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

3 Images

• Credit: Brian Pritchard.

1 Image

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 142.

1 Image

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 145.

1 Image

• 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

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 137.

1 Image

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 67.

1 Image

• Russian Ideas in Clothes! (USA 1922). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.

21 Images in 1 Gallery

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

1 Image

• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.

2 Images

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

1 Image

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

2 Images

• 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

• Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
• Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• Reflection on Cinecolor print. Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph by Barbara Flueckiger
• Reflection on Cinecolor 16 mm print. Credit: Library of Congress. Photograph by Barbara Flueckiger

93 Images in 9 Galleries

• Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
• Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
• Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)

3 Images

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 216.

1 Image

• [U-Boot]. Credit: Deutsches Filminstitut DIF. Photograph of the chromolithographic nitrate print by Barbara Flueckiger.
• Box Der Film fürs Heimkino. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
• Box "Film for Home Cinema". Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
• Box "Attention! Celluloid Film". Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
• Boxes and loops. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
• Box and loops. Credit: Deutsches Filminstitut DIF. iPhone photo by Barbara Flueckiger.
• Film can for Chromolithographic Loop. Credit: Deutsches Filminstitut DIF. iPhone photo by Noemi Daugaard, SNSF Filmcolors
• Film can for Chromolithographic Loop. Credit: Deutsches Filminstitut DIF. iPhone photo by Noemi Daugaard, SNSF Filmcolors

119 Images in 3 Galleries

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 282.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 283.

2 Images

• Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
• Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

2 Images

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. Film: Pagliacci (1937).

9 Images in 2 Galleries

• Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

5 Images in 1 Gallery

• Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
• Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
• Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.

19 Images in 3 Galleries

• Dyes of Brewster color. Credit: Brian Pritchard.
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

52 Images in 1 Gallery

• Projection of lenticular film in Bocca-Rudatis. Refraction of light beams through lens. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 81.

1 Image

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

39 Images in 3 Galleries

• Source: U.S.P. 730454

1 Image

• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='6']

5 Images

• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Source: Heymer, Gerd (1933): Auflösungsvermögen und Farbwiedergabe in der Farbrasterphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, 3, 1933, pp. 188-207.

4 Images

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

3 Images in 1 Gallery

• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 103.

1 Image

• 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.
• Cinécolor, mosaic screen, ca. 1929. Credit: Gert Koshofer Collection. Sample No. 68. Photograph by Barbara Flueckiger.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• 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.

27 Images in 2 Galleries

• Photomicrograph (50x) of an Autochrome mosaic screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
• Source: Lavédrine, Bertrand (2009): Photographs of the Past. Process and Preservation. Los Angeles: Getty Publications.
• Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• Source: Holme, Charles (1908): Colour Photography, and Other Recent Developments of the Art of the Camera. London, Paris, New York.: Offices of The Studio.
• Source: Holme, Charles (1908): Colour Photography, and Other Recent Developments of the Art of the Camera. London, Paris, New York.: Offices of The Studio.
• Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
• Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
• Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
• Credit: Klosterarchiv Einsiedeln. http://www.klosterarchiv.ch/earchiv_liste.php?Objektyp_physisch=Glasautochrom&start=1
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 26.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 65.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 27.
• 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. 64.

16 Images

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.

2 Images

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.

3 Images

• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 98.

1 Image

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 93.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 94.

2 Images

• Werbung Ansco, 4 Typen, in JSMPTE 1965

1 Image

• Cross section scheme of Anscochrome. Scource: Forrest; John L. (1955): Processing Anscochrome Motion-Picture Films for Industrial and Scientific Applications. In: Journal SMPTE, Vol. 64, Dec. 1955, p. 679.

3 Images in 1 Gallery

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 167.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 166.

2 Images

• Ansco Color, positives of Ansco Color negative, ca. 1952. Credit: Gert Koshofer Collection. Sample No. 10. Photograph by Barbara Flueckiger.
• Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
• Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
• Source: Society of Motion Picture and Television Engineers; ed. (1957): The Elements of Color in Professional Motion Pictures. Prepared by a special committee of the Society. Wilton R. Holm, chairman. New York: The Society.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
• Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.

30 Images in 2 Galleries

1 Image

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 74.

1 Image

• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 76.

1 Image

• Magnification. Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
• Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• Source: Heymer, Gerd (1943): Die neuere Entwicklung der Farbphotographie. In: Ergänzungswerk zum Handbuch der wissenschaftlichen und angewandten Photographie. Wien: Julius Springer 1943, pp. 337-463.
• Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
• Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
• Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 72.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 76.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 42.

11 Images

• Cross section scheme, Agfacolor Positive Type 5. Scource: Brune, Wolfgang (1955): Ein neues Agfacolor-Positivmaterial (Agfacolor-Positivfilm Typ 5).

1 Image

• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 72.

1 Image

• Münchhausen (Josef von Báky, Germany 1943). Credit: Bundesarchiv Filmarchiv and Friedrich-Wilhelm-Murnau-Stiftung. Photographs of the Agfacolor safety print (acetate) by Barbara Flueckiger.
• Opfergang (GER 1944, Veit Harlan), magnification. Credit: Print from the Filmmuseum Düsseldorf. © Friedrich Wilhelm Murnau Foundation, Wiesbaden. Photograph by Barbara Flueckiger.
• Paper print. Source: Serda, Charlott (1941): Das Farbfoto-Buch vom Film. Breitkopf & Härtel: Leipzig.
• Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.
• Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.

640 Images in 21 Galleries

• Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
• Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
• Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
• Negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Princezna se zlatou hvězdou (Martin Frič, Czechoslovakia 1959).
• Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
• Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
• Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
• Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
• Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
• Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.
• Princezna se zlatou hvězdou (CZE 1959, Martin Frič). Credit: Národní filmový archiv / National Film Archive, Prague. Photographs of the Agfacolor B negative on Orwocolor positive by Barbara Flueckiger.

11 Images