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Photomicrograph 500x, faded 3M print, cross section. Credit: Karsta Knaack.
- Photomicrograph 500x, faded 3M print, cross section. Credit: Karsta Knaack.
- Faded 3M positive. Credit: Carsta Knaack, HTW Berlin.
- Faded 3M positive. Credit: Carsta Knaack, HTW Berlin.
Category: Chromogenic monopack▼×
- All Categories
- Bibliography
- Chromolytic multilayer
- Color separation
- Double-coated / bi-pack
- Edge Codes and Identification
- Hand coloring
- Other
- Printing / dye-transfer
- Printing / pigment process
- Screen processes
- Spatial synthesis (multiple lenses, beam splitter)
- Stencil coloring (pochoir, Pathécolor)
- Temporal synthesis (rotary filters)
- Theory
- Tinting
- Toning
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Photomicrograph 1000x, Agfachrome cross section. Credit: Carsta Knaack.
- Photomicrograph 500x, Agfachrome cross section. Credit: Carsta Knaack.
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L stands for the Leverkusen brand of Agfacolor. N for negative, K for tungsten (Kunstlicht) and T for daylight (Tageslicht).
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Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: Commercial Denkt rechtzeitig daran (GER 1952).
- Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: 1/50 Sekunde, commercial for Niggemeyer Foto/Kino (1952).
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For more information on the Agfacolor process see the detail page Agfacolor Neu / Agfacolor.
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Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
- Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
- Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
- Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, dir. Jiří Trnka).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
- Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: 1/50 Sekunde, commercial for Niggemeyer Foto/Kino (1952).
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
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For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.
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Agfacolor B negative on Agfacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Tábor (Oldřich Mirad, Czechoslovakia 1953). Photograph by Barbara Flueckiger.
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Agfacolor Negative type G was a chromogenic camera negative balanced for Tungsten illumination.
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Original Agfacolor negative G. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Neposlušný zajíček (German title Klein, aber Oho!, Horst von Möllendorff, Czechoslovakia 1944).
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
14 Images in 2 Galleries
For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.
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Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
- Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
- Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
- Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
- Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
- Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
- Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
- Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
- Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
- Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
- Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
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“The New Agfacolor Process;
Agfa Ansco Corp., Binghamton, N. Y.
A survey of the history of monopack or multilayer photographic color processes is given, including the coloring methods of greatest importance at the present time. These are: (a) ...
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Münchhausen (Josef von Báky, Germany 1943). Credit: Bundesarchiv Filmarchiv and Friedrich-Wilhelm-Murnau-Stiftung. Photographs of the Agfacolor safety print (acetate) by Barbara Flueckiger.
- Opfergang (GER 1944, Veit Harlan), magnification. Credit: Print from the Filmmuseum Düsseldorf. © Friedrich Wilhelm Murnau Foundation, Wiesbaden. Photograph by Barbara Flueckiger.
- Paper print. Source: Serda, Charlott (1941): Das Farbfoto-Buch vom Film. Breitkopf & Härtel: Leipzig.
- Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.
- Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.
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Cross section scheme, Agfacolor Positive Type 5. Scource: Brune, Wolfgang (1955): Ein neues Agfacolor-Positivmaterial (Agfacolor-Positivfilm Typ 5).
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Ansco Color, positives of Ansco Color negative, ca. 1952. Credit: Gert Koshofer Collection. Sample No. 10. Photograph by Barbara Flueckiger.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
- Source: Society of Motion Picture and Television Engineers; ed. (1957): The Elements of Color in Professional Motion Pictures. Prepared by a special committee of the Society. Wilton R. Holm, chairman. New York: The Society.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
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“Ansco Color Printon
In 1943 Ansco followed suit and launched a printing material on white-pigmented acetate base called Ansco Color Printon (Fig. 5.7). Initially, Printon was made accessible only to the military. After 1945 it became available to ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 167.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 166.
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Cross section scheme of Anscochrome. Scource: Forrest; John L. (1955): Processing Anscochrome Motion-Picture Films for Industrial and Scientific Applications. In: Journal SMPTE, Vol. 64, Dec. 1955, p. 679.
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Werbung Ansco, 4 Typen, in JSMPTE 1965
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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
- Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
- Source: Sease, V. B. (1949): DuPont's New Color Film. In:American Cinematographer, 30: 240, 257-258.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Sease, V. B. (1949): DuPont's New Color Film. In:American Cinematographer, 30: 240, 257-258.
8 Images in 1 Gallery
“One of the most elegant solutions to the problem of forming a colored image, lies in the utilization of the products formed by the action of the developer upon the latent image. By this means there is formed a dye image whose intensity follows ...
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Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 161.
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“The Eastman Colour Films are multilayer films of the type in which the layers are not separated after exposure. Films of this class are known as Multilayer, Monopack or Integral Tripack. “Multilayer” is descriptive not only of this ...
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Alien (USA 1979, Ridley Scott). Credit: Library of Congress. Photographs of the Eastman Color Print Film from 1979 by Joëlle Kost, ERC Advanced Grant FilmColors.
- Photomicrograph of modern chromogenic stock, . Credit: Silvana Konermann.
- Eastman Color chromogenic monopack. Source: Craig, G.J. (1953): Eastman Colour Films for Professional Motion Picture Work. In: British Kinematography, 22,5, 1953, pp. 146-158.
- Color fading of Eastmancolor stock. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany). Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin: Springer.
- Color reconstruction by Rudolf Gschwind, University of Basel. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
- Color fading of Eastmancolor stock.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
707 Images in 23 Galleries
Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Quote as Flueckiger, Barbara (2012 ff.): Timeline of Historical Film Colors. (= https://filmcolors.org/).
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