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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.
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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.
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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.
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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.
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“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 ...
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.
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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.
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“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.
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“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. ...
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.
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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.
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“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.
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“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.
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“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.
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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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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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