Fujifilm integral films

1981–

|

Fujifilm Corporation

Subtractive 3 color: dye diffusion process, still photography

“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.

1 Image

Fujicolor Negative A 250, type 8518

1980

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Eastman Color II Negative, type 5247 / 7247 F

1980

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color II Internegative Film 5272 / 7272 S

1980

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Taihang Color

1980

|

(1. Film Factory, Paoting, Hopei)

Subtractive 3 color: Chromogenic monopack

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Eastman Color LF Print Film 7378

1979

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Color LFSP Film 7379

1979

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Gevacolor T 6 82

1978

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Polavision

1977

|

(Polaroid Corporation)

Diffusion: Line screen, super-8 mm

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Linear filter structure in Polavision instant Super8 film. The filter lines are running along the film strip. According to the image placement of the Super-8 motion picture standard the image is divided vertically into triplets of R, G and B filter lines. The emulsion layer has been removed before this 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 Polavision instant Super8 film with an emulsion layer of a high photographic density. With the focus set on the emulsion the linear structure of the coloured filters is not visible in this image. 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.
Excerpt of a Polavision Super-8 home movie scanned on a Kinetta scanner in 4.8K resolution edge to edge. In post production a zoom in and out was applied to show the linear filter structure of Polavision film in motion. The zoom was based on image detail from the scan. No upres procedure was applied. Credit: Scanning and editing by Martin Weiss.
A comparison of the colour filter structures of Dufaycolor, Autochrome and Polavision from Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., pp 72–77.
A comparison of the colour filter structures of Dufaycolor, Autochrome and Polavision from Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., pp 72–77. Translation: David Pfluger and Giorgio Trumpy.
The process of exposure and development of Polavision instant Super-8 film. From Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., p. 74.
The process of exposure and development of Polavision instant Super-8 film. From Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., p. 74. Translation: David Pfluger and Giorgio Trumpy.
"Polavision (top) vs. Kodachrome 40: These are blowups from closely matching frames of Debra Goldie, filmed simultaneously with a Polavision and a conventional super 8 camera, side by side, with the Twi Light quartz lamp mounted on top of the former. Subject distance was 6 ft., but the super 8 camera was focused for 10 ft. – same as the Polavision camera at its close-up setting. Both Polavision and Kodachrome 40 are closely equal in speed, but differ distinctly in structure, faithfulness of color rendition, and latitude, as is obvious from these frame reproductions. What can't be seen is the relative opacity of Polavision: according to our measurement, it transmits less than 9 percent as Kodachrome 40. However, the lab that made the duplicate transparency blow-ups of the frames found that it had to give a full six stops extra exposure." (Leavitt, Don; Drukker Leendert (1978): First Look: Polavision instant movies. In: Popular Photography, Feb., p. 68.)
"C'est devant un immense agrandissement de l'intérieur d'une cassette Polavision sur la-quelle se découpe la silhouette de l'orateur (ci-contre à gauche) que le Dr Land présenta son invention. Ce document permet de distinguer les poulies de guidage du film (1 et 2), la réserve de produit de traitement et son bec ré-partiteur (3), la bobine débitrice (4), l'ensemble formé par le presseur de film et le prisme (5), la poulie d'entraînement du film (6)." "It was in front of a huge enlargement of the interior of a Polavision cassette on which the silhouette of the speaker was cut out (opposite left) that Dr Land presented his invention. This document makes it possible to distinguish the guide pulleys of the film (1 and 2), the supply of treatment product and its distribution nozzle (3), the supply reel (4), the assembly formed by the presser of film and the prism (5), the film drive pulley (6)." (Anonymous (1977): Naissance du cinéma instantané. In: L'auto-journal, Rubrique realisée sous la direction de Pierre Marais, 12, Jul., pp. 94–95.)
The production of the Filter structure on Polavision film includes the use of a lenticular surface, which is removed after the process. The lenticules are not involved in recording the color information during the taking of images in the camera. Figure 10 and Figure 11 from: Land, Edwin H. (1997): An Introduction to Polavision. In: Photographic Science and Engineering, 21,5, Sept., Oct., pp. 228–236, on p. 228.
Comparison of thickness of the image carrying layer in a Kodak fine grain positive and Polavision film. Figure 24 from: Land, Edwin H. (1997): An Introduction to Polavision. In: Photographic Science and Engineering, 21,5, Sept., Oct., pp. 228–236, on p. 235.
In the Polavision instant color film process the negative image recorded during the exposure of the film is neither developed from a latent image to a visible negative nor is it removed from the film. The latent negative stays as a layer in the film and is responsible for a slight attenuation of the image’s highlights. Figure 25 from: Land, Edwin H. (1997): An Introduction to Polavision. In: Photographic Science and Engineering, 21,5, Sept., Oct., pp. 228–236, on p. 236.
Single frame of a Polavision home movie scanned in 3.5K resolution.

14 Images

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

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.

4 Images in 1 Gallery

Eastman Ektachrome High Speed Video News Film 7250

1977

|

(Eastman Kodak)

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

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Eastman Ektachrome VN Print Film 7399

1977

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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

1977

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome Video News Film 7239

1976

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Kodak integral films

1976

|

Eastman Kodak Company

Subtractive 3 color: dye diffusion process, still photography

“Kodak Instant Print Film PR-10 was based on a dye release system that used ballasted preformed dyes and reversal emulsion instead of dye developers and negative emulsion. Processing started when the film passed between pressure rollers that ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 242.

1 Image

Svema LN-8

1975

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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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

Eastman Ektachrome, type 5239

1975

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(Eastman Kodak)

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

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Eastman Ektachrome SM, type 7244

1975

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, super 8

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Ektachrome Video News

1975

|

(Eastman Kodak)

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

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Eastman Ektachrome, type 5240 (VNF)

1975

|

(Eastman Kodak)

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

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Eastman Ektachrome Video News Film 7240

1975

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack

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Eastman Color II Negative, type 5247 / 7247

1974

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(Eastman Kodak)

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

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Gevacolor Print Film T 9 86

1974

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(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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3M Color Positive, type 651

1974

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(3M)

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 80

1974

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Eastman Color SP Print Film 5383 / 7383

1974

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Svema CO-T-22 D

1974

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-7

1974

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome Reversal Print Film 7390 (SO-390)

1973

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal

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Dymat Process

1973

|

(Dymat International Corp.)

Subtractive 3 color: Dye transfer, Super-8

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Fujicolor Negative, type 8516

1972

|

(Fuji Photo Film Co., Ltd.)

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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Polaroid integral films

1972

|

Polaroid Corporation

Subtractive 3 color: dye diffusion process, still photography

“In 1972 Polaroid introduced an entirely new concept of instant photography with the film SX-70. With the new integral system, negative and receiving sheets were sealed into a single unit and all the reactive materials were present in the unit ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 238.

1 Image

Fujichrome

1972–

|

Fuji Photo Film Co., Ltd.

Subtractive 3 color: chromogenic monopack reversal

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Svema CO-T-90 L

1972

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome, type A

1971

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(Eastman Kodak)

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

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Gevacolor Print Film T 9 85

1971

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(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome Commercial Film 7252

1970

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(Eastman Kodak)

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

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Eastman Color Print Film 5381 / 7381 (1970)

1970

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

Not to be confused with the Eastman Color Print Film 5381 from 1950.

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3M Color Positive, type 650

1970

|

(3M)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome R Print Film 7389

1970

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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Svema LN-6M

1970

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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3M Color Positive Film

1970

|

(3M)

Subtractive 3 color: Chromogenic monopack

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Photomicrograph 500x, faded 3M print, cross section. Credit: Karsta Knaack.
Photomicrograph 500x, faded 3M print, cross section. Credit: Karsta Knaack.
Faded 3M positive. Credit: Carsta Knaack, HTW Berlin.
Faded 3M positive. Credit: Carsta Knaack, HTW Berlin.

4 Images

Agfachrome CU 410

1970

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Agfa-Gevaert

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

“Between 1970 and 1976, Agfa-Gevaert produced its own silver dye-bleach printing material on a white-pigmented acetate base called Agfachrome CU 410. Only available to a few photofinishers in Germany, it was used to print amateurs’ ...

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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. 218.

1 Image

Fujicolor Negative, type 8515

1969

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Eastman Direct MP Film 5360 / 7360

1968

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Intermediate Film 5253 / 7253

1968

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Reversal Intermedeate Film 5249 / 7249

1968

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal

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Eastman Color Internegative Film 5271 / 7271

1968

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive, type 8819

1968

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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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Gevacolor Positive Film T 9 54

1968

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 55

1968

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Ferrania Type HS Color Release Positive

1968

|

(Ferrania)

Subtractive 3 color: Chromogenic monopack

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Anscochrome, type 5550

1967

|

(Ansco Division of General Aniline and Film Corporation)

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

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Indu Colour

1967

|

(Hindustan Photo Films Manufacturing Co.)

Subtractive 3 color: Chromogenic monopack

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Cross section of Inducolor-print, leader only, title unknown. Credit: Carsta Knaack, HTW Berlin.
Leader of print, title and age unknown. Credit: Carsta Knaack, HTW Berlin.

2 Images

Eastman Color Print Film 5744

1967

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 7380

1967

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Color Negative, type 3251

1967

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive, type 8818

1966

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

Ektachrome R Print

1966

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal

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Fotoncolor OR Fotonkolor

1966

|

(Warszawki Zaldady Fotochemizne)

Subtractive 3 color: Chromogenic monopack

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NEW! Soon negative color FOTON daylight films will be available. FOTONKOLOR NS roll film 120 FOTONKOLOR NS roll film 620 FOTONCOLOR NS roll film 127 FOTONCOLOR NS 35mm (in cartridge) FOTONCOLOR NS sheet film Fotoncolor NS will be possible to expose like 16° DIN, 32 ASA black and white negative film.

1 Image

Gevachrome

1966

|

(Agfa-Gevaert)

Subtractive 3 color: Chromogenic monopack, reversal 16mm

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Comparing cross section schemes of different Gevachrome types. Scource: Verbrugghe, R. G. L. (1967): A Sharp Reversal Color Print Film. In: Journal SMPTE, Vol. 76, Dec. 1967, p. 1198.

10 Images in 1 Gallery

Eastman Color Negative, type 5254 / 7254

1966

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Eastman Ektachrome EF, type 5241 / 7241

1965

|

(Eastman Kodak)

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

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3M Posi-Tone

1965

|

Gasparcolor, 3M Company

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

“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 ...

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Fujicolor Negative, type 8513

1965

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8514

1965

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Ektachrome EF

1965

|

(Eastman Kodak)

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

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Eastman Ektachrome EF, type 5242 / 7242, type B

1965

|

(Eastman Kodak)

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

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Anscochrome, type 5230

1964

|

(Ansco Division of General Aniline and Film Corporation)

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

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Orwocolor NC 1

1964

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 54

1964

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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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

Agfacolor Negative, type 5 (CN5)

1964

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(Agfa AG, Leverkusen, Bayerwerk)

Subtractive 3 color: Chromogenic monopack, universal

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Eastman Reversal Print Film 7387

1964

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

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Anscochrome, type 5240

1964

|

(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 5210

1964

|

(Ansco Division of General Aniline and Film Corporation)

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

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Agfa-Gevaert

1964

|

Agfa-Gevaert-Aktiengesellschaft, Leverkusen

|

Germany

Subtractive 3 color

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Ektachrome MS

1963

|

(Eastman Kodak)

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

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Eastman Ektachrome MS, type 5256

1963

|

(Eastman Kodak)

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

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Cibachrome 1963, after 1991 renamed Ilfochrome

1963

|

Ciba

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

“The materials and processes described thus far have been either unsuccessful or short-lived for one reason or another; the trend changed with the launch of Cibachrome in the 1960s. The product and its subsequent forms dominated the silver ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 216.

1 Image

Polacolor Instant Photography

1963

|

Edwin Land

Instant still photography

“Polacolor was commercialized in 1963 and became an immediate success. It was acclaimed as the ‘most outstanding single advance in photographic science made during this century’ (Crawley 1963). Indeed, Polacolor introduced important ...

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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. 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. 235.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 258.

4 Images

Svema DS-5M

1963

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-5M

1963

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Eastman RP Negative Film 7229

1963

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Agfacolor Negative, type G 432

1962

|

(VEB Filmfabrik Agfa Wolfen, GDR)

Subtractive 3 color: Chromogenic monopack, Tungsten

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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

Svema DS-4

1962

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 5385 / 7385

1962

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Agfachrome

1962

|

(Agfa AG)

Subtractive 3 color: Chromogenic monopack, reversal, small gauge

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Photomicrograph 1000x, Agfachrome cross section. Credit: Carsta Knaack.
Photomicrograph 500x, Agfachrome cross section. Credit: Carsta Knaack.

2 Images

Ferraniacolor Cine Universal

1962

|

(Ferrania)

Subtractive 3 color: Chromogenic monopack

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Eastman Color Negative, type 5251

1962

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 50 ASA

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Kodachrome II

1961

|

(Eastman Kodak)

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 ...

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La perception et l'imaginaire (FRA 1964, Éric Duvivier). Credit: Image'Est. Photographs of the Kodachrome II camera material by Bregt Lameris, ERC Advanced Grant FilmColors.
Les autopathes (FRA 1971, Éric Duvivier). Credit: Image'Est. Photographs of the kodachrome reversal by Bregt Lameris, ERC Advanced Grant FilmColors.
Hallucinations: Images du monde visionnaire (FRA 1963, Éric Duvivier). Credit: Image'Est. Photographs of undated Kodachrome II projection print by Bregt Lameris, ERC Advanced Grant FilmColors.