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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.
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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
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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
Not to be confused with the Eastman Color Print Film 5381 from 1950.
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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
“Between 1970 and 1976, Agfa-Gevaert produced its own silver dye-bleach printing material on a white-pigmented acetate base called Agfachrome CU 410.28 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.
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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
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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
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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
“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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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
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Werbung Ansco, 4 Typen, in JSMPTE 1965
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“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 new ...
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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
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Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger
11 Images in 1 Gallery
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Photomicrograph 1000x, Agfachrome cross section. Credit: Carsta Knaack.
- Photomicrograph 500x, Agfachrome cross section. Credit: Carsta Knaack.
2 Images
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.
84 Images in 5 Galleries
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cross section scheme of Ektachrome Type 5257 (and 5258). Scource: Groet, N.H./Murray, T.J./Osborne, C.E. (1960): Two High-Speed Color Films and a Reversal Print Film for Motion Picture Use. In: JSMPTE Vol. 69, p. 816.
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Cross section scheme of Eastman Color Negative, Type 5250. Scource: Dundon, Merle L./Zwick, Daan M. (1959): A High Speed Color Negative Film. In: JSMPTE Vol 68, p. 736.
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See Anscochrome and Super Anscochrome Daylight, type 225.
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Cross section of Ektachrome Commercial, Type 7255. Scource: Groet, N. H./Liberman, M./ Richey, F. (1959): An Improved Professional 16mm Reversal Camera Film. In: JSMPTE, Vol. 68, January 1959, p. 9.
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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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