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“Autotype Dyebro
Introduced around the same time as Colorsnap and Uvatype, Autotype Dyebro combined the three-color carbro and dye imbibition processes. The method was invented by Owen Wheeler (1859–1932) and commercialized by the Autotype ...
“Introduced in the mid-1930s by George Murphy, Inc., of New York City, Belcolor was considered one of the simplest ways to obtain color transparencies, as it required no special equipment or expert technique and could be used successfully ...
“Around 1940, Condax-Speck, Inc., of New York started to market dyes and mordant for the Condax-Dytrol system of dye imbibition printing (Fig. 4.19). The system, developed by company owners Louis M. Condax (1897–1971) and Robert P. Speck, ...
“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
“Around 1975, Fuji Photo Film Company introduced Fuji Dyecolor, a dye imbibition printing service available only in Japan. A feature of the process was that the transfer of the dyes was done automatically in a special rotary machine developed ...
“Raylo was a material developed by Hiram Codd Joseph Deeks (1880−1952) of the American Raylo Corporation, New York. It was introduced in 1922 for a printing service for users of the Raylo Camera, a one-shot camera that made three negatives ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 87.
1 Image
Three black-and-white color separations were printed consecutively on one film strip and projected through the corresponding color filters, thus combining to one color image on screen.
Theory of trichromatic vision proposed by Thomas Young.
“In a lecture on the theory of three primary colors, given at the Royal Institution of Great Britain on May 17, 1861, Maxwell presented the first demonstration of a photograph in color. According to the records of that meeting (Maxwell, 1890c, ...
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
1 Image
“Louis Ducos du Hauron is reported to have become interested in the reproduction of colors by photography in 1859, when he was twentyone years old (Potonniée, 1939). In 1862 he submitted to a friend of his family, M. Lelut, a paper embodying ...
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"Du Hauron invented his Chromographoscope in 1874. It could be used either as a camera or an additive viewer." Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- An early three-color print by Louis Ducros Du Hauron, 1877.
2 Images
Description of a variety of color processes, even for images in motion by the use of a rotary shutter.
“In 1873 Dr Vogel discovered that by adding dyes to the sensitive material, its sensitivity could be extended, so that it would record green as well as blue. The new ‘orthochromatic’ plates were available commercially from 1882. The ...
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„Film orthochromatique (film négatif Pathé Standard)“ (orthochromatic stock). Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- „Film ordinaire (non orthochromatique)“ (Normal, non-orthochromatic stock). Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
2 Images
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson.
1 Image
“In the imbibition process, a dye image is transferred from a gelatin relief image to a receiving layer made either of paper or film. Charles Cros described this method of ‘hydrotypie’ transfer printing in 1880 and suggested it ...
“Dr. H. W. Vogel, the discoverer of colour sensitizers, made three-colour photography possible, and has been the first to recognise the relation between colour sensitiveness of plate and printing colour in the following principle made known in ...
“Probably the first use of the catalytic property of silver was in 1889, when E. Howard Farmer disclosed the action of a silver image upon strong dichromate solutions (Eng. P. 17773/89). When a plate or film, containing a silver image, is immersed ...
“In 1891, Professor Gabriel Lippmann demonstrated to the French Académie des Sciences interference colour photographs of the spectrum and of stained glass windows, taken by a modification of Wiener’s method. An exceedingly fine grained, ...
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Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
- 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: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 19.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
5 Images
Coloring of individual frames by the use of very fine brushes. The process was previously applied to lantern slides. Any water based translucent dye was suited for the process, most often the coloring was done with acid dyes.
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Loïe Fuller (FRA 1905, Anonymous). Credit: BFI National Archive. Photographs of the hand colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
- Métamorphoses du papillon (FRA 1904, Gaston Velle). Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
- Credit: Turconi Collection by courtesy of George Eastman Museum, Moving Image Collection. Film: Zara.
- Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
310 Images in 19 Galleries
In contrast to tinting, toning is not the simple immersion of a film into a dye bath but involves a chemical reaction converting the silver image. In this reaction the neutral silver image in the emulsion of the positive film is replaced by one consisting of colored metal compounds. These were usually iron ferrocyanide (Prussian Blue) for blue, copper ferrocyanide for red/brown, silver sulfide for sepia or rarely uranium ferrocyanide for reddish brown. Toning had been used in still photography before. But since film was projected on the screen it required translucent toning compounds.
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Hongarije (FRA 1926, Anonymous). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
- Virages sur films à support teinté Pathé, Film teinté lavande (virage bleu) lavender tinted stock with blue toning, the same image from a different copy of the book, combination of tungsten backlight with daylight toplight. Photograph by Barbara Flueckiger. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. [quote id='16']
- Photomicrograph, 25x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Toning samples from the Tinting and Toning Workshop by Ulrich Ruedel, Seminar "Materiality of Film" by Barbara Flueckiger and Bregt Lameris, Department of Film Studies, University of Zurich, in collaboration with Lichtspiel / Kinemathek Bern, David Landolf and Brigitte Paulowitz.
- Toning samples from the Tinting and Toning Workshop by Ulrich Ruedel, Seminar "Materiality of Film" by Barbara Flueckiger and Bregt Lameris, Department of Film Studies, University of Zurich, in collaboration with Lichtspiel / Kinemathek Bern, David Landolf and Brigitte Paulowitz.
1550 Images in 63 Galleries
For tinting, the positive print is immersed into a variety of dye baths, scene by scene. To this end, the print has to be cut into the corresponding fragments and reassembled after the dyeing process. The dye homogeneously attaches over the entire image’s gelatin including the perforation area. Usually synthetic dyes were dissolved in a weak acid solution to form a chemical bond with the gelatin.
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Salomé (USA 1922, Charles Bryant). Credit: George Eastman Museum. Photographs of the tinted, toned and Handschiegl nitrate print by Barbara Flueckiger.
- Photograph by Barbara Flueckiger. Source: Agfa Kine-Handbuch. Berlin: Actien-Gesellschaft für Anilin-Fabrikation. (around 1927, estimated).
- See Mazzanti (2009: 71). Credit: Cineteca di Bologna. Film: Lyda Borelli in Malombra (Italy, 1917).
- As coloured for South America, see Mazzanti (2009: 71). Credit: Cineteca di Bologna.
- As coloured for the domestic Italian market, see Mazzanti (2009: 71). Credit: Cineteca di Bologna.
- Photomicrograph, 25x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
- Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
- Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
- Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
- Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
- Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
- Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
- Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
- Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
- Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
- Credit: Lichtspiel / Kinemathek Bern. Film: Selznick News.
4499 Images in 113 Galleries
“In 1894 Professor John Joly of Dublin patented a process for producing a screen of red, green and blue-violet lines by ruling them on a gelatin-coated glass plate. Joly used ruling machines of great accuracy, with drawing pens trailed across ...
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Photomicrograph (20x) of a Joly screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
- Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
- Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
- Credit: Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 22.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 23.
7 Images
“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 ...
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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.
- 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.
- 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.
- 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.
4 Images
“The first patent that has been found was granted to H. Isensee and he placed in front of the lens, both in taking and projection, a rotary shutter with three 120 degrees sectors in the usual colors.”
(Wall, E.J. (1925): The History of ...
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Source: D.R.P. 98,799, Dec. 17, 1897
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: D.R.P. 98,799, Dec. 17, 1897
2 Images
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Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
- Source: Hübl, Arthur Freiherr von (1904): Three-Colour Photography. Three-Colour Printing and the Production of Photographic Pigment Pictures in Natural Colours. London: W.A. Penrose.
- Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
11 Images
“McDonough Color Screen (1897–1900): sequence of red, yellow-green, and blue continuous lines (Fig. 2.49). Lines are thinner (approximate width 0.08 mm) and sharper than those of the Joly screen but are still visible with the naked eye or a ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 25.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
2 Images
“In 1898 William Friese-Greene, a professional portrait photographer by trade, demonstrated in London ‘the first process of true natural-color cinematography.’ His program consisted of ‘a series of animated natural-color pictures,’ and although this demonstration aroused considerable interest at the time, Friese-Greene was unable to exploit this system on a profitable basis. Undaunted, he eventually developed a total of four different color methods.”
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Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Kino the Girl of Colour (GB 1920, William Friese-Greene, Claude Friese-Greene).
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
112 Images in 2 Galleries
“Apparently, associated with W. Friese-Greene, in the same year, Captain William Norman Lascelles-Davidson, also of Brighton, patented a triple lens motion picture camera (E.P. 23,863, 1898). The colour filters revolved either behind the lenses, ...
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Drawing from E.P. 13,468, 1901.
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Widely used in print media around 1900, the chromolithographic printing process was first adapted for the Laterna Magica and then utilized to produce early animated films primarily aimed at children. These films were usually very short ...
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[U-Boot]. Credit: Deutsches Filminstitut DIF. Photograph of the chromolithographic nitrate print by Barbara Flueckiger.
- Box Der Film fürs Heimkino. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Box "Film for Home Cinema". Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Box "Attention! Celluloid Film". Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Boxes and loops. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Box and loops. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Film can for Chromolithographic Loop. Credit: Deutsches Filminstitut DIF. iPhone photo by Noemi Daugaard, SNSF Filmcolors
- Film can for Chromolithographic Loop. Credit: Deutsches Filminstitut DIF. iPhone photo by Noemi Daugaard, SNSF Filmcolors
119 Images in 3 Galleries
“Frederick Marshall Lee, of Walton, and Edward Raymond Turner, of Hounslow, to whom is usually accorded the credit of achieving the first practical results in additive projection. Their experimental work was financed by Charles Urban, a ...
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„Their projector […] used three lenses and a special filter
wheel which enabled every frame of the film to be projected three times in succession through the appropriate filter as it passed through the triple frame projector aperture. Although it eventually led to the Kinemacolor two colour process, the Lee and Turner patent was not successful“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- "The First Color Moving Pictures", from the YouTube channel of the National Media Museum. [quote id="1"]
- Lee Turner projector in the Media History Museum in Bradford.
- „In 1899 Lee and Turner obtained a patent for a three colour process of cinematography requiring a single lens camera […] making a recurring sequence of red green and blue exposures through a rotating filter cum shutter“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- „In 1899 Lee and Turner obtained a patent for a three colour process of cinematography requiring a single lens camera […] making a recurring sequence of red green and blue exposures through a rotating filter cum shutter“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- „Their projector […] used three lenses and a special filter wheel which enabled every frame of the film to be projected three times in succession through the appropriate filter as it passed through the triple frame projector aperture. Although it eventually led to the Kinemacolor two colour process, the Lee and Turner patent was not successful“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- National Media Museum, UK. Lee and Turner Colour Projector, 1902.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Illustration of the process from National Media Museum's short documentary.
- 38 mm positive of the Lee Turner film showing the three b/w images for the three color records. Credit: Brian Pritchard.
16 Images in 1 Gallery
Photographs of unidentified color film technologies. Several different principles and times. Feel free to contact us if you can help identifying them!
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Unidentified Processes from the Kodak Film Samples Collection and the Cinematography Collection.
Credit: National Science and Media Museum Bradford.
Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard, SNSF Film Colors.
- Unidentified Processes from the Kodak Film Samples Collection and the Cinematography Collection. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard, SNSF Film Colors.
- Unidentified Processes from the Kodak Film Samples Collection and the Cinematography Collection. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard, SNSF Film Colors.
298 Images in 5 Galleries
“In 1900 Edward Sanger-Shepherd (ca. 1869−1927), a London scientific instrument maker, started to offer complete outfits for making natural color lantern slides with a dye imbibition printing method that became known as the Sanger-Shepherd ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 128.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 129.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 130.
3 Images
“Another method of producing a line screen was patented in 1904 by the German Robert Krayn, and was demonstrated by him in November 1907. Krayn stained very thin celluloid sheets red, green and blue, and cemented them interleaved to form a thick ...
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Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant, p. 54.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 34.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 35.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 35.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 36.
- 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. 74.
7 Images
A. Gurtner (Eng. P. 7924/03; U.S.P. 730454), used a front element that was sensitive only to the blue, and a rear element that was sensitive up to but not including the red. He was the first person to suggest that the two films or plates be placed ...
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Source: U.S.P. 730454
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“In 1902 Robert Krayn of Berlin described and patented his Naturfarben-Photographie System, a carbon printing system that was commercially introduced around 1905 by the German manufacturer of photographic paper Neue Photographische ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 85.
1 Image
Stencil coloring required the manual cutting, frame by frame, of the area which was to be tinted onto another identical print, one for each color. Usually the number of colors applied ranged from 3 to 6.
The process was highly improved by the ...
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Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger.
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Print no. 1 of Amour d'esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger.
Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Amour d'esclave (France 1907).
Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification
Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30.
- Tinting in combination with stencil coloring. Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L'Exode (FRA 1910, Louis Feuillade)
- Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L'Exode (FRA 1910, Louis Feuillade)
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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Le Pied de Mouton (ca. 1910).
Edge mark: Pathé (1909 onward), on one edge, PATHÉ FRÈRES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE ET EN BELGIQUE (partially visible). Cf.: Ill.PM.5: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Golden Beetle (1907).
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Unknown film (ca. 1919).
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Credit: Cineteca di Bologna.
- Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
- Credit: Turconi Collection by courtesy of George Eastman Museum, Motion Picture Department Collection. Film: Kinder-Karno in Nizza.
- Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- Backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- Pathéorama. Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- Pathéorama. Backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- Pathéorama. Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
- Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
2265 Images in 73 Galleries
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.
2 Images
“In the imbibition process, a dye image is transferred from a gelatin relief image to a receiving layer made either of paper or film. Charles Cros described this method of “hydrotypie” transfer printing in 1880 and suggested it ...
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Cyan and magenta combined, third layer, yellow missing. Source: Meister Lucius & Brüning (1905): Pinatypie. Positiv-Verfahren für die Dreifarbenphotographie. Höchst am Main.
- 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. 235.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 132.
4 Images
“To offset the possible effects of poor contact between the various members of the tripack, J. H. Smith coated the emulsions directly one on top of the other, but with an insulating layer of collodion between them. In this manner there was ...
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Source: U.S.P. 781469, Sept. 13,1904
1 Image
Very little information is available on this very rare process. Instead of immersion into a dye-bath the positive print was coated uniformly with a varnish. This technique can be identified by the lack on dyes in the perforation area and by the ...
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Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
1 Image
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Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.
1 Image
Karl Schinzel proposed a multi-layered monopack for still photography, based on the principle of the dye-bleach process which was later elaborated to a practical application with Gasparcolor.
“In 1905 Thomas Manly (d. 1932) of London introduced the Ozobrome process,21 which was a modification of his earlier Ozotype, patented in 1898.22 The process was based on a carbon printing method proposed in 1873 by Auguste Marion (1835–1917) ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 100.
1 Image
“Then we come upon the name of George Albert Smith, F.R.A.S., of Laboratory Lodge, Roman Crescent, Southwick, Brighton, who in E.P. 26,671, of 1906, patented the method which eventually was commercialized as Kinemacolor.
In this patent he ...
“In the imbibition process, a dye image is transferred from a gelatin relief image to a receiving layer made either of paper or film. Charles Cros described this method of ‘hydrotypie’ transfer printing in 1880 and suggested it ...
“In 1906 John Henry Smith (1860–1917) and Waldemar Merckens commercially introduced a collodion paper impregnated with fugitive yellow, magenta, and cyan dyes. They called it Uto paper, after a range of mountains near Zurich (Johnson 1917: ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 209.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 211.
2 Images
“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
“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.
1 Image
Process for still photography in which light is filtered through a screen or transparent plate covered in lines or dots in the primary colors orange, green and violet. For the positive, the process relies on a support material which includes an ...
Kinemacolor was an additive process operated with alternating red and green filters that were applied to the shutter in front of the camera and in front of the projector. With at least 32 fps the frame rate was double the minimal frame rate of 16 fps. Time parallax with small differences between the red and green record resulted in color fringes that became visible when objects or scenes were moving.
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Kinemacolor projector used for David Cleveland's and Brian Pritchard's reconstruction. Credit: Brian Pritchard.
13 Images in 3 Galleries
“M. F. de Colombier appears to have been the first to suggest the application of this system to cinematography, and like so many French patents it is a little indefinite in phraseology. Three films were employed representing the same view and ...
(see detail page on Dufaycolor)
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Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press,
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 71.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 31.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 48.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
10 Images
“R. Berthon patented the use of a lens diaphragm with three apertures, covered respectively with red, green and blue-violet filters, and a sensitive surface on a support, the other side of which was impressed with hemi-spherical, transparent, ...
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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.
- 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.
- 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.
- Source: Heymer, Gerd (1933): Auflösungsvermögen und Farbwiedergabe in der Farbrasterphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, 3, 1933, pp. 188-207.
4 Images
The process relied on two-, three- or even four-color selections being superimposed on the screen. On the positive, two, three or four images of reduced dimensions were printed on a single frame with a longitudinal and lateral distance corresponding ...
“Thames Colour products originated from a 1906 patent by Clare Livingston Finlay (d. 1936) and were introduced commercially in England by the Thames Colour Plate Company of London in 1908 (Fig. 2.10).15 Color screens were obtained by repeatedly ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 30.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 63.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
3 Images
Mordant toning or dye toning is a special case of toning whereby the silver image is replaced by colored compounds. Soluble dyes attach to a colorless (silver ferrocyanide) or nearly colorless (silver iodide) silver salt obtained by bleaching. Dye ...
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Virages sur mordançage, Bleu (blue mordant toning), backlight, Swiss collectors'copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. [quote id='7']
- Photomicrograph, 25x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
- Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
171 Images in 7 Galleries
“In 1907 the French lawyer Louis Dufay (1874-1936) patented a system whose screen pattern was obtained by the combined use of dichromated colloids, greasy printing inks, and imbibition.16 To take a photograph, the screen was mounted in a ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 32.
1 Image
“To produce the Omnicolore color screen, a sheet of glass was coated with a layer of gelatin on which lines of greasy blue-violet ink were ruled. The space between the lines was dyed yellow. Lines of greasy light blue ink were then ruled at ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 29.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.
2 Images
“Thames Colour products originated from a 1906 patent by Clare Livingston Finlay (d. 1936) and were introduced commercially in England by the Thames Colour Plate Company of London in 1908 (Fig. 2.10).15 Color screens were obtained by repeatedly ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 30.
1 Image
“Camera.—An interesting camera has been made by the Société Chromofilm, Paris. An astonishing mechanism moves the entire gate, and film within it, at each exposure, with reference to the normal fixed objective. Three miniature negatives are ...
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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
3 Images in 1 Gallery
“In 1907 the French lawyer Louis Dufay (1874-1936) patented a system whose screen pattern was obtained by the combined use of dichromated colloids, greasy printing inks, and imbibition.16 To take a photograph, the screen was mounted in a ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 33.
1 Image
“R. Berthon and M. Audibert patented a method of obtaining a virtual image by means of an anterior lens and prisms or mirrors. This idea was further improved upon in E.P. 17,023, 1913. In F.P. 458,040 Audibert proposed to use a negative front lens ...
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
2 Images
“Inevitably, the success of Kinemacolor led to the appearance of imitations. One company, Friese Greene Patents Ltd had been formed in 1908 to exploit several patents, mostly impractical, filed by Friese Greene. From this came a new company, ...
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
39 Images in 3 Galleries
“The principle of the subtractive colour process was described first by Louis Ducos du Hauron in 1868.
Although eminently suitable for colour motion pictures, the principle could not be applied until means were found of producing several colour ...
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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 67.
1 Image
“The competition between Kinemacolor and other rival systems was partially stimulated by a Utopian faith in the potential of film technology to achieve ‘natural colour’, reality ‘as it is’ being the goal of the cinematic ...
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
- Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
- 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.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
- Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
12 Images in 2 Galleries
“The first two-colour additive method in which the two components were taken and projected simultaneously was the Colcin process, in 1913. The result of a Franco-Japanese collaboration, it was demonstrated at the International Kinematographic ...
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
1 Image
Based on four primary colors, the process successively recorded two simultaneous images for two primary colors each. In projection, the four images were combined on screen, supposedly via a regular projector.
The film is recorded through alternating red and green filters, creating two color separations. After development, the print is placed in two alternating dye-baths, toning the blacks green and the whites red. Additionally, a black-and-white copy is ...
“Paget Color Screen (1913–ca. 1922): lines of red and blue squares alternated with lines of green and blue squares (Fig. 2.52). The lines are at a 45-degree angle from the edge of the plate. The side of the red and green squares measures ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
1 Image
“[…] pictures were taken side by side, full-size, on double-width film, the film not only being perforated on the edges but also down the centre between the pairs of images.”
(Klein, Adrian Bernhard = Cornwell-Clyne (1940): Colour ...
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Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
- Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
- Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
3 Images
“In 1912, two chemists at N.P.G. in Berlin, Rudolf Fischer (1881-1957) and Hans Siegrist (1885-1959), introduced the notion of color couplers and patented the application of Homolkas discovery. Their patent described the structure and chemistry ...
“Following the premises of one of William Friese-Greene’s systems, this two-colour subtractive process required that two reels of film be printed in parallel through a lens fitted with a prism that split light in two directions, through red ...
The Kodachrome process was invented in 1913 by John G. Capstaff for still photography and subsequently adapted to motion pictures. For the process two frames were advanced simultaneously, one located above the other. The light passed either through two lenses or through a beam-splitter, fitted with red and green filters. The release print was exposed through a beam-splitter whereby the alternate frames were projected onto either side of double-coated stock. After development by a usual b/w process, the film was tanned to harden the exposed areas. The soft areas were dyed red-orange and blue-green respectively.
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Two-Color Kodachrome Print (USA ca. 1925 to 1927, Anonymous). Credit: George Eastman Museum. Photographs of the Kodachrome two-color double coated stock from 1925 and 1927 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
- Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
- Magnification 5x. Credit: photomicrograph by Silvana Konermann.
- Magnification 10x. Credit: photomicrograph by Silvana Konermann.
- Magnification 20x. Credit: photomicrograph by Silvana Konermann.
- Kodachrome Two-color test from 1922, YouTube channel of the George Eastman House.
350 Images in 12 Galleries
“In 1915 the company launched a hybrid dye imbibition color printing system called Hicrography.9 From the separation negatives, positive impressions were made through the base on the presensitized dichromated film (Hicro Film), which also ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 134.
1 Image
“In the design of apparatus Urban was assisted after 1905 by Henry W. Joy. The Urban-Joy perforator appeared in 1906. The Urban-Joy anti-firing device, a shutter to prevent the firing of inflammable film when projectors broke down, was another ...
Similar to stenciling, the Handschiegl process was applied mechanically to manually defined image parts. Therefore it is an applied color process.
After the film was shot and edited, for each color applied a separate print was made. In contrast to ...
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Black-and-white with Handschiegl in Lights of Old Broadway (USA 1925, Monta Bell). Credit: Library of Congress. Photograph of the nitrate print by Barbara Flueckiger.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
- Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI. Film: Greed (USA 1925, Erich von Stroheim).
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
- Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 24.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
142 Images in 8 Galleries
“This two-color additive system for color cinematography was invented in 1916 by Leon Forrest Douglass of San Rafael, California. A special beam splitter camera would advance each roll of film two frames per exposure with its double frame pull down ...
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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press. 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. Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
3 Images
During the capturing of the film a beam-splitter in combination with filters in the camera divided the incoming light into a red and a green separation negative on black-and-white stock. When projected in the cinema the two images were combined simultaneously by additive mixture through corresponding red and green filters into one picture consisting of red and green colored light. The reduction of the whole color range to two colors (and their additive combinations) was necessary because of the complex optical arrangement.
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The beam-splitter prism. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
6 Images in 1 Gallery
“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
“The color experiments were conducted in the basement of a house at 1586 E. Seventeenth St., Brooklyn, N. Y. During this time a double-coated stock and a bleach formula which had much to do with the success of the later Prizma process were ...
”Kelley’s first color process was a four-color additive system introduced in 1913. Called Panchromotion, Kelley formed a company which would exploit the process commercially and, he hoped, provide strong competition for Kinemacolor. He apparently ...
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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.
2 Images
“The most successful of all the screen processes was the one initiated by Louis Dufay. Today the product is known as Dufaycolor, but it was first introduced about 1910 as the Dioptichrome plate. The first Dufay patents were assigned to an ...
“Two-colour additive process
Talkicolor was developed by Percy James Pearce along with Dr Anthony Bernardi who was also involved in the development of Raycol. The process was funded mainly by the author Elinor Glyn through her company Elinor ...
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Knowing Men (GB 1930, Elinor Glyn), negative. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger.
3 Images in 1 Gallery
”The process as illustrated in USP 1431309 was a two-color additive process, but it is stated that it could be a three- or four-color process. For the original photography, the negative was exposed through a line screen composed of alternate bands ...
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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
1 Image
“Polychromide, a two-color subtractive process invented in 1918 by Aron Hamburger, achieved limited commercial success overseas, and was occasionally employed in England as late as 1933. Originally an orthochromatic and a panchromatic negative were ...
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Polychromide samples from the Kodak Film Samples Collection at the National Science and Media Museum in Bradford.
Credit: National Science and Media Museum Bradford.
Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard.
- Credit: Brian Pritchard
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 279.
66 Images in 2 Galleries
“Gilmore’s two-color additive process was based on a patent granted to F. E. Ives in 1918. A unique optical system exposed two images in pairs, and quarter-turned them lengthwise side by side on standard 35 mm film stock. One of the images was ...
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Source: U.S.P. 1,262,954 (Ives, Frederic Eugene; filed Feb. 18, 1914; granted Apr. 16, 1918)
1 Image
“In its final form Prizma made use of duplitized positive film. As in previous Prizma systems, the original negatives were alternate frame sequential exposures. The Prizma negative was printed on both sides of the positive film in a special ...
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The two colors visible at a splice. Credit: EYE Film Institute Amsterdam. Film: [Kleurenpracht].
- Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
- Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
- Credit: George Eastman House Motion Picture Department Collection. Film: The Land of the Great Spirit (1919).
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
399 Images in 14 Galleries
“Douglass Color No. 2 (1919). The two negatives of the Douglass Color system No. 1 were printed on a positive. In this updated version of the process, rather than projecting the frames through red and green filters, both latent images were ...
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
16 Images in 1 Gallery
“As in previous versions of the process, pigment papers were soaked in a sensitizing bath and then squeegeed firmly onto the surface of wet bromide prints to harden the pigmented gelatin in proportion to the amount of silver contained in the ...
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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. 103.
1 Image
“After the war, in 1921, J. F. Shepherd introduced in England a printing method called the Triadochrome Color Process, which was very similar to Hamburger’s Polychromide.10 To make a print, a cyan impression obtained from an iron-toned ...
The first subtractive 2 color process introduced by Technicolor captured the incoming light through a beam splitter with red and green filters also. However, in contrast to the first Technicolor process, the two b/w images were recorded on one negative strip. This was achieved by the pull-down of two frames simultaneously, a process that required the double speed in the camera. These two frames were arranged in pairs, whereby the green record was inverted up-side down (see image).
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The Phantom of the Opera (USA 1925, Rupert Julian). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.
- Credit: Images courtesy of the Margaret Herrick Library. Photograph by Barbara Flueckiger.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
- Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55); color reconstruction of the images shown above. Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
- Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
- Arrangement of the two records on the camera negative. Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
- Film: Stage Struck (USA 1925, Allan Dwan). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
- Film: Irene (USA 1926, Alfred E. Green). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
- Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
- Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
- Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
- Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
- Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
133 Images in 8 Galleries
“In 1916 Traube found that copper toning baths3 were especially suitable for dye mordanting and patented the Uvachrome process.4 At the time, Germany was at war with most of Europe, and little commercial progress was made until the end of ...
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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. 103.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 277.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 138.
3 Images
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Russian Ideas in Clothes! (USA 1922). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.
21 Images in 1 Gallery
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
- 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.
- 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.
- 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.
- 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.
- Microscopic image of a piece of Keller-Dorian lenticular film embedded in epoxide resin. The 3-dimensional structure of the lenticules is visible as well as the thin emulsion layer on the other side of the acetate base. Credit: Sample preparation and imaging by the Center for Microscopy and Image Analysis, University of Zurich.
- Lenticular surface of the acetate plastic base of Keller-Dorian lenticular film. On the back plane of the acetate layer and therefore out of focus in this image, structures defined by the silver image in the emulsion layer can be perceived. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
- Hexagonal structure of the lenticules of Keller-Dorian lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
- Microscopic images of the Keller-Dorian lenticular structure with the focus set at different points. The images have been chained to show a travelling through the 3-dimensional structure of the bee-hive shaped lenticules. Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
14 Images in 2 Galleries
“In 1919 Kelley produced a series of coloured cartoons which were drawn by Pinto Colvig. In 1924 he introduced “Kelleycolor,” which was an imbibition process. Two colours were imbibed on a black-and-white key image. In 1926 he ...
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Credit: George Eastman House Motion Picture Department Collection. Film: The Old Family Toothbrush (USA 1925).
1 Image
“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.
1 Image
“The Warner-Powrie process patented in 1905 was the earliest commercial process using a screen made with bichromated colloid. A glass plate was thinly coated with bichromated gelatin or fish glue and exposed to light through a screen having ...
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
4 Images in 1 Gallery
“The process of J. Szczepanik in 1925 was impracticable. He used a non-intermittent camera having a chain of eighteen lenses moving together with the film behind a collimating lens, three pictures being simultaneously exposed.”
(Klein, ...
In this process, two positives, one orange-red one blue-green, were cemented together. Several specifications and modifications exist, for instance the strengthening of the perforated film margins via a second exposure, in an attempt to overcome wear ...
Much like many other additive processes, the Wolff-Heide system was based on three black and white color separations printed consecutively on one film strip and projected through a rotary filter attached to the projector. However, the biggest ...
“Invented by G. Koppmann and introduced in Hamburg in 1924 by the German financier Josef-Peter Welker, from whom the product took its name (Wall and Jordan 1940: 330), Jos-Pé was a complete color system that included a one-exposure camera, ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 135.
1 Image
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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
2 Images
For a description of Spicer-Dufay see detail page on Dufaycolor)
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Magnification 20x. Credit: photomicrograph by Silvana Konermann. 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.
- Magnification 10x. Credit: photomicrograph by Silvana Konermann. 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.
- Magnification 5x. Credit: photomicrograph by Silvana Konermann. 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. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- 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.
78 Images in 2 Galleries
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Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- 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.
5 Images in 1 Gallery
“The Hérault Trichrome process was demonstrated in Paris on 1 October 1926, with three films made by A. Rodde — a fashion show, a documentary on Brittany and a tableau of the Legend of the King of Ys. Hérault Trichrome was an extension of ...
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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger.
12 Images in 1 Gallery
“Paget plates were discontinued in the early 1920s. Apparently production costs had risen to an almost prohibitive amount after World War I due to the difficulties of producing screen plates without defect (Offer 1926).
The product reemerged ...
The third Technicolor process used the same camera as process no. II to combine a pair of frames of the red and green record respectively on the b/w negative (see image). In contrast to the former process, however, the two images were printed on one side of the positive by the dye transfer or imbibition process.
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King of Jazz (USA 1930, John Murray Anderson). Credit: Library of Congress. Photographs of the Technicolor No. III dye-tranfer nitrate print from 1930 and 1931 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
- Credit: Images courtesy of the Margaret Herrick Library. Film: Corrine Griffith in The Garden of Eden. Photograph: Barbara Flueckiger.
- Credit: George Eastman House Motion Picture Department Collection. Film: Buffalo Bill’s Last Fight (USA 1927, John W. Noble).
- Technicolor ad in Photoplay, 1930. Source: Photoplay, 1930, see Media History Digital Library
- Technicolor ad in Photoplay, 1930. Source: Photoplay, 1930, see Media History Digital Library
- Photomicrograph, 10x. Credit: Silvana Konermann.
- Photomicrograph, 20x. Credit: Silvana Konermann.
- Doctor X (USA 1932, Michael Curtiz). Credit: UCLA Film & Television Archive. Photographs of the Technicolor No. III dye-tranfer nitrate print by Barbara Flueckiger.
- Doctor X (USA 1932, Michael Curtiz). Credit: UCLA Film & Television Archive. Photographs of the Technicolor No. III dye-tranfer nitrate print by Barbara Flueckiger.
1298 Images in 38 Galleries
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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
2 Images
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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
“LENTICULAR PROCESS
In 1896 R. E. Liesegang (Ahriman, 1896) suggested a photographic color process based upon the use of banded filters in the camera aperture.
[…]
In 1909 R. Berthon (British Patent 10,611; see also Berthon, 1910a, b) ...
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Kodacolor lenticular filter for the projector. Lichtspiel / Kinemathek Bern.
- Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
- Magnification of an area. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
- Color reconstruction test. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Microscopic linear lens structure of Kodacolor lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
- Acetate plastic base of Kodacolor lenticular film embedded in epoxide resin. The emulsion layer usually placed on the opposite side of the acetate base has been removed beforehand and is therefore not visible. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
- Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus and the granular structure defined by the density of the silver is visible. In this shot the lenticules were showing towards the light source and the emulsion towards the camera. This enables an undistorted recording of the emulsion layer. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
- Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus. In this shot the lenticules were allocated towards the lens of the microscope and the light source at the side of the emulsion similar to the configuration in projection. As a consequence the graininess of the emulsion is not visible as with the film flipped to the other side. The structure is optically distorted perpendicular to the linear structure of the lenticules. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
35 Images in 2 Galleries
“In the Multicolor (two-color) subtractive process, two negative films are run simultaneously through any standard camera with their emulsion surfaces in contact. The front negative is orthochromatic, with the surface layer dyed orange-red to ...
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Iridescence on Multicolor print, reflection properties. Credit: Library of Congress. Photograph by Barbara Flueckiger
- Magnification 20x. Credit: photomicrograph by Silvana Konermann.
- Magnification 10x. Credit: photomicrograph by Silvana Konermann.
- Magnification 5x. Credit: photomicrograph by Silvana Konermann.
- 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.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Fox Movietone Follies of 1929.
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- 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.
- Magnification of an 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.
- Reflection properties. 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.
72 Images in 6 Galleries
Kodak Sonochrome was a specially prepared tinted film for sound film that did not interfere with the spectral sensitivity of the photo-electric cell for the reading of the optical sound track.
The 17 Sonochrome tints were dyed in mainly light hues ...
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Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
- Source: The International Photographer, July 1929
- Source: The International Photographer, July 1929
- Source: The International Photographer, July 1929
- Source: The International Photographer, July 1929
79 Images in 3 Galleries
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Photograph by Martin Weiss, ERC Adanced Grant FilmColors.
1 Image
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
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 105.
1 Image
“Harriscolor
In this method as in other methods of color photography, independent color value negatives are first obtained. The Harriscolor process can employ one of the following two methods: Either a camera wherein the dividing light prisms ...
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Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
- Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
- Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
3 Images
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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
13 Images in 1 Gallery
“The Dutch Sirius Color process (1929) used a camera with a beamsplitting system behind the lens to expose a single film, the film passing through two gates at right angles to each other. The double-coated print film was dye-toned. The process ...
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Magnification, 20x. Credit: photomicrograph by Silvana Konermann.
- Magnification, 10x. Credit: Photomicrograph by Silvana Konermann.
- Magnification, 5x. Credit: Photomicrograph by Silvana Konermann.
- Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: 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, pp. 214-222. Leipzig: J. A. Barth.
- 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, pp. 214-222. Leipzig: J. A. Barth.
- Reflection on the Sirius film, front. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
- Reflection on the Sirius film, back. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
142 Images in 4 Galleries
AGFA BIPACK FILM
The front film is orthochromatic and sensitive, therefore, to green and blue. The rear film is panchromatic and records red-orange only, there being a red-orange filter on the orthochromatic emulsion. In fact, this is a bipack of the ...
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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
11 Images in 1 Gallery
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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
“In 1929 the London firm Colour Snapshots Limited introduced Colorsnap, a printing service based on the dye imbibition process for a tripack roll film called Colorsnap and manufactured by Ilford Ltd. (Monopolies Commission 1966).11 The tripack ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 137.
1 Image
“Duxochrome, introduced around 1930 by the Johannes Herzog Company of Bremen, Germany, combined the colored gelatin layers of pigment processes with the tanning development procedure of dye imbibition. Exposures from three separation negatives ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 106.
1 Image
“Uvatype was yet another variation of the dye imbibition process, introduced by the Uvachrome Company of Germany in 1929 (Fig. 4.12). Its inventor, the German chemist Arthur Traube, worked diligently to improve the then-available imbibition ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 138.
1 Image
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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
- Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
42 Images
“Public showings of the work done at this plant in Hollywood have been given to Los Angeles audiences.
The release prints are made on double sided film. Both sides are developed at one time and then toned red on one side and bluegreen on the ...
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Strange Birds (US 1930, Mack Sennett). Credit: Library of Congress. Photograph of the nitrate print: Barbara Flueckiger
- Magnification. Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Strange Birds (1930)
18 Images in 1 Gallery
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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.
1 Image
“The Brewster Process.
(U.S.P. 1,752,477. 1930-)
Camera. – P. D. Brewster, an American inventor, who was one of the first to apply the bipack system to colour cinematography, has a number of patents to his credit covering various cameras and ...
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Dyes of Brewster color. Credit: Brian Pritchard.
- Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
52 Images in 1 Gallery
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Credit: Cinémathèque française, conservatoire des techniques, Paris.
3 Images
Unlike other additive systems invented in previous years, Gualtierotti tried to avoid the phenomenon of chromatic aberration inherent in the use of multiple lenses or the creation of successive separation records. The proposed solution was based on ...
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Rotating filters permitting to adjust tonality and intensity of the colors. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 62
1 Image
“Coloratura. This is the process of Pathé Exchange at Bound Brook, N. J. Negatives are made by the bi-pack method. Prints are made on double-sided film and are dye-toned on one side and metallic-toned on the other. The double-sided film, ...
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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.
- Color chart. Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
- Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
- 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.
- Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Tierwelt. Studien in Hagebecks Tierpark in Stellingen (1931).
- Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
- Credit: Bundesarchiv-Filmarchiv, photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Fischwelt (1936).
- Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
- Credit: Deutsches Filminstitut DIF (Vicas Nachlass), photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Potsdam (1934).
- Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Farben machen froh (1938).
- Magnification 5x. Credit: photomicrograph by Silvana Konermann.
- Magnification 10x. Credit: photomicrograph by Silvana Konermann.
- Magnification 20x. Credit: photomicrograph by Silvana Konermann.
- Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
- Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
- Reflection on Ufacolor film. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
- An opened splice of an Ufacolor positive shows the two colors used in the process. Credit: David Pfluger. Source: David Pfluger’s collection.
136 Images in 7 Galleries
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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
2 Images
“An American two-colour subtractive process still worked by the Consolidated Film Industries division of Republic Pictures Corporation. This concern was licensed by the owners of the “Prizma” patents, which it will be remembered was ...
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Mysore Yesterday and Tomorrow Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph: Barbara Flueckiger.
23 Images in 2 Galleries
“The Rotocolor process was an additive system for color cinematography. The process was announced in 1931 by H. Muller. According to an article in Film Daily, April 12, 1931, and The Motion Picture Herald, April 11, 1931, the process consisted of ...
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Rota Farbenfilm Samples (Kodak Film Samples Collection). Credit: National Science and Media Museum Bradford. Photographs of the Rotacolor Prints by Josephine Diecke, SNSF project Film Colors. Technologies, Cultures, Institutions and Joëlle Kost, ERC Advanced Grant FilmColors.
13 Images in 2 Galleries
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Screenshot from Mayorov, Nikolai (2012): Soviet Colours. Translated by Birgit Beumers. In: Studies in Russian & Soviet Cinema, 6:2, pp. 241–255. doi: 10.1386/srsc.6.2.241_1 Courtesy of Nikolai Mayorov.
1 Image
“Lumière Filmcolor (1931–1953): sheet films (only) on celluloid base (Fig. 2.69). Individual colored grains cannot be seen with the naked eye, but clumps of grains of the same color give the image a pointillist effect. Filmcolor starch ...
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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
“Chemicoior was the name under which the German Ufacolor Process was marketed in Britain. Ufacolor was also marketed under the name Spectracolor. The process used Agfa bipack negatives loaded with the emulsion sides facing and separated by a ...
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. Film: Pagliacci (1937).
9 Images in 2 Galleries
The basic idea of the lenticular film was developed by the German Raphaël Liesegang in 1896 and applied to still photography by the French Rodolphe Berthon in 1908.
The lenticular process applies tiny cylindrical lenses embossed on the film support ...
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Color reconstruction. Credit: Gisela Harich-Hamburger, Diplomrestauratorin (FH).
- Source: Heymer, Gerd (1933): Auflösungsvermögen und Farbwiedergabe in der Farbrasterphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, 3, 1933, pp. 188-207.
- Source: Weil, F. (1933): The Optical-Photographic Principles of the Agfacolor Process. In: Journal of the Society of Motion Picture Engineers, 20, (April, 1933), No. 4, p. 301-308.
- Both the Kodak and Agfa lenticular processes required the correct banded filter to be used with each different batch of panchromatic film. These two filters were for different batches of Agfacolor used in a Leica camera.. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- 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.
