“Autotype Dyebro
Introduced around the same time as Colorsnap and Uvatype, Autotype Dyebro combined the three-color carbro and dye imbibition processes. The method was invented by Owen Wheeler (1859–1932) and commercialized by the Autotype ...
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“As in previous versions of the process, pigment papers were soaked in a sensitizing bath and then squeegeed firmly onto the surface of wet bromide prints to harden the pigmented gelatin in proportion to the amount of silver contained in the ...
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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. 103.
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“Introduced by the Autotype Company in 1944, the Autotype Wet Carbon Process was a variant of the traditional carbon process with novelty wet-printing pigment papers. Considerable time was saved when printing with this material as the pigment ...
“Camera.—An interesting camera has been made by the Société Chromofilm, Paris. An astonishing mechanism moves the entire gate, and film within it, at each exposure, with reference to the normal fixed objective. Three miniature negatives are ...
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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
3 Images in 1 Gallery
“Introduced in the mid-1930s by George Murphy, Inc., of New York City, Belcolor was considered one of the simplest ways to obtain color transparencies, as it required no special equipment or expert technique and could be used successfully ...
“R. Berthon patented the use of a lens diaphragm with three apertures, covered respectively with red, green and blue-violet filters, and a sensitive surface on a support, the other side of which was impressed with hemi-spherical, transparent, ...
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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.
- 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.
- Source: Heymer, Gerd (1933): Auflösungsvermögen und Farbwiedergabe in der Farbrasterphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, 3, 1933, pp. 188-207.
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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.
- 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.
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='6']
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A. Gurtner (Eng. P. 7924/03; U.S.P. 730454), used a front element that was sensitive only to the blue, and a rear element that was sensitive up to but not including the red. He was the first person to suggest that the two films or plates be placed ...
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Source: U.S.P. 730454
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“Inevitably, the success of Kinemacolor led to the appearance of imitations. One company, Friese Greene Patents Ltd had been formed in 1908 to exploit several patents, mostly impractical, filed by Friese Greene. From this came a new company, ...
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
39 Images in 3 Galleries
The procedure for obtaining the lenticular elements in relief required a series of steps: starting from three black and white positive color separations, obtained with any of the available methods, three matrices were printed, from which the film to ...
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Projection of lenticular film in Bocca-Rudatis. Refraction of light beams through lens. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 81.
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“Following the premises of one of William Friese-Greene’s systems, this two-colour subtractive process required that two reels of film be printed in parallel through a lens fitted with a prism that split light in two directions, through red ...
“The Brewster Process.
(U.S.P. 1,752,477. 1930-)
Camera. – P. D. Brewster, an American inventor, who was one of the first to apply the bipack system to colour cinematography, has a number of patents to his credit covering various cameras and ...
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Dyes of Brewster color. Credit: Brian Pritchard.
- Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
52 Images in 1 Gallery
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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
- Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
19 Images in 3 Galleries
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Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger.
- Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
- Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
5 Images in 1 Gallery
Process for still photography in which light is filtered through a screen or transparent plate covered in lines or dots in the primary colors orange, green and violet. For the positive, the process relies on a support material which includes an ...
“References to Carbro-Chromatone prints are sometimes found in the literature on early color photography. These prints were made using a combination of the two processes they were named after. The method was described by Harlan L. Baumbach in ...
“Chemicoior was the name under which the German Ufacolor Process was marketed in Britain. Ufacolor was also marketed under the name Spectracolor. The process used Agfa bipack negatives loaded with the emulsion sides facing and separated by a ...
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. Film: Pagliacci (1937).
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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
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“In 1912, two chemists at N.P.G. in Berlin, Rudolf Fischer (1881-1957) and Hans Siegrist (1885-1959), introduced the notion of color couplers and patented the application of Homolkas discovery. Their patent described the structure and chemistry ...
“Chromatone was the first commercially viable process of color print making entirely based on silver toning. It was developed in the early 1930s by the New Yorkers Francis H. Snyder and Henry W. Rimbach, who patented the toning methods 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. 282.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 283.
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Widely used in print media around 1900, the chromolithographic printing process was first adapted for the Laterna Magica and then utilized to produce early animated films primarily aimed at children. These films were usually very short ...
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[U-Boot]. Credit: Deutsches Filminstitut DIF. Photograph of the chromolithographic nitrate print by Barbara Flueckiger.
- Box Der Film fürs Heimkino. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Box "Film for Home Cinema". Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Box "Attention! Celluloid Film". Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Boxes and loops. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Box and loops. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
- Film can for Chromolithographic Loop. Credit: Deutsches Filminstitut DIF. iPhone photo by Noemi Daugaard, SNSF Filmcolors
- Film can for Chromolithographic Loop. Credit: Deutsches Filminstitut DIF. iPhone photo by Noemi Daugaard, SNSF Filmcolors
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“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.
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“[…] pictures were taken side by side, full-size, on double-width film, the film not only being perforated on the edges but also down the centre between the pairs of images.”
(Klein, Adrian Bernhard = Cornwell-Clyne (1940): Colour ...
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Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
- Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
- Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
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Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
- Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
- Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
- Reflection on Cinecolor print. Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph by Barbara Flueckiger
- Reflection on Cinecolor 16 mm print. Credit: Library of Congress. Photograph by Barbara Flueckiger
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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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