3M Color Positive Film

Subtractive 3 color: Chromogenic monopack

4 Images

3M Color Positive, type 650

Subtractive 3 color: Chromogenic monopack

3M Color Positive, type 651

Subtractive 3 color: Chromogenic monopack

Agfa bipack films

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 ...

11 Images in 1 Gallery

Agfa negative XT 125

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

Agfa negative XT 320

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

Agfa-Gevaert

Subtractive 3 color

Agfachrome

Subtractive 3 color: Chromogenic monopack, reversal, small gauge

2 Images

Agfacolor L

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).

13 Images in 2 Galleries

Agfacolor lenticular / Agfacolor Linsenrasterfilm

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 ...

15 Images

Agfacolor Negative

Subtractive 3 color: Chromogenic monopack, daylight

Agfacolor Negative type B

Subtractive 3 color: Chromogenic monopack, daylight
For more information on the Agfacolor process see the detail page Agfacolor Neu / Agfacolor.

21 Images

Agfacolor Negative type B2

Subtractive 3 color: Chromogenic monopack, daylight
For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.

37 Images in 2 Galleries

Agfacolor Negative type G

Subtractive 3 color: Chromogenic monopack, Tungsten

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

14 Images in 2 Galleries

Agfacolor Negative type G2

Subtractive 3 color: Chromogenic monopack, Tungsten

Agfacolor Negative, type 2

Subtractive 3 color: Chromogenic monopack, daylight

Agfacolor Negative, type 3 (CN3)

Subtractive 3 color: Chromogenic monopack, universal

Agfacolor Negative, type 4 (CN4)

Subtractive 3 color: Chromogenic monopack, universal

Agfacolor Negative, type 5 (CN5)

Subtractive 3 color: Chromogenic monopack, universal

Agfacolor Negative, type B 333

Subtractive 3 color: Chromogenic monopack, daylight
For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.

11 Images

Agfacolor Negative, type G 334

Subtractive 3 color: Chromogenic monopack, Tungsten

Agfacolor Negative, type G 432

Subtractive 3 color: Chromogenic monopack, Tungsten

Agfacolor Neu / Agfacolor

Subtractive 3 color: Chromogenic monopack, reversal (from 1936), negative/positive process (from 1939)
“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) ...

624 Images in 21 Galleries

Agfacolor Positiv Typ 5

Subtractive 3 color: Chromogenic monopack

1 Image

Agfacolor Screen Plate

Additive 3 color: Mosaic screen, still photography
“During the war, an important new screen plate appeared, based on patents taken out by J. H. Christensen in 1908. He proposed to make a concentrated solution of gum in alcohol. Divided into three parts, the gum solutions were dyed red, green ...

7 Images

Alfacolour / Alfacolor

Subtractive 2 color: Bi-pack, duplitized film

Allfarbenfilm

Additive 3 color: Beam-splitter, substandard

Americolor

Subtractive 2 color: Bi-pack, duplitized

Ansco Color Dupe Negative, type 846

Subtractive 3 color: Chromogenic monopack

Ansco Color Duplicating Film, type 132

Subtractive 3 color: Chromogenic monopack
See Ansco Color, type 735.

Ansco Color negative / positive process

Subtractive 3 color: Chromogenic monopack, negative / positive

21 Images in 2 Galleries

Ansco Color Negative, type 843

Subtractive 3 color: Chromogenic monopack, daylight, 16 ASA

Ansco Color Negative, type 844

Subtractive 3 color: Chromogenic monopack, Tungsten, 16 ASA

Ansco Color Negative, type 845

Subtractive 3 color: Chromogenic monopack

Ansco Color Print Film, type 848

Subtractive 3 color: Chromogenic monopack

2 Images

Ansco Color Release Film, type 732

Subtractive 3 color: Chromogenic monopack
See Ansco Color, type 735.

Ansco Color Reversal Duplicating Film, type 538

Subtractive 3 color: Chromogenic monopack, reversal

Ansco Colorpak / Ansco Color, type 735

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

Ansco One-Strip Color-Separation Film, type 155

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.

Anscochrome

Subtractive 3 color: Chromogenic monopack, reversal, 16mm

3 Images in 1 Gallery

Anscochrome, type 5210

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

Anscochrome, type 5230

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

Anscochrome, type 5240

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

1 Image

Anscochrome, type 5311

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

Anscochrome, type 5550

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

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 ...

2 Images

Audibert

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

3 Images

Auto Natural Color / Bernardi

Additive 3 color: Beam-splitter, substandard

Autochrome

Additive 3 color: Mosaic screen, still photography
“The Autochrome process was the first fully practical single-plate colour process to reach the photographic public. It was easy to use. The plate was loaded into a conventional holder, glass to the front. The exposure was made through a yellow ...

16 Images

Autochrome film / Cinécolor

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 were colored in the additive primaries red, green and blue. The spaces between ...

20 Images in 2 Galleries

Bassani

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 ...

3 Images in 1 Gallery

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, ...

4 Images

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

Additive 3 color: Lenticular screen

5 Images

Bi-pack

Subtractive 2 color: Bi-pack, still photography
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 ...

1 Image

Biochrom

Additive 3 color: Double-sized film, rotary filter

Biocolour

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, ...

31 Images in 2 Galleries

Bocca-Rudatis

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 ...

1 Image

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 ...

Brewster

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 ...

52 Images in 1 Gallery

British Tricolour / Dufaychrome

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

19 Images in 3 Galleries

Busch Farbenfilm

Additive 2 color: Beam-splitter, red-green

5 Images in 1 Gallery

Caille

Additive three-color: line screen, still photography
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 ...

Chemicolor / Ufacolor in GB

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 ...

9 Images in 2 Galleries

Chimicolor

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

2 Images

Chromart Simplex

Subtractive 2 color: Chromogenic monopack

Chromart Tricolor

Subtractive 3 color: Chromogenic monopack

Chromo-Film

Additive 3 color: Double-sized film, rotary filter

Chromogenic development

Subtractive 3 color: Chromogenic development

Chromogenic film stock

Subtractive 3 color: Chromogenic monopack

Chromolithography

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 ...

105 Images in 3 Galleries

Cinechrome

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 ...

3 Images

Cinecolor (subtractive 2 color)

Subtractive 2 color: Bi-pack, duplitized film

83 Images in 9 Galleries

Cinecolor additive 2 color / Cinecolour

Additive 2 color: Beam-splitter, substandard

2 Images

Cinefotocolor

Subtractive 2 color: Bi-pack

Cinekrome

Additive 2 color: Beam-splitter

Cinemacolor

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

2 Images

Colcin

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 ...

1 Image

Color Cinema Corporation

Subtractive 2 color: Bi-pack, double-coated

2 Images

Color theory

Additive 3 color: Additive 3 color, still photography
“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, ...

1 Image

Coloratura

Subtractive 2 color: Bi-pack, dupitized positive, toned
“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, ...

Colorcraft

Additive 2 color: Bi-pack, double-coated

21 Images in 1 Gallery

Colorgraph / Cinecolorgraph

Subtractive 2 color: Beam-splitter, double-coated film
“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 ...

1 Image

Colorvision

Additive 3 color: Beam-splitter

Columbiacolor

Subtractive 3 color: Chromogenic monopack, Eastman Color

Cosmocolor

Additive 2 color: Beam-splitter, double-coated

2 Images

Cox Multicolor

Additive 2 color: Rotary filter

Crosene Process

Additive 4 color: Bi-pack, substandard

Dascolour

Subtractive 2 color: Bi-pack, double-coated print

1 Image

Donisthorpe

Additive two color process: rotating filters and toning
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 ...

Douglass Color No. 1

Additive 2 color: Rotary filter
“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 ...

3 Images

Douglass Color No. 2

Subtractive 2 color: Separations, multi-layer prints
“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 ...

DuChrome

Additive: spatial synthesis

Dufay / Dioptichrome Plate (sometimes incorrectly referenced as Dioptochrome)

Additive 2-4 color: Line screen plate (réseau), still photography and early experiments with film
(see detail page on Dufaycolor)

10 Images

Dufaycolor

Additive 3 color: Line screen (réseau), 35 mm and 16 mm, reversal and negative-positive stock

Dufaycolor was a regular line screen process whereby the incident light was filtered through a pattern of tiny color patches created by lines in red, green and blue, the so called réseau.

202 Images in 9 Galleries

Dufaycolor reversal

Additive 3 color: Line screen (réseau), 16 mm, reversal
(see detail page on Dufaycolor)

Dugromacolor

Additive 3 color: Beam-splitter, substandard

1 Image

Dunning Color

Subtractive 3 color: Beam-splitter, double-coated

DuPont Color Film Type 275

Subtractive 3 color: Color release positive stock, multilayer monopack

4 Images

DuPont Stripping Negative

Subtractive 3 color: Stripping film

2 Images

DuPont Vitacolor

Additive 2 color: Rotary filter, 16mm

Dye coupling

Subtractive 3 color: Chromogenic monopack
“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 ...

1 Image

1 Image

Dymat Process

Subtractive 3 color: Dye transfer, Super-8

Dynachrome

Subtractive 3 color: Chromogenic monopack, small gauge, double 8

Eastman Color

Subtractive 3 color: Chromogenic monopack
“The Eastman Colour Films are multilayer films of the type in which the layers are not separated after exposure. Films of this class are known as Multilayer, Monopack or Integral Tripack. “Multilayer” is descriptive not only of this ...

707 Images in 23 Galleries

Eastman Color High Speed Negative Film 7292

Subtractive 3 color: Chromogenic monopack

Eastman Color High Speed Negative, type 5293

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA, DIR coupler

Eastman Color High Speed Negative, type 5294

Subtractive 3 color: Chromogenic monopack, Tungsten, 400 ASA, DIR coupler

Eastman Color High Speed Negative, type 5295 / 7295

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

Eastman Color II Internegative Film 5272 / 7272 S

Subtractive 3 color: Chromogenic monopack

Eastman Color II Negative, type 5247 / 7247

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA, DIR coupler

Eastman Color II Negative, type 5247 / 7247 F

Subtractive 3 color: Chromogenic monopack

Eastman Color Intermedeate Film 5253

Subtractive 3 color: Chromogenic monopack

Eastman Color Intermediate Film 2244

Subtractive 3 color: Chromogenic monopack

Eastman Color Intermediate Film 5253 / 7253

Subtractive 3 color: Chromogenic monopack

Eastman Color Internegative Film 5243

Subtractive 3 color: Chromogenic monopack

Eastman Color Internegative Film 5245

Subtractive 3 color: Chromogenic monopack

Eastman Color Internegative Film 5270 / 7270

Subtractive 3 color: Chromogenic monopack

Eastman Color Internegative Film 5271 / 7271

Subtractive 3 color: Chromogenic monopack

Eastman Color LC Print Film 5380 / 7380

Subtractive 3 color: Chromogenic monopack

Eastman Color LC Print Film 5385 / 7385

Subtractive 3 color: Chromogenic monopack

Eastman Color LF Print Film 7378

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman Color LFSP Film 7379

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman Color Negative Film 7291

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

Eastman Color Negative, ASA 125, type 5247

Subtractive 3 color: Chromogenic monopack, Tungsten, 125 ASA, DIR coupler

Eastman Color Negative, type 3251

Subtractive 3 color: Chromogenic monopack

Eastman Color Negative, type 5247

Subtractive 3 color: Chromogenic monopack, daylight, 16 ASA

Eastman Color Negative, type 5248

Subtractive 3 color: Chromogenic monopack, Tungsten, 25 ASA

1 Image

Eastman Color Negative, type 5250

Subtractive 3 color: Chromogenic monopack, Tungsten, 50 ASA

1 Image

Eastman Color Negative, type 5251

Subtractive 3 color: Chromogenic monopack, Tungsten, 50 ASA

Eastman Color Negative, type 5254 / 7254

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

Eastman Color Print Film 5281 / 7281

Subtractive 3 color: Chromogenic monopack

Eastman Color Print Film 5381 (1950)

Subtractive 3 color: Chromogenic monopack
Not to be confused with the Eastman Color Print Film 5381 / 7381 from 1970.

Eastman Color Print Film 5381 / 7381 (1970)

Subtractive 3 color: Chromogenic monopack
Not to be confused with the Eastman Color Print Film 5381 from 1950.

Eastman Color Print Film 5382 / 7382

Subtractive 3 color: Chromogenic monopack

Eastman Color Print Film 5384 / 7384

Subtractive 3 color: Chromogenic monopack

Eastman Color Print Film 5385 / 7385

Subtractive 3 color: Chromogenic monopack

Eastman Color Print Film 5744

Subtractive 3 color: Chromogenic monopack

Eastman Color Print Film 7282

Subtractive 3 color: Chromogenic monopack, 16 mm

Eastman Color Print Film 7380

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman Color Print Film 7383

Subtractive 3 color: Chromogenic monopack

Eastman Color Reversal Film SO-260

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA

Eastman Color Reversal Film SO-260

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA

Eastman Color Reversal Intermedeate Film 5249 / 7249

Subtractive 3 color: Chromogenic monopack, reversal

Eastman Color SP Low Contrast (minus 25%) Print Film 5738 / 7738

Subtractive 3 color: Chromogenic monopack

Eastman Color SP Print Film 5383 / 7383

Subtractive 3 color: Chromogenic monopack

Eastman Direct MP Film 5360 / 7360

Subtractive 3 color: Chromogenic monopack

Eastman Ektachrome 7251

Subtractive 3 color: Chromogenic monopack, high speed, color reversal, 16mm, daylight

Eastman Ektachrome Commercial Film 7252

Subtractive 3 color: Chromogenic monopack, 16 mm, Tungsten, 25 ASA

Eastman Ektachrome Commercial, type 7255

Subtractive 3 color: Chromogenic monopack, 16mm reversal

Eastman Ektachrome EF, type 5241 / 7241

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA, TV film

Eastman Ektachrome EF, type 5242 / 7242, type B

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA, TV film

Eastman Ektachrome ER, type 5257

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA

1 Image

Eastman Ektachrome ER, type B, type 5258

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA

Eastman Ektachrome High Speed Video News Film 7250

Subtractive 3 color: Chromogenic monopack, 16mm, Tungsten, 400 ASA

Eastman Ektachrome MS, type 5256

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 125 ASA, TV film

Eastman Ektachrome R Print Film 7389

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman Ektachrome Reversal Print Film 7390 (SO-390)

Subtractive 3 color: Chromogenic monopack, 16mm reversal

Eastman Ektachrome SM, type 7244

Subtractive 3 color: Chromogenic monopack, reversal, super 8

Eastman Ektachrome Video News Film 7239

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman Ektachrome Video News Film 7240

Subtractive 3 color: Chromogenic monopack

Eastman Ektachrome VN Print Film 7399

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman Ektachrome, type 5240 (VNF)

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA, video news film

Eastman Ektachrome, type 5239

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA, TV film

Eastman Ektachrome, type 5285 / 7285

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

Eastman Ektachrome, type A

Subtractive 3 color: Chromogenic monopack, reversal, super 8, Tungsten, 160 ASA

Eastman Embossed Kinescope Recording Film

Additive 3 color: Lenticular screen

2 Images

Eastman EXR 50D Color Negative Film 5245 / 7245

Subtractive 3 color: Chromogenic monopack

Eastman EXR 100T Color Negative Film 5248

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

Eastman EXR 100T Color Negative Film 7248

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman EXR 200T 5287 / 7287 Ultra Latitude (W)

Subtractive 3 color: Chromogenic monopack, Tungsten, 200 ASA

Eastman EXR 200T Color Negative Film 5293 / 7293

Subtractive 3 color: Chromogenic monopack

Eastman EXR 500T 5298 / 7298 (T)

Subtractive 3 color: Chromogenic monopack

Eastman EXR 500T Color Negative Film 5296

Subtractive 3 color: Chromogenic monopack

Eastman EXR 500T Color Negative Film 7296

Subtractive 3 color: Chromogenic monopack, 16mm

Eastman EXR Color Intermediate Film 5244 / 7244

Subtractive 3 color: Chromogenic monopack

Eastman EXR Color Print Film 2386 / 3386

Subtractive 3 color: Chromogenic monopack

Eastman EXR Color Print Film 5386 / 7386

Subtractive 3 color: Chromogenic monopack

Eastman EXR Primetime 640T Teleproduction Film 5600 (P)

Subtractive 3 color: Chromogenic monopack, Tungsten, 650 ASA

Eastman Fine Grain Release Positive Film 5302 / 7302

Subtractive 3 color: Chromogenic monopack

Eastman Lenticular Print Film Type 5306

Additive 3 color: Lenticular screen

Eastman Multilayer Stripping Film / Kodak Stripping Film

Subtractive 3 color: Stripping film

Eastman Panchromatic Separation Film 5216

Black and white panchromatic film: Three-color separation positives from color negatives

Eastman Panchromatic Separation Film 5235

Black and white panchromatic film: Three-color separation positives from color negatives

Eastman Reversal Color Print Film Type 5269 / 7387

Subtractive 3 color: Chromogenic monopack, reversal
Eastman Kodak reversal film duplication stock for (semi)professional use. Replaced Type 5265. Type 7387 introduced in 1964 as improved version. Difficult to see the difference (BL).

Eastman Reversal Print Film 7387

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

Eastman RP Negative Film 7229

Subtractive 3 color: Chromogenic monopack

Eastman Special Order Print Film SO-886

Subtractive 3 color: Chromogenic monopack

Eastman Television Recording Film 5374 / 7374

Subtractive 3 color: Chromogenic monopack

91 Images in 6 Galleries

Ektachrome Commercial Type 7255

Subtractive 3 color: Chromogenic monopack, 16mm reversal

1 Image

Ektachrome EF

Subtractive 3 color: Chromogenic monopack, 16mm reversal, high speed

Ektachrome ER

Subtractive 3 color: Chromogenic monopack, 16mm and 35mm reversal

Ektachrome MS

Subtractive 3 color: Chromogenic monopack, 16mm and 35mm reversal

Ektachrome R Print

Subtractive 3 color: Chromogenic monopack, 16mm reversal

Ektachrome Video News

Subtractive 3 color: Chromogenic monopack, 16mm reversal, high-speed

Experimental Eastman Separation Film (5238)

Subtractive 3 color: Chromogenic monopack

Ferrania color / Ferraniacolor / 3M color

Subtractive 3 color: Chromogenic monopack

217 Images in 8 Galleries

Ferrania Type HS Color Release Positive

Subtractive 3 color: Chromogenic monopack

Ferraniacolor Cine Universal

Subtractive 3 color: Chromogenic monopack

Ferraniacolor, type 54

Subtractive 3 color: Chromogenic monopack

Finlay

Additive 3 color: Regular mosaic screen, still photography

9 Images in 1 Gallery

Fomacolor

Subtractive 3 color: Chromogenic monopack
A chromogenic process based on Agfacolor, see detail page Agfacolor Neu / Agfacolor.

18 Images

Fotoncolor OR Fotonkolor

Subtractive 3 color: Chromogenic monopack

1 Image

Francita-Reality / Francita / Opticolor / Realita

Additive 3 color: Beam-splitter and rotary fllter, substandard

9 Images in 1 Gallery

Friese-Greene

Additive 2 or 3 color: Alternately stained

“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.”

112 Images in 2 Galleries

Fuji Eterna 250D 8563 / 8663

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

Fuji Eterna 250T 8553 / 8653

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA

Fuji Eterna 400T 8583 / 8683

Subtractive 3 color: Chromogenic monopack, Tungsten, 400 ASA

Fuji Eterna 500T 8573 / 8673

Subtractive 3 color: Chromogenic monopack, Tungsten, 500 ASA

Fuji Eterna Vivid 160T 8543 / 8643

Subtractive 3 color: Chromogenic monopack, Tungsten, 160 ASA

Fuji Eterna Vivid 250D 8546 / 8646

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

Fuji Eterna Vivid 500T 8547 / 8647

Subtractive 3 color: Chromogenic monopack, Tungsten, 500 ASA

Fuji F-Series 8510 / 8610 F64T

Subtractive 3 color: Chromogenic monopack, Tungsten, 64 ASA

Fuji F-Series 8520 / 8620 F64D

Subtractive 3 color: Chromogenic monopack, daylight, 64 ASA

Fuji F-Series 8530 / 8630 125T

Subtractive 3 color: Chromogenic monopack, Tungsten, 125 ASA

Fuji F-Series 8550 / 8650 F250T

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA

Fuji F-Series 8560 / 8660 F-250D

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

Fuji F-Series 8570 / 8670 F-500T

Subtractive 3 color: Chromogenic monopack, Tungsten, 500 ASA

Fuji Reala 500D 8592 / 8692

Fujicolor

Subtractive 3 color: Chromogenic monopack reversal (from 1949), negative/positive process (from 1955)
“The Fujicolor process is a three-color subtractive negative/positive process introduced in 1955 by the Fuji Photo Film Co., Ltd., Tokyo, Japan. When the process was introduced it consisted of two elements that could be used singly or together. ...

140 Images in 7 Galleries

Fujicolor Negative A 250, type 8518

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative A, type 8511

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative A, type 8517

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative AX, type 8514

Subtractive 3 color: Chromogenic monopack, 35 mm, 16 mm, Tungsten, 500 ASA

Fujicolor Negative High Speed AX, type 8512

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative, type 8511

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative, type 8512

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative, type 8513

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative, type 8514

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative, type 8515

Subtractive 3 color: Chromogenic monopack

Fujicolor Negative, type 8516

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Eterna-CP 3512 / 3612

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Eterna-CP 3513DI / 3613DI

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Eterna-CP 3514DI / 3614DI

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Eterna-CP 3521XD

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Eterna-CP 3523XD

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film F-CP 3519

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film F-CP 3519D

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Super F-CP 3510 / 3610

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Super F-CP 3510 / 3610

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive, type 8818

Subtractive 3 color: Chromogenic monopack
See also Fujicolor.

Fujicolor Positive, type 8819

Subtractive 3 color: Chromogenic monopack
See also Fujicolor.

Fullcolor

Subtractive 2 colors: Bi-pack, duplitized film

Gaspar Color subtractive 2 color

Subtractive 2 color: Silver dye-bleach

Gasparcolor OR Gaspar Color

Subtractive 3 color: Silver dye-bleach multilayer print film

Gasparcolor was the first three-color multi-layer monopack film available for practical use. It was a double-coated print film with a cyan layer on one side and two layers dyed magenta and yellow on the other side (see illustrations).

388 Images in 24 Galleries

Gaumont Chronochrome

Additive 3 color: Sawn-off lenses and filters, simultaneous taking and projection
“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 ...

12 Images in 2 Galleries

Gevachrome

Subtractive 3 color: Chromogenic monopack, reversal 16mm

10 Images in 1 Gallery

Gevacolor Negative

Subtractive 3 color: Chromogenic monopack

4 Images in 1 Gallery

Gevacolor Positive Film T 9 53

Subtractive 3 color: Chromogenic monopack

Gevacolor Positive Film T 9 54

Subtractive 3 color: Chromogenic monopack

Gevacolor Print Film T 9 85

Subtractive 3 color: Chromogenic monopack

Gevacolor Print Film T 9 86

Subtractive 3 color: Chromogenic monopack

Gevacolor T 6 51

Subtractive 3 color: Chromogenic monopack

Gevacolor T 6 52

Subtractive 3 color: Chromogenic monopack

Gevacolor T 6 53

Subtractive 3 color: Chromogenic monopack

Gevacolor T 6 54

Subtractive 3 color: Chromogenic monopack

Gevacolor T 6 55

Subtractive 3 color: Chromogenic monopack

Gevacolor T 6 80

Subtractive 3 color: Chromogenic monopack

Gevacolor T 6 82

Subtractive 3 color: Chromogenic monopack

Gevaert Positif Color

Applied colors: Pretinted film

Gilmore Color

Additive 2 color: Rotary filter
“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 ...

1 Image

Gorsky Process

Gualtierotti or Cicona e Gualtierotti

Additive two-color: optical system, filters, 64mm negative.
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 ...

1 Image

Hand coloring

Applied colors: Manual application

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.

250 Images in 18 Galleries

Handschiegl / DeMille-Wyckoff / Wyckoff Process

Applied color: Imbibition
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 ...

141 Images in 8 Galleries

Harmonicolor

Subtractive 2 color: Bi-pack, double-coated
“Harmonicoior was developed by French chemist Maurice Combes. It was first formally demonstrated in London by Harmonicoior Films Ltd, of 4 Great Winchester Street, on the 23 March 1936 at the Curzon Soho with the film Talking Hands, produced at ...

Harriscolor

Subtractive 2 color: Beam-splitter, single-coated
“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 ...

3 Images

Hérault Trichrome

Additive 3 color: Alternately stained in red, green and blue
“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 ...

12 Images in 1 Gallery

Hillman Process

Additive 3 color: Rotary filter, mirror system with two lenses

3 Images

Hirlicolor

Subtractive 2 color: Bi-pack

2 Images

Horst

Additive 3 color: Beam-splitter, 65 mm negative

4 Images in 1 Gallery

Hydrotypie / Hydrotype / dye transfer

Subtractive 3 color: Dye transfer, still photography
“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 ...

Indu Colour

Subtractive 3 color: Chromogenic monopack

2 Images

Iriscolor

Subtractive 3 color: Beam-splitter camera, imbibition printing
Similar to Technicolor, the Iriscolor process needed a special beam-splitter camera for exposing three black-and-white negatives on Kodak film stock. These negatives were used for imbibition printing. Between 1940 and 1942, Tobis Tonbild-Syndikat AG ...

Irix-Farbenfilm

Subtractive three-color process: imbibition
Three matrices in the subtractive primary colors are printed on the gelatin of the final print. Supposedly, the used dyes were particularly fast and able to prevent color bleeding. Pokorny started working on color cinematography in the 1920s, often ...

Isensee

Additive 3 color: Rotary filter
“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 ...

2 Images

Joly

Additive 3 color: Line screen process, still photography
“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 ...

7 Images

Jumeaux/Davidson

Additive 3 color: Prism

2 Images

Katachromie

Subtractive 3 color: Monopack silver dye-bleach, still photography
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.

Keller-Dorian

Additive 3 color: Lenticular screen

14 Images in 2 Galleries

Kelleycolor

Subtractive 2 color: Dye transfer
“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 ...

1 Image

Kesdacolor

Subtractive 2 color: Line screen filter, duplitized film stock
”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 ...

1 Image

Kinemacolor

Additive 2 color: Rotary filter

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.

13 Images in 3 Galleries

Kingston Process

Additive three color process: rotary filters
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.

Kislyn color

Additive 3 color: Lenticular screen

1 Image

Kodachrome

Subtractive 3 color: Chromogenic monopack, reversal, 8 and 16 mm

“In 1930 Mannes and Godowsky were invited to join the staff of the Kodak Research Laboratory, where they concentrated on methods of processing multilayer films, while their colleagues worked out ways of manufacturing them. The result was the new Kodachrome film, launched in 1935. Three very thin emulsion layers were coated on film base, the emulsions being sensitised with non-wandering dyes to red, green and blue light, the red-sensitive layer being at the bottom.” (Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant, pp. 121 ff.)

44 Images in 4 Galleries

Kodachrome Color Reversal Film 5265

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm
Duplicating stock for reversal film. Replaced Kodachrome duplicating stock type 5262. Contrary to its predecessor the new stock was not suited as camera material. Type 5265 could only be used for duplication.

Kodachrome Color Reversal Film Type 5262

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm
Although Kodachrome 16mm reversal film was introduced as an amateur film format, rapidly after its introduction it became a format frequently used by (semi-)professional film makers. The reason was that Kodachrome was a relatively easy to use film ...

Kodachrome Commercial Type 5268

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm
In 1946 Kodachrome Commercial camera film Type 5268 was introduced. This stock had a lower-contrast emulsion and became leading in the professional field until it was replaced by Ektachrome Commercial type 7255 in 1958. Both Commercial Kodachrome and ...

Kodachrome II

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm, 25 to 40 ASA
Kodachrome II was introduced in 1961. It was the first film stock since 1936 that was specifically meant for amateur use. Eastman Kodak presented the material as superior to the ‘regular Kodachrome’. It supposedly had a higher speed of 25 ...

84 Images in 5 Galleries