Minicolor

1941

|

Eastman Kodak Company

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

“In 1941 Kodak introduced a printing service for wallet-size Minicolor prints on a white opaque support of pigmented acetate made from 35mm transparencies (Fig. 5.6). A similar product called Kotavachrome was designed for larger prints made ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 165.

1 Image

Mondiacolor

1955

|

Chevalier

Additive 3 color: Mosaic screen

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Monopack stripping

1903

|

John H. Smith

Subtractive 3 color: monopack, stripping, still photography and film

“To offset the possible effects of poor contact between the various members of the tripack, J. H. Smith coated the emulsions directly one on top of the other, but with an insulating layer of collodion between them. In this manner there was ...

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Source: U.S.P. 781469, Sept. 13,1904

1 Image

Mordant toning / dye toning

1909

|

Rodolfo Namias

Applied colors: Silver replacement by mordanting

Mordant toning or dye toning is a special case of toning whereby the silver image is replaced by colored compounds. Soluble dyes attach to a colorless (silver ferrocyanide) or nearly colorless (silver iodide) silver salt obtained by bleaching. Dye ...

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Virages sur mordançage, Bleu (blue mordant toning), backlight, Swiss collectors'copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. [quote id='7']
Photomicrograph, 25x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.

171 Images in 7 Galleries

Morgana Process

1933

|

(Bell-Howell)

Additive 2 color: Alternating filters, 16 mm

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Source: Dubray, J.A. (1933): The Morgana Process In: Journal of the Society of Motion Picture Engineers 21,5, 1933, pp. 403-412.

1 Image

Moviechrome

1959

|

(Ansco Corp)

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

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Mroz Farbenfilm

1928

|

(Mroz-Farben-Foto)

|

Austria

Additive 2 color: Alternately stained images, 9.5 and possibly 16 mm

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Photograph by Martin Weiss, ERC Adanced Grant FilmColors.

1 Image

Multicolor

1928

|

(Multicolor)

Subtractive 2 color: Bi-pack, duplitized

“In the Multicolor (two-color) subtractive process, two negative films are run simultaneously through any standard camera with their emulsion surfaces in contact. The front negative is orthochromatic, with the surface layer dyed orange-red to ...

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Iridescence on Multicolor print, reflection properties. Credit: Library of Congress. Photograph by Barbara Flueckiger
Magnification 20x. Credit: photomicrograph by Silvana Konermann.
Magnification 10x. Credit: photomicrograph by Silvana Konermann.
Magnification 5x. Credit: photomicrograph by Silvana Konermann.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Fox Movietone Follies of 1929.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Magnification of an area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Reflection properties. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

72 Images in 6 Galleries

N.P.G.

1902

|

Robert Krayn, Neue Photographische Gesellschaft

Subtractive 3 color: pigment process, still photography

“In 1902 Robert Krayn of Berlin described and patented his Naturfarben-Photographie System, a carbon printing system that was commercially introduced around 1905 by the German manufacturer of photographic paper Neue Photographische ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 85.

1 Image

New Agfa Color Plate

1923

|

Agfa Company

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

“New Agfa Color Plate (1923–1932): colored particles very small and not visible to the naked eye, but clumps of particles of the same color give the image a pointillist effect (Fig. 2.62). Unlike with the autochromes, in which the grains ...

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Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.

1 Image

Omnicolore

1909

|

Ducos du Hauron, Raymond de Bercegol

Additive 3 color: regular mosaic screen, still photography

“To produce the Omnicolore color screen, a sheet of glass was coated with a layer of gelatin on which lines of greasy blue-violet ink were ruled. The space between the lines was dyed yellow. Lines of greasy light blue ink were then ruled at ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 29.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.

2 Images

Opticolor

1950

|

(Société Civile de Recherches Scientifiques)

Additive 3 color: Lenticular screen

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Orthochromatic stock

1873

|

Hermann Wilhelm Vogel

b/w photography: orthochromatic b/w stock, still photography

“In 1873 Dr Vogel discovered that by adding dyes to the sensitive material, its sensitivity could be extended, so that it would record green as well as blue. The new ‘orthochromatic’ plates were available commercially from 1882. The ...

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„Film orthochromatique (film négatif Pathé Standard)“ (orthochromatic stock). Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
„Film ordinaire (non orthochromatique)“ (Normal, non-orthochromatic stock). Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.

2 Images

Orwochrom

1975

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

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Cross section scheme of different Orwo materials. Source: Kaufmann, Siegfried (1976): Vom ersten Umkehrfilm zum Orwochrom-System. In: Bild und Ton 3/1976, pp. 88-93.

84 Images in 3 Galleries

Orwocolor

1964

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack

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Frauenschicksale (GDR 1952, Slatan Dudow). Credit: Bundesarchiv Filmarchiv. Photographs of the Orwocolor safety print by Michelle Beutler, ERC Advanced Grant FilmColors.
Cross section of Orwo positive print. Credit: Carsta Knaack, HTW Berlin. Film: L'Ours (J.-J. Annaud, 1988).
Cross section schemes of different materials by Orwo. Source: Kaufmann, Siegfried (1976): Vom ersten Farbumkehrfilm zum Orwochrom-System. In: Bild und Ton, 3/1976, p. 88-93.

1026 Images in 27 Galleries

Orwocolor NC 1

1964

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack

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Orwocolor NC 3

1972

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack

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Ozobrome 1905–ca. 1910, after 1913 renamed Raydex

1905

|

Thomas Manly

Subtractive 3 color: pigment process, still photography

“In 1905 Thomas Manly (d. 1932) of London introduced the Ozobrome process, which was a modification of his earlier Ozotype, patented in 1898. The process was based on a carbon printing method proposed in 1873 by Auguste Marion (1835–1917) 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. 100.

1 Image

Ozotype

1895

Subtractive 3 color: pigment process, still photography

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Paget Color Screen

1913

|

Geoffrey S. Whitefield (Paget Prize Plate Company of Watford, England)

Additive 3 color: regular mosaic screen, separate system, still photography

“Paget Color Screen (1913–ca. 1922): lines of red and blue squares alternated with lines of green and blue squares (Fig. 2.52). The lines are at a 45-degree angle from the edge of the plate. The side of the red and green squares measures ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.

1 Image

Panacolor

1962

|

Michele P. L. Martinez (Panacolor, Inc)

Subtractive 3 color: Color separation, multilayer print

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Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger

11 Images in 1 Gallery

Panchromotion

1917

|

William van Doren Kelley (Panchromotion)

Additive 4 color: Rotary filter

”Kelley’s first color process was a four-color additive system introduced in 1913. Called Panchromotion, Kelley formed a company which would exploit the process commercially and, he hoped, provide strong competition for Kinemacolor. He apparently ...

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

2 Images

Pantachrom

1938

|

John Eggert and Gerd Heymer (Agfa)

Subtractive 3 color: Bi-pack and lenticular film recording, duplitized film with toning and silver dye-bleach

“In October, Eggert of the Agfa Research Department, read a paper at the Berlin meeting of the Deutsche Gesellschaft für photographische Forschung, on the Pantochrom subtractive lenticular bipack tricolor process. (Fig. 1) The green and blue ...

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Agfa Pantachrom. Source: Arens, Hans; Heymer, Gerd (1939): Die „Agfa-Farbentafel für Farbenphotographie“. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, Vol. 6, 1939, pp. 225-229. Leipzig: Hirzel. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.

19 Images in 3 Galleries

Pathécolor / Pathéchrome / stencil coloring

1903

|

(Pathé and others)

Applied colors: Stencil, dyed gelatin

Stencil coloring required the manual cutting, frame by frame, of the area which was to be tinted onto another identical print, one for each color. Usually the number of colors applied ranged from 3 to 6. The process was highly improved by the ...

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Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger.
Print no. 1 of Amour d'esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger.
Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Amour d'esclave (France 1907).
Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification

Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30.
View Quote on Page: Edge Codes and Identification
Tinting in combination with stencil coloring. Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L'Exode (FRA 1910, Louis Feuillade)
Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L'Exode (FRA 1910, Louis Feuillade)
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Le Pied de Mouton (ca. 1910).
Edge mark: Pathé (1909 onward), on one edge, PATHÉ FRÈRES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE ET EN BELGIQUE (partially visible). Cf.: Ill.PM.5: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Golden Beetle (1907).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Unknown film (ca. 1919).
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cineteca di Bologna.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Credit: Turconi Collection by courtesy of George Eastman Museum, Motion Picture Department Collection. Film: Kinder-Karno in Nizza.
Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Pathéorama. Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Pathéorama. Backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Pathéorama. Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.

2265 Images in 73 Galleries

Pentachrome

1938

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

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Photocolor

1930

|

(Photocolor Corp.)

Subtractive 2 color: Beam-splitter, double-coated

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.

42 Images

Pinatype / Pinatypie

1903

|

Léon Didier (Meister Lucius & Brüning)

Subtractive 3 color: dye transfer, still photography and film

“In the imbibition process, a dye image is transferred from a gelatin relief image to a receiving layer made either of paper or film. Charles Cros described this method of “hydrotypie” transfer printing in 1880 and suggested it ...

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Cyan and magenta combined, third layer, yellow missing. Source: Meister Lucius & Brüning (1905): Pinatypie. Positiv-Verfahren für die Dreifarbenphotographie. Höchst am Main.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 132.

4 Images

Pinchart

1948

Additive 3 color: Four lenses, red-green-blue-grey

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

2 Images

Polachrome

1977

|

(Polaroid Corporation)

35mm Slide Film

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Linear filter structure in Polachrome 35mm instant slide film. The blue filter strips are slightly larger compared to the red and green filters. The filter lines are running along the film strip. According to the image placement of the 135 film format for still photography the image is divided horizontally into triplets of R, G and B filter lines. The emulsion layer has been removed before the image was taken. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Linear filter structure in Polachrome 35mm instant slide film with a emulsion layer of low photographic density. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Comparision of the linear filter structure of Polachrome 35mm instant slide film and Polavision Super-8 motion picture film. While the technical concept behind the two film stocks is the same, the Super-8 film was produced with linear filters of a smaller width. Based on the given width of an RGB filter triplet and the 135 still image size there are about 920 horizontal RGB-triplets per image for a Polachrome slide. The Super-8 film image is rotated by 90° compared to the 135 film still image and has about 340 vertical RGB-triplets per frame. The positioning of the image content compared to the filter lines is indicated in the picture. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.