Fujichrome Sensia 400 [RH]

1994

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Fujifilm Corporation

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Japan

Subtractive 3 color: chromogenic monopack, reversal, 35 mm

Fujichrome Sensia 400 [RH] is a daylight reversal film with a sensitivity of ISO 400 by the Fujifilm Corporation. Production of the Sensia series ceased in 2011 with the discontinuation of the Sensia III 100.

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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Sensia 400 [RH] (AF3-081E), p. 5.

1 Image

Fujichrome Velvia 50 Professional [RVP 50]

2007–

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Fujifilm Corporation

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Japan

Subtractive 3 color: chromogenic monopack, reversal, 35 mm

Fujichrome Velvia 50 Professional [RVP 50] is a daylight-type color reversal film with a speed of ISO 50 by the Fujifilm Corporation for professional use. It is the successor to Fujichrome Velvia, which was discontinued in February 2006.

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Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Velvia 50 Professional [RVP50] (AF3-0221E2), p. 8.

1 Image

3M Color Positive Film

1970

|

(3M)

Subtractive 3 color: Chromogenic monopack

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Photomicrograph 500x, faded 3M print, cross section. Credit: Karsta Knaack.
Photomicrograph 500x, faded 3M print, cross section. Credit: Karsta Knaack.
Faded 3M positive. Credit: Carsta Knaack, HTW Berlin.
Faded 3M positive. Credit: Carsta Knaack, HTW Berlin.

4 Images

3M Color Positive, type 650

1970

|

(3M)

Subtractive 3 color: Chromogenic monopack

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3M Color Positive, type 651

1974

|

(3M)

Subtractive 3 color: Chromogenic monopack

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3M Posi-Tone

1965

|

Gasparcolor, 3M Company

Subtractive 3 color: dye destruction process, silver dye-bleach, still photography

“In 1956, after the failure of the French venture, Gaspar resumed his own production of printing materials and chemicals (Koshofer 1981a). In the late 1950s he entered into an agreement with 3M Company of St. Paul, Minnesota, to explore the ...

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Agfa bipack films

1929

|

(Agfa)

Subtractive 2 color: Bi-pack

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

Agfa negative XT 125

1985

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(Agfa-Gevaert NV.Mortsel, Belgium)

Subtractive 3 color: Chromogenic monopack, Tungsten, twin silver halides

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Agfa negative XT 320

1985

|

(Agfa-Gevaert NV.Mortsel, Belgium)

Subtractive 3 color: Chromogenic monopack, Tungsten, twin silver halides

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Agfa-Gevaert

1964

|

Agfa-Gevaert-Aktiengesellschaft, Leverkusen

|

Germany

Subtractive 3 color

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Agfachrome

1962

|

(Agfa AG)

Subtractive 3 color: Chromogenic monopack, reversal, small gauge

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Photomicrograph 1000x, Agfachrome cross section. Credit: Carsta Knaack.
Photomicrograph 500x, Agfachrome cross section. Credit: Carsta Knaack.

2 Images

Agfachrome CU 410

1970

|

Agfa-Gevaert

Subtractive 3 color: dye destruction process, silver dye-bleach, still photography

“Between 1970 and 1976, Agfa-Gevaert produced its own silver dye-bleach printing material on a white-pigmented acetate base called Agfachrome CU 410. Only available to a few photofinishers in Germany, it was used to print amateurs’ ...

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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. 218.

1 Image

Agfachrome-Speed

1983

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Agfa-Gevaert

Subtractive 3 color: dye diffusion process, still photography

“Agfa-Gevaert developed its own instant printing materials during the 1980s, Agfachrome-Speed and Copycolor, both introduced commercially in 1983. Agfachrome-Speed was a single-sheet integral print material, whereas Copycolor was a peel-apart. ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 246.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 261.

2 Images

Agfacolor Film

1932

|

Agfa Company

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

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

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

1 Image

Agfacolor L

1951

|

(Farbenfabriken Bayer AG, dept. Agfa Photoverkauf, Leverkusen)

Subtractive 3 color: Chromogenic monopack

L stands for the Leverkusen brand of Agfacolor. N for negative, K for tungsten (Kunstlicht) and T for daylight (Tageslicht).

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Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: Commercial Denkt rechtzeitig daran (GER 1952).
Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: 1/50 Sekunde, commercial for Niggemeyer Foto/Kino (1952).

13 Images in 2 Galleries

Agfacolor lenticular / Agfacolor Linsenrasterfilm

1932

|

Gerd Heymer and John Eggert (IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Additive 3 color: Lenticular screen

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.
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.
Magnification 5x, front. Credit: photomicrograph by Silvana Konermann.
Magnification 10x, back. Credit: photomicrograph by Silvana Konermann.
Magnification 20x, front. Credit: photomicrograph by Silvana Konermann.
Reflection on Agfacolor lenticular 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.
Reconstruction of lenticular film by Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland in the framework of their research project doLCE
Agfacolor Lenticular sample 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.
Analog reconstruction by Giorgio Trumpy, ERC Advanced Grant FilmColors

15 Images

Agfacolor Negative

1951

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(Farbenfabriken Bayer AG, dept. Agfa Photoverkauf, Leverkusen)

Subtractive 3 color: Chromogenic monopack, daylight

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Agfacolor Negative type B

1940

|

(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, daylight

For more information on the Agfacolor process see the detail page Agfacolor Neu / Agfacolor.

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Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, dir. Jiří Trnka).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: 1/50 Sekunde, commercial for Niggemeyer Foto/Kino (1952).
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']

21 Images

Agfacolor Negative type B2

1941

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(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, daylight

For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.

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Agfacolor B negative on Agfacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Tábor (Oldřich Mirad, Czechoslovakia 1953). Photograph by Barbara Flueckiger.

37 Images in 2 Galleries

Agfacolor Negative type G

1940

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(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

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Germany

Subtractive 3 color: Chromogenic monopack, Tungsten

Agfacolor Negative type G was a chromogenic camera negative balanced for Tungsten illumination.

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Original Agfacolor negative G. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Neposlušný zajíček (German title Klein, aber Oho!, Horst von Möllendorff, Czechoslovakia 1944).
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']

14 Images in 2 Galleries

Agfacolor Negative type G2

1941

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(IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Agfacolor Negative, type 2

1952

|

(Farbenfabriken Bayer AG, dept. Agfa Photoverkauf, Leverkusen)

Subtractive 3 color: Chromogenic monopack, daylight

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Agfacolor Negative, type 3 (CN3)

1955

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(Agfa AG, Leverkusen, Bayerwerk)

Subtractive 3 color: Chromogenic monopack, universal

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Agfacolor Negative, type 4 (CN4)

1960

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(Agfa AG, Leverkusen, Bayerwerk)

Subtractive 3 color: Chromogenic monopack, universal

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Agfacolor Negative, type 5 (CN5)

1964

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(Agfa AG, Leverkusen, Bayerwerk)

Subtractive 3 color: Chromogenic monopack, universal

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Agfacolor Negative, type B 333

1954

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(VEB Filmfabrik Agfa Wolfen, GDR)

Subtractive 3 color: Chromogenic monopack, daylight

For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.

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Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.

11 Images

Agfacolor Negative, type G 334

1954

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(VEB Filmfabrik Agfa Wolfen, GDR)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Agfacolor Negative, type G 432

1962

|

(VEB Filmfabrik Agfa Wolfen, GDR)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Agfacolor Neu / Agfacolor

1936

|

Wilhelm Schneider and Gustav Wilmanns (IG Farbenindustrie, Agfa, Berlin, Filmfabrik Wolfen)

Subtractive 3 color: chromogenic monopack, reversal (from 1936), negative/positive process (from 1939), still photography and film

“The New Agfacolor Process; Agfa Ansco Corp., Binghamton, N. Y. A survey of the history of monopack or multilayer photographic color processes is given, including the coloring methods of greatest importance at the present time. These are: (a) ...

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Münchhausen (Josef von Báky, Germany 1943). Credit: Bundesarchiv Filmarchiv and Friedrich-Wilhelm-Murnau-Stiftung. Photographs of the Agfacolor safety print (acetate) by Barbara Flueckiger.
Opfergang (GER 1944, Veit Harlan), magnification. Credit: Print from the Filmmuseum Düsseldorf. © Friedrich Wilhelm Murnau Foundation, Wiesbaden. Photograph by Barbara Flueckiger.
Paper print. Source: Serda, Charlott (1941): Das Farbfoto-Buch vom Film. Breitkopf & Härtel: Leipzig.
Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.
Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.

640 Images in 21 Galleries

Agfacolor Plate

1932

|

Agfa Company

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

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

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Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 72.

1 Image

Agfacolor Positiv Typ 5

1954

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VEB Filmfabrik Wolfen

Subtractive 3 color: Chromogenic monopack

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Cross section scheme, Agfacolor Positive Type 5. Scource: Brune, Wolfgang (1955): Ein neues Agfacolor-Positivmaterial (Agfacolor-Positivfilm Typ 5).

1 Image

Agfacolor Screen Plate

1916

|

Agfa

Additive 3 color: mosaic screen, still photography and film

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

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

11 Images

Agfacolor Ultra Film

1934

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Agfa Company

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

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

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

1 Image

Agfacolor Ultra Plate

1936

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Agfa Company

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

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

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

1 Image

Alfacolour / Alfacolor

1950

|

(Alfa Photographic Laboratories)

Subtractive 2 color: Bi-pack, duplitized film

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Allfarbenfilm

1930

Additive 3 color: Beam-splitter, substandard

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Americolor

1947

|

Color Film Company of America

Subtractive 2 color: Bi-pack, duplitized

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Animation and Color

Bibliography

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1 Image

Ansco Color Dupe Negative, type 846

1956

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

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Ansco Color Duplicating Film, type 132

1946

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

See Ansco Color, type 735.

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Ansco Color negative / positive process

1950

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, negative / positive

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Ansco Color, positives of Ansco Color negative, ca. 1952. Credit: Gert Koshofer Collection. Sample No. 10. Photograph by Barbara Flueckiger.
Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
Source: Society of Motion Picture and Television Engineers; ed. (1957): The Elements of Color in Professional Motion Pictures. Prepared by a special committee of the Society. Wilton R. Holm, chairman. New York: The Society.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.

30 Images in 2 Galleries

Ansco Color Negative, type 843

1952

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, daylight, 16 ASA

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Ansco Color Negative, type 844

1953

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: chromogenic monopack, tungsten, 16 ASA

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Ansco Color Negative, type 845

1957

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

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Ansco Color Print Film, type 848

1956

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

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Ansco Color Printon; Improved Printon Anscochrome Type / GAF Printon Type 6400 / GAF Printon Type 6410 (1956–1981)

1943

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Ansco, GAF

Subtractive 3 color: dye coupling or chromogenic process, still photography and film

“Ansco Color Printon In 1943 Ansco followed suit and launched a printing material on white-pigmented acetate base called Ansco Color Printon (Fig. 5.7). Initially, Printon was made accessible only to the military. After 1945 it became available to ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 167.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 166.

2 Images

Ansco Color Release Film, type 732

1946

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

See Ansco Color, type 735.

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Ansco Color Reversal Duplicating Film, type 538

1956

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal

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Ansco Colorpak / Ansco Color, type 735

1946

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal 35 mm, 12 ASA

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Ansco One-Strip Color-Separation Film, type 155

1948

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: one-strip color separation

See Ansco Colorpak / Ansco Color, type 735, Ansco Color Release Film, type 732 and Ansco Color Duplicating Film, type 132.

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Anscochrome

1955

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, 16mm

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Cross section scheme of Anscochrome. Scource: Forrest; John L. (1955): Processing Anscochrome Motion-Picture Films for Industrial and Scientific Applications. In: Journal SMPTE, Vol. 64, Dec. 1955, p. 679.

3 Images in 1 Gallery

Anscochrome, type 5210

1964

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 100 ASA

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Anscochrome, type 5230

1964

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 200 ASA

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Anscochrome, type 5240

1964

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 100 ASA

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Werbung Ansco, 4 Typen, in JSMPTE 1965

1 Image

Anscochrome, type 5311

1968

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 64 ASA

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Anscochrome, type 5550

1967

|

(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 500 ASA

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ArchivalColor

1982

|

Charles Berger, McGraw Colorgraph

Subtractive 4 color: pigment process, still photography

“In the early 1980s photographers frustrated by the poor stability of dye coupling materials started to experiment with pigment processes. Among them was Charles Berger, a California-based fine art photographer who, in 1982, developed a modern ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 93.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 94.

2 Images

Ataraxia

1998

|

Racey Gilbert

Subtractive 4 color: pigment process, still photography

“In 1998 Racey Gilbert purchased Polaroid’s stock of pigment films and opened Ataraxia Studio in Bensalem, Pennsylvania, to make high-quality collectors’ carbon prints. Under the direction of Gérard Niemetzky, the studio produced ...

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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. 98.

1 Image

Audibert

1911

|

Rodolphe Berthon and Maurice Audibert

Additive 3 color: Prism

“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

Audibert

1930

|

Maurice Audibert

Addtive 3 color: Beam-splitter, mosaic screen, 65 mm

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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

Auto Natural Color / Bernardi

1925

|

Anthony Bernardi and P.L. Burger

Additive 3 color: Beam-splitter, substandard

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Autochrome

1907

|

Auguste and Louis Lumière

Additive 3 color: mosaic screen, still photography and film

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

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

16 Images

Autochrome film / Cinécolor

1928

|

Auguste and Louis Lumière

|

France

Additive 3 color: mosaic screen

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

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

27 Images in 2 Galleries

Autotype Dyebro

ca. 1929

|

Owen Wheeler, Autotype Company

Subtractive 3 color: dye imbibition process, still photography

“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 Company in about ...

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Autotype Trichrome Carbro

1921

|

H. F. Farmer, Autotype Company

Subtractive 3 color: pigment process, still photography

“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

Autotype Wet Carbon

1944

|

Autotype Company

Subtractive 3 color: pigment process, still photography

“Introduced by the Autotype Company in 1944, the Autotype Wet Carbon Process was a variant of the traditional carbon process with novelty wet-printing pigment papers. Considerable time was saved when printing with this material as the pigment ...

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Azochrome

1940

|

Eastman Kodak Company

Subtractive 3 color: dye destruction process, silver dye-bleach, still photography

“Between 1934 and 1941 Eastman Kodak developed a silver dye-bleach printing material called Azochrome. In 1941 it announced the launching of Azochrome but held back the product at the onset of World War II. After the war, the company decided to ...

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Bassani

1910

|

(Société Chromofilm)

Additive 3 color: Successive exposure, 72 fps

“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

Belcolor

ca. 1935

|

George Murphy

Subtractive 3 color: pigment process, still photography

“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 ...

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Berthon

1908

|

Rodolphe Berthon

Additive 3 color: Lenticular screen

“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

Berthon-Siemens / Siemens-Berthon / Siemens-Perutz-Verfahren / Opticolor

1936

|

Rodolphe Berthon (Siemens &. Halske AG)

Additive 3 color: Lenticular screen

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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.
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.
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.
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='6']

5 Images

Bi-pack

1901

|

Adolf A. Gurtner

Subtractive 2 color: bi-pack, still photography and film

“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 ...

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Source: U.S.P. 730454

1 Image

Biochrom

1914

|

S. Prokudin-Gorsky und S. Maximovitch

Additive 3 color: Double-sized film, rotary filter

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Biocolour

1911

|

William Friese-Greene and Colin Bennett; Claude Friese-Greene

Additive 2 color: Alternately stained 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

Bocca-Rudatis

1933

|

Carlo Bocca, Domenico Rudatis, (Luigi Amati)

|

Italy

Additive 3 color: lenticular screen

The procedure for obtaining the lenticular elements in relief required a series of steps: starting from three black and white positive color separations, obtained with any of the available methods, three matrices were printed, from which the film to ...

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Projection of lenticular film in Bocca-Rudatis. Refraction of light beams through lens. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 81.

1 Image

Brewster

1915

|

Percy Douglas Brewster

Subtractive 2 color: Perforated mirror as beam-splitter, duplitized film

“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 ...

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Brewster

1930

|

Percy Douglas Brewster (Brewster Color Film Corp)

Subtractive 2 or 3 color: Perforated mirror as beam-splitter, duplitized film

“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

British Tricolour / Dufaychrome

1946

|

Jack Coote (Dufay-Chromex Ltd.)

Subtractive 3 color: Beam-splitter, three-strip, multiple printing

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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.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. 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.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.

19 Images in 3 Galleries

Busch Farbenfilm

1926

|

Emil Busch (Busch, Rathenow)

|

Germany

Additive 2 color: Beam-splitter, red-green

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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

Caille

1907

|

Edmond-Charles-Guislain Caille

|

France

Additive three-color: line screen, still photography and film

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 ...

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Carbro-Chromatone

1937

|

Harlan L. Baumbach

Subtractive 3 color: pigment process, still photography

“References to Carbro-Chromatone prints are sometimes found in the literature on early color photography. These prints were made using a combination of the two processes they were named after. The method was described by Harlan L. Baumbach in ...

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Chemicolor / Ufacolor in GB

1932

Subtractive 2 color: Bi-pack, mordant toning

“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

Chimicolor

1931

|

R. Valette (Syndicat de la Cinématographie des Couleurs)

Subtractive 3 color: Beam-splitter, double-coated film, mordant toning

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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

Chromal Paper

1914

|

Rudolf Fischer, Hans Siegrist, N.P.G.

Subtractive 3 color: dye coupling or chromogenic process, still photography

“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 ...

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Chromart Simplex

1950

|

Hans von Fraunhofer (Anglo-American Colour Photographic Industries)

Subtractive 2 color: Chromogenic monopack

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Chromart Tricolor

1950

|

Hans von Fraunhofer (Anglo-American Colour Photographic Industries)

Subtractive 3 color: Chromogenic monopack

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Chromatone

1935

|

Francis H. Snyder, Henry W. Rimbach, Defender Photo Supply Company

Subtractive 3 color: silver toning, still photography

“Chromatone was the first commercially viable process of color print making entirely based on silver toning. It was developed in the early 1930s by the New Yorkers Francis H. Snyder and Henry W. Rimbach, who patented the toning methods and ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 282.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 283.

2 Images

Chromo-Film

1923

|

Adolf Hnatek (Chromo-Film Ges. mbH)

Additive 3 color: Double-sized film, rotary filter

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Chromogenic development

1895

|

Raphael E. Liesegang

Subtractive 3 color: Chromogenic development

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Chromogenic film stock

1911

|

Rudolf Fischer and Hans Siegrist (Neue Photographische Gesellschaft)

Subtractive 3 color: Chromogenic monopack

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Chromolithography

1898

|

(Technique adapted from print media and laterna magica)

Applied colors: printing

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

Cibachrome 1963, after 1991 renamed Ilfochrome

1963

|

Ciba

Subtractive 3 color: dye destruction process, silver dye-bleach, still photography and film

“The materials and processes described thus far have been either unsuccessful or short-lived for one reason or another; the trend changed with the launch of Cibachrome in the 1960s. The product and its subsequent forms dominated the silver ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 216.

1 Image

Cinechrome

1914

|

Colin Benett (Cinechrome Ltd.)

Additive 2 color: Prism, rotary filter, double-sized film

“[…] 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

Cinecolor (subtractive 2 color)

1932

|

William T. Crespinel (Cinecolor Corporation)

Subtractive 2 color: Bi-pack, duplitized film

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Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Reflection on Cinecolor print. Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph by Barbara Flueckiger
Reflection on Cinecolor 16 mm print. Credit: Library of Congress. Photograph by Barbara Flueckiger

93 Images in 9 Galleries

Cinecolor additive 2 color / Cinecolour

1925

|

D. Daponte, S.J. Cox, Adam Hilger Ltd. and J.H. Dowell (Cinecolor)

Additive 2 color: Beam-splitter, substandard

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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

Cinefotocolor

1948

|

Daniel Aragonés (Laboratorio Cinefoto de Barcelona)

Subtractive 2 color: Bi-pack

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Cinekrome

1919

|

(Kuz, Wheeler & Moffat Corp.)

Additive 2 color: Beam-splitter

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Cinemacolor

1934

|

Otto C. Gilmore (Cinemacolor Corporation)

Additive 2 color: Beam-splitter, sub-standard vertical

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. A History of Motion Picture Color Technology.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

2 Images

Colcin

1913

Additive 2 color: Simultaneous 1 strip

“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 ...