The Process

in Brief
An easy-to-follow

Ko·dak explanation of the

principles of color
and color photog- KOOAK fLEXICHROME PROCESS
Materials and
Equipment
raphy. Describes

Color how th e Kodak

color processes work
and how results The Process in Brief. . . . . . . .. . ..... . . . ...... . ..........Page
3
Negative
Requirements
are influenced by Materials and Equipment . . . ..... . .... . .. ... .......... . 4
Handbook visual effects. Pro-
fus ely illustrated.
The Negative . . . . .... ......... . ... ... .. . . .. . . .. .. . . . .
Negative Requirements ..... . . . .......... . . .. ..... . . .
Negatives from Color Transparencies ... ..... . . ... . . . .. .
5
5
7
Negatives from
Transparencies
Making the Print . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Print Making
Stop Bath . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Hot Water Wash ...... . ... . .... . .. .. . ..... . . .... ... 13 Exposure
Cold Rinse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Tells how to make Bleach ........ . ........... ..... . . . . . .. . .. . . . ..... 15
high-quality color Fix .......... .... . . .... .. .. .. . . . . . . ..... ... . .. .. . 15
pictures under a Development
Wash .......... . ........ . .. . .... . .. .. . .. ......... 16
variety of natural Dye ......... . ..... . . . ....... ... .. . . . ..... . ....... 16
illumination con- Acid Rinse .. .... . . . ....... .. . ..... .... .. . . ... . .. . .. 16
d itions. Includes
sections on supple-
mentary flash and
r The Final Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stripping and Transferring. . . . . . . . . . . . . . . . . . . . . . . . . . .
Drying ..... . ...... .. ...... .. . .. . . . ... ...... ... ...
16
17
18
Stripping

scenic, illustrative, Coloring the Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

and architectural Function of the Modeling Agent. . . . . . . . . . . . . . . . . . . . . . . 22 Coloring
photography. How the Colors Replace One Anoth er. . . . . . . . . . . . . . . . . . 22
Functions of the Acetic Acid and \".Tater ..... . .. . ..... . .. 23 the Print
Blotting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Function of the Reducer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Reproduction of Yellow Objects. . . . . . . . . . . . . . . . . . . . . . . 24 Function of
Function of the Flexichrome Neutral . . . . . . . . . . . . . . . . . . . 24 the Reducer
Treatment of Highlights and Shadows. . . . . . . . . . . . . . . . . . 25
Treatment of Border Lines. . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Masking L acquer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Treatment of
Saves time and film
by providing the
[ Spotting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Border Lines
L acquering the Finished Print. . . . . . . . . . . . . . . . . . . . . . . . . 28
information needed
to plan successful Suggestions For Coloring . .... .. ... ..... ......... . . .... . 29
Three-Dimensional Nature of Color ...... .. ... . . . . .... . 29 Masking
Return of the registra- indoor pictures. F lexichrome F lesh Basis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
tion card brings to the Includes sections Lacquer
on portrait and Surface Coloring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Handbook owner an oc- Special Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
casional newsletter on commercial lighting,
special problems, Display Transparencies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Lacquering
' latest developments in Flexichrome-Dye Transfer Procedme . . .. ... .... . ...... 36
color photography. make-up, and !\faking Extra-Large Prints. . . . . . . . . . . . . . . . . . . . . . . . . . . 37 the Print
flash technique. Hot-Weather Processing .............. ... .... .. .. . ... 37
Composite F lexichrome Prints. . . . . . . . . . . . . . . . . . . . . . . . . 38
Alternative Method for Composite Prints. . . . . . . . . . . . . . . . 40 Coloring
Suggestions on Composite Prints ......... . .... .. . .. . ... 40 Suggestions

Copyright 1950, Eastman Kodak Company THUMB INDE X • Flesh Tones

Contains fu ll infor- FIRST EDITION, 19SO-First Printing
mation on hand ling,
processing, color • This punching fits the Kodak Colar
balance and speed, Handbook. See your Kodak dealer. Surface
The introduction lists use of filters, and C:oloring
other Kodak publica- related subjects.
THE ILLU STRATIONS ON THE FRONT COVER AN D CENTER
SPREAD ARE FROM KODAK EKTACHROME TRANSPAR·
tions, some free, which Includes a Data ENC I ES BY 0. W. WIEGGEL, EASTMAN KODAK COMPANY
supplement the four Sheet for each of Display
Color Data Books in the Kodak ma- Transparencies
the basic Handbook. terials for still
color photography.
Composite
Prints
 THE PROCESS IN BRIEf
THE Kodak Flexichrome Process is a method of making prints and
transparencies in full color from black-and-white or color originals by
applying dyes of various colors to a gelatin relief image. From a single
black-and-white negative, an exposure is made by contact or enlarging
onto Kodak Flexich:i,-ome Stripping Film. The film is then processed to
form a gelatin relief image in which the silver is replaced subsequently
with a black dye known as the "modeling agent." This black-dyed
gelatin relief image adheres to a thin surface layer which is removed
from the original film base after processing and transferred, with the
relief side up, onto a final support. Almost any smooth white photo-
graphic paper (single or double weight) that has been fixed and

PRO~fSS
washed makes a satisfactory final support for the Flexichrome print.
The processing procedure requires about 15 minutes and produces
a black-and-white dye print hardly distinguishable in appearance from
ordinary silver photographic prints, but one that will , respond quite
THE Kodak Flexichrome Process fills a place in the field of color photog- differently to color. Kodak Flexichrome Colors are then applied to local
raphy that has been somewhat overlooked. Most of the serious thought areas with a brush and are immediately absorbed by the image, accord-
that has gone into the development of the various color processes has ing to the varying thickness of the gelatin relief. Unabsorbed color is
been devoted to the problem of photographing color, and much less then removed by blotting. The print responds semiautomatically to
attention has been given to the problem. of coloring the photograph. this treatment, accepting only a certain amount of the color applied to
On the other hand, the real ob;ective of all photographic color proc- its surface and modifying it with black to give the appearance of
esses is to produce pictures in color, and the acceptability of the fin- colored objects in light and shadow. Extreme highlights and white
ished result, however obtained, is the important consideration. areas do not accept color and consequently always remain clear. The
It is one thing to make a color reproduction of a sub;ect, and it may applied color gradually removes and replaces the black dye within the
be quite another thing to make the reproduction acceptable to the image, its effect being apparent in the light and middle tones before it
customer. To satisfy the customer, it may be necessary to modify, shows in the deeper shadows. The final color print shows a gradual
change, or correct the reproduction in an attempt to make the sub;ect scale of colors ranging from black to white through any given hue.
appear as the customer wants it to appear, whether it actually looked The time required to make a Flexichrome print varies considerably,
that way or not. But the moment a photographer tries to do something depending on the complexity of the picture, the degree of finish
more than simply photograph the sub;ect, he becomes involved in required, the working speed of the operator, and the quality of the
special treatment at some point in the process, ~sually handwork. black-and-white Flexichrome relief print. The print accepts color
Since the human hand and the human element are so much a part of instantly and dries immediately with blotting. Thus the operator
the craftsmanship of making color pictures, a process which responds is free to proceed from one area to another as fast as he can work.
to personal direction at the point of a brush can render many valuable The color in a Flexichrome print is not surface color. Rather the color
services in the battle for col01: control. The Kodak Flexichrome Process, is an inherent part of the picture, so that the result is photographic with
designed especially to assist rather than resist handwork, is particu- black playing its proper part in establishing tone value-in the print as
larly valuable when a fiexibility of treatment beyond the latitude of in nature. Photographic color, then, is created by hand rather than by a
purely mechanical methods is desired. chemical reaction, and the brush is the medium of color control.
2 3
MATERIALS ANO EQUIPMENT THE NEGATIVE
PROCESSING NEGATIVE REQUIREMENTS
l. Kodak Flexichrome Stripping Film. A GOOD original negative is a basic factor in success with Flexichrome.
Sizes: Sheet Film-5x7,8x10, 10x12, 11x14, 14 x 17, 16 x 20, The original must contain all of the drawing of form, value, and defini-
20 x 24 in. Roll Film-20 in. x 30 ft, 40 in. x 30 ft. tion that is to be seen in the final result. The addition of color to an
2. Kodak Matrix Film Developer (part A) and (part B ) . image cannot restore the drawing or definition that may be lacking in
3. Kodak Acetic Acid (Glacial or 28%). the original.
Size,s: 16 ounces, 1 gallon, 8V2 gallons (Glacial only). Th€ result ustrnlly desired in a color photograph is a natural repro-
4. Kodak Flexichrome Bleach. duction of the original scene as it appears to the eye. However, visual
Size: Carton of eight 16-oz packets. adaptation effects always operate in such a way that shadows repro-
5. Kodak Acid Fixer. duce darker than they appeared to the eye at the time the photograph
Sizes: 1 quart, y 2 gallon, 1 gallon. was taken. Similarly, uneven distribution of light over the scene area is
6. Kodak Flexichrome Modeling Agent (black dye). always more apparent in the reproduction than in the original scene.
Sizes: Sufficient to prepare y2 gallon. To counteract these effects, the scene must b e lighted to lower subject
7. Kodak Flexichrome Transfer Sheet. contrast than that desired in the reproduction, and care must b e taken
Sizes: 20 x 24 inches, 48 x 72 inches. to keep the lighting even over the scene area.
8. Kodak Rubber Squeegee. Subject contrast is determined by two factors: ( 1) the reflectance
9. Kodak Dye Transfer Paper (for final support). range of the subject, and ( 2) the lighting contrast ratio (main light plus
Sizes: 5 x 7, 6y 2 x 8y2 , 8 x 10, 10 x 12, 11x14, 14 x 17, 16 x 20, fill-in to fill-in alone). Since the reflectance range of the subject is fixed
20 x 24, 24 x 28 in. Rolls-40 in. x 30 ft ( F surface only). by the nature of the subject, the lighting ratio provides the only prac-
10. Kodak Projection Print Scale. tical method of contrast control.
11. Plate glass with ground or polished edges (slightly larger than Because of the limited reflectance range of a paper print in compari-
print to be made) to serve as transfer surface. son with the transmission range of a color transparency, a restricted
lighting contrast ratio is even more necessary in the case of a subject
COLORING to b e reproduced in the form of a color print.
l. Kodak Flexichrome Colors: Set of 12 colors. Regardless of the method by which the color print is to be made, the
2. Kodak Flexichrome Masking Lacquer. most natural results are obtained by lighting a normal subject with a
Size: 4 ounces. lighting contrast ratio not higher than about 3 to l. With subjects con-
3. Kodak Flexichrome Print Lacquer (not Kodak Print Lacquer) . taining a limited range of reflectances, a lighting ratio of 4 to 1 is satis-
Size: 1 pint. factory. For special effects, high er ratios can be used, but the photog-
4. Kodak Flexichrome Print Lacquer Thinner. rapher should try these only after he has gained considerable exp e-
Size: 1 pint. rience with relatively soft lighting.
5. Kodak Flexichrome Blotting Paper. The necessity for low-contrast lighting does not mean that the pho-
6. Slab of White Carrara or Vitrolite Glass or other suitable water- tographer must stick to front lighting. What it does mean is that side
proof surface to serve as a palette for mixing the colors. 0 and back lighting must be controlled carefully so that the correspond-
7. An assortment of good quality red sable brushes. 0 ingly larger shadow areas do not go too dark to show detail. Side and
8. Kodak Spotting Colors. back lighting frequently give more attractive results than front lighting
9. Container of 2% acetic acid. of the same subject, b ecause they h eighten the illusion of depth or third
0
0btainab le from art supply stores. dimension in the print.
4 5
 THE NEGATIVE

Brilliant results in color can be obtained without contrasty lighting

b ecause color contrast accomplishes much of the subject delineation
which must b e accomplished solely by brightness contrast in a black-
and-white print.
In general, panchromatic films are better suited to the reproduction
of color than orthochromatic films, as shown by the illustration at the
bottom of page 6. The Kodak Flexichrome Process is flexible as far as
the hue and saturation of the colors are concerned, but the brightness
range of the subject is more or less fixed when the print is made. Conse-
quently, it is ne~essary to make the print from a negative having good
gradation in both highlight and shadow areas and to develop the
stripping film to the contrast which will give a good over-all range of
tones when the film is transferred to paper. Burned-out highlights and
blocked-up shadows are no more attractive in Flexichrome prints than
in other types of color prints, and in addition, they make the coloring
process a great deal more difficult than it is if the operator starts with
a print of good photographic quality.

NEGATIVES FROM POSITIVE COLOR TRANSPARENCIES

To produce a Flexichrome print from a positive color transparency, it is
first necessary to make a negative on panchromatic film , preferably
Kodak Super-XX Panchromatic Sheet Film, and then to use that nega-
tive for printing on Kodak Flexichrome Stripping Film. In making the
negative from the transparency, it is recommended that the emulsion
side of the negative face the emulsion side of the transparency. Then,
if Flexichrome prints are made by contact, the emulsion side of the
negative can face the stripping film for better definition. This work can
b e simplified and reduced to an almost automatic procedure by estab-
lishing at the outset a standardized exposure technique and a standard
procedure for development.
1. Basic Illumination. Set the enlarger to the d egree of enlargement
that best suits your purpose for negatives of the size you prefer. Mark
this position on the enlarger so that it can be re-established whenever
negatives from color transparencies are required. Next, set the lens
halfway b etween the smallest and the largest opening. On most lenses,
the setting will be about f /8. This opening provides a basic illumination
level for either contact printing or enlarging.
2. Basic Exposure Time. Select a good-quality color transparency of
average density range to serve as a standard; then find, by trial and
error, the exposure time required to produce a good negative from that
transparency. The Kodak Projection Print Scale will be found very
This illustration shows the hue cirtle as Here a panchromatic film was used . Note
useful to determine exposure times. So far as exposure is concerned, a
reproduced by an orthochromatic film . the superior tone rendering of reds.
7
6
 \J

good negative is one that shows good detail in both highlight and
shadow areas. If the exposure time required for the standard transpar-
ency is found to be 10 seconds at f /8, then 10 seconds is established as
MAKING THE PRINT
the basic exposure time for all transparencies.
There is considerable variation in the density range of different KODAK Flexichrome Stripping Film can b e processed in three trays. It
transparencies. One transparency may have been exposed in bright takes about 15 minutes to process a Flexichrome print from the time
sunlight under very contrasty conditions, while another may have been the film is immersed in the developer until the finished print is ready to
exposed on an overcast day or with soft illumination. It is a good plan be dried. All chemical solutions should b e prepared in advance, prefer-
to keep the standard transparency on hand for reference in judging the ably in widemouthed containers, to facilitate pouring the solutions
relative exposure required for other transparencies. Vary the exposure back and forth into the trays and containers. The only variables in
for transparencies of different characteristics by opening or closing the processing are the contrast control, which yields five degrees of contrast,
lens diaphragm one or more stops. In this way, the exposure time is and the exposure, which is by far the most critical part of the process.
held constant. A summary of steps for processing will be found on the inside back
An alternate procedure for transparency evaluation and exposure ~over. It may, if desired, be cut off and fastened to the darkroom wall
determination based on densitometry is described in the instructions for ready reference.
for making separation negatives for the Kodak Dye Transfer Process.
EXPOSURE
3. Development. D evelop the negative in Kodak D eveloper DK-50
diluted one part developer to one part water for 5 minutes at 68 F . The SAFELIGHT: Kodak Flexichrome Stripping Film can b e handled and
development time can b e varied slightly to modify the contrast of the developed by the light of a Kodak Safelight Filter, Wratten Series lA
negative. Reducing the development time will reduce the contrast of the (Light Red) , in a suitable safelight lamp with a 15-watt bulb at not
negative, and increasing the development time will increase the contrast. less than 4 feet. A 25-watt bulb can b e used for indirect illumination in
For example, if the d ensity range of a color transparency is greater such lamps as the Kodak Utility Safelight Lamp installed at the ceiling.
than the density range of the standard transparency, increase the expo- Make the exposure through the base of the Flexichrome Stripping
sure by opening the lens diaphragm one stop, or more if necessary, and Film, that is, with the emulsion side away from the light source. For
reduce the development time to 4 minutes. If the density range of the enlarging, the negative must be placed in the negative carrier in such
transparency is less than that of the standard, decrease the exposure a position that the image projected on the easel is reversed from right
and increase the development time. The standard procedure will, how- to left. For contact printing, it is convenient to expose the stripping film
ever, b e satisfactory for most transparencies that are of suitable quality in a printing frame placed on the easel of an enlarger, which furnishes
for reproduction. a readily controllable light source. The negative must appear reversed
The Kodak Color Compensating Filter CC-50C (Cyan) is recom- as seen from the position of the enlarger lens.
mended for making negatives from Kodachrome and Kodak Ekta- The finished black-dyed gelatin relief image will b e somewhat darker
chrome transparencies. Use of this filter improves the rendering of reds than the silver image of the film as viewed through the base of the film
and yellows. when it is in the stop bath; therefore, the appearance of the silver image
can only be used as an indication of print quality at this stage. How-
ever, accurate exposure d etermination can b e achieved by employing
the following abbreviated ( 7-minute) test strip procedure.
The Kodak Projection Print Scale is the basis for this first method. It
consists of a transparency showing a circle divided into ten sectors of
varying densities. Each sector indicates a definite printing time in
seconds. With the negative in the enlarger, place the scale in contact
with a small section of Kodak Flexichrome Stripping Film and expose
the film for 1 min4te. Now proceed as follows:

8 9
:J MAKING THE PRINT

1. Develop the film in Kodak Matrix Film Developer (prepared as on should each be mixed according to the directions printed on the label of
page 11) at 68 F for 2 minutes. Discard the developer and rinse the the container. Part C, formerly required for contrast . co11trol, is no
film briefly in water. longer necessary and should be discarded.
2. Bathe the film in 2%acetic acid stop bath for 30 seconds while pre- Contrast Adjustment. Several degrees of contrast can be obtained by
paring a hot water bath for the next step. varying the proportions of the two developer stock solutions. As the
3. Turn on room lights and wash off the relief image in hot water ratio of Solution B to Solution A is increased, contrast is increased.
(about 1 minute). The following table, which lists five levels of contrast, will serve as a
4. Omit bleaching and fixing operations and dye (using agitation) the guide in choosing the proper developer proportions.
film in the black dye modeling agent for about 2 minutes.
5. Rinse in fresh 2%acetic acid to remove excess dye from the surface Exposure Density
For D7velopment to: Solution A Solution B
and view the print, emulsion side down, against the bottom of a white Adjustment Range
tray. The correct exposure time can be read directly from the best-
( 1) Lowest contrast 1 part 1 part 130% 1.5
appearing sector of the film. The need, if any, for more or less contrast (2) Law contrast 1 part lY2 parts 115% 1.3
control in the developer can also be determined at this time. You car~ (3) Medium contrast 1 part 2 .parts 100% 1.1
then proceed to expose and process the final Flexichrome print. (4) High contrast 1 part 4 parts 85% 0.9
Exposure is correct when there is a slight veil over all but the highest (5) Highest contrast 1 part 6Y2 parts 70% 0.7

catch lights, and contrast is correct when detail is apparent in the deep
shadow areas. To avoid flat results, use as much contrast as possible By interpolating in the above table, other combinations of solutions
without loss of shadow detail. Do not attempt to color a print that you A and B can be used to obtain intermediate contrast. For instance, a
would not accept as good black-and-white quality with rich definition ratio of one part A to two and three-quarters parts B will, in many cases,
of both highlight and shadow detail. produce a very desirable print with moderate contrast, intermediate
Although the speed of Kodak Flexichrome Stripping Film is roughly between the medium and high contrast levels given above.
comparable to Kodabromide Paper, No. 1, paper test strips can be used Some adjustment in contrast may also b e made during exposure. The
for determining approximate exposure times only. following filters when placed over the enlarger lens will change the
contrast by approximately one of the above contrast grades in the direc-
DEVELOPMENT tion indicated.
DURING all subsequent processing steps, keep the film emulsion side up
Contrast Filter
for maximum protection. Filter Effect Factor
Developer. Kodak Matrix Film D eveloper is packaged for use in two Kodak Wratten No. 6 (K l) One grade higher 5.5
parts. Parts A and B, the D eveloper and Accelerator respectively, Kodak Wratten No. 35 ( D) One grade lower 5.5

Expose through film base. Mix developer components just before use. Immerse film quickly in developer. Inspect print quality in stop bath.

10 11
 MAKING THE PRINT

These filters can be used to extend the range of contrasts available in Developing Procedure. For the development of one 8 x 10-inch Flexi-
development. They may also provide a convenient means of compen- chrome film , place 50 ml of Solution A and 100 ml of Solution B each in
sating for contrast differences produced by different enlargers. En- a separate flask or b eaker. The flask holding Solution B should be large
largers with bluish (cold) light sources tend to give flat results, while enough to hold the total volume of developer to be used. Adjust the
enlargers with yellowish light sources tend to give more contrasty temperature of each solution to 68 F. Just b efore development, add
results. Enlargers with diffuse illumination (e.g. diffusing glasses or Solution A to Solution B, stir the mixture vigorously for 10 seconds, and
reflectors) will tend to give flatter results than enlargers with specular then pour it into the tray.
illumination (e.g. condenser type ). The Kodak Wratten Filter No. 35 More uniform results are obtained when the film is given a 1-minute
(blue-violet) on the lens will reduce contrast while the No. 6 (yellow) presoak in water at 66-70 F just prior to development. This step is rec-
over the lens will increase contrast. ommended particularly when two or more films are developed simul-
Selection of Contrast Level. The development contrast level to be taneously or when very large sizes are being handled. Develop for
selected will depend on a number of factors, such as the nature of 2 minutes at 68 F with constant agitation. After each development, dis-
exposing equipment, the type of subject, the lighting range, the charac- card the oxidized developer and rinse the film briefly in cold water to
teristics of the negatives and the print preferences of the operator. remove most of the d eveloper from the surface of the film.
However, under average conditions, satisfactory prints will b e obtained
from most good negatives by processing at the medium level of contrast STOP BATH
listed in the middle of the contrast control table. With a little experience TRANSFER the film to the 2% Acetic Acid Stop Bath. After the film has
the operator will be able to select the proper development contrast been in the stop bath ( 68 F) for 30 seconds, the room lights can b e
after a visual inspection of the negative. The negative density ranges" turned on. This bath should b e renewed frequently.
given in the last column may be used as a further guide in determining To make the 2% acetic acid solution, dilute 1 part of Kodak Glacial
the proper development contrast. However, in scenes or portraits with Acetic Acid with 49 parts of water, or dilute 1 part of Kodak Acetic
unusual brightness ranges , as for example in high key or low key Acid, 28%, with 14 parts of water. Since this solution has several uses
portraits, the density ranges in the negatives will serve only as very throughout the process, time and effort are saved by making it up in
approximate guides and must be interpreted with some care. fairly large quantities.
Exposure Adjustment. Once the correct exposure for any contrast
level has been determined, the exposure adjustment recommendations HOT WATER WASH
will make it more convenient to obtain a correctly exposed print at any
other contrast level within the range of the table. PLACE the film , emulsion side up, in a tray of water at about 100 F and
rock the tray. Change the water every 30 seconds until it remains clear;
"The density range is the difference b etween the densities of the d eepest shadow
and the brightest nonspecular highlight in the subject. It may or may not b e the with the fingernails , remove any gelatin that may b e adhering to the
same as the d ensity range of a gray scale as recorded in the negative.
Wash off soluble gelatin with hot water. Remove gelatin particles from edges . Bleach silver image. Fix; wash; then dye in modeling agent.

12 13
 MAKING THE PRINT

edges of the film. A gentle stream of water (about llO F) from a hose
can also be used to dissolve and wash off the soluble gelatin. Avoid
using excessively hot water. Exercise care in handling the film in the
hot water bath; otherwise the surface layer may become damaged or
detached from the base. It is advisable to treat one film at a time to
avoid damage to the relief image.

COLD RINSE
DISCARD the hot water and rinse the film in cold water to chill the relief
image. Be sure to wash away any particles from the edges; otherwise
these particles may become attached to the surface of the print and
cause black specks or ridges on the finished print.

BLEACH
DISCARD the cold water rinse and cover the film with a solution of
Kodak Flexichrome Bleach prepared according to the instructions
printed on the label of the container. Bleach the silver image until it
turns yellowish-brown. The time required will range from 30 seconds to
about 1 minute at 66-70 F. Longer bleaching may result in loss of high-
light detail. Then rinse the film briefly in cold water.
Make up only the required amount of bleach for the day's work and
discard it at the end of the day. Do not contaminate the fresh stock
solution with used bleach.

FIX
F ix the film for 1 minute at 66-70 F in a fresh solution prepared from
Kodak Acid Fixer, or twice as long as it takes for the brown image to
disappear completely.
\VARNING: Use of other fixing solutions may, in a later stage, result in
a blue rather than gray color for the modeling agent.
I Dye to completion and save modeling agent. Rinse in two changes of 2 % acetic acid.

This illustration was reproduced from a Flexichrome print which was left partially uncolored
to show the black dye image, key to the proper color rendering of shadow areas. The
colors of the original photograph, a Kodachrome transparency made by Shigeta-Wright for
Harvey & Howe, were modified slightly in the print.

14 15
 MAKING THE PRINT

WASH glass, film , and other materials also can be used for special purposes. At
WASH the film for not less than 1 minute in cold running water. the time that the surface layer is ready for transfer as described b elow,
lay the paper emulsion side up on a firm , flat surface and remove excess
DYE liquid with a sponge. If sponging is done properly, it will leave suffi-
PLACE the film face up in the Kodak Flexichrome Modeling Agent cient liquid on the paper to facilitate the positioning of the surface layer.
(black dye) bath from 3 to 5 minutes at 66-70 F or until the dyeing is
STRIPPING AND TRANSFERRING
complete. Agitate the tray frequently to prevent uneven dyeing. The
modeling agent can be used repeatedly until exhausted (about 100 IMMERSE the film in a solution of hot 2%acetic acid ( 90-100 F) to soften
8 x 10 prints per Y2 gallon). the adhesive between the surface layer and the film base so that the
A rich brown tone can be produced by dissolving a jar of Flexi- surface layer can b e stripped from its support. It is convenient to have a
chrome brown in about 8 ounces of hot water. Then add V2 ounce graduate marked · in advance so that the proper proportions of acetic
glacial acetic acid and sufficient cold water to make one quart of work- acid and hot water can be prepared quickly and easily for pouring into
ing solution. This brown dye solution may also be added to the Kodak the tray. Allow the film to remain in the hot acid stripping bath until
Flexichrome Modeling Agent in suitable proportions to obtain a the surface layer can be stripped easily. If the surface layer does not
warmer-toned modeling agent when desired . lift easily from the film support, the stripping bath is too cold or the
film has not been allowed to soak long enough in the solution. Loosen
ACID RINSE the surface layer at the two corners on the end opposite the code
RINSE the film in two changes of 2% acetic acid at 66-70 F to remove notches and peel it back, without pulling, until it comes away from the
the excess dye from the surface of the film. Some bleeding of the dyes film support. Then, still holding the surface layer by the corners (see
during rinses is normal and should cause no difficulty. illustrations) , carry it to the final support and lay it down upon the
paper with the gelatin relief side facing up. Do not attempt this opera-
THE FINAL SUPPORT tion in a current of air, as, for example, from an electric fan. Always
ANY smooth, white gelatin-coated photographic paper (single or fiush the print with 2%acetic acid to wash away any particles of gelatin
double weight) that has been fixed and washed can be used as the final or sediment that may be adhering to the surface; otherwise, black
support for the Flexichrome print. Kodak Dye Transfer Paper serves specks or lines may show up later on the print.
well, and needs only to be soaked in water about 5 minutes before Next, lay the Kodak Flexichrome Transfer Sheet, cut somewhat
use. Excessive soaking of the paper is not necessary and may tend to larger than the surface layer, over the print to protect the gelatin relief
prevent good adhesion to the surface layer, particularly under condi- image while the surface layer is squeegeed firmly to the final support.
tions of low humidity or rapid drying. The final support should be Squeegee from the center of the print outwards, first lightly and finally
larger than the surface layer by at least Y2 inch all around. Gelatin coated
Strip surface layer from film base. Transfer surface layer to final support. Protect relief image with transfer sheet. Squeegee surface layer to final support.

16 17
with moderate pressure. Pick up the print with the transfer sheet at-
tached and hang it on a line. Then peel off the transfer sheet, starting at
one of the upper corners and taking care to break the vacuum between
COLORING THE PRINT
the surface layer and the transfer sheet first, so that the surface layer
will adhere to the paper support and not come off on the transfer sheet. THERE are only four basic steps in coloring a Flexichrome print. These
are repeated continuously with variation to accommodate different cir-
DRYING cumstances: l. Apply color to the print; 2. Blot; 3. Rinse; 4. Blot. The
THE gelatin relief image will dry in a few minutes, but the paper sup- color solution is applied to local areas of the print, where it is absorbed
port requires the same time as an ordinary paper print. When the gelatin by the gelatin relief image. Then the unabsorbed color solution remain-
relief image is. completely dry, the print can be placed between blotters ing on the surface of the print is removed by blotting. This treatment
or given the usual treatment for drying matte black-and-white paper leaves the area colored selectively according to the thickness of the
prints. It is important to allow the printto dry slowly without forced air, gelatin relief and in a near-dry condition. The blotter removes most of
drafts, or lowered humidity con- the excess color, but there is usually a slight sediment left on the surface
ditions for the first few minutes that may b e removed by "rinsing" the area with a 2% acetic acid solution
or until adhesion b etween the applied locally with the bru~h or a soft sponge. The "rinse" is then
surface layer and the paper sup- removed by blotting.
port is certain; otherwise, the Any color may be modified, removed, or changed to any other color
surface will dry first and start to without disturbing the general scale of values in the picture. Mistakes
shrink before adhesion is estab- in coloring are not serious with Flexichrome because the print will con-
lished. As a result, the surface tinue to respond to coloring action as long as the operator continues to
layer will curl away from the work on it. The last dye applied to the print gradually removes and
support. The remedy for this sit- replaces whatever color was there b efore . Therefore, it is possible to
uation, if it occurs, is to soak the recolor several times, modifying the color scheme each time until the
paper in water for a shorter than desired result is obtained. Even though to a beginner making his first
normal time (about 1 minute). try, it may appear that the print is completely ruined , he can paint
Thei1, if necessary, leave the neutral over the whole print, restoring it to the original black-and-white
transfer sheet attached for 5 or print, and then start over again. While the first steps can be executed
10 minutes before peeling it off with a great deal of freedom, a little care with boundary lines will sim-
the print. Peel off transfer sheet. plify subsequent coloring operations. If the dye of one area overlaps its
borders, as, for example, when flesh color runs over into the back-
ground, the overlap should be blotted dry immediately after applica-
tion. After the coloring operation in the flesh area has been completed,
the overlap can be corrected quickly by simply painting the back-
ground color sharply up to the border line of the flesh, where it will
remove and replace the overlap of flesh color.
Before coloring the print, tape it to a flat surface with decorator's
Scotch tape; the surface can be a piece of masonite or similar material
cut slightly larger than the print.
The following two pages illustrate the steps in coloring a Flexi-
chrome print. Note the increasing care with which the brush is used as
the print is brought to the desired degree of finish. The same basic
t echnique is equally applicable to other types of subjects.

18 19
 l The Flexichrome block dyed
relief print. 2 Mix color with ocid solution
and apply to local area . 3 Brush movement insures even
absorption af dye. 10 First apply the predominont
cola·r to complex patterns. 11
Ignore minor details while
painting predominant color. 12 Blot, rinse with ocid, and then
blot again.

IL4A
I Blot without pressure to re- Rinse with acid, using brush or
I move excess surface color. S sponge, and blot. 6 Paint the eyes black; cheeks
and lips red. 13 Point colored designs into the
foundation color. 14 Note that green hos replaced
red in desired areas. 15 The last color applied replaces
any previous color.

7 Rinse each freshly colored area

with acid and blot. 8 Eyes have been pointed blue;
proceed with other areas. 9 Continue to (1) paint, (2) blot,
(3) rinse and (4) blot.
Use reducer with water (not
acid) to clean white areas . 17 Finish details as desired with
fine brush work. 18
Dip finished print in lacquer
and hang up to dry.
 COLORING THE PRINT

FUNCTION OF THE MODELING AGENT FUNCTIONS OF THE ACETIC ACID AND WATER
THE black dye in the black-and-white Flexichrome relief print is more ACETIC ACID activates the absorption of the colors into the gelatin,
than a mere guide image to be replaced with pure color. The modeling and. also fixes them temporarily so that they will not wash out of the
agent puts the shadows in the picture and gives depth to the subject. image as long as it is in an acid condition. The 2%acetic acid solution is,
Therefore it should not be replaced completely with color. The oper- therefore, used to mix the colors for application to the print, and for
ator will soon develop a touch in applying color to the image so that it rinsing to clean up the excess surface dye without washing color out of
blends with the modeling agent and replaces it completely only in areas the image." The water solution is used for washing brushes and rinsing
where extremely brilliant colors are desired. colored areas when the color is too dark or too strong and must b e
washed back. Water also serves as a mild reducing agent. Always
HOW THE COLORS REPLACE ONE ANOTHER follow each application of color with thorough rinsing and blotting.
THE gelatin relief image can be compared to a relief map made of
BLOTTING
millions of minute transparent sponges. These tiny sponges absorb and
hold dye particles, which can be replaced at any time with dye par- KODAK Flexichrome Blotting Paper is an inexpensive, absorbent, lintless
ticles of another color. For example, the first application of yellow to a ·material. Other types of blotting materials can be used, but those with
part of the image that has been colored blue produces green, or a rough surfaces or an excess of lint are unsatisfactory.
blend of the two colors; the second application produces a yellowish Avoid using excessive pressure in blotting. Let the paper do the
green, and so on until finally the blue disappears, leaving a bright blotting by itself as much as possible. Pressure does not assist, and a
yellow. Highly concentrated solutions of color replace other colors scrubbing motion under pressure may injure the image. Treat the
rapidly, and conversely, weak solutions of color blend with others, gelatin image with care, although the gelatin relief will withstand a
replacing them slowly. Movement of the brush back and forth over the moderate amount of abrasion without injury.
area provides more uniform results by eliminating streaks caused by
FUNCTION OF THE REDUCER
uneven absorption of the colors in the gelatin relief image.
ALTHOUGH colorless itself, Kodak Flexichrome Reducer removes other
colors in the gelatin and allows more of the white paper base to show
through. The reducer will not function at all in an acid condition, and
unlike the other Kodak Flexichrome Colors, it must not be mixed with
THIN SURFACE LAYER the 2% acetic acid solution. The reducer must be mixed with plain water.
(ABOUT .0045 INCH) It is applied to the print with a brush and blotted in the usual way. The
first application may produce little or no effect, particularly if the
section of the print being treated is in an acid condition. However, a
WHITE AREAS
second application, again with plain water, will usually produce a
definite reduction of color; another application of water will reduce
the colors even more. By applying more reducer and water to the
print, it is possible to remove all of the color from the gelatin relief
image, leaving it white. The gelatin image is still there, however, and
can be recolored as desired. To stop the action of the reducer, rinse
with the 2% acetic acid and blot.
The reducer has a number of useful functions: It can be used for
vignetting, for putting sparkle into highlights, for painting clouds into
a clear sky, and for improving the whiteness of white objects. Occasion-
"If color appears to adhere stubbornly to the film base (particularly in light areas) ,
Cross-sectional diagram of a Flexichrome print, showing relief image greatly magnified. a 50%solution of acetic acid, carefully applied, will remedy this condition.
22 23
 COLORING THE PRINT

ally, the reducer is used to eliminate the black dye completely from a ing other colors and is often mixed with other colors on the palette for
deep deposit of gelatin so that it can be replaced with pure color for lower key results. Experienced colorists will probably neutralize a color
full saturation. For example, suppose it is necessary to convert black by mixing it with the complementary, that is, the color opposite it on a
printed matter on the label of a bottle to a bright blue. First, remove color wheel such as that shown on page 6, but similar results can be
the black dye in the letters completely with the reducer. Rinse with obtained by mixing neutral with the color.
acid to neutralize the reducer and blot. Then color the letters with a The contrast of a given area that has been colored can often be
pure blue. The whites, represented by the white paper between the increased, or lost drawing restored, by applying concentrated neutral
letters, can be cleaned by rinsing the label with water or with a little to the area and then coloring it again as desired.
reducer and water. This rinse will remove the slight blue color in the
whites before it has any noticeable effect on the darker letters, and it TREATMENT OF HIGHLIGHTS AND SHADOWS
will leave brilliant blue lettering on a pure white field. HIGHLIGHTS usually take care of themselves in the Flexichrome print
When the reducer is mixed with color and water on the palette, it because of the small amount of gelatin present at that point in the
acts the same as if white had been added to the color. It reduces the relief image. A thin layer of gelatin accepts little or no color and this
black dye in the image and at the same time tends to reduce contrast, color, if any, is diluted by the white of the paper support.
producing flatter results which are on the light side yet full of detail. However, errors are more apt to occur in the shadow areas where
A 1%solution of ammonia can be used as a strong reducer for making the gelatin relief is thicker. Do not attempt to force bright colors into
solid white backgrounds. shadow areas to obtain brilliant color prints. If large areas of bright
Clorox applied with a cotton skewer or an old brush will remove both colors are desired, the subject must be flat-lighted so that larger areas
the dye and gelatin image from the surface layer. are in full illumination with a corresponding decrease in the size and
CAUTION: The reducer has a tendency to soften the gelatin relief importance of the highlight and shadow areas. The scale of color values
image. Take particular care to avoid any abrasive action with the in the print must correspond to the original, or the results will not
blotter when using the reducer. appear natural.
REPRODUCTION OF YELLOW OBJECTS TREATMENT OF BORDER LINES
YELLOW is the lightest of all colors and consequently yellow objects MosT border lines between local areas in a picture are described by a
are usually represented in a black-and-white print as a very light gray. dark line or shadow, or by a distinct difference in value, and they do
(See the illustrations at the bottom of page 6). Thus the gelatin deposit not present as much of a problem as might be expected. A good rule to
in that area on a Flexichrome print is not deep enough to carry a suffi- follow in treating border lines is to overlap the darker color into the
cient amount of color to make a brilliant yellow, and it becomes neces- lighter area, blot immediately, and then restore the lighter area back
sary to add more yellow to the surface of the print. To color yellow sharply to the edge. The last color applied to the print gradually
objects, it is advisable first to paint the area with brown and then follow replaces the previous color, and it replaces the color more quickly in a
up with a thick application of relatively "dry" color taken from the jar thin layer of gelatin than in a deep layer. Insofar as possible, preserve
as a paste rather than a solution. Allow the area to dry and then rub it border lines as you go along, but avoid trying to bring two colors
with a wad of cotton or a piece of soft facial tissue. For blond hair, first together at a sharp division. The latter procedure is likely to result in a
paint the hair brown and then follow up with yellow sparingly. very slight overlapping of one or the other and an objectionable dark
FUNCTION OF THE FLEXICHROME NEUTRAL
line that was not in the original picture. It also requires more pains-
taking skill to describe the same boundary line twice, working from
THE jar of neutral in the Kodak Flexichrome Color Set is similar to the each side. After blotting to remove exce.ss surface color along the
modeling agent and is used for making black, gray, or white, according boundary, rinse carefully with the 2% acetic acid to dissolve any sedi-
to the depth of the gelatin deposit. It will produce black only in a com- ment of color left in a ridge along the boundary line. Blot and then
paratively deep deposit of gelatin. It is used for producing the white in rinse again right over the boundary to eliminate any evidence of hand-
a white shirt or in the whites of the eyes. It is also useful for neutraliz- work and to preserve the photographic definition of the image. This
24 25
 COLORING THE PRINT

technique gives a smooth, finished division between adjacent colors.

Fuzzy borders, such as those in soft-focus pictures or in pictures
where fluffy hair overlaps the background, are handled differently. The
two adjacent colors are dovetailed into each other along the fuzzy
border and then rinsed to clean up the edge. This procedure will
usually take care of everything except locks of hair which are large
enough to be treated individually.
As a rule, lacy patterns , such as a black veil over the face, bare
branches of trees against the sky, and other similar conditions, take care
of themselves. In the case of trees against the sky, for example, color the
sky as a single unit, ignoring the complex pattern of branches and
twigs silhouetted against it, and then touch up only those branches
large enough to be handled individually. The lacy pattern of tiny twigs
will b e defined by tonal rather than color differences, but the result
will not be disturbing to the eye.
Complex patterns, such as a flowered print, are first colored over all
with the predominant hue, and then the details are treated individu-
ally. Minute color details that are too small to be treated individually
can b e merely suggested with a trace of the color found in that area of
the original.

MASKING LACQUER
ALTHOUGH most borderline problems can be handled satisfactorily
with the brush and colors alone, according to the procedure outlined
above, Kodak Flexichrome Masking Lacquer is a useful , timesaving
aid for general work and for making borders of extreme sharpness.
Kodak Flexichrome Masking Lacquer is applied with a brush. It dries
quickly, forming a waterproof layer over the area to b e protected, and
it can b e removed quickly with Kodak Flexichrome Lacquer Thinner.
For example, suppose the subject is a group of figures standing on a hill
against a blue sky. First, color the figures without regard to the sky, and
protect the finished work on the figures with masking lacquer. Then
color the sky with a flat wash right over the figures. Finally, dissolve
the masking lacquer with Kodak Flexichrome Lacquer Thinner and
wipe it off with a tuft of cotton or facial tissue. The figures will stand out
against the blue sky with razor-sharp edges.

SPOTTING
KODAK Flexichrome Colors are not recommended for covering white
spots on the print, b ecause they h ave a tendency to color the borders
around the spot, leaving a circle with a white center. Flexichrome colors
In coloring the Flexichrome print reproduced here, mosking lacquer helped preserve the
mixed with Kodak Spotting Colors are recommended. A black speck sharp edges between areas of similar tone value. The original was a Kodachrome transpar-
ency by W. T. Wooden, Eastman Kodak Company.
26
27
can be removed with an etching knife to form a white spot which can
then be blended into surrounding areas with the spotting colors.

LACQUERING THE FINISHED PRINT

SUGGESTIONS fOR COLORING
KODAK Flexichrome Print Lacquer is a fast-drying lacquer that water- IT is usually the objective of a Flexichrome print to represent the
proofs and protects the surface of the print. It provides either a high behavior of light as it might have occurred in nature, even though the
gloss or a soft eggshell luster finish, depending upon the concentration hues selected may not resemble the original. Natural color is any kind
of lacquer used. A full-strength lacquer solution gives high gloss, while of color that looks natural, though perhaps it may not be literal, and it
a mixture of one part lacquer with one part of Kodak Flexichrome will not look natural unless it is right. Since the drawing and the tone
Lacquer Thinner gives medium gloss. Slight unevenness or streaks on values are supplied to a large extent by the Flexichrome relief print, the
the dry surface can be minimized, and the gloss increased, by polishing .o perator is therefore concerned principally with the "local color" of the
the surface with a shoe buffer or soft cloth. objects in the picture. The job of the operator is mainly a matter of con-
The lacquer is best applied with an airbrush, but if suitable airbrush verting the image into the proper hues without disturbing the consist-
equipment is not available, it can be applied by any method that first ency of light and shade. Sorhe practice may be required to become
covers the print with a generous supply of lacquer and then allows the familiar with the behavior of the Flexichrome colors and to develop the
excess liquid to drain from the print. This procedure will produce a proper technique in applying them to the print.
smooth, even lacquer coat on the print. Attempts to paint the lacquer
on with a brush usually lead to unsatisfactory results. THREE-DIMENSIONAL NATURE OF COLOR
A simple technique is to straighten the print so that it lies flat on a To work effectively with color, it is advantageous to be equipped with
level surface. Pour a generous supply of lacquer solution on the center an adequate concept of its three dimensions; namely, hue, value
of the print and spread it evenly over the surface with your fingers. (brightness) , and chroma (saturation) , so that any color, tint, or shade
Immediately pin the print to a shelf edge by one corner, allowing the can be identified quickly and located accurately by visual analysis.
excess lacquer solution to drain into a widemouthed container. After a Hue indicates whether a color is red, green, blue, etc.
few practice applications on black-and-white prints, or plain sheets of Value indicates whether a color is light or dark. High values of a
Kodak Dye Transfer Paper, lacquering can be reduced to a quick, easy color are often called tints, low values, its shades.
procedure, with smooth results. Chroma indicates the amount of gray in a color; whether the color is
The print can also be dipped bodily into the lacquer solution and neutralized or pure and saturated.
hung up to drain and dry, or the surface can be covered by pouring The three-dimensional relationship among colors is illustrated in the
some of the solution on the center of the print and tilting the print diagram on the following page. The center pole represents the neutral
slowly in different directions until it is uniformly covered, then draining scale from white to black. Around this center pole are the series of
off the excess lacquer. hues. The chroma of each hue becomes progressively lower toward the
When completely dry, the print can be trimmed and mounted in a neutral center pole, and it becomes higher away from the center pole.
dry mounting press under moderate heat. If necessary, the lacquer can Notice also that the hues are located at different elevations according to
be removed at any time with the Kodak Flexichrome Lacquer Thinner. their value. Yellow is located high on the value scale because it tends
WARNING: This lacquer (or thinner) is a flammable mixture; do not to be a very light color. Blue, on the other hand, is a dark hue, and it is
use it near heat or open flame. Keep the container closed. Use with ade- located low on the value scale.
quate ventilation and avoid prolonged or frequently repeated breathing Study the illustration until the three-dimensional concept of color is
of the vapor. Avoid prolonged or repeated contact with the skin. thoroughly established in your mind. Then exercise this concept by
analyzing visually the colors of the objects before you in terms of their
NOTICE: Like other dyes, the dyes used in Kodak Flexichrome Colors three dimensions; hue, value, and chroma. Study the color of people's
may change in time, and they are therefore not warranted against any faces. Examine the b ehavior of light on all types of objects whenever
change in color. you have an opportunity. When you can see how color behaves in
28 29
 SUGGESTIONS FOR COLORING

nature, then you will b e in a position to make your colorants b ehave

properly in a Flexichrome print. It is also h elpful to study color illus-
trations in magazines, and to work froin color transparencies as a guide
whenever possible. The subject of color can only b e touched upon here.
For a more complete discourse on the subject, refer to the Kodak Data
Book Colar As Seen and Photographed.
It is important to understand that in coloring a Flexichrome print
you are painting with light only. The colorants you use are supplied in
a convenient form for application to the print with a brush; they are
· colorful simply because they reflect different wave lengths of light.
YQ(u ability to mix together the proper colorants for representing Resh,
khaki, gold, silver, or other surface colors depends to a large extent
YELLOW upon your ability to separate a color visually and mentally into its
basic components.
First mix a color representing the local color of an object in the pic-
ture. Analyze the hue and ignore the value because the same color will
come out light or dark in the print, depending on the values in the pic-
hue. The local color of an object is its general color. For example, the
local color of Resh is basically orange, and it is often possible to lay the
same foundation color over both the face and the hair to save time (see
center spread illustrations) . The work can often be speeded up by
ignoring details in the b eginning and dividing the whole picture into a
few .blocks of general foundation colors. A local Resh color may look
rather unpromising in itself until other colors are placed around it and
... the eyes and lips are colored in. .;..r

BLUE FLEXICHROME FLESH BASIS

THE Kodak Flexichrome Flesh Basis is intended to serve as a founda-
tion color that can b e modified to obtain different types of flesh color. It is
possible first to color the face cyan and then follow with the Flesh Basis.
This gives a Resh color with a cool undertone. Brown, green, or purple
as well as black can also be used as an undertone for the Resh. A
"peaches-and-cream" complexion can b e obtained by mixing magenta
and yellow in about equal proportions and then following up with a
pale blue wash.
Experience will serve as a guide to the concentration of the color to
mix on the palette . . Highly concentrated solutions replace the black
modeling agent forcefully, and they should be used when very brilliant
color is d esired, as for example, when coloring bright red lips. A dilute
The diagram illustrates the three-dimensional nature of color. The center pole represents the solution of red would be used for the delicate blending of pink cheeks.
gradation of value (brightness). At any given value level, the direction from the neutral
cen.ter pole indicates the hue, and the distance from the pole indicates the chroma (satura·
A medium concentration is used for laying in the local color of the Resh
lion) . Note that a yellow of high chroma has a higher value than a blue of high chroma . so that the light and middle values can b e converted into a satisfactory
30 31
flesh color while a sufficient amount of the black modeling agent still
remains in the darker areas to describe the form of the object in light
and shade. The operator will soon learn how to lay a flesh color over
SU Rf ACE COLORING
the whole face without losing definition in the eyes, eyebrows, and
nostrils. If these should become too orange, however, the remedy is to FREEHAND surface coloring is permissible, of course, and the fine matte
redescribe their original outlines with a concentrated dark brown and surface of the Flexichrome print is designed to assist when surface
then soften these lines with a wash of flesh color. This treatment re- coloring is required. However, surface coloring is a form of retouching,
stores definition. If the foundation flesh color appears to be too dark, it and it is not an essential part of the Kodak Flexichrome Process. In fact,
can be raised to a lighter value with one or two washes of water. If surface coloring is rarely needed when the photographic definition of
water, instead of acid, is used for both mixing the colors and rinsing, the subject is adequate, and good photography must be assumed at the
the color will be lightened. When flesh is represented as a dark value in outset if high-quality results are to be expected.
the black-and-white print, it may be preferable to use water for mixing Occasionally, however, situations requiring surface coloring will
colors and also for rinsing. occur. The sky may be burned out, with the result that insufficient
Motion of the brush during application of the color and during gelatin is left to accept a bright blue color, or a yellow dress may come
rinsing insures even results. It agitates the dye particles in the gelatin out too light. The Kodak Flexichrome Colors can be taken from the jar
as well as in the surface solution and distributes them more uniformly. on the brush as a thick paste, applied to the print surface, and allowed
A flat area can be partially colored and the rest of it finished later with to stand until completely dry. When the surface color is dry, rub the
no trace of demarcation. It is important to rinse and blot thoroughly as area with a wad of cotton until the color is smoothed out into an even,
you go to eliminate any sediment of dye remaining on the surface. You flat tone. If any color has been smudged over boundary lines by the
should be able to rinse over the whole print with 2%acetic acid at any rubbing, it can be removed by rinsing with acetic acid and blotting as
time, with no bleeding or smearing, up to the point where fin e surface usual. Slight variations and improvements in colors throughout the pic-
work is applied to finish details. ture can be produced by working with comparatively dry colors and
A portrait begins to take on life and look quite satisfactory as soon as blotting but not rinsing. Kodak Transparent Oil Colors, colored pencils,
the hair, eyes, lips, and cheeks are colored, and it can be carried on to a and other colors of various types can be employed effectively for re-
very high degree of finish if desired. The quality of iridescent flesh touching the Flexichrome print, according to the preference of the
color is produced by blending in a variety of weak tints. Green-gray operator. An airbrush can be used in the usual manner. An excellent air-
temples, bluish beards (on men), cold blue highlights on the hair, and brush color can be made by dissolving the contents of one jar of Flexi-
other accents help to snap up the picture. chrome Color in 2 ounces of hot water, allowing the solution to cool,
When you have acquired sufficient experience to gain control of the and then adding 2 ounces of methyl alcohol.
process, you will be able to achieve the desired results more directly A colored Flexichrome print serves well as a foundation for oil color-
and with less effort. Starting with any given foundation color, you will ing with either transparent or "heavy" artist's oil colors, and it offers
know how to make it warmer or cooler, more brilliant or grayer, lighter real advantages over the conventional sepia or black-and-white print,
or darker. You will know how to blend colors or replace them. You will which dilutes the colors wherever the photograph shows through. Since
know how to ignore fussy details in the beginning and snap them out exceptional manual skill is required to paint on the surface of any pho-
with sharp precision at the finish. You will learn that colors should tograph without causing some loss of photographic quality, one should
rarely be used raw to represent nature, and that a very strong picture make certain that all the possibilities of coloring the gelatin relief image
can be made without extravagant colors. In short, you will become with dyes have been tried before resorting to surface work with pig-
more proficient with each print you color, and once the technique is ments. However, when it becomes necessary or desirable to change the
acquired, it is never forgotten. given photograph in any way, this must be done with surface work of
some kind somewhere along the line, whether it be retouching on the
negative, on the print, or both.
Many artists use photographs extensively as a means of obtaining
32 33
subject matter for their paintings, and very often the paintings follow
the photographs quite closely. In this case the photograph serves only as
a sketch or guide for the artist, who is free to select what he wants from
the photograph without b eing tied to it. From the artist's standpoint
it may b e desirable to eliminate much of the sharp d etail seen by the
lens so that the broad aspects of line and composition may b e em-
phasized , and a glorified concept of the subject may be presented.
Efforts to paint directly on a black-and-white or sepia toned print have
more often resulted in an unsatisfactory compromise that is neither
photography nor art, b ecause photographic definition and brush-stroke
definition are generally incompatible with one another. However, t~1es e
differences can be minimized b y making the print through a tweed or
canvas texture screen and using a Kodak Pictorial Diffusion Disk over
the lens of the enlarger to soften the sharp d efinition of the subject. A
canvas texture screen can b e made by photographing a piece of canvas
and printing it on Flexichrome Stripping Film.
After the textured Flexichrome print has b een colored with Flexi-
chrome colors as far as it will go, rather stiff, heavy bodied artist's oil
colors (not transparent photo oils ) can b e used to finish the picture.
These colors go on smoothly and they can b e used to block out the
under image completely, or they can b e rubbed down to blend imper-
ceptibly with the image. They can b e mixed to match the dyes in the
print quite closely and they dry without change in color. The pigments The Kodak Flexichrome Process allows
are applied with chisel-edge, or round red sable brushes, and mistakes the flexibility in color rendering so
often desired in the commercial use of
in coloring can be wiped off clean with cotton. The oil colors must b e
color: pictures. Any color can be
completely dry before lacquering, and the lacquer should b e applied changed at will without disturbing the
carefully with an airbrush to avoid dissolving the oil colors. photographic definition of form and
Original charcoal, pencil, or wash drawings that have been photo- detail. Here, for example, a single
graphed and printed on Flexichrome Film can b e colored with Flexi- black-and-white negative, together with
small fabric samples, made possible
chrome colors to give pleasing effects. Flexichrome is well adapted to
three full-color prints illustrative of a
unusual and imaginative treatment of art forms of various types. manufacturer's line. The original photo-
graph was made on Kodak Super Pan-
chro-Press Film, Type B, by R. Johnson,
Tennessee Eastman Corporation.

34
35
 SPECIAL APPLICATIONS

MAKING EXTRA-LARGE PRINTS

SPECIAl APPllCATIONS EXTRA-LARGE Flexichrome prints, 40 inches by 6 feet or larger, can b e

processed in a single tray from start to finish. Although the tray should
b e made of the best materials available, the occasional worker can oper-
DISPLAY TRANSPARENCIES ate satisfactorily with a relatively inexpensive galvanized iron tray
BRILLIANT transparencies for display purposes can be produced with made by any tinsmith, providing it will resist photographic chemicals.
the Kodak Flexichrome Process by increasing the exposure and the con- A drain with a plug at one corner of the tray is helpful. First fill the tray
trast sufficiently to obtain an image with adequate density range for with water at 68 F and immerse the exposed film , emulsion side up , for
viewing by transmitted light. The bleaching step is omitted in the proc- about 1 minute or until it b ecomes limp; then pour off the water. Next
essing procedure, so that the silver image is retained in the gelatin relief pour a beaker of developer over the face of the film and develop for 2
to serve as a black-and-white key image. Otherwise the processing pro- minutes at 68 F with constant agitation. The processing procedure from
cedure is the same as for Flexichrome prints to be viewed by reflected this point on is the same as for smaller prints except that the film never
light. After processing, the surface layer is stripped from its support leaves the tray. Finally, allow the film to soak long enough in the hot
and transferred onto a sheet of properly fixed-out and washed Kodak acid stripping bath for the surface membrane to float off the film sup-
Translite Film, which should b e about y2 inch larger all around than port and slide around easily. The film support can be used as a carrier
the surface layer. Gelatin-coated glass plates which have been properly sheet to support the surface layer while it is being transferred to the
fixed and washed can also be used as a support. The transparencies final support. Slide the surface layer from the film support onto the final
are then colored over an illuminator. Flexichrome Film can also b e support and flush the relief image with 2% acetic acid as usual. Cover
used for transparencies without stripping, or the stripped surface layer the relief image with a large-size Kodak Flexichrome Transfer Sheet
can be made to adhere to plain glass if the edges of the surface layer and squeegee, at first lightly and then firmly from the center outward.
are immediately taped down with gummed tape b efore they dry. The Kodak Flexichrome Colors can b e applied to the print with a
sponge or with large camel's-hair brushes . The work can b e rinsed with
FLEXICHROME-DYE TRANSFER PROCEDURE
a sponge wet with the 2%acetic acid solution. The coloring procedure is
WHEN rinsing and blotting have been thorough during the coloring the same as for smaller prints except that it is all carried out on a
operations, so that the print can b e bathed in a solution of 2%acetic acid larger scale.
without bleeding, the wet print can be pressed into contact with a The outlines are less critical than they are in smaller prints, and a
sheet of wet Dye Transfer Paper and the dye image will transfer from large area can b e colored as rapidly with a sponge as a smaller area can
the matrix to the paper, leaving a duplicate of the original in reverse on be colored with a small brush.
the paper. When a dye transfer is anticipated, it is advisable to swab
the print often with a soft sponge wet with 2% acetic acid during coloring. HOT-WEATHER PROCESSING
This insures the thorough rinsing necessary to prevent any deposit of UNDER tropical conditions, when the temperature of chemical solutions,
dye on the surface of the Flexichrome print from causing bleeding and the water supply, exceeds 80 F , premature stripping of the surface
during the transfer procedure. layer on the Kodak Flexichrome Stripping Film can be prevented by
This procedure is useful for some types of commercial work where the following procedure : Omit presoaking and process as usual through
a great deal of modification of the image or "styling" is required. Por- the fixing operation. Then wash the film in hot water, strip, and transfer
tions of the image may b e removed from the Flexichrome print with the apparently blank, clear surface layer (without the black dye model-
Flexichrome Reducer or ammonia b efore transfer. Then, after the ing agent) , emulsion side up, onto the paper support and dry. When
image has been transferred to paper, the operator has a uniform layer the print is completely dry, it can b e immersed in the Flexichrome mod-
of gelatin to tint or stain for styling the picture. The Kodak Dye Trans- eling agent for 3 minutes, rinsed in two changes of 2% acetic acid to
fer Blanket and the Kodak Pi·ofessional Print Roller should b e used for clear the image of excess surface dye, and dried again. The white paper
making the transfer as d escribed in the instructions for the Kodak Dye borders around the film will turn black and the back of the paper will
Transfer Process. be gray but this effect will not impair the function of the print.
36 37
 SPECIAL APPLICATIONS

\
COMPOSITE FLEXICHROME PRINTS tion of the background that covers the figure by inserting the point of
IN commercial work it is often necessary to combine a number of pic- the knife b etween them. It is important that the background areas be
tures in various ways for reproduction as a unit. Kodak Flexichrome removed from the figure without disturbing it or lifting it from the
Stripping Film is well suited to cutting and combining, and with skillful acetate sheeting.
handling, remarkable combinations can be made. Subjects photo- 8. The narrow Ys-inch strip of surface layer that still remains around
graphed in the studio can be inserted into backgrounds photographed the figure can now be removed by lifting the background slightly with
anywhere in any season. This film is also useful for preparing full-page . the knife along the cut edge just enough to take hold of the unwanted
layouts to be used for visuals or finished copy. Although the method strip of surface layer with tweezers and carefully pulling it out through
may be variously modified, the basic steps are to cut and combine the the cut edge all around the figure. The two edges of the cut will then go
stripped surface layers face down on .020-inch Kodapak Sheet I; back into position and they can be smoothed down with the blotters.
squeegee the wet final support paper on the back of the surface layers; It is advisable to cut the strip of surface layer first so that it can be
and peel the combined print, after it is dry, from the Kodapak Sheet pulled out around the figure in one direction.
as from a ferrotype plate. The steps in more detail are these: If the composite picture is complicated, requiring considerable time
1. Prepare the black-and-white Fiexichrome prints of all elements of to cut out and strip the pieces of surface layer from the different
the composition on fixed-out single-weight paper, preferably Kodabro- subjects, it may be helpful to lay pieces of wet newspaper over areas of
mide A or Ad-Type A (folding stock), to serve as temporary support. finished work to keep the edges from drying and curling away from the
2. Color the prints to completion and waterproof the colored surfaces acetate sheeting.
with a coat of full-strength Kodak Flexichrome Lacquer. Allow the 9. The finished composite picture is now lying face down on the acetate
lacquer to dry thoroughly. sheeting. Brush over the picture lightly with the following gel cement
3. Cut out the print bearing the figure that is to be inserted into the to insure good adhesion. This preparation makes a useful gelatin cement
background with scissors or a sharp knife, working outside the border that remains liquid when cool.
lines of the subject by about Ys inch or less, depending on the size of
the picture. Avoirdtipois
Flexichrome gel cement U.S. Liquid
4. Soak the cut-out print of the figure and the print bearing the back-
Gelatin ( cooking ) \4 ounce
ground scene for 3 to 5 minutes in hot water ( 110-115 F) , or until the Glacial acetic acid 1 ounce
hot water penetrates through the back of the paper and softens the Hot water to make 8 ounces
adhesive under the surface layer. If the prints are on double-weight
paper, the time of soaking will be considerably longer. Squeegee a sheet of wet, fixed-out photographic paper into firm contact
5. Peel the lacquered surface layers away from the temporary paper with the composite picture to serve as the final support.
supports in the hot water (without pulling) and transfer them to a 10% 1O. Dry the print while it is still attached to the acetate sheeting, which
solution of glycerin for 1 minute or longer. This step will help to pre- acts the same as a ferrotype plate. Uniform drying is important. When
vent curling during the next operation. completely dry, the print can be peeled easily from the acetate sheeting
6. Lay the figure fac e down on a sheet of .020-inch Kodapak Sheet in and the composite print comes off face up on the paper. Glass cannot
proper position and squeegee it down lightly with little pieces of photo- be used because the gelatin on the paper adheres to the glass when dry
graphic blotter cut about 2 inches square. Now lay the surface layer and the print cannot be removed without tearing. When skillfully han-
bearing the background image over the figure (also face down), making dled, the cut edges between the inserted figure and the background
sure that everything is in proper position, and squeegee the combination are scarcely visible, even at close range. If necessary, the lacquer
down firmly with a windshield wiper blade. Paint a layer of 10% glyc- can be removed with Kodak Flexichrome Lacquer Thinner and after
erin around the edges of the .film with a brush or tuft of cotton to help any required finishing touches have b een given, a new lacquer coat can
prevent the corners from drying and curling during the next operation. be applied. The same side of the acetate sheeting should not be used
7. Cut through both surface layers along the borders of the figure with more than once; otherwise the grooves cut by the knife will show up as
a very sharp, pointed etching knife, and then carefully remove the por- lines on subsequent prints.
38 39
 ALTERNATIVE METHOD FOR COMPOSITE PRINTS
COMPOSITE prints can also be made in monochrome for coloring later:
1. Process Kodak Flexichrome Stripping Film as usual to produce black- Summary of Steps
dyed relief images. Then, before stripping, cut about Ys inch around for Processing Kodak Flexichrome Stripping Film
the figures with scissors or a knife.
2. Strip the surface layers from the film supports in the hot 2% acetic Presoak the film in water at 66 to 70 F for about 1 minute
acid bath and transfer them to a tray containing the following solution: when large prints are to be made or several prints are to be processed together.

Glycerin 10 parts
Total
Glacial acetic acid 4 parts Solution Time
Water 86 parts
Step or Remarks Temp (F) I in
Min at
end of
Procedure Min
Step
From this point on, the procedure is the same as given above starting at
Matrix Adjust for contrast control. Mix 68 2 2
Step 6. Although the cut edges may be scarcely visible to the eye, dyes Film just before use.
will penetrate them when the print is colored, and spread slightly, pro- Developer

ducing objectionable lines, particularly in the light areas. Before color- 2 Rinse Discard oxidized developer. Wash 68 !12 2!/2
ing, it may b e advisable to protect the cut edges with narrow lines of film and tray with cold water.

Kodak Flexichrome Masking Lacquer applied with a fine brush. The 3 2% Acetic Room lights can be turned on 68 !12 3
print can then be colored with freedom up to the time for the finishing Acid Stop after film has been in acid bath
Bath about !12 minute.
touches. Then the masking lacquer can be removed with the thinner 1_ _4_ ,
and the areas along the cut edges finished with care. It is also possible 4 Hot Water Wash away soluble gelatin in 110
W9sh several changes of hot water or
to disguise any objectionable divisions or lines in the composite image with hose.
with surface work when necessary. Kodak Spotting Colors mixed with
5 Chill Immerse in cold water to chill 60-68 !12 4!/2
Flexichrome colors are useful for this purpose. Briefly swollen gelatin relief image.

SUGGESTIONS ON COMPOSITE PRINTS 6 Bleach Bleach until all black silver has 66-70 5!12
turned brown. Rinse briefly in water.
- · -1 I_ _ ,_ __
PRACTICE is necessary to gain proficiency in making composite pic- 7 Fix Fix twice as Jong as required for 66-70 1 6!/2
tures. For practice purposes, it is suggested that silver images rather brown image to disappear com-
pletely.
than dye images be used in order to save time. Process as usual up
through the hot water bath; fix the films immediately after the hot 8 Wash Wash in running water. 66-70 1 7!/2
water bath; then strip them from their film supports in hot water and 9 Modeling Dye to completion with occa- 66-70 5 12!/2
proceed as above to form composite silver relief images. Repeat until Agent sional agitation to prevent
(Black Dye) mottle effects.
the technique for handling stripping films is acquired.
The art of cutting, combining, and retouching black-and-white paper 10 2% Acetic Rinse in two changes of 2% acetic 66-70 1 I 13!/2
Acid acid to remove excess surface dye
prints is well known to print retouchers and art services. It is a practical Rinse from image.
procedure to make the finished and retouched composite first with 1- - - 1 1---·_ ,_ _ ,___ _
11 2% Acetic Immerse the film in a solution of 2% 90-100 1 14!/2
glossy black-and-white prints in the usual way, considering only the Acid acetic acid (90 - 1 00 F) until
black-and-white tone values. Then make a copy negative from the com- Transfer adhesive between surface layer
Bath and film support softens.
posite and produce a Flexichrome print for coloring and reproduction.
Flexichrome prints (on single-weight paper) that have been colored 12 Transfer Remove surface layer from film !12 I 15
support in stripping bath and
and lacquered can also be cut and combined in the same manner as transfer to final support.
glossy black-and-white prints. First .tack the print to dry mounting
13 Dry Hang on line until g'elatin relief
tissue, then cut through both the print and the tissue, and dry mount image on surface is dry.
them into the position on the background print.
40

10-SOE-JPS E78
PR I NTED IN THE UNITED S T AT ES OF AMER ICA
 •

•
In itself a complete guide to making still •
pictures in color, the Kodak Colar H andbook •
is also the foundation of a publication pro- •
gram covering every aspect of color pho- • Eastman
tography with Kodak m aterials. Registered •
owners are kept informed of ( 1 ) revisions • Kodak
of the four basic Colar D ata Book sections; •
• Company,
(2) new or revised Colar Data Books and
• Rochester 4, N. Y .
other booklets as they become available; and
•
(3) supplementary articles on color photog- •
raphy which can be obtained free on requ est. •
•