Traube / Uvachrome


“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 could be used to transfer three individual dye images in register. The Hydrotype (1881) and the Pinatype (1905) were examples of the early use of this process. One of the notable, though not widely used, relief matrix processes was developed by Dr Arthur Traube and introduced in 1929 as the Uvatype, which was an improved version of his earlier Diachrome (1906) and dye mordant Ufachrome (1916) processes. The Eastman Wash-off Relief process (1935) was a refinement of the imbibition process that was replaced by the improved Dye Transfer process (1946-1993). The widest commercial application of the imbibition process was the Technicolor process, originally introduced as a two-color system in 1916, for producing motion-picture release prints.”

(Hirsch, Robert (2011): Exploring Color Photography. From Film to Pixels. Elsevier Focal Press: Oxford; Burlington, MA, p. 25.)

Original Technical Papers and Primary Sources

Traube, Arthur (1920): Leserbrief. In: Die Kinotechnik, 11,2, 1920, p. 430. Repr. in: Ledig, Elfriede; Ullmann, Gerhard (1988): Rot wie Feuer, Leidenschaft, Genie, Wahnsinn. Zu einigen Aspekten der Farbe im Stummfilm. In: Elfriede Ledig (ed.) Der Stummfilm. Konstruktion und Rekonstruktion. München: Schaudig, Bauer, Ledig, 1988, pp. 89–116, on p. 95. (in German) View Quote

Traube, Arthur (1929): Farbenphotographie auf Papier. In: Die Photographische Industrie, p. 27, 188, 559, 736 and 1343.

Traube, Arthur (1931): Verfahren zur Herstellung von Dreifarben-Photographien auf Papier nach dem Absaugeprinzip. In: Photographische Korrespondenz, 67, 30.

Secondary Sources

Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on p. 47 View Quote and on p. 84. (in German) View Quote

Heymer, Gerd (1943): Die neuere Entwicklung der Farbphotographie. In: Ergänzungswerk zum Handbuch der wissenschaftlichen und angewandten Photographie. Wien: Julius Springer 1943, pp. 337-463. (in German) View Quote

Ledig, Elfriede; Ullmann, Gerhard (1988): Rot wie Feuer, Leidenschaft, Genie, Wahnsinn. Zu einigen Aspekten der Farbe im Stummfilm. In: Der Stummfilm. Konstruktion und Rekonstruktion. Edited by Elfriede Ledig. München: Schaudig, Bauer, Ledig, pp. 89–116 on p. 95. (in German) View Quote

Matthews, G.E. (1931): Principles and Processes of Photography in Natural Colors. In: The American Annals of Photography, 1930, pp. 222-235. Repr. in: Journal of the Society of Motion Picture Engineers, 16, 1931, pp. 188-219.

Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, on p. 276 View Quote, on p. 284 View Quote and on p. 288. View Quote

Szczepanik, Jan (1919): Kinematographie in natürlichen Farben. In: Die Kinotechnik, 1,1, (1919), pp. 9-12 and 1,2. (1919), pp. 17-20, on pp. 17. (in German) View Quote


Contemporary Reception

Mees, C.E. Kenneth (1929): The Processes of Color Photography. III. Color Cinematography. In: The Journal of Chemical Education, 6, pp. 44–51, on pp. 48–49. View Quote