for their secret?

no one ever done this?
pleace help!
best regards
johannes and milena


Am 27.01.2014 22:01, schrieb Roger Wilson:
Doesn't Kodachrome 2 have the remjet antihalation on it? Did you 
remove it first? I think then you just process it like regular bw but 
I've not done it myself so I can't say for sure.


However, here is a list of chemicals that you use to make the remjet 
removal. I use this recipe for colour processing and it removes the 
remjet completely with no extra work. I use a morse G3 tank and run it 
through this recipe for 4 minutes max.


This is the one from kodak ECN-2:

WATER (27-38ºC) - 800ml
BORAX - 20g
SODIUM SULFATE (anhydrous) - 100g
SODIUM HYDROXIDE - 1g
WATER to complete - 1 litre



Roger D. Wilson
Film Scientist
613 324 - 7504
rogerdwil...@sympatico.ca
http://www.rogerdwilson.ca http://www.rogerdwilson.ca/

Without failure you can never achieve success. I have based my process 
and my career as an experimental film artist on this statement; and I 
welcome it as it pushes me forward as an artist to try something 
different, something new.



 Date: Mon, 27 Jan 2014 19:50:00 +0100
 From: j...@gmx.at
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] kodachrome 2 exp. 1975

 hi,

 is there anyone who knows how to develop a kodachrome 2 in bw negative
 or reversal?
 the process originally was k11 or k12.

 i developed the kodachrome 40 and 25 with the foma chemie in bw
 reversal and it worked well.
 but foma did not work with the old kodachrome 2.
 i tried to develop the kodachrome2 with b+w neg. process with ilfosol
 developer and the film was completely black, also on the edges!

 thanx for hints!

 best regards
 johannes
 filmkoop wien

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Re: [Frameworks] kodachrome 2 exp. 1975 kodachrome II

[Roger Wilson]

Hi Johannes,
I have a friend who has notes on how to process this film as bw but he is in 
Africa until the end of next week, once he gets back I will get them from him 
and forward them to you.
Roger

Roger D. WilsonFilm Scientist613 324 - 
7504rogerdwilson@sympatico.cahttp://www.rogerdwilson.ca
Without failure you can never achieve success. I have based my process and my 
career as an experimental film artist on this statement; and I welcome it as it 
pushes me forward as an artist to try something different, something new. 

Date: Sat, 8 Feb 2014 20:44:28 +0100
From: johannesschr...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] kodachrome 2 exp. 1975 kodachrome II


  

  
  
hi, roger,  thanx for your answer. we had the same remjet coating on
the k40 and k25 films too and removed them easy after developing by
hand.

we do not mind the diy look afterwards.

to all of you:

i think there must be a way to develop kodachrome 2 in bw
negativ.

rocky mountain film lab and filmrescue.com are develping this film.
anyone knowing someone working there how could ask for their secret?

no one ever done this? 

pleace help!

best regards

johannes and milena





Am 27.01.2014 22:01, schrieb Roger
  Wilson:



  

Doesn't
Kodachrome 2 have the remjet antihalation on it? Did you
remove it first? I think then you just process it like
regular bw but I've not done it myself so I can't say
for sure. 
  


  However, here is a
  list of chemicals that you use to make the remjet removal.
  I use this recipe for colour processing and it removes the
  remjet completely with no extra work. I use a morse G3
  tank and run it through this recipe for 4 minutes max.


This is
  the one from kodak ECN-2:

WATER
  (27-38ºC) - 800ml
BORAX -
  20g
SODIUM
  SULFATE (anhydrous) - 100g
SODIUM
  HYDROXIDE - 1g
WATER
  to complete - 1 litre
  

  

  

  Roger D. Wilson
  Film Scientist
  613 324 - 7504
  rogerdwil...@sympatico.ca
  http://www.rogerdwilson.ca

  
  

  Without failure you can never
  achieve success. I have based my process and my career
  as an experimental film artist on this statement; and
  I welcome it as it pushes me forward as an artist to
  try something different, something new. 
  

  

   Date: Mon, 27 Jan 2014 19:50:00 +0100

 From: j...@gmx.at

 To: frameworks@jonasmekasfilms.com

 Subject: [Frameworks] kodachrome 2 exp. 1975

 

 hi,

 

 is there anyone who knows how to develop a
kodachrome 2 in bw negative 

 or reversal?

 the process originally was k11 or k12.

 

 i developed the kodachrome 40 and 25 with the foma
chemie in bw 

 reversal and it worked well.

 but foma did not work with the old kodachrome 2.

 i tried to develop the kodachrome2 with b+w neg.
process with ilfosol 

 developer and the film was completely black, also
on the edges!

 

 thanx for hints!

 

 best regards

 johannes

 filmkoop wien

 

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[Frameworks] kodachrome 2 exp. 1975

[Johannes Schrems]

hi,

is there anyone who knows how to develop a kodachrome 2 in bw negative 
or reversal?

the process originally was k11 or k12.

i developed the kodachrome 40 and 25 with the foma chemie in bw 
reversal and it worked well.

but foma did not work with the old kodachrome 2.
i tried to develop the kodachrome2 with b+w neg. process with ilfosol 
developer and the film was completely black, also on the edges!


thanx for hints!

best regards
johannes
filmkoop wien

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Re: [Frameworks] kodachrome 2 exp. 1975

[Roger Wilson]

Doesn't Kodachrome 2 have the remjet antihalation on it? Did you remove it 
first? I think then you just process it like regular bw but I've not done it 
myself so I can't say for sure. 
However, here is a list of chemicals that you use to make the remjet removal. I 
use this recipe for colour processing and it removes the remjet completely with 
no extra work. I use a morse G3 tank and run it through this recipe for 4 
minutes max.
This is the one from kodak ECN-2:WATER (27-38ºC) - 800mlBORAX - 20gSODIUM 
SULFATE (anhydrous) - 100gSODIUM HYDROXIDE - 1gWATER to complete - 1 litre


Roger D. WilsonFilm Scientist613 324 - 
7504rogerdwilson@sympatico.cahttp://www.rogerdwilson.ca
Without failure you can never achieve success. I have based my process and my 
career as an experimental film artist on this statement; and I welcome it as it 
pushes me forward as an artist to try something different, something new. 

 Date: Mon, 27 Jan 2014 19:50:00 +0100
 From: j...@gmx.at
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] kodachrome 2 exp. 1975
 
 hi,
 
 is there anyone who knows how to develop a kodachrome 2 in bw negative 
 or reversal?
 the process originally was k11 or k12.
 
 i developed the kodachrome 40 and 25 with the foma chemie in bw 
 reversal and it worked well.
 but foma did not work with the old kodachrome 2.
 i tried to develop the kodachrome2 with b+w neg. process with ilfosol 
 developer and the film was completely black, also on the edges!
 
 thanx for hints!
 
 best regards
 johannes
 filmkoop wien
 
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[Frameworks] Kodachrome

[matthew brown]

Hello,

I recently received some Kodachrome that belonged to my great grandmother
and is very much past expiration date.
It is regular 8mm, I have two reels, one says develop before 1948 and the
other 1955.
I was wondering if there were any labs that might still process the
kodachrome...preferably in the US
I know that I wont necessarily get amazing images but I still want to use
the film to see what I get, which all hinges on processing...

Thanks,

Matthew Brown
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Re: [Frameworks] Kodachrome

[John Woods]

http://www.filmrescue.com/

I think they are the only game in town, they are in Canada but have a U.S. mail 
box and they can only get a BW negative image from the film.





 From: matthew brown matthewfrancisbr...@gmail.com
To: frameworks@jonasmekasfilms.com 
Sent: Saturday, February 18, 2012 6:39:52 PM
Subject: [Frameworks] Kodachrome
 

Hello, 

I recently received some Kodachrome that belonged to my great grandmother and 
is very much past expiration date.
It is regular 8mm, I have two reels, one says develop before 1948 and the other 
1955.
I was wondering if there were any labs that might still process the 
kodachrome...preferably in the US
I know that I wont necessarily get amazing images but I still want to use the 
film to see what I get, which all hinges on processing...

Thanks,

Matthew Brown
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