Johnsons Colour Screen

1953

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Johnsons of Hendon Ltd.

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

“Johnsons Colour Screen (1953–ca. 1954): pattern virtually identical to Paget Color Screen, with lines of red and blue squares alternated with lines of green and blue squares, approximately 350 to the inch (Fig. 2.55). The lines are at a ...

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

1 Image

Katachromie

1905

|

Karl Schinzel

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.

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Konicolor

1946-1959

|

Konishiroku Photo Industry Co., Ltd

Subtractive 3 color

“The Konicolor system, introduced by Konishiroku Shashin Kogyo (Now Konica Minolta Holdings, Inc.), split the image into three colors and shot them separately onto three b&w films. In that sense it had something in common with the US ‘Technicolor system’, but this was not a contact print with color dye to create positive film, but used coated emulsion to develop each color in a triple process, which is peculiar. […].”

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Ufacolor

1931

|

Kurt Waschneck (Afifa)

Subtractive 2 color: Bi-pack, mordant toning

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Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Color chart. Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Tierwelt. Studien in Hagebecks Tierpark in Stellingen (1931).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
Credit: Bundesarchiv-Filmarchiv, photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Fischwelt (1936).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
Credit: Deutsches Filminstitut DIF (Vicas Nachlass), photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Potsdam (1934).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Farben machen froh (1938).
Magnification 5x. Credit: photomicrograph by Silvana Konermann.
Magnification 10x. Credit: photomicrograph by Silvana Konermann.
Magnification 20x. Credit: photomicrograph by Silvana Konermann.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Reflection on Ufacolor film. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
An opened splice of an Ufacolor positive shows the two colors used in the process. Credit: David Pfluger. Source: David Pfluger’s collection.

136 Images in 7 Galleries

Dascolour

1935

|

L. J. Dassonville

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

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Credit: Brian Pritchard.

1 Image

Fullcolor

1942

|

L. S. Trimble (Trimble Laboratories)

Subtractive 2 colors: Bi-pack, duplitized film

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Pinatype / Pinatypie

1903

|

Léon Didier (Meister Lucius & Brüning)

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 ...

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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

Douglass Color No. 1

1916

|

Leon Forrest Douglass

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 ...

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

3 Images

Douglass Color No. 2

1919

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Leon Forrest Douglass

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 ...

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Gaumont Chronochrome

1912

|

Léon Gaumont (Gaumont)

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 ...

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.

12 Images in 2 Galleries

Telco Color, additive 2 color

1936

|

Leon Ungar and K. R. Hoyt

Additive 2 color: Split optics, side by side

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Telco color subtractive 2 color

1938

|

Leon Ungar and K. R. Hoyt

Subtractive 2 color: Split optics, side by side, duplitized film

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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

1 Image

Kodachrome

1935

|

Leopold D. Mannes and Leopold Godowsky (Eastman Kodak)

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.)

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Credit: Lichtspiel / Kinemathek Bern. Film: New York, Taufe und Ausflug (CH 1954, Donald Brun).
Surface emulsion side, raking light. Credit: Carsta Knaack, HTW Berlin. Film: Regular 8mm home movie, anonymous 1975.

92 Images in 6 Galleries

Kwik-Print

1977

|

Light Impressions Corporation

Subtractive 3 color: pigment process, still photography

“In 1977 Light Impressions Corporation of Rochester, New York, introduced Kwik-Print, a contact speed color printing material. This was a modification of the Kwik-Proof graphic arts proofing system made by Direct Reproductions Corporation of ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 110.

1 Image

Proposal of a variety of processes of three-color photography

1869

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Louis Ducos du Hauron

Theory: still photography

“Louis Ducos du Hauron is reported to have become interested in the reproduction of colors by photography in 1859, when he was twentyone years old (Potonniée, 1939). In 1862 he submitted to a friend of his family, M. Lelut, a paper embodying ...

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"Du Hauron invented his Chromographoscope in 1874. It could be used either as a camera or an additive viewer." Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
An early three-color print by Louis Ducros Du Hauron, 1877.

2 Images

Dufay / Dioptichrome Plate (sometimes incorrectly referenced as Dioptochrome)

1908

|

Louis Dufay (Société Anonyme des Plaques et Produits Dufay)

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

(see detail page on Dufaycolor)

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Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press,
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 71.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 31.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 48.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.

10 Images

Dufay / Dioptichrome

1909

|

Louis Dufay (Société Anonyme des Plaques et Produits Dufay)

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

“In 1907 the French lawyer Louis Dufay (1874-1936) patented a system whose screen pattern was obtained by the combined use of dichromated colloids, greasy printing inks, and imbibition.16 To take a photograph, the screen was mounted in a ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 32.

1 Image

Dufay / Dioptichrome-B

1910

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Louis Dufay (Société Anonyme des Plaques et Produits Dufay)

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

“In 1907 the French lawyer Louis Dufay (1874-1936) patented a system whose screen pattern was obtained by the combined use of dichromated colloids, greasy printing inks, and imbibition.16 To take a photograph, the screen was mounted in a ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 33.

1 Image

Versicolor-Dufay

1917

|

Louis Dufay (Versicolor)

Additive 3 color: Line screen plate, still photography

“The most successful of all the screen processes was the one initiated by Louis Dufay. Today the product is known as Dufaycolor, but it was first introduced about 1910 as the Dioptichrome plate. The first Dufay patents were assigned to an ...

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Dufaycolor reversal

1938

|

Louis Dufay, T. Thorne Baker and Charles Bonamico (Dufay-Chromex)

Additive 3 color: Line screen (réseau), 16 mm, reversal

(see detail page on Dufaycolor)

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Spicer-Dufay

1925

|

Louis Dufay, T. Thorne Baker and Charles Bonamico (Spicer-Dufay)

Additive 3 color: Line screen (réseau), 35 mm reversal

For a description of Spicer-Dufay see detail page on Dufaycolor)

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Magnification 20x. Credit: photomicrograph by Silvana Konermann. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Magnification 10x. Credit: photomicrograph by Silvana Konermann. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Magnification 5x. Credit: photomicrograph by Silvana Konermann. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

78 Images in 2 Galleries

Dufaycolor

1933

|

Louis Dufay, Thomas Thorne Baker and Charles Bonamico (Dufaycolor Ltd., later Dufay-Chromex)

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.

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Reversal Colour Positive. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: A Colour Box (GB 1935, Len Lye).
Microscopic image of the filter structure of a Dufaycolor film. The Emulsion has been removed. The visible structures are not silver grain but the structure of the filter layers. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Microscopic images of Dufaycolor film with the focus set at different points within the emulsion and filter layers. The images have been chained to show a travelling through the 3-dimensional structure of the layers. Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

231 Images in 9 Galleries

Condax-Dytrol

ca. 1940

|

Louis M. Condax, Condax-Speck, Inc., New York, Robert P. Speck

Subtractive 3 color: dye imbibition process, still photography

“Around 1940, Condax-Speck, Inc., of New York started to market dyes and mordant for the Condax-Dytrol system of dye imbibition printing (Fig. 4.19). The system, developed by company owners Louis M. Condax (1897–1971) and Robert P. Speck, ...

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Kodak Dye Transfer

1946

|

Louis M. Condax, Eastman Kodak Company

Subtractive 3 color: dye imbibition process, still photography

“Kodak Dye Transfer materials were introduced by Eastman Kodak Company in February 1946 and replaced Eastman Wash-Off Relief. Principal improvements over the previous material included a simplified registration procedure, more rapidly ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 148.

1 Image

Procédé Tetrachrome

1913

|

Louis Mauclaire, Alfred Bréon, Pierre Randabel

|

France

Additive four-color process: rotating filters

Based on four primary colors, the process successively recorded two simultaneous images for two primary colors each. In projection, the four images were combined on screen, supposedly via a regular projector.

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Rouxcolor 2 color / Cineoptichrome

1932

|

Lucien and Armand Roux

Additive 2 color: Beam-splitter

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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

Sirius

1929

|

Ludwig Horst (Sirius Kleuren Film Maatschappij)

Subtractive 2 color: Beam-splitter, double-coated

“The Dutch Sirius Color process (1929) used a camera with a beamsplitting system behind the lens to expose a single film, the film passing through two gates at right angles to each other. The double-coated print film was dye-toned. The process ...

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Magnification, 20x. Credit: photomicrograph by Silvana Konermann.
Magnification, 10x. Credit: Photomicrograph by Silvana Konermann.
Magnification, 5x. Credit: Photomicrograph by Silvana Konermann.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Reflection on the Sirius film, front. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Reflection on the Sirius film, back. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.

142 Images in 4 Galleries

Horst

1924

|

Ludwig Horst senior

Additive 3 color: Beam-splitter, 65 mm negative

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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

4 Images in 1 Gallery

Sistema Cristiani-Mascarini

1934

|

Luigi Cristiani, Giovanni Mascarini

|

Italy

Additive four-color: beam splitter and filters, four images on 35mm black and white film.

For this four-color process, the light beam was decomposed into four parts, each of which simultaneously exposed an area equal to one quarter of the 35mm frame of a black and white negative. This was obtained optically by placing a diaphragm and a ...

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Cross-section of the optical system displaying the different lenses, the prism and the four filters. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 71.
35mm black and white film strip with four equal-sized images (left) and 16mm projector with Cristiani-Mascarini optical system. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 71.

2 Images

Lumière Alticolor

1952

|

Lumière Company

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

“Lumière Alticolor (1952–1955): rolls and pack films on celluloid base. Alticolor starch grains are smaller but of less regular shape than those used in Filmcolor (Fig. 2.74). There are no black pigment particles; therefore, Alticolor ...

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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.

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