Spencer, Douglas Arthur. "Appendix II: Processes of Colour Photography and Kinematography." In Color Photography
From George Eastman House : Notes On Photographs
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Agfacolor. 1. Mosaic screen additive process on films and plates (1912) (p. 22).
2. A 16mm. adaptation of the lenticular film principle (1932).
3. A subtractive transparency process based on colour development of the reversed
camera exposure (1936).
Autochrome Process. A process for three-colour additive photography, plates for
which are made by Lumière. The plates carry an irregular mosaic screen of red, green,
and blue-violet starch grains, with a panchromatic emulsion over-coating (1907). Cut
film and roll film (1935).
Belcolor. A form of three-colour carbon printing (p. 135).
Bleach-out Process. See Appendix III.
Brewster Process. A subtractive two-colour kiné process utilizing a double-coated
negative film. A coloured negative is printed on double-coated positive film, and the
final silver images are converted into an iodide mordant and dyed (1914). Three colour
(1930). The third colour (yellow) is added by imbibition printing.
Busch Process. An additive two-colour kiné process. The negative is produced by
running 35 mm. film horizontally through the camera. Twin lenses form a pair of
images upon a single frame area; image" pairs are superposed when projected. (About
1928.)
Carbon Process. See Appendix III. "
Carbro. A three-colour subtractive printing process in which the part images are
coloured gelatine reliefs derived from carbon tissue, in which differential insolubilization
is produced by chemical reaction between the silver of bromide prints and the
tissue (p. 92).
Cinécolor Process. 1. A subtractive two-colour kiné process. Negatives are made
with a beam-splitter camera or a bipack. Double-coated film is used for the red (dye-toned)
and blue (iron-toned) images.
2. A two-colour additive kiné process utilizing two substandard images within each
normal frame (cf. Raycol).
Colorcraft Process. A two-colour subtractive kiné process. The negative is made by
a beam-splitter or by a bipack method; the positive is on a double-coated film. Print
images are dye-toned with the aid of an iodide mordant. (About 1929.)
Chemicolor. A two-colour subtractive kiné process employing a bipack and chemical
toning of double-coated film (cf. Ufa process).
Chromatone. Three-colour subtractive chemical toning process, employing images
in collodion-gelatine layers (p. 135).
Chromex. See Cinécolor.
Colorstil. The U.S.A. name for Duxochrome (q.v.).
Dioptochrome. An early form of the Dufay process carried out on glass plates
(1910-1917).
Direct Colour Development Processes. Those processes in which non-diffusing colour-formers
reside in the several emulsion layers of e.g. an integral repack. These colour-formers
combine with oxidation products of a coupler-developer to form insoluble dyes.
Dufaycolor Process. A regular mosaic screen-film process for three-colour additive
kinematography (1931) and still photography (1934) by either reversal or negative-positive
processing methods (1936).
Dufay Process. A regular mosaic screen-plate process using four constituent colours
(1908).
Dunning Process. A two-colour (chemical toning) process of 35 mm. subtractive
kinematography.
Dupack Process. A process using a combination of a green-sensitive and panchromatic
film, sold by du Pont for making two-colour motion picture negatives. The
green-sensitive film bears a red filter layer upon its emulsion surface. The two films
are run through the camera with their emulsion sides in contact. Exposure is made
through the base of the green-sensitive film. (About 1931.)
Duplex Color-plates. Similar to the Paget screen-plate. The regular mosaic screen
and the sensitive emulsion are on separate plates. (About 1927.)
Duxochrome. A three-colour subtractive printing process in which the part images
are coloured gelatine reliefs (p. 136).
Dye Mordanting and Toning. See Appendix III.
Dyebro. A modification of the Carbro process in which colourless gelatine reliefs are
stained with dyes after their preparation and before assembly to form a three-colour
subtractive print.
Finlaychrome. See Finlay Process.
Finlay Process. A regular mosaic screen-plate process of colour photography,
utilizing either a screen separate from a panchromatic plate (1929) or coated upon the
same plate. The latter type is known under the trademarked name, Finlaychrome
(1931 ).
Francita. Three-colour additive kinematography in which sub-standard separation
images are recorded and projected from 35 mm. films (cf Gaumont process).
Gasparcolor Process. A three-colour subtractive kiné process. Prints are made on
film coated with three emulsion layers sensitized to three different spectral regions. In
each emulsion is incorporated a dye which is destroyed in a bleach bath to a degree
controlled by the silver image density (1934).
Gaumont Tricolour Additive Process. An additive method of three-colour kinematography
using a triple lens system both in the camera and in the projector. The
frames were of standard (silent) width and three-fourths the standard height (1912).
Handschiegel Process. A process of applying colour to local areas of black-and-white
prints by imbibition, using one or more dyed matrices.
Harriscolor Process. A two-colour subtractive kiné process. Prints from colour separation
negatives are made on single-coated film printed first through the back, processed,
and blue-toned with iron. The residual emulsion on the front is subsequently
printed, processed, and red-toned (1929).
Herault Trichrome Process. An additive three-colour kiné process. The three-colour
print, consisting of successive red, green, and blue dye-tinted frames, is projected
24 frames per second in a non-intermittent projector. (About 1929.)
Horst Process. An additive three-colour kiné process, in which the three images are
exposed and later printed within one standard frame. (About 1929.)
Irix. A three-colour subtractive imbibition printing process (1935). Printing is
from wash-off reliefs using the free bases of acid dyes which are precipitated on the
mordanted support.
Joly Color Screen. A regular mosaic screen-plate, consisting of ruled lines (1894-5).
Jos-pé. A three-colour subtractive printing process. Separation negatives were
printed on positive film. The latter, exposed through the base, was then developed in a tanning developer and treated with hot water to produce three gelatine relief images
used for imbibition printing with basic dyes (1926).
Keller-Dorian-Berthon Process. See Keller-Dorian Process.
Keller-Dorian Process. A three-colour additive kiné process. A banded tricolour
filter is associated with the camera lens. The film support which faces the lens is
embossed with small lens elements. Each lenticular element images the filter bands
upon the emulsion surface. A filter of similar form is associated with the projection
lens. (Pat. 1908-9, introduced 1925.)
Kinemacolour Process. A two-colour additive process involving the use of a rotary
shutter of colour-filters before the lenses of both camera and projector (1906).
Kodachrome. 1. A two-colour subtractive process. Prints were made on double-coated
film, the, positive bleached in a tanning bleach, and dyed with dyes which
penetrate soft gelatine preferentially (1915).
2. A three-colour subtractive kiné system in which each layer of the reversal
positive obtained by processing a triple-layered emulsion (integral tripack) is colour-developed
to one of the subtractive primaries (1935). Still-photography transparencies
(1936).
Kodacolor Process. A 16 mm. adaptation of the Keller-Dorian process (1928).
Lignose Process. An irregular mosaic three-colour process applied to roll film and
film pack (1927).
Linked Process. See Vivex-linked.
Lippmann Process. A process of direct colour photography based upon the interference
of light. An exceedingly fine-grained panchromatic emulsion is exposed in
intimate contact with a metallic (mercury) mirror. A stationary-wave pattern is produced
throughout the depth of the emulsion layer, the silver being reduced in the anti-nodal
planes, thus forming a system of reflecting laminae. The plates are viewed by
reflected light (1891).
Magnachrome Process. A two-colour additive kiné process. Half the normal picture
height is used for each of the pairs of pictures.
Magnacolor Process. A two-colour subtractive kiné process. Bipack negative and
double-coated positive films are used (1930).
Morgana Process. A two-colour additive kiné process (for 16 mm. reversal pictures).
In the projector, the film is moved two frames forward, one backward, and so on.
Effective camera and projection speed is 24 frames per second, although the special
projector movement produces 72 alternations per second (1932).
Multicolor Process. A two-colour subtractive 35 mm. kiné process. The negative is
made with a bipack. The coloured print is made on double-coated film (1929).
Opticolor. A German form of the lenticular three-colour additive kiné process.
Paget Colour Screen Plate. A regular mosaic colour screen plate (1912), available
commercially since 1929 as the Finlay plate.
Pathechrome Process. A kinematographic process in which colour is applied to a
black-and-white print through a celluloid film stencil (1928).
Photocolor Process. A two-colour subtractive kiné process using a twin lens camera
and dye-toned prints on double-coated film. (About 1930.)
Pilney Process. A two-colour subtractive kiné process (1930).
Pinachrome Process. A printing process based upon the use of leuco-bases which
oxidize upon exposure to light, yielding colour images which are assembled by superposition.
Pinatype Process. A subtractive three-colour process for still pictures, based upon
the differential staining action of certain dyes for hard and soft gelatine (1906).
Raycol Process. A two-colour additive kiné process. The image pairs are exposed
(one-quarter standard size) on each frame. The image pairs from contact positives are
superposed by a suitable optical system (1930).
Raydex. An early form of three-colour Carbro (p. 92).
Realita. See Francita.
Sennettcolor Process. A subtractive kiné process using a bipack negative and a
double-coated film for the print (1930).
Sirius Process. A two-colour subtractive kiné process in which alternate frames of
the negative are exposed with the aid of a beam-splitter, and the positive print is made
upon double-coated film (1929).
Spectracolor. Two-colour subtractive kiné process. Bipack negative film is printed
on double-coated positive stock which is subsequently toned.
Spicer-Dufay Process. See Dufaycolor Process.
Splendicolor Process. A three-colour subtractive kiné process in which the three
colour-separation records are printed as follows: blue record upon one side by iron toning,
and the yellow and red as successive colour layers upon the opposite side by
dyed bichromate methods (1928).
Technicolor Process. A trade-name applied to various types of subtractive kiné
colour processes. (About 1915.) . At one time marketed as a two-colour relief process;
more recently as a three-colour imbibition process with grey key image.
Ufacolor. A two-colour subtractive kiné process employing bipack negative and a
chemically toned double-coated positive film. As worked in England. See Chemicolor.
Utocolor Process. A three-colour subtractive printing process using the bleach-out
method for making a colour print by printing from a colour transparency. It depends
upon the bleaching action of certain wave-lengths on certain dyes (1895).
Veritone. A trade name for hand coloured bromide prints.
Vitacolor Process. An additive two-colour kiné process similar to Kinemacolour
(1930).
Vivex. A three-colour subtractive printing process in which the part images are
gelatine reliefs (p. 128) (1932).
Vivex-linked. A system whereby the steps in the production of photo-mechanical
printing plates are interlocked with the stages in reprinting an approved Vivex print.
Warner-Powrie Process. A three-colour regular line-screen process (1905).
Wash-off Relief Process. See Appendix III.
Zoechrome Process. A three-colour subtractive kiné process with a black-and-white
key. In the camera every alternate frame was normally exposed; on each remaining
frame, three images were exposed through primary filters. The standard size image
was printed first, and each of the colour-images in succession was enlarged and superposed
upon the first. Between successive prints, the film was varnished and re-coated
with emulsion. Each image layer was dye-toned before the next layer was added (1929).
Zoetrope Process. Probably the first colour photography process using the rapid
substitution of primary coloured images before the eyes (1869).