• Kodacolor lenticular filter for the projector. Lichtspiel / Kinemathek Bern.
• Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
• Magnification of an area. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
• Color reconstruction test. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Microscopic linear lens structure of Kodacolor lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Acetate plastic base of Kodacolor lenticular film embedded in epoxide resin. The emulsion layer usually placed on the opposite side of the acetate base has been removed beforehand and is therefore not visible. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus and the granular structure defined by the density of the silver is visible. In this shot the lenticules were showing towards the light source and the emulsion towards the camera. This enables an undistorted recording of the emulsion layer. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus. In this shot the lenticules were allocated towards the lens of the microscope and the light source at the side of the emulsion similar to the configuration in projection. As a consequence the graininess of the emulsion is not visible as with the film flipped to the other side. The structure is optically distorted perpendicular to the linear structure of the lenticules. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

35 Images in 2 Galleries

• Two-Color Kodachrome Print (USA ca. 1925 to 1927, Anonymous). Credit: George Eastman Museum. Photographs of the Kodachrome two-color double coated stock from 1925 and 1927 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Magnification 5x. Credit: photomicrograph by Silvana Konermann.
• Magnification 10x. Credit: photomicrograph by Silvana Konermann.
• Magnification 20x. Credit: photomicrograph by Silvana Konermann.
• Kodachrome Two-color test from 1922, YouTube channel of the George Eastman House.

350 Images in 12 Galleries

• 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

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

1 Image

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

1 Image

• Credit: Lichtspiel / Kinemathek Bern. Film: New York, Taufe und Ausflug (CH 1954, Donald Brun).
• Surface emulsion side, raking light. Credit: Carsta Knaack, HTW Berlin. Film: Regular 8mm home movie, anonymous 1975.

92 Images in 6 Galleries

• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.

1 Image

• Kinemacolor projector used for David Cleveland's and Brian Pritchard's reconstruction. Credit: Brian Pritchard.

13 Images in 3 Galleries

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

1 Image

• Credit: George Eastman House Motion Picture Department Collection. Film: The Old Family Toothbrush (USA 1925).

1 Image

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Microscopic image of a piece of Keller-Dorian lenticular film embedded in epoxide resin. The 3-dimensional structure of the lenticules is visible as well as the thin emulsion layer on the other side of the acetate base. Credit: Sample preparation and imaging by the Center for Microscopy and Image Analysis, University of Zurich.
• Lenticular surface of the acetate plastic base of Keller-Dorian lenticular film. On the back plane of the acetate layer and therefore out of focus in this image, structures defined by the silver image in the emulsion layer can be perceived. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Hexagonal structure of the lenticules of Keller-Dorian lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Microscopic images of the Keller-Dorian lenticular structure with the focus set at different points. The images have been chained to show a travelling through the 3-dimensional structure of the bee-hive shaped lenticules. Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

14 Images in 2 Galleries

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.

2 Images

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 135.

1 Image

• Photomicrograph (20x) of a Joly screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
• Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
• Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
• Credit: Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 22.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 23.

7 Images

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.

1 Image

• Source: D.R.P. 98,799, Dec. 17, 1897
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: D.R.P. 98,799, Dec. 17, 1897

2 Images

• 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

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 215.

1 Image

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

4 Images in 1 Gallery

• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)

2 Images

• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

3 Images

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 134.

1 Image

• Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger.

12 Images in 1 Gallery

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 10.

1 Image

• Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
• Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
• Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.

3 Images

• Black-and-white with Handschiegl in Lights of Old Broadway (USA 1925, Monta Bell). Credit: Library of Congress. Photograph of the nitrate print by Barbara Flueckiger.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
• Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI. Film: Greed (USA 1925, Erich von Stroheim).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 24.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).

142 Images in 8 Galleries

• Loïe Fuller (FRA 1905, Anonymous). Credit: BFI National Archive. Photographs of the hand colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
• Métamorphoses du papillon (FRA 1904, Gaston Velle). Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
• Credit: Turconi Collection by courtesy of George Eastman Museum, Moving Image Collection. Film: Zara.
• Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

439 Images in 20 Galleries

• Rotating filters permitting to adjust tonality and intensity of the colors. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 62

1 Image

• Source: U.S.P. 1,262,954 (Ives, Frederic Eugene; filed Feb. 18, 1914; granted Apr. 16, 1918)

1 Image

• No masking in the negative. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).

4 Images in 1 Gallery

• 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

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
• Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.

12 Images in 2 Galleries

• Uit het rijk der kristallen (NDL 1927?, J.C. Mol). Credit: EYE Film Museum. Photographs of the Dufaycolor and Gasparcolor nitrate print by Barbara Flueckiger.
• Kreise (English title Circles) (Oskar Fischinger, GER 1933-34) Oskar Fischinger's own nitrate print. Credit: Library of Congress, (c) Fischinger Trust, courtesy Center for Visual Music. Photograph Fischinger's own nitrate print by Barbara Flueckiger.
• Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Allegretto by Oskar Fischinger (1936-1943).
• Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Gasparcolor tests by Oskar Fischinger, c. 1933-34.
• Credit: Cinémathèque suisse. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
• Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
• Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• Color chart on Agfa Tripofilm. This was the raw stock used for Gasparcolor in Germany until about 1939. Source: Arens, Hans; Heymer, Gerd (1939): Die „Agfa-Farbentafel für Farbenphotographie“. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, Vol. 6, 1939, pp. 225-229. Leipzig: Hirzel. Photograph by Barbara Flueckiger.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 213.

398 Images in 24 Galleries

• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 228.

2 Images

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 245.

1 Image

• Don't Look Now (GBR / ITA 1973, Nicolas Roeg). Credit: BFI National Film Archive. Photographs of the faded Fujicolor HP Positive Film Type 8813 by Joëlle Kost, ERC Advanced Grant FilmColors.

141 Images in 7 Galleries

• Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Velvia RVP for Professionals (AF3-960E), p. 7.

1 Image

• Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Velvia 100F Professional [RVP 100F] (AF3-148E), p. 8.

1 Image

1 Image

• Fujifilm: Product Information Bulletin, Color Reversal Films, Fujichrome T64 Professional [RTP] (AF3-178E), p. 7.

1 Image

• Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Sensia 200 [RM] (AF3-080E), p. 5.

1 Image

• Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Sensia 100 [RA] (AF3-150E), p. 6.

1 Image

• Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Provia 400X Professional [RXP] (AF3-0213E), p. 7.
• Cross sections of Fujichrome Provia 400X unprocessed, f4, 50x, ws-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.
• Cross sections of Fujichrome Provia 400X unprocessed, f4, 20x-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.
• Cross sections of Fujichrome Provia 400X processed, f4, 50x-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.
• Cross sections of Fujichrome Provia 400X processed, f4, 20x-scaled, from early 2000s. Credit: Joana Santos Lima da Silva.

5 Images

• Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 400F Professional [RHP III] (AF3-066E), p. 6.

1 Image

• Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 1600 Professional [RSP] (AF3-798E), p. 6

1 Image

• Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 100F Professional [RDP III] (AF3-036E), p. 6.

1 Image

• Fujifilm: Data Sheet, Color Reversal Films. Fujichrome Provia 100 Professional [RDP II] (AF3-796E), p. 6.

1 Image

• Fujifilm: Data Sheet, Color Reversal Films. Fujichrome MS 100/1000 Professional [RMS] (AF3-989E), p. 6.

1 Image

• Fujifilm: Product Information Bulletin, Color Reversal Films. Fujichrome Astia 100F Professional [RAP 100F] (AF3-149E), p. 8.

1 Image