Fujicolor

1949

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack reversal (from 1949), negative/positive process (from 1955)

“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

Fuji Reala 500D 8592 / 8692

2001

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(Fuji Photo Film Co., Ltd.)

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Fuji F-Series 8570 / 8670 F-500T

1988

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 500 ASA

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Fuji F-Series 8560 / 8660 F-250D

1988

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

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Fuji F-Series 8550 / 8650 F250T

1988

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA

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Fuji F-Series 8530 / 8630 125T

1988

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 125 ASA

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Fuji F-Series 8520 / 8620 F64D

1988

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, daylight, 64 ASA

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Fuji F-Series 8510 / 8610 F64T

1988

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 64 ASA

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Fuji Eterna Vivid 500T 8547 / 8647

2009

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 500 ASA

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Fuji Eterna Vivid 250D 8546 / 8646

2010

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

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Fuji Eterna Vivid 160T 8543 / 8643

2007

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 160 ASA

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Fuji Eterna 500T 8573 / 8673

2004

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 500 ASA

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Fuji Eterna 400T 8583 / 8683

2005

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 400 ASA

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Fuji Eterna 250T 8553 / 8653

2006

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA

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Fuji Eterna 250D 8563 / 8663

2006

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, daylight, 250 ASA

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Fuji Dyecolor

ca. 1975

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(Fuji Photo Film Company)

Subtractive 3 color: dye imbibition process, still photography

“Around 1975, Fuji Photo Film Company introduced Fuji Dyecolor, a dye imbibition printing service available only in Japan. A feature of the process was that the transfer of the dyes was done automatically in a special rotary machine developed ...

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Friese-Greene

1898

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William Friese-Greene

Additive 2 or 3 color: Alternately stained

“In 1898 William Friese-Greene, a professional portrait photographer by trade, demonstrated in London ‘the first process of true natural-color cinematography.’ His program consisted of ‘a series of animated natural-color pictures,’ and although this demonstration aroused considerable interest at the time, Friese-Greene was unable to exploit this system on a profitable basis. Undaunted, he eventually developed a total of four different color methods.”

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Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Kino the Girl of Colour (GB 1920, William Friese-Greene, Claude Friese-Greene).
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.

112 Images in 2 Galleries

Fresson Quadrichromy

1959

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Pierre Fresson; Atelier Fresson

Subtractive 4 color: pigment process, still photography

“In 1951, when pigment processes were falling into disfavor, Pierre Fresson (1904–1983) of Atelier Fresson developed Fresson Quadrichromy, a four-color printing method based on the monochrome direct carbon process (charbon-satin) that had ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 91.

1 Image

Francita-Reality / Francita / Opticolor / Realita

1935

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(Société de films en Couleurs Naturelles Francita)

Additive 3 color: Beam-splitter and rotary fllter, substandard

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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.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='5']
Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='5']

9 Images in 1 Gallery

Fotoncolor OR Fotonkolor

1966

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(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

Fomacolor

1957

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(Fotochema)

Subtractive 3 color: Chromogenic monopack

A chromogenic process based on Agfacolor, see detail page Agfacolor Neu / Agfacolor.

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Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jen počkej X (Nu, pogodi!) (Vjačeslav Kotěnočkin, USSR, 1976).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
Credit: Národní filmový archiv / National Film Archive, Prague. Film: Jak se Žofka postarala o svatbu (Adolf Born, Jaroslav Doubrava, Miloš Macourek, Czechoslovakia 1988).
Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).
Eastmancolor negative on Fomacolor positive. Credit: Národní filmový archiv / National Film Archive, Prague. Film: Slunečná laguna (Mirko Kačena, Czechoslovakia 1990).

18 Images

Finlay Positive Color Screen / Finlaychrome

ca. 1933

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Clare L. Finlay

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

“The launching of a combined version of the product called Finlaychrome was announced in 1931 but was still unavailable three years later; it is unclear if it was ever marketed.28 Instead, it seems that the company produced a viewing screen ...

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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. 39.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 40.

3 Images

Finlay

1929

|

Clare L. Finlay

Additive 3 color: regular mosaic screen, still photography

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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. 70.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 70.
Photomicrograph (20x) of a Finlay screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
Finlay box. Photograph by Barbara Flueckiger.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 39.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 40.

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Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).
Faded Ferraniacolor positive from Eastmancolor negative, anamorphic (1:2,35). Credit: Národní filmový archiv / National Film Archive, Prague. Film: Smrt v sedle (Jindřich Polák, Czechoslovakia 1958).

217 Images in 8 Galleries

Experimental Eastman Separation Film (5238)

1992

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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EverColor

1993

|

William Nordstrom

Subtractive 4 color: pigment process, still photography

“Also during the 1990s, William (Bill) Nordstrom started to experiment with a carbon process called Agfa-Proof, a four-color proprietary prepress color proofing system. He founded the EverColor Corporation in El Dorado Hills, California, in ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 96.

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Cross section of Ektachrome Commercial, Type 7255. Scource: Groet, N. H./Liberman, M./ Richey, F. (1959): An Improved Professional 16mm Reversal Camera Film. In: JSMPTE, Vol. 68, January 1959, p. 9.

1 Image

Edge Codes and Identification

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Didone abbandonata (ITA 1910, Luigi Maggi). Credit: Cineteca di Bologna. Photographs of the tinted nitrate print by Barbara Flueckiger.
Frame characteristics / features of margins: Ambrosio. Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 24.
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91 Images in 6 Galleries

Eastman Wash-Off Relief

1935

Subtractive 3 color: dye imbibition process, still photography

“In October 1935 Eastman Kodak Company introduced Eastman Wash-Off Relief. For years the company had been producing matrices and blank films for Technicolor motion pictures, and Kodak engineers were familiar with the requirement of the dye ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 140.

Eastman Kodak reversal film duplication stock for (semi)professional use. Replaced Type 5265. Type 7387 introduced in 1964 as improved version. Difficult to see the difference (BL).