Paget Color Screen

1913

|

Geoffrey S. Whitefield, Paget Prize Plate Company of Watford, England

Additive 3 color: regular mosaic screen, separate system, still photography

“Paget Color Screen (1913–ca. 1922): lines of red and blue squares alternated with lines of green and blue squares (Fig. 2.52). The lines are at a 45-degree angle from the edge of the plate. The side of the red and green squares measures ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.

1 Image

Panacolor

1962

|

Michele P. L. Martinez (Panacolor, Inc)

Subtractive 3 color: Color separation, multilayer print

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Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger

11 Images in 1 Gallery

Panchromotion

1917

|

William van Doren Kelley (Panchromotion)

Additive 4 color: Rotary filter

”Kelley’s first color process was a four-color additive system introduced in 1913. Called Panchromotion, Kelley formed a company which would exploit the process commercially and, he hoped, provide strong competition for Kinemacolor. He apparently ...

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

2 Images

Pantachrom

1938

|

John Eggert and Gerd Heymer (Agfa)

Subtractive 3 color: Bi-pack and lenticular film recording, duplitized film with toning and silver dye-bleach

“In October, Eggert of the Agfa Research Department, read a paper at the Berlin meeting of the Deutsche Gesellschaft für photographische Forschung, on the Pantochrom subtractive lenticular bipack tricolor process. (Fig. 1) The green and blue ...

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Agfa Pantachrom. 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 Martin Weiss, ERC Advanced Grant FilmColors.

19 Images in 3 Galleries

Pathécolor / Pathéchrome / stencil coloring

1903

|

(Pathé and others)

Applied colors: Stencil, dyed gelatin

Stencil coloring required the manual cutting, frame by frame, of the area which was to be tinted onto another identical print, one for each color. Usually the number of colors applied ranged from 3 to 6. The process was highly improved by the ...

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Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger.
Print no. 1 of Amour d'esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger.
Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Amour d'esclave (France 1907).
Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification

Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30.
View Quote on Page: Edge Codes and Identification
Tinting in combination with stencil coloring. Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L'Exode (FRA 1910, Louis Feuillade)
Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L'Exode (FRA 1910, Louis Feuillade)
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Le Pied de Mouton (ca. 1910).
Edge mark: Pathé (1909 onward), on one edge, PATHÉ FRÈRES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE ET EN BELGIQUE (partially visible). Cf.: Ill.PM.5: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Golden Beetle (1907).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Unknown film (ca. 1919).
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cineteca di Bologna.
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.
Credit: Turconi Collection by courtesy of George Eastman Museum, Motion Picture Department Collection. Film: Kinder-Karno in Nizza.
Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Pathéorama. Toplight and backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Pathéorama. Backlight, Swiss collector's copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Pathéorama. Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.

2265 Images in 73 Galleries

Photocolor

1930

|

(Photocolor Corp.)

Subtractive 2 color: Beam-splitter, double-coated

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Gift of Montezuma.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Sweetest Story.

42 Images

Pinatype / Pinatypie

1903

|

Léon Didier (Meister Lucius & Brüning)

Subtractive 3 color: Dye transfer, still photography

“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 ...

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Cyan and magenta combined, third layer, yellow missing. Source: Meister Lucius & Brüning (1905): Pinatypie. Positiv-Verfahren für die Dreifarbenphotographie. Höchst am Main.
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. 132.

4 Images

Pinchart

1948

Additive 3 color: Four lenses, red-green-blue-grey

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

2 Images

Polachrome

1977

|

(Polaroid Corporation)

35mm Slide Film

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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

Polacolor

1947

|

W. H. Ryan and V. K. Walworth (Polaroid Corporation)

Subtractive 3 color: Color separation, multicolor dye images

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Polacolor Instant Photography

1963

|

Edwin Land

instant still photography

“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 ...

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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

Polavision

1977

|

(Polaroid Corporation)

Diffusion: Line screen, super-8 mm

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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.

14 Images

Polychrome

1932

|

Frederic Eugene Ives

Subtractive 3 color: dye mordanting and silver toning process, still photography

“In 1932 Frederic Eugene Ives published details of his Polychrome printing system for making three-color paper prints or transparencies from two separation negatives made through a red and a green-blue filter. The process, described by its ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 281.

1 Image

Polychromide

1918

|

Aaron OR Aron Hamburger

Subtractive 2 color: Beam-splitter, later bi-pack, mordant dye

“Polychromide, a two-color subtractive process invented in 1918 by Aron Hamburger, achieved limited commercial success overseas, and was occasionally employed in England as late as 1933. Originally an orthochromatic and a panchromatic negative were ...

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Polychromide samples from the Kodak Film Samples Collection at the National Science and Media Museum in Bradford. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard.
Credit: Brian Pritchard
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 279.

66 Images in 2 Galleries

Predecessor of Kinemacolor

1906

|

George Albert Smith

Additive 2 color: Rotary filter

“Then we come upon the name of George Albert Smith, F.R.A.S., of Laboratory Lodge, Roman Crescent, Southwick, Brighton, who in E.P. 26,671, of 1906, patented the method which eventually was commercialized as Kinemacolor. In this patent he ...

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Prism

1905

|

Otto Pfenniger (often referenced as Pfenninger)

Additive 3 color: Prism

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Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.

1 Image

Prizma I

1916

|

William van Doren Kelley (Prizma)

Additive 3 color: Rotary filter

“The color experiments were conducted in the basement of a house at 1586 E. Seventeenth St., Brooklyn, N. Y. During this time a double-coated stock and a bleach formula which had much to do with the success of the later Prizma process were ...

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Prizma II

1919

|

William van Doren Kelley (Prizma Company)

|

United States of America

Subtractive 2 color: Toning on double coated film

“In its final form Prizma made use of duplitized positive film. As in previous Prizma systems, the original negatives were alternate frame sequential exposures. The Prizma negative was printed on both sides of the positive film in a special ...

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The two colors visible at a splice. Credit: EYE Film Institute Amsterdam. Film: [Kleurenpracht].
Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
Credit: George Eastman House Motion Picture Department Collection. Film: The Land of the Great Spirit (1919).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.

399 Images in 14 Galleries

Procédé Colombier

1908

|

F. de Colombier

Subtractive 3 color: Tri-pack

“M. F. de Colombier appears to have been the first to suggest the application of this system to cinematography, and like so many French patents it is a little indefinite in phraseology. Three films were employed representing the same view and ...

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Procédé Tetrachrome

1913

|

Louis Mauclaire, Alfred Bréon, Pierre Randabel

|

France

Additive four-color process: rotating filters

Based on four primary colors, the process successively recorded two simultaneous images for two primary colors each. In projection, the four images were combined on screen, supposedly via a regular projector.

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Projection light

Theory

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Proposal of a variety of processes of three-color photography

1869

|

Louis Ducos du Hauron

Theory: still photography

“Louis Ducos du Hauron is reported to have become interested in the reproduction of colors by photography in 1859, when he was twentyone years old (Potonniée, 1939). In 1862 he submitted to a friend of his family, M. Lelut, a paper embodying ...

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"Du Hauron invented his Chromographoscope in 1874. It could be used either as a camera or an additive viewer." Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
An early three-color print by Louis Ducros Du Hauron, 1877.

2 Images

Proposal of a variety of processes of three-color photography

1869

|

Charles Cros

Theory

Description of a variety of color processes, even for images in motion by the use of a rotary shutter.

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Raycol

1929

|

Anthony Bernardi (Raycol Ltd.)

Additive 2 color: Beam-splitter, sawn-off lens

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Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

13 Images in 1 Gallery

Raylo

ca. 1922

|

Hiram Codd Joseph Deeks (American Raylo Corporation)

Subtractive 3 color: pigment process, still photography

“Raylo was a material developed by Hiram Codd Joseph Deeks (1880−1952) of the American Raylo Corporation, New York. It was introduced in 1922 for a printing service for users of the Raylo Camera, a one-shot camera that made three negatives ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 87.

1 Image

Roncarolo

1932

|

Emilio Roncarolo

|

Italy

Subtractive 2, 3 or 4 color: Beam-splitter and bi-pack, later dye-transfer

The Roncarolo system required a camera capable of recording two panchromatic negatives (which became three or four in subsequent patents) through the use of a beam splitter and red and green filters. The chromatic information registered on the two or ...

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Rota Farbenfilm

1931

Subtractive 2 color: Bi-pack, mordant toning

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Rota Farbenfilm Samples (Kodak Film Samples Collection). Credit: National Science and Media Museum Bradford. Photographs of the Rotacolor Prints by Josephine Diecke, SNSF project Film Colors. Technologies, Cultures, Institutions and Joëlle Kost, ERC Advanced Grant FilmColors.

13 Images in 2 Galleries

Rotocolor

1931

|

Harold Muller

Additive 2 color: Rotary filter

“The Rotocolor process was an additive system for color cinematography. The process was announced in 1931 by H. Muller. According to an article in Film Daily, April 12, 1931, and The Motion Picture Herald, April 11, 1931, the process consisted of ...

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Rouxcolor 2 color / Cineoptichrome

1932

|

Lucien and Armand Roux

Additive 2 color: Beam-splitter

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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.

2 Images

Rouxcolor 4 color

1948

Additive 4 color: 4 lenses

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Rouxcolor, four-color, black and white negative and positive, ca. 1948. Credit: Gert Koshofer Collection. Sample No. 83. Photograph by Barbara Flueckiger
Credit: Cinémathèque française, conservatoire des techniques, Paris.

7 Images in 1 Gallery

Russian three-color process

1936

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Pavel Mershin (Mosfilm), Fedor Provorov (NIKFI) and Avenir Min (Leningradskii zavod kino-apparatury, Leningrad Film Factory LenKinAp)

Subtractive three color

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Zaveshchanie/The Testament (7 June 1937). Credit: Courtesy of Nikolai Mayorov.
Zaveshchanie/The Testament (7 June 1937). Credit: Courtesy of Nikolai Mayorov. Credit: Courtesy of Nikolai Mayorov.
The Miraculous Traffic Light (1938). Credit: courtesy of Nikolai Mayorov
The Wolf and Seven Goat-Kids (1938). Credit: Courtesy of Nikolai Mayorov.
The Fox and the Wolf (1937). Credit: Courtesy of Nikolai Mayorov.
The Fox and the Wolf (1937). Credit: Courtesy of Nikolai Mayorov.

6 Images

Russian two-color system

1931

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Nikolai Agokos, Fedor Provorov and Pavel Mershin (Scientific Research Film and Photo Institute NIKFI)

Subtractive two color

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Screenshot from Mayorov, Nikolai (2012): Soviet Colours. Translated by Birgit Beumers. In: Studies in Russian & Soviet Cinema, 6:2, pp. 241–255. doi: 10.1386/srsc.6.2.241_1 Courtesy of Nikolai Mayorov.

1 Image

Sakuracolor

1946

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(Konishiroku Photo Industry Co)

Subtractive 3 color: Chromogenic monopack, reversal

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Sanger-Shepherd

1900

|

Edward Sanger-Shepherd

Subtractive 3 color: dye imbibition process, still photography

“In 1900 Edward Sanger-Shepherd (ca. 1869−1927), a London scientific instrument maker, started to offer complete outfits for making natural color lantern slides with a dye imbibition printing method that became known as the Sanger-Shepherd ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 128.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 129.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 130.

3 Images

Sennett Color

1930

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(Sennett Laboratories)

Subtractive 2 color: Bi-pack, double coated, toned

“Public showings of the work done at this plant in Hollywood have been given to Los Angeles audiences. The release prints are made on double sided film. Both sides are developed at one time and then toned red on one side and bluegreen on the ...

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Strange Birds (US 1930, Mack Sennett). Credit: Library of Congress. Photograph of the nitrate print: Barbara Flueckiger
Magnification. Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Strange Birds (1930)

18 Images in 1 Gallery

Sensitizing theory

1885

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Hermann Wilhelm Vogel

Color theory

“Dr. H. W. Vogel, the discoverer of colour sensitizers, made three-colour photography possible, and has been the first to recognise the relation between colour sensitiveness of plate and printing colour in the following principle made known in ...

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Silver dye-bleach

1889

|

Raphael E. Liesegang

Subtractive 3 color: Dye-bleach

“Probably the first use of the catalytic property of silver was in 1889, when E. Howard Farmer disclosed the action of a silver image upon strong dichromate solutions (Eng. P. 17773/89). When a plate or film, containing a silver image, is immersed ...

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Sirius

1929

|

Ludwig Horst (Sirius Kleuren Film Maatschappij)

Subtractive 2 color: Beam-splitter, double-coated

“The Dutch Sirius Color process (1929) used a camera with a beamsplitting system behind the lens to expose a single film, the film passing through two gates at right angles to each other. The double-coated print film was dye-toned. The process ...

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Magnification, 20x. Credit: photomicrograph by Silvana Konermann.
Magnification, 10x. Credit: Photomicrograph by Silvana Konermann.
Magnification, 5x. Credit: Photomicrograph by Silvana Konermann.
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.
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Reflection on the Sirius film, front. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
Reflection on the Sirius film, back. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.

142 Images in 4 Galleries

Sistema Cristiani-Mascarini

1934

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Luigi Cristiani, Giovanni Mascarini

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Italy

Additive four-color: beam splitter and filters, four images on 35mm black and white film.

For this four-color process, the light beam was decomposed into four parts, each of which simultaneously exposed an area equal to one quarter of the 35mm frame of a black and white negative. This was obtained optically by placing a diaphragm and a ...

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Cross-section of the optical system displaying the different lenses, the prism and the four filters. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 71.
35mm black and white film strip with four equal-sized images (left) and 16mm projector with Cristiani-Mascarini optical system. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 71.

2 Images

Sovcolor negative film type B

1945

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(Agfa Wolfen GDR, from 1948 GUKP, USSR)

Subtractive 3 color: Chromogenic monopack, daylight

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Skleněné varhany (Stěklanna je garmonika, Andrej Chržanovskij, USSR 1968). Credit: Národní filmový archiv / National Film Archive, Prague. Photograph by Barbara Flueckiger

15 Images in 3 Galleries

Sovcolor negative type G

1945

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(Agfa Wolfen GDR, from 1948 GUKP, USSR)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Spectracolor (= British version of Ufacolor)

1932

Subtractive 2 color: Bi-pack, mordant toning

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Spicer-Dufay

1925

|

Louis Dufay, T. Thorne Baker and Charles Bonamico (Spicer-Dufay)

Additive 3 color: Line screen (réseau), 35 mm reversal

For a description of Spicer-Dufay see detail page on Dufaycolor)

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Magnification 20x. Credit: photomicrograph by Silvana Konermann. 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.
Magnification 10x. Credit: photomicrograph by Silvana Konermann. 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.
Magnification 5x. Credit: photomicrograph by Silvana Konermann. 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.
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.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Magnification of an image area. 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.
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.

78 Images in 2 Galleries

Splendicolor

1928

|

(Splendicolor)

Subtractive 3 color: Beam-splitter, double-coated film, bichromated gelatin, Pinatype

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Super Anscochrome Daylight, type 225

1957

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, 16mm

See Anscochrome and Super Anscochrome Tungsten, type 226.

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Super Anscochrome Tungsten, type 226

1958

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(Ansco Division of General Aniline and Film Corporation)

Subtractive 3 color: Chromogenic monopack, reversal, 16mm

See Anscochrome and Super Anscochrome Daylight, type 225.

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Supercinecolor / Natural Color

1951

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(Cinecolor Corporation)

Subtractive 3 color: Color separation, duplitized film, third layer added

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Svema CO-T-22 D

1974

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema CO-T-90 L

1972

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema DS-1

1947

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema DS-2

1956

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema DS-3

1960

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema DS-4

1962

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema DS-5M

1963

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-1

1946

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-2

1956

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-3

1960

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-5M

1963

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-6M

1970

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-7

1974

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-8

1975

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Szczepanik

1924

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Jan Szczepanik (Emil Busch AG)

Additive 3 color: Moving lenses

“The process of J. Szczepanik in 1925 was impracticable. He used a non-intermittent camera having a chain of eighteen lenses moving together with the film behind a collimating lens, three pictures being simultaneously exposed.” (Klein, ...

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Taihang Color

1980

|

(1. Film Factory, Paoting, Hopei)

Subtractive 3 color: Chromogenic monopack

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Talkicolor

1917

|

Percy James Pearce; Dr Anthony Bernardi (Talkicolor Ltd.)

Additive 2 color: Alternately stained

“Two-colour additive process Talkicolor was developed by Percy James Pearce along with Dr Anthony Bernardi who was also involved in the development of Raycol. The process was funded mainly by the author Elinor Glyn through her company Elinor ...

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Knowing Men (GB 1930, Elinor Glyn), negative. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger.

3 Images in 1 Gallery

Technic-Colour

1925

|

(Technic-Colour)

Subtractive 2 color: Beam-splitter, duplitized

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Technichrome

1948

|

(Technicolor)

Subtractive 2 color: Dye transfer, 2 color bi-pack, 3 color printing

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Technichrome, three-color print of bi-pack negatives, 1948. Credit: Gert Koshofer Collection. Sample No. 89. Photograph by Barbara Flueckiger

4 Images in 1 Gallery

Technicolor Monopack / Kodachrome Professional Type 5267 / Eastman Monopack 7267

1940

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(Technicolor / Kodak Eastman)

Subtractive 3 color: Chromogenic monopack

During the 1940s Kodachrome was used as camera material for films that were blown up to 35mm Technicolor projection prints. Technicolor used this technology from 1942 until the mid-1950s when Eastman Kodak introduced the Eastmancolor ...

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Technicolor No. I

1916

|

Herbert Kalmus, Daniel Frost Comstock and William Burton Westcott (Technicolor)

Additive 2 color: Beam-splitter

During the capturing of the film a beam-splitter in combination with filters in the camera divided the incoming light into a red and a green separation negative on black-and-white stock. When projected in the cinema the two images were combined simultaneously by additive mixture through corresponding red and green filters into one picture consisting of red and green colored light. The reduction of the whole color range to two colors (and their additive combinations) was necessary because of the complex optical arrangement.

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The beam-splitter prism. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.

6 Images in 1 Gallery

Technicolor No. II

1922

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(Technicolor)

Subtractive 2 color: 2 toned films cemented

The first subtractive 2 color process introduced by Technicolor captured the incoming light through a beam splitter with red and green filters also. However, in contrast to the first Technicolor process, the two b/w images were recorded on one negative strip. This was achieved by the pull-down of two frames simultaneously, a process that required the double speed in the camera. These two frames were arranged in pairs, whereby the green record was inverted up-side down (see image).

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The Phantom of the Opera (USA 1925, Rupert Julian). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.
Credit: Images courtesy of the Margaret Herrick Library. Photograph by Barbara Flueckiger.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55); color reconstruction of the images shown above. Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
Arrangement of the two records on the camera negative. Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
Film: Stage Struck (USA 1925, Allan Dwan). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
Film: Irene (USA 1926, Alfred E. Green). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.

133 Images in 8 Galleries

Technicolor No. III

1927

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(Technicolor)

Subtractive 2 color: Beam-splitter, dye transfer

The third Technicolor process used the same camera as process no. II to combine a pair of frames of the red and green record respectively on the b/w negative (see image). In contrast to the former process, however, the two images were printed on one side of the positive by the dye transfer or imbibition process.

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King of Jazz (USA 1930, John Murray Anderson). Credit: Library of Congress. Photographs of the Technicolor No. III dye-tranfer nitrate print from 1930 and 1931 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Credit: Images courtesy of the Margaret Herrick Library. Film: Corrine Griffith in The Garden of Eden. Photograph: Barbara Flueckiger.
Credit: George Eastman House Motion Picture Department Collection. Film: Buffalo Bill’s Last Fight (USA 1927, John W. Noble).
Technicolor ad in Photoplay, 1930. Source: Photoplay, 1930, see Media History Digital Library
Technicolor ad in Photoplay, 1930. Source: Photoplay, 1930, see Media History Digital Library
Photomicrograph, 10x. Credit: Silvana Konermann.
Photomicrograph, 20x. Credit: Silvana Konermann.
Doctor X (USA 1932, Michael Curtiz). Credit: UCLA Film & Television Archive. Photographs of the Technicolor No. III dye-tranfer nitrate print by Barbara Flueckiger.
Doctor X (USA 1932, Michael Curtiz). Credit: UCLA Film & Television Archive. Photographs of the Technicolor No. III dye-tranfer nitrate print by Barbara Flueckiger.

1298 Images in 38 Galleries

Technicolor No. IV: Three-strip

1932

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(Technicolor)

Subtractive 3 color: Color separation, beam-splitter, dye transfer

With the fourth Technicolor process the company dominated the market for color films from the mid-1930s to the 1950s. In a special camera, three b/w negative films were exposed through a beam-splitter that consisted of two prisms to form a cube. One ...

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Credit: Image courtesy of the Academy Film Archive. Film: Gone with the Wind (USA 1939, Victor Fleming). Photograph by Barbara Flueckiger.
Film: Samson and Delilah (US 1949, Cecil B. DeMille), trailer.
Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.

1887 Images in 65 Galleries

Technicolor No. V: Dye transfer prints from chromogenic negative

1954

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(Technicolor)

|

USA

Subtractive 3 color: Dye transfer

With the introduction of the chromogenic Eastmancolor negative/positive process it became possible to shoot with a normal one-strip camera. Three b/w color separations were produced from the Eastmancolor negative and printed by dye transfer on blank ...

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Written on the Wind (1956). Credit: Harvard Film Archive, item no. 3663. Photograph by Barbara Flueckiger.
Credit: Harvard Film Archive, item no. 1781. Film: Le Ballon rouge (1956). Photograph by Barbara Flueckiger.
Credit: Harvard Film Archive, item no. 1781. Film: Le Ballon rouge (1956). Photograph by Barbara Flueckiger.
Surface emulsion side, raking light (tungsten). Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
Photomicrograph 16x, raking light. Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
Photomicrograph, toplight on white background. Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
Photomicrograph 6,4x, top light on white background: picture and perforation area with spots of dye, yellow edge. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
Photomicrograph 10x, top light on white background: picture and perforation area with spots of dye, yellow edge, yellow dye in frame line. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
Photomicrograph 16x, top light on white background: sound track and perforation area with spots of dye, yellow edge. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
Raking light: surface of picture and perforation area with small spots of dye, yellow edge. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
Surface emulsion side, raking light (tungsten). Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
Vertigo (USA 1958, Alfred Hitchcock). Credit: Harvard Film Archive, item no. 246. HDR photograph by Barbara Flueckiger.

2181 Images in 41 Galleries

Technicolor No. VI: Dye-transfer prints from enhanced process

1997

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Technicolor

Subtractive 3 color: dye transfer

In 1994, Technicolor announced the development of an enhanced dye-transfer process. This process became effective in June 1997. There was no official denomination, so “Technicolor No. VI” is not to be confused with statements from the mid ...

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Telco color subtractive 2 color

1938

|

Leon Ungar and K. R. Hoyt

Subtractive 2 color: Split optics, side by side, duplitized film

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

1 Image

Telco Color, additive 2 color

1936

|

Leon Ungar and K. R. Hoyt

Additive 2 color: Split optics, side by side

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Thames Colour Plate

1909

|

Clare Livingston Finlay (Thames Colour Plate Company of London)

Additive 3 color: regular mosaic screen (circles), combined system, still photography

“Thames Colour products originated from a 1906 patent by Clare Livingston Finlay (d. 1936) and were introduced commercially in England by the Thames Colour Plate Company of London in 1908 (Fig. 2.10).15 Color screens were obtained by repeatedly ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 30.

1 Image

Thames Colour Screen

1908

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Clare Livingston Finlay (Thames Colour Plate Company of London)

Additive 3 color: regular mosaic screen (circles), separate system, still photography

“Thames Colour products originated from a 1906 patent by Clare Livingston Finlay (d. 1936) and were introduced commercially in England by the Thames Colour Plate Company of London in 1908 (Fig. 2.10).15 Color screens were obtained by repeatedly ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 30.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 63.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.

3 Images

The Cultural History of Color

Bibliography

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Source: Jacobson, Egbert (1942): The Color Harmony Manual and How to Use It. Chicago: Color Laboratories Division, Container Corp. of America. Credit: Faber Birren Collection, Yale University. Photograph by Barbara Flueckiger.

1 Image

Theory of three-color photography

1897

|

Arthur Freiherr von Hübl

Theory

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Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
Source: Hübl, Arthur Freiherr von (1904): Three-Colour Photography. Three-Colour Printing and the Production of Photographic Pigment Pictures in Natural Colours. London: W.A. Penrose.
Source: Hübl, Arthur Freiherr von (1904): Die Dreifarbenphotographie mit besonderer Berücksichtigung des Dreifarbendruckes und der photographischen Pigmentbilder in natürlichen Farben. Halle a. S.: Druck und Verlang von Wilhelm Knapp. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.

11 Images

Thomascolor

1934

|

Richard Thomas

Additive 3 color: 4 images on 65 mm

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
Source: Kistler, L. R. (1945): The Projection of Thomascolor Motion Pictures. In: International Projectionist, 20,7, Jul., pp. 12–14.
Source: Kistler, L. R. (1945): The Projection of Thomascolor Motion Pictures. In: International Projectionist, 20,7, Jul., pp. 12–14.
Left: Thomascolor camera lens mount for converting standard motion picture camera into Thomascolor. Right: A closeup of the Thomascolor projector lens mount for standard film projectors. The inventor points out that this is all that is needed to convert a standard projector to Thomascolor. Source: Anonymous (1944): Thomascolor. Four-Color Process For Motion Pictures. In: International Projectionist, 19,10, Oct., pp. 7–9.

5 Images

Thomson Color

1947

|

(Société Thomson)

Additive 3 color: Lenticular screen

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Credit: Cinémathèque française, conservatoire des techniques, Paris. Film: Test for Jour de Fête.
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.

3 Images

Thornton

1924

|

John E. Thornton

|

England

Additive two-color or four-color process: beam splitter and mosaic screen, films

In this process, two positives, one orange-red one blue-green, were cemented together. Several specifications and modifications exist, for instance the strengthening of the perforated film margins via a second exposure, in an attempt to overcome wear ...

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Tinted film base / Kodak Sonochrome

1928

|

(Eastman Kodak)

Applied colors: Tinted film for sound films

Kodak Sonochrome was a specially prepared tinted film for sound film that did not interfere with the spectral sensitivity of the photo-electric cell for the reading of the optical sound track. The 17 Sonochrome tints were dyed in mainly light hues ...

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Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
Source: The International Photographer, July 1929
Source: The International Photographer, July 1929
Source: The International Photographer, July 1929
Source: The International Photographer, July 1929

79 Images in 3 Galleries

Tinting (French: teintage, German: Virage)

1896

Applied colors: Dyed gelatin

For tinting, the positive print is immersed into a variety of dye baths, scene by scene. To this end, the print has to be cut into the corresponding fragments and reassembled after the dyeing process. The dye homogeneously attaches over the entire image’s gelatin including the perforation area. Usually synthetic dyes were dissolved in a weak acid solution to form a chemical bond with the gelatin.

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Salomé (USA 1922, Charles Bryant). Credit: George Eastman Museum. Photographs of the tinted, toned and Handschiegl nitrate print by Barbara Flueckiger.
Photograph by Barbara Flueckiger. Source: Agfa Kine-Handbuch. Berlin: Actien-Gesellschaft für Anilin-Fabrikation. (around 1927, estimated).
See Mazzanti (2009: 71). Credit: Cineteca di Bologna. Film: Lyda Borelli in Malombra (Italy, 1917).
As coloured for South America, see Mazzanti (2009: 71). Credit: Cineteca di Bologna.
As coloured for the domestic Italian market, see Mazzanti (2009: 71). Credit: Cineteca di Bologna.
Photomicrograph, 25x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
Credit: Lichtspiel / Kinemathek Bern. Film: Dagli Appennini alle Ande (ITA 1916, Umberto Paradisi). Photograph by Barbara Flueckiger.
Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
Credit: Lichtspiel / Kinemathek Bern. Film: Gaumont Woche.
Credit: Lichtspiel / Kinemathek Bern. Film: Selznick News.

4499 Images in 113 Galleries

Tinting by application of varnish

1905

|

no record of inventor available

Applied colors: Tinting

Very little information is available on this very rare process. Instead of immersion into a dye-bath the positive print was coated uniformly with a varnish. This technique can be identified by the lack on dyes in the perforation area and by the ...

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Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.

1 Image

Toning / metallic toning (French: virage, German: Tonung)

1896

Applied colors: Replacement of silver

In contrast to tinting, toning is not the simple immersion of a film into a dye bath but involves a chemical reaction converting the silver image. In this reaction the neutral silver image in the emulsion of the positive film is replaced by one consisting of colored metal compounds. These were usually iron ferrocyanide (Prussian Blue) for blue, copper ferrocyanide for red/brown, silver sulfide for sepia or rarely uranium ferrocyanide for reddish brown. Toning had been used in still photography before. But since film was projected on the screen it required translucent toning compounds.

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Hongarije (FRA 1926, Anonymous). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Virages sur films à support teinté Pathé, Film teinté lavande (virage bleu) lavender tinted stock with blue toning, the same image from a different copy of the book, combination of tungsten backlight with daylight toplight. Photograph by Barbara Flueckiger. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. [quote id='16']
Photomicrograph, 25x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
Toning samples from the Tinting and Toning Workshop by Ulrich Ruedel, Seminar "Materiality of Film" by Barbara Flueckiger and Bregt Lameris, Department of Film Studies, University of Zurich, in collaboration with Lichtspiel / Kinemathek Bern, David Landolf and Brigitte Paulowitz.
Toning samples from the Tinting and Toning Workshop by Ulrich Ruedel, Seminar "Materiality of Film" by Barbara Flueckiger and Bregt Lameris, Department of Film Studies, University of Zurich, in collaboration with Lichtspiel / Kinemathek Bern, David Landolf and Brigitte Paulowitz.

1550 Images in 63 Galleries

Traube / Diachromie

1906

|

Arthur Traube

Subtractive 3 color: Mordant toning, still photography

“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 ...

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Traube / Uvachrome

1922

|

Arthur Traube (Uvachrom)

Subtractive 3 color: Mordanting, dye transfer, wash-off relief, still photography

“In 1916 Traube found that copper toning baths3 were especially suitable for dye mordanting and patented the Uvachrome process.4 At the time, Germany was at war with most of Europe, and little commercial progress was made until the end of ...

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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.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 277.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 138.

3 Images

Triadochrome

1921

|

J. F. Shepherd

Subtractive 3 color: dye mordanting and silver toning process, still photography

“After the war, in 1921, J. F. Shepherd introduced in England a printing method called the Triadochrome Color Process, which was very similar to Hamburger’s Polychromide.10 To make a print, a cyan impression obtained from an iron-toned ...

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Trichromatic vision

1802

|

Thomas Young

Theory: Color vision

Theory of trichromatic vision proposed by Thomas Young.

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Trucolor 2 color

1947

|

(Consolidated Film Industries)

Subtractive 2 color: Bi-pack, double-coated with dye couplers

“By the 1940s, most of the two-colour subtractive processes, apart from Cinecolor, were obsolete. The widespread use of the high-quality Technicolor process showed up the serious deficiencies in the simpler methods. The only significant new ...

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Trucolor 3 color

1949

|

(Consolidated Film Industries)

Subtractive 3 color: Color separation on DuPont Release Positive Film

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Ufacolor

1931

|

Kurt Waschneck (Afifa)

Subtractive 2 color: Bi-pack, mordant toning

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Magnification of an image area. 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.
Color chart. Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
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.
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Tierwelt. Studien in Hagebecks Tierpark in Stellingen (1931).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
Credit: Bundesarchiv-Filmarchiv, photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Fischwelt (1936).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
Credit: Deutsches Filminstitut DIF (Vicas Nachlass), photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Potsdam (1934).
Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Farben machen froh (1938).
Magnification 5x. Credit: photomicrograph by Silvana Konermann.
Magnification 10x. Credit: photomicrograph by Silvana Konermann.
Magnification 20x. Credit: photomicrograph by Silvana Konermann.
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 of an image area. 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.
Reflection on Ufacolor film. 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.
An opened splice of an Ufacolor positive shows the two colors used in the process. Credit: David Pfluger. Source: David Pfluger’s collection.

136 Images in 7 Galleries

UltraStable Color Systems

1992

|

Charles Berger, Richard Newmark Kauffman

Subtractive 4 color: pigment process, still photography

“Berger then started to work with the master carbro printer Richard Newmark Kauffman (1916−1998), and together they founded Ultrastable Color Systems, Inc. In 1992 they introduced presensitized UltraStable material for four-color carbon ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 95.

1 Image

Ulysse

1908

|

Pierre Ulysse

|

France

Two, three or four color color additive process: multiple lenses

The process relied on two-, three- or even four-color selections being superimposed on the screen. On the positive, two, three or four images of reduced dimensions were printed on a single frame with a longitudinal and lateral distance corresponding ...

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Unidentified Processes

1900

Various

Photographs of unidentified color film technologies. Several different principles and times. Feel free to contact us if you can help identifying them!

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Unidentified Processes from the Kodak Film Samples Collection and the Cinematography Collection. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard, SNSF Film Colors.
Unidentified Processes from the Kodak Film Samples Collection and the Cinematography Collection. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard, SNSF Film Colors.
Unidentified Processes from the Kodak Film Samples Collection and the Cinematography Collection. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard, SNSF Film Colors.

298 Images in 5 Galleries

Urban-Joy Process, improvement of Kinemacolor, later called Kinekrom

1916

|

Henry W. Joy (Urban)

Additive 2 color: Rotary filter

“In the design of apparatus Urban was assisted after 1905 by Henry W. Joy. The Urban-Joy perforator appeared in 1906. The Urban-Joy anti-firing device, a shutter to prevent the firing of inflammable film when projectors broke down, was another ...

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Uto Paper 1906–1911, after 1911 Utocolor Paper, after 1912 Utocolor-Rapid-Paper

1906

|

John Henry Smith, Waldemar Merckens (Utocolor Company)

Subtractive 3 color: dye destruction process, bleach-out, still photography

“In 1906 John Henry Smith (1860–1917) and Waldemar Merckens commercially introduced a collodion paper impregnated with fugitive yellow, magenta, and cyan dyes. They called it Uto paper, after a range of mountains near Zurich (Johnson 1917: ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 209.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 211.

2 Images

Uvatype

1929

|

Arthur Traube (Uvachrome)

Subtractive 3 color: dye imbibition process, still photography

“Uvatype was yet another variation of the dye imbibition process, introduced by the Uvachrome Company of Germany in 1929 (Fig. 4.12). Its inventor, the German chemist Arthur Traube, worked diligently to improve the then-available imbibition ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 138.

1 Image

Vericolor

1933

|

(Vericolor Inc.)

Subtractive 2 color: unknown

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Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Magic Isle.

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