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.
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“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
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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.
19 Images in 3 Galleries
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
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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