Audibert

1911

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Rodolphe Berthon and Maurice Audibert

Additive 3 color: Prism

“R. Berthon and M. Audibert patented a method of obtaining a virtual image by means of an anterior lens and prisms or mirrors. This idea was further improved upon in E.P. 17,023, 1913. In F.P. 458,040 Audibert proposed to use a negative front lens ...

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.

2 Images

Audibert

1930

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Maurice Audibert

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

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Credit: Cinémathèque française, conservatoire des techniques, Paris.

3 Images

Ataraxia

1998

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Racey Gilbert

Subtractive 4 color: pigment process, still photography

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

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Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 98.

1 Image

ArchivalColor

1982

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Charles Berger, McGraw Colorgraph

Subtractive 4 color: pigment process, still photography

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

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

2 Images

Anscochrome, type 5550

1967

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(Ansco Division of General Aniline and Film Corporation)

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

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Anscochrome, type 5311

1968

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(Ansco Division of General Aniline and Film Corporation)

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

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Anscochrome, type 5240

1964

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(Ansco Division of General Aniline and Film Corporation)

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

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Werbung Ansco, 4 Typen, in JSMPTE 1965

1 Image

Anscochrome, type 5230

1964

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(Ansco Division of General Aniline and Film Corporation)

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

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Anscochrome, type 5210

1964

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(Ansco Division of General Aniline and Film Corporation)

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

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Anscochrome

1955

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, 16mm

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

3 Images in 1 Gallery

Ansco One-Strip Color-Separation Film, type 155

1948

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: one-strip color separation

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

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Ansco Colorpak / Ansco Color, type 735

1946

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(Ansco Division of General Aniline and Film Corporation)

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

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Ansco Color Reversal Duplicating Film, type 538

1956

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal

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Ansco Color Release Film, type 732

1946

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

See Ansco Color, type 735.

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

1943

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Ansco, GAF

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

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

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

2 Images

Ansco Color Print Film, type 848

1956

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

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Ansco Color Negative, type 845

1957

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

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Ansco Color Negative, type 844

1953

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, Tungsten, 16 ASA

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Ansco Color Negative, type 843

1952

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, daylight, 16 ASA

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Ansco Color negative / positive process

1950

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, negative / positive

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

30 Images in 2 Galleries

Ansco Color Duplicating Film, type 132

1946

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

See Ansco Color, type 735.

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Ansco Color Dupe Negative, type 846

1956

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack

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Animation and Color

Bibliography

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1 Image

Americolor

1947

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Color Film Company of America

Subtractive 2 color: Bi-pack, duplitized

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Allfarbenfilm

1930

Additive 3 color: Beam-splitter, substandard

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Alfacolour / Alfacolor

1950

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(Alfa Photographic Laboratories)

Subtractive 2 color: Bi-pack, duplitized film

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Agfacolor Ultra Plate

1936

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Agfa Company

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

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

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

1 Image

Agfacolor Ultra Film

1934

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Agfa Company

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

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

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

1 Image

Agfacolor Screen Plate

1916

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(Agfa)

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 ...

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