Talk:Chromogenic print

Kodak, Fuji, and Agfa no longer manufacture type r photo material, although some is still available according to the Fuji web site. My lab, My Darkroom, is still printing Type R prints from transpancies ranging in size from 35MM up to 8x10 sheet film. We are also having to make our own chemicals, but anticipate doing these for several years. --Mydarkroom (moved from article)

Explanation unclear

This article doesn't explain why only the silver nitrate on the cyan layer is darkened for the cyan image, only the silver nitrate on the magenta layer is darkened for the magenta image, etc.

Are there three emulsions, each sensitive to one color? Or how do they do it? --Nbauman (talk) 17:36, 12 January 2012 (UTC)

I'm unsure how to explain this clearly, let alone succinctly. While all silver salt emulsions are inherently sensitive to only blue light and ultraviolet radiation, I vaguely recall Kodak using a temporary yellow dye in these emulsions: the top layer was an "ordinary" emulsion, inherently blind to all light except blue light. Under that, a yellow dye layer (present during exposure and removed during development) kept blue light from reaching deeper into the emulsion's stacked layers. The next layer was an "ortho" emulsion, sensitive to blue light that never reached it because of the temporary yellow dye layer and sensitized to see green light. Under that was a final emulsion layer, sensitive to blue light that never reached it because of the temporary yellow dye layer and sensitized to red light.

I should find the binder in my Connecticut barn that contains the Kodak technical publications from the 1980s that explain this, and cite them here. These Type-C chromogenic prints are classic "negative working" photographic materials: more exposure to light causes more dye formation during development.

Walter Dufresne (talk) 16:30, 16 February 2012 (UTC)

The tradition for film is blue sensitive layer, yellow colloidal silver filter, green (and blue) sensitive layer, and red (and blue) sensitive layer. The yellow filter keeps blue away from the last two. Paper is different. There is no yellow filter, the layers are in a different order, and sensitivity differences keep blue light from affecting the wrong layer (too much). Gah4 (talk) 22:08, 11 January 2020 (UTC)

References

Dyes or dye-couplers differ in layers?

It seems unclear to me what the relevant paragraph is saying. I don't know the detail well enough to sort it out. Midgley (talk) 10:09, 13 July 2014 (UTC)

Requested move 28 October 2017

The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: moved. Jenks24 (talk) 10:09, 5 November 2017 (UTC)

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Chromogenic color print → Chromogenic print – Per MOS:PRECISION and due to the lack of an article on the print regardless of its color status, I believe the article should be moved to better represent what it's talking about, and to attract more information on the print Hecseur (talk) 18:16, 28 October 2017 (UTC)

This seems sensible to me so far. -Lopifalko (talk) 18:34, 28 October 2017 (UTC)

• Comment it is also the WP:COMMONNAME I've seen in sources while editting. Hecseur (talk) 08:34, 4 November 2017 (UTC)

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The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.