Fujichrome Velvia RVP for Professionals

1990

|

Fujifilm Corporation

|

Japan

Subtractive 3 color: chromogenic monopack, reversal, 35 mm

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.

1 Image

Eastman EXR 100T Color Negative Film 5248

1990

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Eastman EXR 500T Color Negative Film 7296

1990

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman EXR 100T Color Negative Film 7248

1989

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman EXR 50D Color Negative Film 5245 / 7245

1989

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 500T Color Negative Film 5296

1989

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Fuji F-Series 8510 / 8610 F64T

1988

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 64 ASA

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Fuji F-Series 8520 / 8620 F64D

1988

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, daylight, 64 ASA

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Kodak Ektachrome 100 Plus Professional Film

1988

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, reversal

Kodak Ektachrome 100 Plus Professional Film is a fine-grain color reversal film. With an ISO speed of 100, it is designed for use in daylight or with electronic flash. It combines high color saturation with dependable neutral tones.

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Eastman Kodak Company (2007): Technical Data, Color Reversal Film. Kodak Ektachrome 100 Plus Professional Film (E-113), 07.2007, p. 5.

1 Image

Fuji F-Series 8530 / 8630 125T

1988

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 125 ASA

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Eastman Fine Grain Release Positive Film 5302 / 7302

1988

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Kodak Ektachrome 64T Professional Film

1988

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, reversal

Kodak Ektachrome 64T Professional Film is a color reversal film. With an ISO speed of 64, it is designed for exposure with tungsten illumination (3200 K).

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Eastman Kodak Company (2007): Technical Data, Color Reversal Film. Kodak Ektachrome 64T Professional Film (E-130), 07.2007, p. 5.

1 Image

Fuji F-Series 8550 / 8650 F250T

1988

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA

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Fuji F-Series 8560 / 8660 F-250D

1988

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

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Fuji F-Series 8570 / 8670 F-500T

1988

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 500 ASA

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Eastman Color High Speed Negative, type 5295 / 7295

1987

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

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Eastman Color High Speed Negative, type 5297

1987

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Kodachrome 200 Professional Film

1986

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, reversal

Kodachrome 200 Professional Film (PKL) is a color reversal film with an ISO speed of 200, intended for exposure with daylight or electronic flash. Kodachrome films are designed for the K-14 process, a complex process which uses external couplers.

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Eastman Kodak Company (2009): Technical Data, Color Transparency Film. Kodachrome 25, 64, and 200 Professional Film (E-55), 06.2009, p. 5.

1 Image

Eastman Color High Speed Negative Film 7292

1985

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Agfa negative XT 125

1985

|

(Agfa-Gevaert NV.Mortsel, Belgium)

Subtractive 3 color: Chromogenic monopack, Tungsten, twin silver halides

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Agfa negative XT 320

1985

|

(Agfa-Gevaert NV.Mortsel, Belgium)

Subtractive 3 color: Chromogenic monopack, Tungsten, twin silver halides

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Fujicolor Negative AX, type 8514

1984

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, 35 mm, 16 mm, Tungsten, 500 ASA

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Kodak Ektachrome 100 Professional Film

1984

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, reversal

Kodak Ektachrome 100 Professional Film is a daylight-balanced color reversal film. With an ISO speed of 100, it is intended for exposure with daylight or electronic flash.

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Eastman Kodak Company (2007): Technical Data, Color Reversal Film. Kodak Ektachrome 100 Professional Film (E-27), 07.2007, p. 5.

1 Image

Fujifilm peel-apart films

1984 –

|

Fujifilm Corporation

Subtractive 3 color: dye diffusion process, still photography

“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 ...

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Kodak Vericolor III Professional Film

1983?

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, still photography

Kodak Vericolor III Professional Film is a color negative film. With an ISO speed of 160, it is designed for exposure with daylight or electronic flash and for processing in the C-41 process. It has been discontinued, and Kodak recommends Portra ...

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Eastman Kodak Company (1997): Technical Data, Color Negative Film. Kodak Vericolor III Professional Film (E-26), 04.1997, p. 4.

1 Image

Eastman Color High Speed Negative, type 5294

1983

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 400 ASA, DIR coupler

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Fujicolor Negative A, type 8511

1983

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Eastman Color Negative Film 7291

1983

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Agfachrome-Speed

1983

|

Agfa-Gevaert

Subtractive 3 color: dye diffusion process, still photography

“Agfa-Gevaert developed its own instant printing materials during the 1980s, Agfachrome-Speed and Copycolor, both introduced commercially in 1983. Agfachrome-Speed was a single-sheet integral print material, whereas Copycolor was a peel-apart. ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 246.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 261.

2 Images

Fujicolor Negative High Speed AX, type 8512

1983

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Eastman Color LC Print Film 5380 / 7380

1983

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Copycolor

1983

|

Agfa-Gevaert

Subtractive 3 color: dye diffusion process, still photography

“Agfa-Gevaert developed its own instant printing materials during the 1980s, Agfachrome-Speed and Copycolor, both introduced commercially in 1983. Agfachrome-Speed was a single-sheet integral print material, whereas Copycolor was a peel-apart. ...

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Kodachrome 25 Professional Film

1983

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, reversal

Kodachrome 25 Professional Film (PKM) is a color reversal film with an ISO speed of 25, intended for exposure with daylight or electronic flash. Kodachrome films are designed for the K-14 process, a complex process which uses external couplers.

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Eastman Kodak Company (2009): Technical Data, Color Transparency Film. Kodachrome 25, 64, and 200 Professional Film (E-55), 06.2009, p. 3.

1 Image

Kodachrome 64 Professional Film

1983

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, reversal

Kodachrome 64 Professional Film (PKR) is a color reversal film with an ISO speed of 64, intended for exposure with daylight or electronic flash. Kodachrome films are designed for the K-14 process, a complex process which uses external couplers. In ...

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Eastman Kodak Company (2009): Technical Data, Color Transparency Film. Kodachrome 25, 64, and 200 Professional Film (E-55), 06.2009, p. 4.

1 Image

Eastman Color Negative, ASA 125, type 5247

1983

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 125 ASA, DIR coupler

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ArchivalColor

1982

|

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

Eastman Ektachrome 7251

1981

|

Eastman Kodak Company

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

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Eastman Color Print Film 5384 / 7384

1981

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Ektaflex PCT

1981

|

Eastman Kodak Company

Subtractive 3 color: dye diffusion process, still photography

“In 1981 Eastman Kodak introduced an innovative product, Ektaflex PCT (Photo Color Transfer), which allowed photographers to instantly print enlarged negatives or transparencies. Up to this time only in-camera picture taking had been possible ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 246.

1 Image

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

Eastman Color High Speed Negative, type 5293

1981

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA, DIR coupler

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Fujicolor Negative A, type 8517

1981

|

(Fuji Photo Film Co., Ltd.)

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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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 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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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

|

Eastman Kodak Company

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

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

Kodak Ektachrome 160T Professional FIlm / EPT

1976

|

Eastman Kodak Company

|

USA

Subtractive 3 color: chromogenic monopack, reversal, 35 mm

Kodak Ektachrome 160T Professional Film is a color reversal film. With an ISO speed of 160, it is designed for exposure with tungsten illumination (3200 K).

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Eastman Kodak Company (2007): Technical Data, Color Reversal Film. Kodak Ektachrome 160T Professional Film / EPT (E-144), 05.2007, p. 5.
Cross section of Ektachrome 160T Professional, processed, f4, 20x, ws-scaled, from late 1970s. Credit: Joana Santos Lima da Silva.
Cross section of Ektachrome 160T Professional, processed, f4, 50x, ws-scaled, from late 1970s. Credit: Joana Santos Lima da Silva.
Cross section of Ektachrome 160T Professional, unprocessed, f4, 20x, ws-scaled, from late 1970s. Credit: Joana Santos Lima da Silva.
Cross section of Ektachrome 160T Professional, unprocessed, f4, 50x, ws-scaled, from late 1970s. Credit: Joana Santos Lima da Silva.

5 Images

Kodak Ektachrome 64 Professional Film

1976

|

Eastman Kodak Company

Subtractive 3 color: chromogenic monopack, reversal

Kodak Ektachrome 64 Professional Film is a color reversal film with an ISO speed of 64. It is designed for use with either daylight or electronic flash.

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Eastman Kodak Company (2005): Technical Data, Color Reversal Film. Kodak Ektachrome 64 Professional Film (E-8), 09.2005, p. 5.

1 Image

Eastman Ektachrome, type 5239

1975

|

(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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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

3M Color Positive, type 651

1974

|

(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

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Svema CO-T-22 D

1974

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-7

1974

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Eastman Color II Negative, type 5247 / 7247

1974

|

(Eastman Kodak)

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

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Gevacolor Print Film T 9 86

1974

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome Reversal Print Film 7390 (SO-390)

1973

|

(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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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–

|

Fujifilm Corporation

|

Japan

Subtractive 3 color: chromogenic monopack reversal

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 ...

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Svema CO-T-90 L

1972

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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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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Eastman Ektachrome, type A

1971

|

(Eastman Kodak)

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

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Gevacolor Print Film T 9 85

1971

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome Commercial Film 7252

1970

|

(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

|

(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

|

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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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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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

|

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

|

(Ansco Division of General Aniline and Film Corporation)

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

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