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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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“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 ...
“In 1944 he launched a new reflection printing material on a white-pigmented acetate base called Gasparcolor Opaque, which was, initially and for the duration of the war, available only to the U.S. military. The processing of Gasparcolor Opaque ...
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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.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 228.
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Gasparcolor was the first three-color multi-layer monopack film available for practical use. It was a double-coated print film with a cyan layer on one side and two layers dyed magenta and yellow on the other side (see illustrations).
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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
“The competition between Kinemacolor and other rival systems was partially stimulated by a Utopian faith in the potential of film technology to achieve ‘natural colour’, reality ‘as it is’ being the goal of the cinematic ...
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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.
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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
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No masking in the negative. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
4 Images in 1 Gallery
“Gilmore’s two-color additive process was based on a patent granted to F. E. Ives in 1918. A unique optical system exposed two images in pairs, and quarter-turned them lengthwise side by side on standard 35 mm film stock. One of the images was ...
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Source: U.S.P. 1,262,954 (Ives, Frederic Eugene; filed Feb. 18, 1914; granted Apr. 16, 1918)
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Unlike other additive systems invented in previous years, Gualtierotti tried to avoid the phenomenon of chromatic aberration inherent in the use of multiple lenses or the creation of successive separation records. The proposed solution was based on ...
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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
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Coloring of individual frames by the use of very fine brushes. The process was previously applied to lantern slides. Any water based translucent dye was suited for the process, most often the coloring was done with acid dyes.
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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
Similar to stenciling, the Handschiegl process was applied mechanically to manually defined image parts. Therefore it is an applied color process.
After the film was shot and edited, for each color applied a separate print was made. In contrast to ...
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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).
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“Harmonicoior was developed by French chemist Maurice Combes. It was first formally demonstrated in London by Harmonicoior Films Ltd, of 4 Great Winchester Street, on the 23 March 1936 at the Curzon Soho with the film Talking Hands, produced at ...
“Harriscolor
In this method as in other methods of color photography, independent color value negatives are first obtained. The Harriscolor process can employ one of the following two methods: Either a camera wherein the dividing light prisms ...
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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.
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“Carbon printing was originally a monochrome process. It was invented and patented by Alphonse Poitevin (1819–82) in 1855 and was the first practical printing method with pigments. After Poitevin, the carbon process was patented extensively ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 10.
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“The Hérault Trichrome process was demonstrated in Paris on 1 October 1926, with three films made by A. Rodde — a fashion show, a documentary on Brittany and a tableau of the Legend of the King of Ys. Hérault Trichrome was an extension of ...
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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger.
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“In 1915 the company launched a hybrid dye imbibition color printing system called Hicrography. From the separation negatives, positive impressions were made through the base on the presensitized dichromated film (Hicro Film), which also ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 134.
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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.
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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)
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
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“In the imbibition process, a dye image is transferred from a gelatin relief image to a receiving layer made either of paper or film. Charles Cros described this method of ‘hydrotypie’ transfer printing in 1880 and suggested it ...
“In November 1953 Ilford Limited of London launched a mail-order service to supply color prints from 35mm transparencies using Ilford Colour Print, a silver dye-bleach printing material on white-pigmented cellulose triacetate support (Fig. ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 215.
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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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Similar to Technicolor, the Iriscolor process needed a special beam-splitter camera for exposing three black-and-white negatives on Kodak film stock. These negatives were used for imbibition printing.
Between 1940 and 1942, Tobis Tonbild-Syndikat AG ...
Three matrices in the subtractive primary colors are printed on the gelatin of the final print. Supposedly, the used dyes were particularly fast and able to prevent color bleeding. Pokorny started working on color cinematography in the 1920s, often ...
“The first patent that has been found was granted to H. Isensee and he placed in front of the lens, both in taking and projection, a rotary shutter with three 120 degrees sectors in the usual colors.”
(Wall, E.J. (1925): The History of ...
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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
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“Johnsons Colour Screen (1953–ca. 1954): pattern virtually identical to Paget Color Screen, with lines of red and blue squares alternated with lines of green and blue squares, approximately 350 to the inch (Fig. 2.55). The lines are at a ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.
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“In 1894 Professor John Joly of Dublin patented a process for producing a screen of red, green and blue-violet lines by ruling them on a gelatin-coated glass plate. Joly used ruling machines of great accuracy, with drawing pens trailed across ...
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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.
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“Invented by G. Koppmann and introduced in Hamburg in 1924 by the German financier Josef-Peter Welker, from whom the product took its name (Wall and Jordan 1940: 330), Jos-Pé was a complete color system that included a one-exposure camera, ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 135.
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
- Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.
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Karl Schinzel proposed a multi-layered monopack for still photography, based on the principle of the dye-bleach process which was later elaborated to a practical application with Gasparcolor.
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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.
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“In 1919 Kelley produced a series of coloured cartoons which were drawn by Pinto Colvig. In 1924 he introduced “Kelleycolor,” which was an imbibition process. Two colours were imbibed on a black-and-white key image. In 1926 he ...
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Credit: George Eastman House Motion Picture Department Collection. Film: The Old Family Toothbrush (USA 1925).
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”The process as illustrated in USP 1431309 was a two-color additive process, but it is stated that it could be a three- or four-color process. For the original photography, the negative was exposed through a line screen composed of alternate bands ...
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Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
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Kinemacolor was an additive process operated with alternating red and green filters that were applied to the shutter in front of the camera and in front of the projector. With at least 32 fps the frame rate was double the minimal frame rate of 16 fps. Time parallax with small differences between the red and green record resulted in color fringes that became visible when objects or scenes were moving.
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Kinemacolor projector used for David Cleveland's and Brian Pritchard's reconstruction. Credit: Brian Pritchard.
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Three black-and-white color separations were printed consecutively on one film strip and projected through the corresponding color filters, thus combining to one color image on screen.
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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.
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“In 1930 Mannes and Godowsky were invited to join the staff of the Kodak Research Laboratory, where they concentrated on methods of processing multilayer films, while their colleagues worked out ways of manufacturing them. The result was the new Kodachrome film, launched in 1935. Three very thin emulsion layers were coated on film base, the emulsions being sensitised with non-wandering dyes to red, green and blue light, the red-sensitive layer being at the bottom.” (Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant, pp. 121 ff.)
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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.
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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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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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Duplicating stock for reversal film. Replaced Kodachrome duplicating stock type 5262. Contrary to its predecessor the new stock was not suited as camera material. Type 5265 could only be used for duplication.
Although Kodachrome 16mm reversal film was introduced as an amateur film format, rapidly after its introduction it became a format frequently used by (semi-)professional film makers. The reason was that Kodachrome was a relatively easy to use film ...
In 1946 Kodachrome Commercial camera film Type 5268 was introduced. This stock had a lower-contrast emulsion and became leading in the professional field until it was replaced by Ektachrome Commercial type 7255 in 1958. Both Commercial Kodachrome and ...
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.
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Kodachrome Professional was introduced in 1942 to be used as camera material. It was the Kodachrome material that was blown up to 35mm Technicolor dye transfer prints, which was the Technicolor Monopack system.
According to Norris Pope this material ...
The Kodachrome process was invented in 1913 by John G. Capstaff for still photography and subsequently adapted to motion pictures. For the process two frames were advanced simultaneously, one located above the other. The light passed either through two lenses or through a beam-splitter, fitted with red and green filters. The release print was exposed through a beam-splitter whereby the alternate frames were projected onto either side of double-coated stock. After development by a usual b/w process, the film was tanned to harden the exposed areas. The soft areas were dyed red-orange and blue-green respectively.
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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.
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“LENTICULAR PROCESS
In 1896 R. E. Liesegang (Ahriman, 1896) suggested a photographic color process based upon the use of banded filters in the camera aperture.
[…]
In 1909 R. Berthon (British Patent 10,611; see also Berthon, 1910a, b) ...
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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.
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“Kodak Dye Transfer materials were introduced by Eastman Kodak Company in February 1946 and replaced Eastman Wash-Off Relief. Principal improvements over the previous material included a simplified registration procedure, more rapidly ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 148.
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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 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 Ektachrome 100D Color Reversal Film 5294/7294 is a color reversal motion picture camera film. With an ISO speed of 100, it is designed for use in daylight (5500 K).
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Eastman Kodak Company (2024): Technical Data, Color Reversal Film. Kodak Ektachrome 100D. Color Reversal Film 5294 / 7294(H-1-5294), 05.2024, p. 3.
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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.
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Kodak Ektachrome 320T Professional Film is a color reversal film. With an ISO speed of 320, it is balanced for exposure with tungsten illumination.
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Eastman Kodak Company (2007): Technical Data, Color Reversal Film. Kodak Ektachrome 320T Professional Film (E-145), 05.2007, p. 4.
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Kodak Ektachrome 400X Professional Film is a color reversal film. With an ISO speed of 400, it is designed for exposure with daylight or electronic flash.
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Eastman Kodak Company (2007): Technical Data, Color Transparency Film. Kodak Ektachrome 400X Professional Film (E-161), 09.2005, p. 5.
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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.
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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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Kodak Ektachrome P1600 Professional Film is a daylight-balanced color reversal film designed for push processing. Its optimal effective speed is EI 1600, achieved through a two-stop push with Process E-6P.
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Eastman Kodak Company (2007): Technical Data, Color Transparency Film. Kodak Ektachrome P1600 Professional Film (E-147), 05.2007, p. 5.
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Kodak Pro 100T Film [PRT] is a tungsten-balanced color negative film. With an ISO speed of 100, it is designed for exposure under tungsten lighting (3200 K). It replaced Kodak Vericolor II Professional Film [VPL], and its successor is Kodak ...
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Eastman Kodak Company (1999): Technical Data, Color Negative Film. Kodak Pro 100T Film / PRT, 04.1999 (E-29), p. 4.
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Kodak Professional Ektachrome Duplicating Film Edupe is a low-contrast color reversal duplicating film. It is designed to make duplicates of originals on Kodak Ektachrome or Kodachrome film.
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Eastman Kodak Company (2004): Technical Data, Color Transparency Film. Kodak Professional Ektachrome Duplicating Film Edupe(E-2529), 05.2004, p. 7.
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Kodak Professional Ektachrome E100G is a fine-grain color reversal film. With an ISO speed of 100, it is ideal for shooting in daylight or with an electronic flash. It has medium color saturation and a neutral color balance.
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Eastman Kodak Company (2009): Technische Daten, Farbumkehrfilm. Kodak Professional Ektachrome E100G und E100GX (E-4024), 10.2009, p. 5.
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Kodak Professional Ektachrome E100GX is a fine-grain color reversal film. With an ISO speed of 100, it is ideal for shooting in daylight or with an electronic flash. It has medium color saturation and a warm color balance (the “X” stands ...
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Eastman Kodak Company (2009): Technische Daten, Farbumkehrfilm. Kodak Professional Ektachrome E100G und E100GX (E-4024), 10.2009, p. 5.
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Kodak Professional Ektachrome Film E100VS is a daylight-balanced color reversal film with an ISO speed of 100.
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Eastman Kodak Company (2005): Technical Data, Color Reversal Film. Kodak Professional Ektachrome Film E100VS (E-163), 09.2005, p. 5.
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Kodak Professional Ektachrome Film E200 is a daylight-balanced color reversal film. With an ISO speed of 200, it is designed for use with either daylight or electronic flash. It can be push-processed to an exposure index (EI) of 800.
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Eastman Kodak Company (2005): Technical Data, Color Transparency Film. Kodak Professional Ektachrome Film E200 (E-28), 09.2005, p. 5.
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Kodak Professional Ektapress is a product line of professional color negative films for 35 mm photography that is designed for exposure with daylight or electronic flash. The line comprises three films of different speeds: PJ100 (ISO 100), PJ400 (ISO ...
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Eastman Kodak Company (2003): Technical Data, Color Negative Film. Kodak Professional Ektapress Films (E-116), 04.2003, p. 5.
- Eastman Kodak Company (2003): Technical Data, Color Negative Film. Kodak Professional Ektapress Films (E-116), 04.2003, p. 6.
- Eastman Kodak Company (2003): Technical Data, Color Negative Film. Kodak Professional Ektapress Films (E-116), 04.2003, p. 8.
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Kodak Professional Ektar 100 Film is a color negative film with an ISO speed of 100. It is designed for exposure with daylight or electronic flash and processed in the C-41 process.
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Eastman Kodak Company (2010): Technical Data, Color Negative Film. Kodak Professional Ektar 100 Film (E-4046), 02.2010, p. 5.
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Kodak Professional Elite Chrome 100 film is a daylight-balanced color reversal film from the Elite Chrome product line. With an ISO speed of 100, it is designed for exposure with daylight or electronic flash. Its RMS granularity value is 8.
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Eastman Kodak Company (2005): Technical Data, Color Reversal Film. Kodak Professional Elite Chrome 100 Film (E-7014E), 04.2005, p. 3.
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Kodak Professional Elite Chrome 200 Film is a daylight-balanced color reversal film from Kodak’s Elite Chrome product line. With an ISO speed of 200, it is designed for exposure with daylight or electronic flash.
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Eastman Kodak Company (2005): Technical Data, Color Reversal Film. Kodak Professional Elite Chrome 200 Film, 04.2005, p. 4.
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Kodak Professional Elite Chrome Extra Color 100 Film is a color reversal film from Kodak’s Elite Chrome product line. With an ISO speed of 100, it is designed for exposure with daylight or electronic flash.
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Eastman Kodak Company (2005): Technical Data, Color Reversal Film. Kodak Professional Elite Chrome Extra Color 100 Film (E-126E), 04.2005, p. 5.
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Kodak Professional Portra 100T Film is a tungsten-balanced color negative film from the Portra product line. With an ISO speed of 100, it is designed for exposure with tungsten illumination (3200 K).
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Eastman Kodak Company (2006): Technical Data, Color Negative Film. Kodak Professional Portra 100T Film / Tungsten (E-2468), 10.2006, p. 5.
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Kodak Professional Portra 400 is a daylight-balanced color negative film from the Portra product line. With an ISO speed of 400, it is designed for exposure with daylight or electronic flash and processed using the C-41 process. Since March 2026, ...
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Kodak Alaris (2016): Technical Data, Color Negative Film. Kodak Professional Portra 400 Film (E-4050), 02.2016, p. 4.
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Kodak Professional Royal Supra is a product line of professional color negative films for 35 mm photography that is designed for exposure with daylight or electronic flash. It was the version sold outside the US of the line marketed within the US as ...
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Eastman Kodak Company (2002): Technical Data, Color Negative Film. Kodak Professional Royal Supra Colour Negative Films (E-4026), 06.2002, p. 7.
- Eastman Kodak Company (2002): Technical Data, Color Negative Film. Kodak Professional Royal Supra Colour Negative Films (E-4026), 06.2002, p. 8.
- Eastman Kodak Company (2002): Technical Data, Color Negative Film. Kodak Professional Royal Supra Colour Negative Films (E-4026), 06.2002, p. 9.
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Kodak Professional Supra is a product line of professional color negative films for commercial photography, designed for exposure with daylight or electronic flash. The line includes films of different speeds: Supra 100 (ISO 100), Supra 200 (ISO ...
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Eastman Kodak Company (2003): Technical Data, Color Negative Film. Kodak Professional Supra (E-2519), 05.2003, p. 7.
- Eastman Kodak Company (2003): Technical Data, Color Negative Film. Kodak Professional Supra Color Negative Films (E-4029), 05.2003, p. 7.
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Kodak Professional Ultra Color is a product line of professional color negative films for daylight photography that are processed in the C-41 process. The line comprises two films of different speeds: 100UC (ISO 100) and 400UC (ISO 400).
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Eastman Kodak Company (2007): Technical Data, Color Negative Film. Kodak Professional Ultra Color Films / 100UC and 400UC (E-4035), 05.2007, p. 6.
- Eastman Kodak Company (2007): Technical Data, Color Negative Film. Kodak Professional Ultra Color Films / 100UC and 400UC (E-4035), 05.2007, p. 7.
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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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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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