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

Autochrome

1907

|

Auguste and Louis Lumière

Additive 3 color: Mosaic screen, still photography

“The Autochrome process was the first fully practical single-plate colour process to reach the photographic public. It was easy to use. The plate was loaded into a conventional holder, glass to the front. The exposure was made through a yellow ...

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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

Autochrome film / Cinécolor

1928

|

Auguste and Louis Lumière

|

France

Additive 3 color: Mosaic screen

Several attempts were made to apply the Autochrome process invented by the Lumière brothers to motion pictures. Transparent potato starch grains with a diameter of 15–20 micrometer were colored in the additive primaries red, green and blue. The ...

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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

Gasparcolor OR Gaspar Color

1933

|

Béla Gaspar (Gasparcolor Naturwahre Farbenfilm GmbH, Berlin)

Subtractive 3 color: Silver dye-bleach multilayer print film

Gasparcolor was the first three-color multi-layer monopack film available for practical use. It was a double-coated print film with a cyan layer on one side and two layers dyed magenta and yellow on the other side (see illustrations).

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Uit het rijk der kristallen (NDL 1927?, J.C. Mol). Credit: EYE Film Museum. Photographs of the Dufaycolor and Gasparcolor nitrate print by Barbara Flueckiger.
Kreise (English title Circles) (Oskar Fischinger, GER 1933-34) Oskar Fischinger's own nitrate print. Credit: Library of Congress, (c) Fischinger Trust, courtesy Center for Visual Music. Photograph Fischinger's own nitrate print by Barbara Flueckiger.
Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Allegretto by Oskar Fischinger (1936-1943).
Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Gasparcolor tests by Oskar Fischinger, c. 1933-34.
Credit: Cinémathèque suisse. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Color chart on Agfa Tripofilm. This was the raw stock used for Gasparcolor in Germany until about 1939. Source: Arens, Hans; Heymer, Gerd (1939): Die „Agfa-Farbentafel für Farbenphotographie“. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, Vol. 6, 1939, pp. 225-229. Leipzig: Hirzel. Photograph by Barbara Flueckiger.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 213.

398 Images in 24 Galleries

Jumeaux/Davidson

1903

|

Benjamin Jumeaux and W. L. Davidson

Additive 3 color: Prism

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.

2 Images

Dye coupling

1907

|

Benno von Homolka (Farbwerke Hoechst)

Subtractive 3 color: Chromogenic monopack

“One of the most elegant solutions to the problem of forming a colored image, lies in the utilization of the products formed by the action of the developer upon the latent image. By this means there is formed a dye image whose intensity follows ...

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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. 161.

1 Image

Bocca-Rudatis

1933

|

Carlo Bocca, Domenico Rudatis, (Luigi Amati)

|

Italy

Additive 3 color: lenticular screen

The procedure for obtaining the lenticular elements in relief required a series of steps: starting from three black and white positive color separations, obtained with any of the available methods, three matrices were printed, from which the film to ...

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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

Dunning Color

1937

|

Carroll H. Dunning

Subtractive 3 color: Beam-splitter, double-coated

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Proposal of a variety of processes of three-color photography

1869

|

Charles Cros

Theory

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

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Hydrotypie / Hydrotype / dye transfer

1880

|

Charles Cros

Subtractive 3 color: Dye transfer, still photography

“In the imbibition process, a dye image is transferred from a gelatin relief image to a receiving layer made either of paper or film. Charles Cros described this method of “hydrotypie” transfer printing in 1880 and suggested it ...

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Mondiacolor

1955

|

Chevalier

Additive 3 color: Mosaic screen

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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.
Source: 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.

9 Images in 1 Gallery

Cinechrome

1914

|

Colin Benett (Cinechrome Ltd.)

Additive 2 color: Prism, rotary filter, double-sized film

“[…] pictures were taken side by side, full-size, on double-width film, the film not only being perforated on the edges but also down the centre between the pairs of images.” (Klein, Adrian Bernhard = Cornwell-Clyne (1940): Colour ...

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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

Americolor

1947

|

Color Film Company of America

Subtractive 2 color: Bi-pack, duplitized

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Cinecolor additive 2 color / Cinecolour

1925

|

D. Daponte, S.J. Cox, Adam Hilger Ltd. and J.H. Dowell (Cinecolor)

Additive 2 color: Beam-splitter, 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.

Not to be confused with the Eastman Color Print Film 5381 / 7381 from 1970.

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Eastman Color Internegative Film 5243

1952

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Internegative Film 5245

1953

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 5382 / 7382

1953

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Television Recording Film 5374 / 7374

1955

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Reversal Color Print Film Type 5269 / 7387

1956

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal

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).

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Eastman Color Internegative Film 5270 / 7270

1956

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Intermedeate Film 5253

1956

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 7383

1959

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 5385 / 7385

1962

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman RP Negative Film 7229

1963

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Reversal Print Film 7387

1964

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal, 16 mm

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Eastman Color Print Film 5744

1967

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Print Film 7380

1967

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Direct MP Film 5360 / 7360

1968

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Reversal Intermedeate Film 5249 / 7249

1968

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, reversal

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Eastman Color SP Print Film 5383 / 7383

1974

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color SP Low Contrast (minus 25%) Print Film 5738 / 7738

1977

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color LF Print Film 7378

1979

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Color LFSP Film 7379

1979

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman Color II Negative, type 5247 / 7247 F

1980

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color II Internegative Film 5272 / 7272 S

1980

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Negative Film 7291

1983

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Eastman Color LC Print Film 5380 / 7380

1983

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Fine Grain Release Positive Film 5302 / 7302

1988

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 100T Color Negative Film 7248

1989

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman EXR 50D Color Negative Film 5245 / 7245

1989

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 500T Color Negative Film 5296

1989

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman EXR 100T Color Negative Film 5248

1990

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Eastman EXR 500T Color Negative Film 7296

1990

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, 16mm

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Eastman EXR Color Intermediate Film 5244 / 7244

1992

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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