Ilfochrome (also commonly known as Cibachrome) is a dye destruction positive-to-positive photographic process used for the reproduction of film transparencies on photographic paper. The prints are made on a dimensionally stable polyester base as opposed to traditional paper base. Since it uses 13 layers of azo dyes sealed in a polyester base, the print will not fade, discolour, or deteriorate for an extended time. Accelerated aging tests conducted by Henry Wilhelm rated the process as producing prints which, framed under glass, would last for 29 years before color shifts could be detected. Characteristics of Ilfochrome prints are image clarity, color purity, and being an archival process able to produce critical accuracy to the original transparency.
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Ilfochrome in the context of Photographic processing
Photographic processing or photographic development is the chemical means by which photographic film or paper is treated after photographic exposure to produce a negative or positive image. Photographic processing transforms the latent image into a visible image, makes this permanent and renders it insensitive to light.
All processes based upon the gelatin silver process are similar, regardless of the film or paper's manufacturer. Exceptional variations include instant films such as those made by Polaroid and thermally developed films. Kodachrome required Kodak's proprietary K-14 process. Kodachrome film production ceased in 2009, and K-14 processing is no longer available as of December 30, 2010. Ilfochrome materials use the dye destruction process. Deliberately using the wrong process for a film is known as cross processing.
Ilfochrome in the context of Jeff Wall
Jeffrey Jeff Wall, OC, RSA (born September 29, 1946) is a Canadian photographer. He is an artist best known for his large-scale back-lit Cibachrome photographs and art history writing. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum, and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay, and postmodern and industrial featurelessness as their backdrop.