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Although Kodachrome 16mm reversal film was introduced as an amateur film format, rapidly after its introduction it became a format frequently used by (semi-)professional film makers. The reason was that Kodachrome was a relatively easy to use film ...
“In 1939 Thomas S. Curtis of Huntington Park, California, introduced Curtis Neotone, a simple dye mordanting printing method for the production of color prints or transparencies from color separation negatives. With Curtis’s method, a ...
“In 1939 Thomas S. Curtis (1889–1964) proposed Orthotone, a dye imbibition printing method that was primarily a variation of the widely used Eastman Wash-Off Relief. Orthotone offered its practitioners complete control on the contrast or ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 142.
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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 ...
For more information on the Agfacolor process see the detail page Agfacolor Neu / Agfacolor.
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Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
- Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
- Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borský).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jan Roháč z Dubé (Czechoslovakia 1947, Vladimír Borsky).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Kvítí z Čech (Czechoslovakia 1947, dir. Václav Jan Staněk).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Mistr třeboňský (Czechoslovakia 1950, dir. František Kudláč).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
- Faded Agfacolor period nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Praha v říjnu (Czechoslovakia 1945, dir. František Sádek).
- Agfacolor B original negative. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, dir. Jiří Trnka).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
- Agfacolor positive nitrate print. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Zasadil dědek řepu (Czechoslovakia 1945, Jiří Trnka).
- Credit: By courtesy of Deutsche Kinemathek, Berlin. Photograph by Barbara Flueckiger. Film: 1/50 Sekunde, commercial for Niggemeyer Foto/Kino (1952).
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
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“In the 1940s a product called Crawford Flexichrome appeared on the market. It allowed photographers to obtain prints or transparencies in full color by simply applying dyes of various colors by hand to a gelatin relief image. Results obtained ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 145.
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Agfacolor Negative type G was a chromogenic camera negative balanced for Tungsten illumination.
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Original Agfacolor negative G. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Neposlušný zajíček (German title Klein, aber Oho!, Horst von Möllendorff, Czechoslovakia 1944).
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
- Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 77-98. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote cite='35875']
14 Images in 2 Galleries
Similar to Technicolor, the Iriscolor process needed a special beam-splitter camera for exposing three black-and-white negatives on Kodak film stock. These negatives were used for imbibition printing.
Between 1940 and 1942, Tobis Tonbild-Syndikat AG ...
Duplicating stock for reversal film. Replaced Kodachrome duplicating stock type 5262. Contrary to its predecessor the new stock was not suited as camera material. Type 5265 could only be used for duplication.
“Between 1934 and 1941 Eastman Kodak developed a silver dye-bleach printing material called Azochrome. In 1941 it announced the launching of Azochrome but held back the product at the onset of World War II. After the war, the company decided to ...
For more information on the Agfacolor chromogenic process see Agfacolor Neu / Agfacolor.
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Agfacolor B negative on Agfacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Tábor (Oldřich Mirad, Czechoslovakia 1953). Photograph by Barbara Flueckiger.
37 Images in 2 Galleries
“In 1941 Kodak introduced a printing service for wallet-size Minicolor prints on a white opaque support of pigmented acetate made from 35mm transparencies (Fig. 5.6). A similar product called Kotavachrome was designed for larger prints made ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 165.
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“Dufaytissue materials, marketed by Dufay-Chromex Limited of London between 1941 and 1948, resembled Belcolor and were used to produce color prints by contact. After they had been sensitized and dried, the pigment films were exposed by contact ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 89.
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“In 1942 Defender Photo Supply Company of Rochester, New York, introduced a panchromatic matrix film called Pan-Chroma-Relief Film, which simplified the making of dye imbibition prints from original Kodachrome or Ansco Color transparencies. Up ...
Kodachrome Professional was introduced in 1942 to be used as camera material. It was the Kodachrome material that was blown up to 35mm Technicolor dye transfer prints, which was the Technicolor Monopack system.
According to Norris Pope this material ...
“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.
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“Introduced by the Autotype Company in 1944, the Autotype Wet Carbon Process was a variant of the traditional carbon process with novelty wet-printing pigment papers. Considerable time was saved when printing with this material as the pigment ...
“In 1944 he launched a new reflection printing material on a white-pigmented acetate base called Gasparcolor Opaque, which was, initially and for the duration of the war, available only to the U.S. military. The processing of Gasparcolor Opaque ...
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Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
- Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 228.
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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
“Brand name for various reversal films from Eastman Kodak (full name: Eastman Ektachrome) based on the Eastman Colour process.
a) Ektachrome Commercial is a 16 mm film with flat gradation manufactured since 1958 for recordings from which ...
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Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
- Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
- Coote, Jack (1948): New Three-Color Camera, In: Journal of the Society of Motion Picture Engineers, vol. 50, June 1948, pp. 543-553.
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In 1946 Kodachrome Commercial camera film Type 5268 was introduced. This stock had a lower-contrast emulsion and became leading in the professional field until it was replaced by Ektachrome Commercial type 7255 in 1958. Both Commercial Kodachrome and ...
“The Konicolor system, introduced by Konishiroku Shashin Kogyo (Now Konica Minolta Holdings, Inc.), split the image into three colors and shot them separately onto three b&w films. In that sense it had something in common with the US ‘Technicolor system’, but this was not a contact print with color dye to create positive film, but used coated emulsion to develop each color in a triple process, which is peculiar. […].”
“Kodak Dye Transfer materials were introduced by Eastman Kodak Company in February 1946 and replaced Eastman Wash-Off Relief. Principal improvements over the previous material included a simplified registration procedure, more rapidly ...
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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 148.
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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.
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“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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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
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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.
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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
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No masking in the negative. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
4 Images in 1 Gallery
See Ansco Colorpak / Ansco Color, type 735, Ansco Color Release Film, type 732 and Ansco Color Duplicating Film, type 132.
“The Fujicolor process is a three-color subtractive negative/positive process introduced in 1955 by the Fuji Photo Film Co., Ltd., Tokyo, Japan.
When the process was introduced it consisted of two elements that could be used singly or together. ...
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Don't Look Now (GBR / ITA 1973, Nicolas Roeg). Credit: BFI National Film Archive. Photographs of the faded Fujicolor HP Positive Film Type 8813 by Joëlle Kost, ERC Advanced Grant FilmColors.
141 Images in 7 Galleries
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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.
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Magic Fire (USA 1955, William Dieterle), item no. DIF 2.04.35.14. Credit: Deutsches Filminstitut DIF. Photograph of the safety print by Barbara Flueckiger.
30 Images in 1 Gallery
Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Quote as Flueckiger, Barbara (2012 ff.): Timeline of Historical Film Colors. (= https://filmcolors.org/).
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