Agfachrome CU 410

1970

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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

Eastman Ektachrome, type A

1971

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, super 8, Tungsten, 160 ASA

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Gevacolor Print Film T 9 85

1971

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Svema CO-T-90 L

1972

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8516

1972

|

(Fuji Photo Film Co., Ltd.)

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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Eastman Ektachrome Reversal Print Film 7390 (SO-390)

1973

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal

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Dymat Process

1973

|

(Dymat International Corp.)

Subtractive 3 color: Dye transfer, Super-8

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3M Color Positive, type 651

1974

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(3M)

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 80

1974

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Eastman Color SP Print Film 5383 / 7383

1974

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Svema CO-T-22 D

1974

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(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Svema LN-7

1974

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Eastman Color II Negative, type 5247 / 7247

1974

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA, DIR coupler

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Gevacolor Print Film T 9 86

1974

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Eastman Ektachrome, type 5239

1975

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, daylight, 160 ASA, TV film

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Eastman Ektachrome SM, type 7244

1975

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, super 8

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Ektachrome Video News

1975

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm reversal, high-speed

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Eastman Ektachrome, type 5240 (VNF)

1975

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, reversal, Tungsten, 125 ASA, video news film

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Eastman Ektachrome Video News Film 7240

1975

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack

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Svema LN-8

1975

|

(Svema, Shostka Chemical Plant)

Subtractive 3 color: Chromogenic monopack

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Orwochrom

1975

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(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

Eastman Ektachrome Video News Film 7239

1976

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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Polachrome

1977

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(Polaroid Corporation)

35mm Slide Film

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Linear filter structure in Polachrome 35mm instant slide film. The blue filter strips are slightly larger compared to the red and green filters. The filter lines are running along the film strip. According to the image placement of the 135 film format for still photography the image is divided horizontally into triplets of R, G and B filter lines. The emulsion layer has been removed before the image was taken. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Linear filter structure in Polachrome 35mm instant slide film with a emulsion layer of low photographic density. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Comparision of the linear filter structure of Polachrome 35mm instant slide film and Polavision Super-8 motion picture film. While the technical concept behind the two film stocks is the same, the Super-8 film was produced with linear filters of a smaller width. Based on the given width of an RGB filter triplet and the 135 still image size there are about 920 horizontal RGB-triplets per image for a Polachrome slide. The Super-8 film image is rotated by 90° compared to the 135 film still image and has about 340 vertical RGB-triplets per frame. The positioning of the image content compared to the filter lines is indicated in the picture. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

4 Images in 1 Gallery

Eastman Ektachrome High Speed Video News Film 7250

1977

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm, Tungsten, 400 ASA

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Eastman Ektachrome VN Print Film 7399

1977

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, 16mm

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

1977

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Polavision

1977

|

(Polaroid Corporation)

Diffusion: Line screen, super-8 mm

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Linear filter structure in Polavision instant Super8 film. The filter lines are running along the film strip. According to the image placement of the Super-8 motion picture standard the image is divided vertically into triplets of R, G and B filter lines. The emulsion layer has been removed before this image was taken. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Linear filter structure in Polavision instant Super8 film with an emulsion layer of a high photographic density. With the focus set on the emulsion the linear structure of the coloured filters is not visible in this image. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Comparision of the linear filter structure of Polachrome 35mm instant slide film and Polavision Super-8 motion picture film. While the technical concept behind the two film stocks is the same, the Super-8 film was produced with linear filters of a smaller width. Based on the given width of an RGB filter triplet and the 135 still image size there are about 920 horizontal RGB-triplets per image for a Polachrome slide. The Super-8 film image is rotated by 90° compared to the 135 film still image and has about 340 vertical RGB-triplets per frame. The positioning of the image content compared to the filter lines is indicated in the picture. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
Excerpt of a Polavision Super-8 home movie scanned on a Kinetta scanner in 4.8K resolution edge to edge. In post production a zoom in and out was applied to show the linear filter structure of Polavision film in motion. The zoom was based on image detail from the scan. No upres procedure was applied. Credit: Scanning and editing by Martin Weiss.
A comparison of the colour filter structures of Dufaycolor, Autochrome and Polavision from Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., pp 72–77.
A comparison of the colour filter structures of Dufaycolor, Autochrome and Polavision from Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., pp 72–77. Translation: David Pfluger and Giorgio Trumpy.
The process of exposure and development of Polavision instant Super-8 film. From Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., p. 74.
The process of exposure and development of Polavision instant Super-8 film. From Anonymous (1978): Ma il Polavision e' un'altra cosa!. Phototest Italiana, 41, Oct., p. 74. Translation: David Pfluger and Giorgio Trumpy.
"Polavision (top) vs. Kodachrome 40: These are blowups from closely matching frames of Debra Goldie, filmed simultaneously with a Polavision and a conventional super 8 camera, side by side, with the Twi Light quartz lamp mounted on top of the former. Subject distance was 6 ft., but the super 8 camera was focused for 10 ft. – same as the Polavision camera at its close-up setting. Both Polavision and Kodachrome 40 are closely equal in speed, but differ distinctly in structure, faithfulness of color rendition, and latitude, as is obvious from these frame reproductions. What can't be seen is the relative opacity of Polavision: according to our measurement, it transmits less than 9 percent as Kodachrome 40. However, the lab that made the duplicate transparency blow-ups of the frames found that it had to give a full six stops extra exposure." (Leavitt, Don; Drukker Leendert (1978): First Look: Polavision instant movies. In: Popular Photography, Feb., p. 68.)
"C'est devant un immense agrandissement de l'intérieur d'une cassette Polavision sur la-quelle se découpe la silhouette de l'orateur (ci-contre à gauche) que le Dr Land présenta son invention. Ce document permet de distinguer les poulies de guidage du film (1 et 2), la réserve de produit de traitement et son bec ré-partiteur (3), la bobine débitrice (4), l'ensemble formé par le presseur de film et le prisme (5), la poulie d'entraînement du film (6)." "It was in front of a huge enlargement of the interior of a Polavision cassette on which the silhouette of the speaker was cut out (opposite left) that Dr Land presented his invention. This document makes it possible to distinguish the guide pulleys of the film (1 and 2), the supply of treatment product and its distribution nozzle (3), the supply reel (4), the assembly formed by the presser of film and the prism (5), the film drive pulley (6)." (Anonymous (1977): Naissance du cinéma instantané. In: L'auto-journal, Rubrique realisée sous la direction de Pierre Marais, 12, Jul., pp. 94–95.)
The production of the Filter structure on Polavision film includes the use of a lenticular surface, which is removed after the process. The lenticules are not involved in recording the color information during the taking of images in the camera. Figure 10 and Figure 11 from: Land, Edwin H. (1997): An Introduction to Polavision. In: Photographic Science and Engineering, 21,5, Sept., Oct., pp. 228–236, on p. 228.
Comparison of thickness of the image carrying layer in a Kodak fine grain positive and Polavision film. Figure 24 from: Land, Edwin H. (1997): An Introduction to Polavision. In: Photographic Science and Engineering, 21,5, Sept., Oct., pp. 228–236, on p. 235.
In the Polavision instant color film process the negative image recorded during the exposure of the film is neither developed from a latent image to a visible negative nor is it removed from the film. The latent negative stays as a layer in the film and is responsible for a slight attenuation of the image’s highlights. Figure 25 from: Land, Edwin H. (1997): An Introduction to Polavision. In: Photographic Science and Engineering, 21,5, Sept., Oct., pp. 228–236, on p. 236.
Single frame of a Polavision home movie scanned in 3.5K resolution.

14 Images

Gevacolor T 6 82

1978

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(Gevaert Photo-Produkten N. V )

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 Internegative Film 5272 / 7272 S

1980

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Taihang Color

1980

|

(1. Film Factory, Paoting, Hopei)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative A 250, type 8518

1980

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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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 Ektachrome 7251

1981

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, high speed, color reversal, 16mm, daylight

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Eastman Color Print Film 5384 / 7384

1981

|

Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color High Speed Negative, type 5293

1981

|

(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 250 ASA, DIR coupler

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Fujicolor Negative A, type 8517

1981

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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ArchivalColor

1982

|

Charles Berger, McGraw Colorgraph

Subtractive 4 color: pigment process, still photography

“In the early 1980s photographers frustrated by the poor stability of dye coupling materials started to experiment with pigment processes. Among them was Charles Berger, a California-based fine art photographer who, in 1982, developed a modern ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 93.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 94.

2 Images

Eastman Color High Speed Negative, type 5294

1983

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 400 ASA, DIR coupler

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Fujicolor Negative A, type 8511

1983

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Eastman Color Negative Film 7291

1983

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack, Tungsten, 100 ASA

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Fujicolor Negative High Speed AX, type 8512

1983

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Eastman Color LC Print Film 5380 / 7380

1983

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Eastman Color Negative, ASA 125, type 5247

1983

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(Eastman Kodak)

Subtractive 3 color: Chromogenic monopack, Tungsten, 125 ASA, DIR coupler

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Fujicolor Negative AX, type 8514

1984

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, 35 mm, 16 mm, Tungsten, 500 ASA

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Eastman Color High Speed Negative Film 7292

1985

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Eastman Kodak Company

Subtractive 3 color: Chromogenic monopack

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Agfa negative XT 125

1985

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(Agfa-Gevaert NV.Mortsel, Belgium)

Subtractive 3 color: Chromogenic monopack, Tungsten, twin silver halides

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Agfa negative XT 320

1985

|

(Agfa-Gevaert NV.Mortsel, Belgium)

Subtractive 3 color: Chromogenic monopack, Tungsten, twin silver halides

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