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 ...
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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 ...
“In 1915 the company launched a hybrid dye imbibition color printing system called Hicrography. From the separation negatives, positive impressions were made through the base on the presensitized dichromated film (Hicro Film), which also ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 134.
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“In 1932 Frederic Eugene Ives published details of his Polychrome printing system for making three-color paper prints or transparencies from two separation negatives made through a red and a green-blue filter. The process, described by its ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 281.
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“Gilmore’s two-color additive process was based on a patent granted to F. E. Ives in 1918. A unique optical system exposed two images in pairs, and quarter-turned them lengthwise side by side on standard 35 mm film stock. One of the images was ...
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Source: U.S.P. 1,262,954 (Ives, Frederic Eugene; filed Feb. 18, 1914; granted Apr. 16, 1918)
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“Frederick Marshall Lee, of Walton, and Edward Raymond Turner, of Hounslow, to whom is usually accorded the credit of achieving the first practical results in additive projection. Their experimental work was financed by Charles Urban, a ...
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„Their projector […] used three lenses and a special filter
wheel which enabled every frame of the film to be projected three times in succession through the appropriate filter as it passed through the triple frame projector aperture. Although it eventually led to the Kinemacolor two colour process, the Lee and Turner patent was not successful“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- "The First Color Moving Pictures", from the YouTube channel of the National Media Museum. [quote id="1"]
- Lee Turner projector in the Media History Museum in Bradford.
- „In 1899 Lee and Turner obtained a patent for a three colour process of cinematography requiring a single lens camera […] making a recurring sequence of red green and blue exposures through a rotating filter cum shutter“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- „In 1899 Lee and Turner obtained a patent for a three colour process of cinematography requiring a single lens camera […] making a recurring sequence of red green and blue exposures through a rotating filter cum shutter“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- „Their projector […] used three lenses and a special filter wheel which enabled every frame of the film to be projected three times in succession through the appropriate filter as it passed through the triple frame projector aperture. Although it eventually led to the Kinemacolor two colour process, the Lee and Turner patent was not successful“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- National Media Museum, UK. Lee and Turner Colour Projector, 1902.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Illustration of the process from National Media Museum's short documentary.
- 38 mm positive of the Lee Turner film showing the three b/w images for the three color records. Credit: Brian Pritchard.
16 Images in 1 Gallery
“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. ...
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Don't Look Now (GBR / ITA 1973, Nicolas Roeg). Credit: BFI National Film Archive. Photographs of the faded Fujicolor HP Positive Film Type 8813 by Joëlle Kost, ERC Advanced Grant FilmColors.
141 Images in 7 Galleries
“The chemistry and structure layer of Fuji FI-10 integral film were very similar to those of Kodak PR-10, with the film being exposed on one side and viewed on the opposite side. However, its layers were much thinner than those of Kodak 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. 245.
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“The company also launched its first peel-apart color print films, Fuji FP-100 and Fuji FP-800, which were compatible with Polaroid cameras and camera backs. The image formation of the new peel-apart films was similar to that of Fuji integral ...
Fujichrome is the collective brand name for colour reversal films produced by the Fujifilm Corporation. The brand was also used for Single 8 film, the production of which ceased in 2019. The launch of “Fujicolor Reversal Film” (with an ...
Fujichrome 64T Type II Professional [RTP II] is a tungsten-type color reversal film with a speed of ISO 64 by the Fujifilm Corporation. It is no longer in production.
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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome 64T Type II Professional [RTP II] (AF3-024E), p. 6.
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Fujichrome Provia 100F Professional (RDP III) is a daylight-type, ISO 100–color reversal film with an RMS granularity value of 8 produced by the Fujifilm Corporation. It is the successor to Fujichrome Provia 100.
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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 100F Professional [RDP III] (AF3-036E), p. 6.
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Fujichrome Provia 400F Professional (RHP III) is an ISO 400 daylight color reversal film manufactured by the Fujifilm Corporation. It is the successor to Fujichrome Provia 400 (RHP II) and the predecessor to Fujichrome Provia 400X.
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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 400F Professional [RHP III] (AF3-066E), p. 6.
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Fujichrome Sensia 200 RM is a daylight ISO 200 color reversal film produced 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 200 [RM] (AF3-080E), p. 5.
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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.
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Fujichrome Velvia 100F Professional [RVP 100F] is a daylight-type color reversal film with an ISO speed of 100 by Fujifilm Corporation intended for professional use. It has an RMS granularity value of 8. It is no longer in production.
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Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Velvia 100F Professional [RVP 100F] (AF3-148E), p. 8.
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Fujichrome Astia 100F Professional [RAP 100F] is a daylight-type color reversal film with an ISO speed of 100 by the Fujifilm Corporation intended for professional use. It was the final product in the Astia series, with production ending in March ...
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Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Astia 100F Professional [RAP 100F] (AF3-149E), p. 8.
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Fujichrome Sensia 100 [RA] is a daylight-type color reversal film with an ISO speed of 100 by the Fujifilm Corporation. It has an RMS granularity value of 8. Production of the Sensia series ceased in 2011 with the discontinuation of the Sensia III ...
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Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Sensia 100 [RA] (AF3-150E), p. 6.
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Fujichrome T64 Professional [RTP] is an ISO 64 tungsten-type color reversal film produced by the Fujifilm Corporation. It is the successor of Fujichrome 64 Professional T.
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Fujifilm: Product Information Bulletin, Color Reversal Films, Fujichrome T64 Professional [RTP] (AF3-178E), p. 7.
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Fujichrome Provia 400X Professional [RXP] is a daylight-type color reversal film with an ISO sensitivity of 400 by the Fujifilm Corporation. It is the successor of Fujichrome Provia 400F (RHP III).
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Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Provia 400X Professional [RXP] (AF3-0213E), p. 7.
- Cross sections of Fujichrome Provia 400X unprocessed, f4, 50x, ws-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.
- Cross sections of Fujichrome Provia 400X unprocessed, f4, 20x-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.
- Cross sections of Fujichrome Provia 400X processed, f4, 50x-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.
- Cross sections of Fujichrome Provia 400X processed, f4, 20x-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.
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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.
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Fujichrome Velvia 100 Professional [RVP 100] is a daylight-type color reversal film with an ISO speed of 100 produced by the Fujifilm Corporation. Its RMS granularity value is 8.
Fujichrome Provia 100 Professional [RDP II] is a daylight-type, ISO 100 color reversal film produced by the Fujifilm Corporation. It succeeded the Fujichrome 100 Professional D [RDP], released in March 1983. Its successor is Fujichrome Provia 100F ...
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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 100 Professional [RDP II] (AF3-796E), p. 6.
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Fujichrome Provia 1600 Professional [RSP] is a daylight-type color reversal film by the Fujifilm Corporation, designed exclusively for push-processing, with a nominal speed of ISO 1600. It is intended for effective speeds of EI 1600 and EI 3200. It ...
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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 1600 Professional [RSP] (AF3-798E), p. 6
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Fujichrome Velvia [RVP] is a daylight-type color reversal film with a speed of ISO 50 by the Fujifilm Corporation. Its successor is Fujichrome Velvia 50, which was released in March 2007.
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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Velvia RVP for Professionals (AF3-960E), p. 7.
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Fujichrome MS 100/1000 Professional [RMS] is a multi-speed daylight-type color reversal film by the Fujifilm Corporation for professional use. It is usable at its normal rating of EI 100 as well as push-processed up to EI 1000 (+3 1/3 stops). It is ...
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Fujifilm: Data Sheet, Color Reversal Films. Fujichrome MS 100/1000 Professional [RMS] (AF3-989E), p. 6.
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“Invented by G. Koppmann and introduced in Hamburg in 1924 by the German financier Josef-Peter Welker, from whom the product took its name (Wall and Jordan 1940: 330), Jos-Pé was a complete color system that included a one-exposure camera, ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 135.
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“In 1891, Professor Gabriel Lippmann demonstrated to the French Académie des Sciences interference colour photographs of the spectrum and of stained glass windows, taken by a modification of Wiener’s method. An exceedingly fine grained, ...
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Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
- Source: Lavédrine, Bertrand (2009): Photographs of the Past. Process and Preservation. Los Angeles: Getty Publications.
- Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 19.
- Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
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“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 ...
Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Quote as Flueckiger, Barbara (2012 ff.): Timeline of Historical Film Colors. (= https://filmcolors.org/).
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