Kodak Dye Transfer
Description
“Kodak Dye Transfer materials were introduced by Eastman Kodak Company in February 1946 and replaced Eastman Wash-Off Relief. Principal improvements over the previous material included a simplified registration procedure, more rapidly transferred dyes of better color, and a more direct way to obtain relief by processing the matrices in a tanning developer, which eliminated the need for the bleaching step. With Kodak Dye Transfer, improved registering techniques were introduced with a new flexible transfer blanket and, later, a precision punch. Registration was facilitated with the transfer blanket. After dyeing, the wet matrices clung to it, and when the trimmed edges butted against the register disk each matrix was automatically registered on the transfer paper (Morris 1951). Initially, Kodak Dye Transfer matrix film consisted of a blue-sensitive emulsion coated on a thin nitrate film base. The emulsion was similar to that of gelatin silver bromide paper in speed and sensitivity but was unhardened and dyed yellow. Matrices were always exposed through the base, and separation negatives were placed emulsion side up in the enlarger so that the final image of the print would be correctly oriented. In 1955 Eastman Kodak obtained a license from Du Pont to produce Estar polyester film base, which eliminated entirely the problems with dimensional changes during processing and storage of the matrices (Coote 1993: 90).
From its introduction, Kodak Dye Transfer enjoyed great popularity because prints could be obtained more quickly than with any of the earlier assembly processes (Fig. 4.22). During its almost fifty years of existence, Dye Transfer’s techniques and materials were steadily improved. The process’s greatest appeal, along with the long-term stability of the dyes in the dark, was its great flexibility and the controls it provided for the rendition of colors. Though many individuals did their own printing at the height of dye imbibition printing’s popularity, the skills required to manipulate the expensive materials were not within reach of most hobbyists, so the bulk of the work was done by high-end commercial printing laboratories (Lehet 1996). Eastman Kodak discontinued the manufacture of all Kodak Dye Transfer products in 1994.”
(Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, on pp. 147–149.)
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 148.
Secondary Sources
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, on pp. 147–149 View Quote and on pp. 152–159. View Quote
