Lenticular Screen
Description
“Every element of a cross-lined screen acts as a pinhole camera, and reproduces an image of the aperture of the objective in whose rear focal plane it is placed. Thus, when using a square stop, the dots in the halftone produced will be square in shape; and when the stop is triangular, the dots produced will be triangles. If a diaphragm is used with several holes, each element of the screen will reproduce as many dots as there are holes in the diaphragm. If these holes be covered with red, yellow, and blue filters, the three dots will correspond in density to the intensities of the colors entering the lens aperture. In order to convert the negative into its natural colors, it can be converted into a transparency and projected through the three-color diaphragm and the original lens system.”
(Friedman, Joseph Solomon (1945): History of Color Photography. Boston: The American Photographic Publishing Company. p. 225.)
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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
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Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
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Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
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Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Original Technical Papers and Primary Sources
Ahriman = Liesegang, Raphael Eduard (1896): Von der zukünftigen Photographie. Ein neues Prinzip der Farbenphotographie. In: Photographisches Archiv, 37, pp. 249–251. (In German) View Quote
British Journal of Photography, 43, 1896, p. 569. (In German)
Secondary Sources
Anonymous (1951): The Magic of Color. In: International Projectionist, XXVI,7, Jul., pp. 5–9, 33–34. View Quote
Cauda, Ernesto (1938): Il cinema a colori. Quaderno mensile. Roma: Bianco e nero, anno II, nr. 11, on pp. 67–73. (in Italian) View Quote
Dr. N. (1937): Linsenraster. In: Film-Kurier, 183, 2.8.1937, Serie “Farb-Film-Fibel”. (in German) View Quote
Friedman, Joseph Solomon (1945): History of Color Photography. Boston: The American Photographic Publishing Company, p. 225. View Quote
Hübl Freiherr von, Arthur; Zippermayr, Mario (1933): Die Theorie und Praxis der Farbenphotographie mittels der gebräuchlichen Rasterfarbenverfahren. Halle: Knapp, pp. 33–39. (in German) View PDF
Mitchell, Robert A. (1951): Is Lenticulated Color-Film Practical? In: International Projectionist, XXVI,10, Oct, pp. 5–9, 29–30. View PDF
Downloads
Ahriman = Liesegang, Raphaël E. (1896): Von der zukünftigen Photographie. Ein neues Prinzip der Farbenphotographie. In: Photographisches Archiv, 37, pp. 249–251 (1896).
Download PDFHübl Freiherr von, Arthur; Zippermayr, Mario (1933): Die Theorie und Praxis der Farbenphotographie mittels der gebräuchlichen Rasterfarbenverfahren. Halle: Knapp, pp. 33–39. (in German)
Download PDFMitchell, Robert A. (1951): Is Lenticulated Color-Film Practical? In: International Projectionist, XXVI,10, Oct, pp. 5–9, 29–30.
Download PDF
