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Without any training in photography he just naturally began photographing things in his everyday life. During his university years his interest in photography actually emerged when a friend at Vanderbilt gave Eggleston a Leica (the first practical 35 mm camera, that transports the film horizontally, extending the frame size to 24×36 mm, with a 2:3 aspect ratio, instead of the 18×24 mm used by cinema cameras which transported the film vertically) camera. He loved collecting these and as time passed gradually he came to have a collection of Leica·s. He felt things in our world were ugly at first. Then one day his friend told him to photograph these ugly things, this is when he began photographing daily life with all its ugly and beautiful things. At first in black and white his pictures still had the same appeal that his colour Eggleston began experimenting with color in 1965 and 1966; color transparency film became his dominant medium in the later sixties. He developed his own pictures and rarely titled them. His subject was always the everyday. He photographed everyday common instances and articles. Everyone noticed that Eggleston had a different eye all together. William was a professor at Harvard. 1973 and 1974, and it was during these years that he discovered dyetransfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. As Eggleston later recalled, "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. He noticed this print being used for advertisements and as a matter of fact no one had ever used this print for photographs other than for commercial use. He found the colour saturation and the quality of the ink overwhelming and hence experimented with the same. The dye transfer process was first popularized by Eastman Kodak it is sometimes referred to by generic names such as "wash-off relief printing" and "dye imbibition" printing. The process requires making three printing matrices (one for each subtractive primary color) which absorb dye in proportion to the density of a gelatin relief image. Successive placement of the dyed film matrices, one at a time, "transfers" each primary dye by physical contact from the matrix to a mordanted, gelatin-coated paper . The dyes used in the process are very spectrally pure compared to normal coupler-induced photographic dyes, with the exception of the Kodak cyan. The dyes have excellent light and dark fastness. The dye transfer process possesses a larger color gamut and tonal scale than any other process, including inkjet. Another important characteristic of dye transfer is that it allows the practitioner the highest degree of photographic control compared to any other photochemical color print process since Eggleston was the first to use this process to print his pictures on a non-commercial scale, he indirectly popularized it. The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling. Eggleston had a quality that could be compared to none. The most important feature of his processing technique was that he never edited his pictures. He clicked just one shot of any item or situation and printed it as it is without any editing. A photographer with an exceptional eye and totally self-dependent that·s what William Eggleston was all about.