Color Mania. The Material of Color in Photography and Film

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

1 Image

• The two colors visible at a splice. Credit: EYE Film Institute Amsterdam. Film: [Kleurenpracht].
• Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
• Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
• Credit: George Eastman House Motion Picture Department Collection. Film: The Land of the Great Spirit (1919).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.

399 Images in 14 Galleries

• 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.

2 Images

• Credit: George Eastman House Motion Picture Department Collection. Film: The Old Family Toothbrush (USA 1925).

1 Image

• Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
• Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• Reflection on Cinecolor print. Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph by Barbara Flueckiger
• Reflection on Cinecolor 16 mm print. Credit: Library of Congress. Photograph by Barbara Flueckiger

93 Images in 9 Galleries

• Drawing from E.P. 13,468, 1901.

1 Image

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

39 Images in 3 Galleries

• 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

• Münchhausen (Josef von Báky, Germany 1943). Credit: Bundesarchiv Filmarchiv and Friedrich-Wilhelm-Murnau-Stiftung. Photographs of the Agfacolor safety print (acetate) by Barbara Flueckiger.
• Opfergang (GER 1944, Veit Harlan), magnification. Credit: Print from the Filmmuseum Düsseldorf. © Friedrich Wilhelm Murnau Foundation, Wiesbaden. Photograph by Barbara Flueckiger.
• Paper print. Source: Serda, Charlott (1941): Das Farbfoto-Buch vom Film. Breitkopf & Härtel: Leipzig.
• Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.
• Parade (1960). Credit: Harvard Film Archive, Brandon Film Library Collection, item no. 14303. Photographs of Agfacolor negative on Orwocolor reversal print by Barbara Flueckiger.

640 Images in 21 Galleries

• Cross section scheme, Agfacolor Positive Type 5. Scource: Brune, Wolfgang (1955): Ein neues Agfacolor-Positivmaterial (Agfacolor-Positivfilm Typ 5).

1 Image

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).

16 Images in 1 Gallery

• Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

1 Image

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.

2 Images

• 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.
• 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.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Schmidt, Richard / Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) [quote id='6']

5 Images

• 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.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• 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.
• Source: Heymer, Gerd (1933): Auflösungsvermögen und Farbwiedergabe in der Farbrasterphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, 3, 1933, pp. 188-207.

4 Images

• Virages sur mordançage, Bleu (blue mordant toning), backlight, Swiss collectors'copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. [quote id='7']
• Photomicrograph, 25x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
• Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
• Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
• Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.

171 Images in 7 Galleries

• Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant, p. 54.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 34.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 35.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 35.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 36.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 74.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 74.

7 Images

• 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.
• Source: Kistler, L. R. (1945): The Projection of Thomascolor Motion Pictures. In: International Projectionist, 20,7, Jul., pp. 12–14.
• Source: Kistler, L. R. (1945): The Projection of Thomascolor Motion Pictures. In: International Projectionist, 20,7, Jul., pp. 12–14.
• Left: Thomascolor camera lens mount for converting standard motion picture camera into Thomascolor. Right: A closeup of the Thomascolor projector lens mount for standard film projectors. The inventor points out that this is all that is needed to convert a standard projector to Thomascolor. Source: Anonymous (1944): Thomascolor. Four-Color Process For Motion Pictures. In: International Projectionist, 19,10, Oct., pp. 7–9.

5 Images

• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• 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.
• 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.

4 Images

• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 98.

1 Image

• Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.
• Source: Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall.

2 Images

• Knowing Men (GB 1930, Elinor Glyn), negative. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger.

3 Images in 1 Gallery

• Dyes of Brewster color. Credit: Brian Pritchard.
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

52 Images in 1 Gallery

• Zaveshchanie/The Testament (7 June 1937). Credit: Courtesy of Nikolai Mayorov.
• Zaveshchanie/The Testament (7 June 1937). Credit: Courtesy of Nikolai Mayorov. Credit: Courtesy of Nikolai Mayorov.
• The Miraculous Traffic Light (1938). Credit: courtesy of Nikolai Mayorov
• The Wolf and Seven Goat-Kids (1938). Credit: Courtesy of Nikolai Mayorov.
• The Fox and the Wolf (1937). Credit: Courtesy of Nikolai Mayorov.
• The Fox and the Wolf (1937). Credit: Courtesy of Nikolai Mayorov.

6 Images

• Source: Wall, E.J. (1925): The History of Three-color Photography. Boston: American Photographic Pub. Co.

1 Image

• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. A History of Motion Picture Color Technology.
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

2 Images

• 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.

2 Images

• Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.

1 Image

• Screenshot from Mayorov, Nikolai (2012): Soviet Colours. Translated by Birgit Beumers. In: Studies in Russian & Soviet Cinema, 6:2, pp. 241–255.  doi: 10.1386/srsc.6.2.241_1 Courtesy of Nikolai Mayorov.

1 Image

• Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger

11 Images in 1 Gallery

• Black-and-white with Handschiegl in Lights of Old Broadway (USA 1925, Monta Bell). Credit: Library of Congress. Photograph of the nitrate print by Barbara Flueckiger.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
• Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI. Film: Greed (USA 1925, Erich von Stroheim).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 24.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).

141 Images in 8 Galleries

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.

3 Images

• Cross-section of the optical system displaying the different lenses, the prism and the four filters. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 71.
• 35mm black and white film strip with four equal-sized images (left) and 16mm projector with Cristiani-Mascarini optical system. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 71.

2 Images

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

4 Images in 1 Gallery

• Magnification, 20x. Credit: photomicrograph by Silvana Konermann.
• Magnification, 10x. Credit: Photomicrograph by Silvana Konermann.
• Magnification, 5x. Credit: Photomicrograph by Silvana Konermann.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: 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, pp. 214-222. Leipzig: J. A. Barth.
• 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, pp. 214-222. Leipzig: J. A. Barth.
• Reflection on the Sirius film, front. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.
• Reflection on the Sirius film, back. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, pp. 214-222. Leipzig: J. A. Barth.

142 Images in 4 Galleries

• 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.

2 Images

• Reversal Colour Positive. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: A Colour Box (GB 1935, Len Lye).
• Microscopic image of the filter structure of a Dufaycolor film. The Emulsion has been removed. The visible structures are not silver grain but the structure of the filter layers. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Microscopic images of Dufaycolor film with the focus set at different points within the emulsion and filter layers. The images have been chained to show a travelling through the 3-dimensional structure of the layers. Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

231 Images in 9 Galleries

• Magnification 20x. Credit: photomicrograph by Silvana Konermann. 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.
• Magnification 10x. Credit: photomicrograph by Silvana Konermann. 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.
• Magnification 5x. Credit: photomicrograph by Silvana Konermann. 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. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• 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.

78 Images in 2 Galleries

• Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press,
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 71.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 31.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 32.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 33.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 48.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.

10 Images

• "Du Hauron invented his Chromographoscope in 1874. It could be used either as a camera or an additive viewer." Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• An early three-color print by Louis Ducros Du Hauron, 1877.

2 Images

• Credit: Lichtspiel / Kinemathek Bern. Film: New York, Taufe und Ausflug (CH 1954, Donald Brun).
• Surface emulsion side, raking light. Credit: Carsta Knaack, HTW Berlin. Film: Regular 8mm home movie, anonymous 1975.

92 Images in 6 Galleries

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

1 Image

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
• Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.

12 Images in 2 Galleries

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press. 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. Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.

3 Images

• Cyan and magenta combined, third layer, yellow missing. Source: Meister Lucius & Brüning (1905): Pinatypie. Positiv-Verfahren für die Dreifarbenphotographie. Höchst am Main.
• 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. 235.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 132.

4 Images

• Credit: Brian Pritchard.

1 Image

• 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.
• Color chart. Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
• Credit: Guido Seeber Nachlass, Deutsche Kinemathek, Berlin. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92.
• 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.
• Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Tierwelt. Studien in Hagebecks Tierpark in Stellingen (1931).
• Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
• Credit: Bundesarchiv-Filmarchiv, photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Bunte Fischwelt (1936).
• Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Karneval (1936).
• Credit: Deutsches Filminstitut DIF (Vicas Nachlass), photo: Jeanpaul Goergen. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Potsdam (1934).
• Credit: Bundesarchiv-Filmarchiv, photo: Marian Stefanowski. Source: Goergen, Jeanpaul (2010): Rotorange und blaugrün. Das Zweifarbenverfahren Ufacolor 1931-1940. In: Filmblatt, no. 43, pp. 77-92. Film: Farben machen froh (1938).
• Magnification 5x. Credit: photomicrograph by Silvana Konermann.
• Magnification 10x. Credit: photomicrograph by Silvana Konermann.
• Magnification 20x. Credit: photomicrograph by Silvana Konermann.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Reflection on Ufacolor film. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• An opened splice of an Ufacolor positive shows the two colors used in the process. Credit: David Pfluger. Source: David Pfluger’s collection.

136 Images in 7 Galleries

• Photomicrograph (20x) of a Joly screen. Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
• Credit: Courtesy of George Eastman House, International Museum of Photography and Film.
• Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
• Credit: Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 69.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 22.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 23.

7 Images

• Source: U.S.P. 781469, Sept. 13,1904

1 Image

1 Image

• Two-Color Kodachrome Print (USA ca. 1925 to 1927, Anonymous). Credit: George Eastman Museum. Photographs of the Kodachrome two-color double coated stock from 1925 and 1927 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Magnification 5x. Credit: photomicrograph by Silvana Konermann.
• Magnification 10x. Credit: photomicrograph by Silvana Konermann.
• Magnification 20x. Credit: photomicrograph by Silvana Konermann.
• Kodachrome Two-color test from 1922, YouTube channel of the George Eastman House.

350 Images in 12 Galleries

• Agfa Pantachrom. 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 Martin Weiss, ERC Advanced Grant FilmColors.

19 Images in 3 Galleries

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

1 Image

• 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

• Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
• Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
• Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.

3 Images

• „Film orthochromatique (film négatif Pathé Standard)“ (orthochromatic stock). Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
• „Film ordinaire (non orthochromatique)“ (Normal, non-orthochromatic stock). Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.

2 Images

• Source: D.R.P. 98,799, Dec. 17, 1897
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: D.R.P. 98,799, Dec. 17, 1897

2 Images

• The  beam-splitter prism. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.

6 Images in 1 Gallery

• Rotating filters permitting to adjust tonality and intensity of the colors. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 62

1 Image

• Color reconstruction. Credit: Gisela Harich-Hamburger, Diplomrestauratorin (FH).
• Source: Heymer, Gerd (1933): Auflösungsvermögen und Farbwiedergabe in der Farbrasterphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, 3, 1933, pp. 188-207.
• Source: Weil, F. (1933): The Optical-Photographic Principles of the Agfacolor Process. In: Journal of the Society of Motion Picture Engineers, 20, (April, 1933), No. 4, p. 301-308.
• Both the Kodak and Agfa lenticular processes required the correct banded filter to be used with each different batch of panchromatic film. These two filters were for different batches of Agfacolor used in a Leica camera.. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
• 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.
• 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.
• Magnification 5x, front. Credit: photomicrograph by Silvana Konermann.
• Magnification 10x, back. Credit: photomicrograph by Silvana Konermann.
• Magnification 20x, front. Credit: photomicrograph by Silvana Konermann.
• Reflection on Agfacolor lenticular film. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Reconstruction of lenticular film by Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland in the framework of their research project doLCE
• Agfacolor Lenticular sample from the Kodak Film Samples Collection at the National Science and Media Museum in Bradford. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard.
• Analog reconstruction by Giorgio Trumpy, ERC Advanced Grant FilmColors

15 Images

• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Captain Calamity (1936)

2 Images

• Kinemacolor projector used for David Cleveland's and Brian Pritchard's reconstruction. Credit: Brian Pritchard.

13 Images in 3 Galleries

• Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
• 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: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 19.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.

5 Images

• „Their projector […] used three lenses and a special filter wheel which enabled every frame of the film to be projected three times in succession through the appropriate filter as it passed through the triple frame projector aperture. Although it eventually led to the Kinemacolor two colour process, the Lee and Turner patent was not successful“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• "The First Color Moving Pictures", from the YouTube channel of the National Media Museum. [quote id="1"]
• Lee Turner projector in the Media History Museum in Bradford.
• „In 1899 Lee and Turner obtained a patent for a three colour process of cinematography requiring a single lens camera […] making a recurring sequence of red green and blue exposures through a rotating filter cum shutter“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• „In 1899 Lee and Turner obtained a patent for a three colour process of cinematography requiring a single lens camera […] making a recurring sequence of red green and blue exposures through a rotating filter cum shutter“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• „Their projector […] used three lenses and a special filter wheel which enabled every frame of the film to be projected three times in succession through the appropriate filter as it passed through the triple frame projector aperture. Although it eventually led to the Kinemacolor two colour process, the Lee and Turner patent was not successful“. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• National Media Museum, UK. Lee and Turner Colour Projector, 1902.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Illustration of the process from National Media Museum's short documentary.
• 38 mm positive of the Lee Turner film showing the three b/w images for the three color records. Credit: Brian Pritchard.

16 Images in 1 Gallery

• Source: U.S.P. 1,262,954 (Ives, Frederic Eugene; filed Feb. 18, 1914; granted Apr. 16, 1918)

1 Image