Agfacolor Film

1932

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“Agfacolor Film (1932–1934): individual colored particles cannot be seen with the naked eye, but clumps of grains of the same color give the image a pointillist effect (Fig. 2.70). There is no black pigment filler. The film has a thick base ...

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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. 76.

1 Image

Agfacolor Plate

1932

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“Agfacolor Plate (1932-1938): colored particles very small and not visible to the naked eye; clumps of particles of the same color give the image a pointillist effect (Fig. 2.63). Unlike with the autochromes, in which the grains are remarkably ...

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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. 72.

1 Image

Agfacolor Screen Plate

1916

|

(Agfa)

Additive 3 color: Mosaic screen, still photography

“During the war, an important new screen plate appeared, based on patents taken out by J. H. Christensen in 1908. He proposed to make a concentrated solution of gum in alcohol. Divided into three parts, the gum solutions were dyed red, green ...

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Magnification. Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
Source: Heymer, Gerd (1943): Die neuere Entwicklung der Farbphotographie. In: Ergänzungswerk zum Handbuch der wissenschaftlichen und angewandten Photographie. Wien: Julius Springer 1943, pp. 337-463.
Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 72.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 76.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 42.

11 Images

Agfacolor Ultra Film

1934

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography and 35mm MPF (1935–1936)

“Agfacolor Ultra Film (1934–1941): individual colored grains cannot be seen with the naked eye, but clumps of grains of the same color give the image a pointillist effect (Fig. 2.72). There is no black pigment filler. The film has a thick ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 76.

1 Image

Agfacolor Ultra Plate

1936

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“Agfacolor Ultra Plate (1936–1938): colored particles very small and not visible to the naked eye, but clumps of particles of the same color give the image a pointillist effect (Fig. 2.65). Unlike with the autochromes, in which the grains are ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 74.

1 Image

Autochrome

1907

|

Auguste and Louis Lumière

Additive 3 color: Mosaic screen, still photography

“The Autochrome process was the first fully practical single-plate colour process to reach the photographic public. It was easy to use. The plate was loaded into a conventional holder, glass to the front. The exposure was made through a yellow ...

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Photomicrograph (50x) of an Autochrome mosaic screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
Source: Lavédrine, Bertrand (2009): Photographs of the Past. Process and Preservation. Los Angeles: Getty Publications.
Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
Source: Holme, Charles (1908): Colour Photography, and Other Recent Developments of the Art of the Camera. London, Paris, New York.: Offices of The Studio.
Source: Holme, Charles (1908): Colour Photography, and Other Recent Developments of the Art of the Camera. London, Paris, New York.: Offices of The Studio.
Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 26.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 65.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 27.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 64.

16 Images

Autochrome film / Cinécolor

1928

|

Auguste and Louis Lumière

|

France

Additive 3 color: Mosaic screen

Several attempts were made to apply the Autochrome process invented by the Lumière brothers to motion pictures. Transparent potato starch grains with a diameter of 15–20 micrometer were colored in the additive primaries red, green and blue. The ...

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Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Cinécolor, mosaic screen, ca. 1929. Credit: Gert Koshofer Collection. Sample No. 68. Photograph by Barbara Flueckiger.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

27 Images in 2 Galleries

Finlay

1929

|

Clare L. Finlay

Additive 3 color: Regular mosaic screen, still photography

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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. 70.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.
Photomicrograph (20x) of a Finlay screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
Finlay box. Photograph by Barbara Flueckiger.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 40.

9 Images in 1 Gallery

Finlay Positive Color Screen / Finlaychrome

ca. 1933

|

Clare L. Finlay

Additive 3 color: regular mosaic screen, combined system, still photography

“The launching of a combined version of the product called Finlaychrome was announced in 1931 but was still unavailable three years later; it is unclear if it was ever marketed.28 Instead, it seems that the company produced a viewing screen ...

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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. 235.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 40.

3 Images

Lignose Naturfarbenfilm

1927

|

(Lignose)

Additive 3 color: Mosaic screen

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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. 74.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 44.

2 Images

Mondiacolor

1955

|

Chevalier

Additive 3 color: Mosaic screen

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New Agfa Color Plate

1923

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“New Agfa Color Plate (1923–1932): colored particles very small and not visible to the naked eye, but clumps of particles of the same color give the image a pointillist effect (Fig. 2.62). Unlike with the autochromes, in which the grains ...

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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. 73.

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