Colorgraph / Cinecolorgraph

1912

|

Arturo Hernandez-Mejia

Subtractive 2 color: Beam-splitter, double-coated film

“The principle of the subtractive colour process was described first by Louis Ducos du Hauron in 1868. Although eminently suitable for colour motion pictures, the principle could not be applied until means were found of producing several colour ...

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

1 Image

Traube / Uvachrome

1922

|

Arthur Traube (Uvachrom)

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

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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Kingston Process

191?

|

Arthur Kingston

|

England

Additive three color process: rotary filters

Three black-and-white color separations were printed consecutively on one film strip and projected through the corresponding color filters, thus combining to one color image on screen.

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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

Auto Natural Color / Bernardi

1925

|

Anthony Bernardi and P.L. Burger

Additive 3 color: Beam-splitter, substandard

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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

Ansco Color Printon; Improved Printon Anscochrome Type / GAF Printon Type 6400 / GAF Printon Type 6410 (1956–1981)

1943

|

Ansco, GAF

Subtractive 3 color: dye coupling or chromogenic process, still photography

“Ansco Color Printon In 1943 Ansco followed suit and launched a printing material on white-pigmented acetate base called Ansco Color Printon (Fig. 5.7). Initially, Printon was made accessible only to the military. After 1945 it became available to ...

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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

Keller-Dorian

1922

|

Albert Keller-Dorian and Rodolphe Berthon (Société du Film en Couleurs Keller-Dorian / Société Française Cinéchromatique Paris)

Additive 3 color: Lenticular screen

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
Microscopic image of a piece of Keller-Dorian lenticular film embedded in epoxide resin. The 3-dimensional structure of the lenticules is visible as well as the thin emulsion layer on the other side of the acetate base. Credit: Sample preparation and imaging by the Center for Microscopy and Image Analysis, University of Zurich.
Lenticular surface of the acetate plastic base of Keller-Dorian lenticular film. On the back plane of the acetate layer and therefore out of focus in this image, structures defined by the silver image in the emulsion layer can be perceived. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Hexagonal structure of the lenticules of Keller-Dorian lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Microscopic images of the Keller-Dorian lenticular structure with the focus set at different points. The images have been chained to show a travelling through the 3-dimensional structure of the bee-hive shaped lenticules. Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

14 Images in 2 Galleries

Kodacolor / Keller-Dorian Color

1928

|

Albert Keller-Dorian (Eastman Kodak)

Additive 3 color: Lenticular screen

“LENTICULAR PROCESS In 1896 R. E. Liesegang (Ahriman, 1896) suggested a photographic color process based upon the use of banded filters in the camera aperture. […] In 1909 R. Berthon (British Patent 10,611; see also Berthon, 1910a, b) ...

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Kodacolor lenticular filter for the projector. Lichtspiel / Kinemathek Bern.
Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
Magnification of an area. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
Color reconstruction test. Credit: Rudolf Gschwind, Imaging and Media Lab, University of Basel.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Microscopic linear lens structure of Kodacolor lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Acetate plastic base of Kodacolor lenticular film embedded in epoxide resin. The emulsion layer usually placed on the opposite side of the acetate base has been removed beforehand and is therefore not visible. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus and the granular structure defined by the density of the silver is visible. In this shot the lenticules were showing towards the light source and the emulsion towards the camera. This enables an undistorted recording of the emulsion layer. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Focal travelling through the 3-dimensional structure of Kodacolor lenticular film. In the beginning the linear lenticular structure is visible and towards the end the emulsion layer comes into focus. In this shot the lenticules were allocated towards the lens of the microscope and the light source at the side of the emulsion similar to the configuration in projection. As a consequence the graininess of the emulsion is not visible as with the film flipped to the other side. The structure is optically distorted perpendicular to the linear structure of the lenticules. Credit: David Pfluger, editing by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

24 Images in 1 Gallery

Agfa-Gevaert

1964

|

Agfa-Gevaert-Aktiengesellschaft, Leverkusen

|

Germany

Subtractive 3 color

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Agfachrome CU 410

1970

|

Agfa-Gevaert

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

“Between 1970 and 1976, Agfa-Gevaert produced its own silver dye-bleach printing material on a white-pigmented acetate base called Agfachrome CU 410.28 Only available to a few photofinishers in Germany, it was used to print amateurs’ ...

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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. 218.

1 Image

New Agfa Color Plate

1923

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“New Agfa Color Plate (1923–1932): colored particles very small and not visible to the naked eye, but clumps of particles of the same color give the image a pointillist effect (Fig. 2.62). Unlike with the autochromes, in which the grains ...

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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. 73.

1 Image

Agfacolor Plate

1932

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“Agfacolor Plate (1932-1938): colored particles very small and not visible to the naked eye; clumps of particles of the same color give the image a pointillist effect (Fig. 2.63). Unlike with the autochromes, in which the grains are remarkably ...

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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. 72.

1 Image

Agfacolor Film

1932

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“Agfacolor Film (1932–1934): individual colored particles cannot be seen with the naked eye, but clumps of grains of the same color give the image a pointillist effect (Fig. 2.70). There is no black pigment filler. The film has a thick base ...

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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. 76.

1 Image

Agfacolor Ultra Film

1934

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography and 35mm MPF (1935–1936)

“Agfacolor Ultra Film (1934–1941): individual colored grains cannot be seen with the naked eye, but clumps of grains of the same color give the image a pointillist effect (Fig. 2.72). There is no black pigment filler. The film has a thick ...

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

1 Image

Agfacolor Ultra Plate

1936

|

Agfa Company

Additive 3 color: mosaic screen, combined system, still photography

“Agfacolor Ultra Plate (1936–1938): colored particles very small and not visible to the naked eye, but clumps of particles of the same color give the image a pointillist effect (Fig. 2.65). Unlike with the autochromes, in which the grains are ...

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

1 Image

Chromo-Film

1923

|

Adolf Hnatek (Chromo-Film Ges. mbH)

Additive 3 color: Double-sized film, rotary filter

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Bi-pack

1901

|

Adolf A. Gurtner

Subtractive 2 color: Bi-pack, still photography

A. Gurtner (Eng. P. 7924/03; U.S.P. 730454), used a front element that was sensitive only to the blue, and a rear element that was sensitive up to but not including the red. He was the first person to suggest that the two films or plates be placed ...

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Source: U.S.P. 730454

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

Hillman Process

1933

|

A.G. Hillman (Colourgravure Ltd., and Gerrard Industries Ltd.)

Additive 3 color: Rotary filter, mirror system with two lenses

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Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

3 Images

Hérault Trichrome

1926

|

A. H. A. Hérault (Société Française des Films Hérault)

Additive 3 color: Alternately stained in red, green and blue

“The Hérault Trichrome process was demonstrated in Paris on 1 October 1926, with three films made by A. Rodde — a fashion show, a documentary on Brittany and a tableau of the Legend of the King of Ys. Hérault Trichrome was an extension of ...

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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger.

12 Images in 1 Gallery

Fotoncolor OR Fotonkolor

1966

|

(Warszawki Zaldady Fotochemizne)

Subtractive 3 color: Chromogenic monopack

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NEW! Soon negative color FOTON daylight films will be available. FOTONKOLOR NS roll film 120 FOTONKOLOR NS roll film 620 FOTONCOLOR NS roll film 127 FOTONCOLOR NS 35mm (in cartridge) FOTONCOLOR NS sheet film Fotoncolor NS will be possible to expose like 16° DIN, 32 ASA black and white negative film.

1 Image

Vitacolor

1930

|

(Vitacolor Company)

Subtractive 2 color: Single coated

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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.

40 Images

Orwocolor

1964

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack

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Frauenschicksale (GDR 1952, Slatan Dudow). Credit: Bundesarchiv Filmarchiv. Photographs of the Orwocolor safety print by Michelle Beutler, ERC Advanced Grant FilmColors.
Cross section of Orwo positive print. Credit: Carsta Knaack, HTW Berlin. Film: L'Ours (J.-J. Annaud, 1988).
Cross section schemes of different materials by Orwo. Source: Kaufmann, Siegfried (1976): Vom ersten Farbumkehrfilm zum Orwochrom-System. In: Bild und Ton, 3/1976, p. 88-93.

1026 Images in 27 Galleries

Orwochrom

1975

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

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Cross section scheme of different Orwo materials. Source: Kaufmann, Siegfried (1976): Vom ersten Umkehrfilm zum Orwochrom-System. In: Bild und Ton 3/1976, pp. 88-93.

84 Images in 3 Galleries

Orwocolor NC 1

1964

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack

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Orwocolor NC 3

1972

|

(VEB Filmfabrik Wolfen)

Subtractive 3 color: Chromogenic monopack

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Agfacolor Negative, type B 333

1954

|

(VEB Filmfabrik Agfa Wolfen, GDR)

Subtractive 3 color: Chromogenic monopack, daylight

For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.

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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

Agfacolor Negative, type G 334

1954

|

(VEB Filmfabrik Agfa Wolfen, GDR)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Agfacolor Negative, type G 432

1962

|

(VEB Filmfabrik Agfa Wolfen, GDR)

Subtractive 3 color: Chromogenic monopack, Tungsten

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Hand coloring

1895

|

(technique inherited from lantern slides)

Applied colors: Manual application

Coloring of individual frames by the use of very fine brushes. The process was previously applied to lantern slides. Any water based translucent dye was suited for the process, most often the coloring was done with acid dyes.

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Loïe Fuller (FRA 1905, Anonymous). Credit: BFI National Archive. Photographs of the hand colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Métamorphoses du papillon (FRA 1904, Gaston Velle). Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
Credit: Turconi Collection by courtesy of George Eastman Museum, Moving Image Collection. Film: Zara.
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

250 Images in 18 Galleries

Chromolithography

1898

|

(Technique adapted from print media and laterna magica)

Applied colors: printing

Widely used in print media around 1900, the chromolithographic printing process was first adapted for the Laterna Magica and then utilized to produce early animated films primarily aimed at children. These films were usually very short ...

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

119 Images in 3 Galleries

Technicolor No. II

1922

|

(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.

1881 Images in 65 Galleries

Technichrome

1948

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(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 No. V: Dye transfer prints from chromogenic negative

1954

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(Technicolor)

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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.

2261 Images in 41 Galleries

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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Technic-Colour

1925

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(Technic-Colour)

Subtractive 2 color: Beam-splitter, duplitized

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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 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 LN-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 LN-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

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-5M

1963

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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