Finlay Positive Color Screen / Finlaychrome
Description
“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 coated with a nonpanchromatic emulsion (Finlay Positive Colour Screen) on which the screened black-and-white negative obtained in the camera was printed. This product is sometimes referred to as Finlaychrome. To facilitate registration of the two screens for printing, Finlay Positive Colour Screens carried along each side a series of color-registration marks consisting of bands of red and blue separated by green circles (Fig. 2.21). These marks were also recorded in the black-and-white negative by using a special registering sheath supplied by the company. When the black-and-white negative image was registered with the viewing color screen for printing, these registration marks appeared as magenta circles with an outer band of cyan and an inner band of yellow. In addition to avoiding parallax, transparencies produced in this manner had greater brilliance and could be used to make color separations for printing on paper, via special Finlay ‘stop-out’ screens provided for this purpose (BJP 1932). Finlay Colour Plates were manufactured until about 1939 but saw a very brief revival in 1953 when they were commercialized by the London manufacturer and distributor of photographic equipment Johnsons of Hendon Ltd. under the name Johnsons Colour Screen (Coe 1978: 68) (Fig. 2.22).”
(Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, on pp. 38–41.)
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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.
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 40.
Secondary Sources
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, on pp. 38–41 View Quote and on p. 72. View Quote
