autochromes
Jules Flynn
Is it possible to make your own and, if so, how? Any info or advice please.
Jules
Jean-David Beyer
are relatively low-tech compared to modern color films. Have you ever
seen Autochrome plates? They are quite dim compared to, say, Kodachrome
transparancies.
You might wish to find out how they work first. If you search the Web,
you should be able to find description on how they work.
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Michael Scarpitti
> Is there anywhere out there where one can still get Autochromes?
Not for 80 years!
> Is it possible to make your own and, if so, how? Any info or advice please.
Wow! Now that's a challenge! It was quite an achievement even then!
>
> Jules
ele...@comcast.net
: Jules Flynn wrote:
: > Is there anywhere out there where one can still get Autochromes? Is
: > it possible to make your own and, if so, how? Any info or advice
: > please.
: >
: You would have to make your own plates. Then reversal process them. They
: are relatively low-tech compared to modern color films. Have you ever
: seen Autochrome plates? They are quite dim compared to, say, Kodachrome
: transparancies.
: You might wish to find out how they work first. If you search the Web,
: you should be able to find description on how they work.
Polacolor instant color slide film is a black and white slide exposed
through, and viewed through, an array of colore separation filters.
Isn't that sort of a modern version of the Autochrome process?
Ray
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Richard Knoppow
"Jules Flynn" <jedf...@hotmail.com> wrote in message
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Autochrome has not been made for many decades. It is a
screen plate color process for making transparencies.
The plate is made with a coating of colored starch
particles which act as filters for both photography and
projection. The starch particles were dispersed in gelatin
which was coated on the glass plate. The emulsion was coated
on top of it. Exposure is through the back of the plate. The
emulsion is reversal processed to produce a positive image.
Autochrome was one of the first commercially produced
color materials and dates from the early 20th century. It
was popular for a time but was eventually replaced by better
screen type color materials (Dufay Color, Finley Color, the
original Kodacolor, etc.), and, eventually but three-color
multi-layer materials like Kodachrome and early chromogenic
materials like Agfacolor and Kodacolor. I believe Dufay
Color persisted until after WW-2.
It should not be too difficult to make an experimental
screen material if you want to experiment with the system
but the results of the commercially made ones was not
comparable in quality to later color materials. Perhaps the
best source of information on screen plates is _History of
Color Photography_ J.S. Friedman, origninally published
1944, The American Photographic Book Publishing Co. and
reprinted 1968 by Focal Press ISBN 0 240 4488 X The reprint
edition has some additional material and an introduction by
Lloyd Varden, formerly of Agfa-Ansco.
There is also a quite complete description of Autochrome
in the famous _History of Three-Color Photography_ E.J.Wall,
original publication 1925, reprinted 1970 Focal Press ISBN 0
240 50702 9
Both books are hard to find used but should be available
through larger public library systems.
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Richard Knoppow
Los Angeles, CA, USA
dick...@ix.netcom.com
Jorge Omar
taken using 3 photos for each scene and filters.
Would this be Autochrome?
Jorge
"Richard Knoppow" <dick...@ix.netcom.com> wrote in message news:<tH9%a.4085$7z1....@newsread3.news.pas.earthlink.net>...
Richard Knoppow
"Jorge Omar" <jorg...@ieg.com.br> wrote in message
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> I saw in a magazine some color photos of the last Russian
Kzar family
> taken using 3 photos for each scene and filters.
> Would this be Autochrome?
>
> Jorge
>
with a special repeating back. No one is quite sure how the
back worked. The original images were printed positive and
projected by a triple projector. There are some
reproductions on the web, I think at the Library of Congress
web site. They are absolutely
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Richard Knoppow
Los Angeles, CA, USA
dick...@ix.netcom.comremarkable. The originals were
adjusted by computer. I've lost the URL to these but I think
you could find them using Google or be going to the Library
of Congress site.
Francis A. Miniter
think it was Craig Camera of Torrington, Connecticut -
http://www.craigcamera.com/ib_yz.htm
that had the item on display, if anyone wants to inquire. Even viewing
it live did not make if fully clear how it operated.
Francis A. Miniter
Richard Knoppow
"Francis A. Miniter" <min...@attglobal.net> wrote in
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The URL for the above is:
http://www.loc.gov/exhibits/empire/gorskii.html
Of course I don't know what John had at the show. There
were commercially made repeating backs to fit popular view
cameras. The idea was that there was a sliding carriage with
three film holders and the three color filters on it. The
carriage could be slid quickly to minimise the time between
exposures. At least some of these holders were gravity
operated so that they dropped to the next plate when a lever
was pushed. Of couse, the shutter had to be cocked or at
least released for each exposure. Evidently, this is how the
Russian back worked. From the quality of the pictures the
whole camera must have worked very quickly.
Its easy to make color separation negatives from still
life but portraits are something else. While someone can sit
still for long enough for a repeating back to work its still
chancey. One-shot color separation cameras were designed to
make color exposures very quickly. These were cameras
employing one or two mirrors to make all three exposures
simultaneously. One of the fist ws made by Jos-Pe in Germany
but the ones commonly used in the US for sdvertising
photography were made by Thomas S. Curtis, The Devin
Colorgraph Company, and National Photocolor. The latter two
merged in the late 1930's. One shot cameras were widely used
for color advertising and movie still work from about the
mid 1930's to the late 1940's when they were pretty much
supplaned by Kodachrome and other multi-layer color films. I
still see them around occasionally. For most work the
negatives were printed by the three-color carbon-bromide
process, one of the fussiest color processes around. This
was generally replaced by the much easier Kodak Dye Transfer
process c.the late 1940's. Dye Transfer persisted until
computer image setting made it unnecesary.
Jean-David Beyer
Might be. I no longer remember. Used it once in the late 1970s, IIRC. It
was OK, but I would prefer to wait for the results of E-6 or K-14 and
get better results. They scratch much easier than anything else I have used.
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Jean-David Beyer
> Its easy to make color separation negatives from still life but
> portraits are something else. While someone can sit still for long
> enough for a repeating back to work its still chancey. One-shot color
> separation cameras were designed to make color exposures very
> quickly. These were cameras employing one or two mirrors to make all
> three exposures simultaneously. One of the fi[r]st w[a]s made by
> Jos-Pe in Germany
My great grandfather, F.E.Ives made many inventions in this area. The
Jos-Pe camera was a pet peeve of his, because Ives' U.S.Patent 632,573
(Issued September 5, 1899) preceeded the Jos-Pe and covered essentially
the same thing.
Patent examiners in those days did not seem to understand technical
issues very well and would approve patent applications for stuff
previously patented by others. This patent covers "reflectors placed on
opposite sides of the light-admitting aperture, ..." and covered both
plane flat mirrors and also prisms. Cameras were manufactured using both
mechanisms. But long after he got his patent (the cameras he actually
manufactured used prisms), someone patented the same thing with plane
mirrors.
Some other related U.S. Patents of Ives, related to this are:
546,889, 531,040, 622,480, 655,712, 666,424, 668,989, 660,442
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Mark Wolenski
I'm not that old, am I?) the question was raised from the audience. The
Polaroid people kind of bowed their heads and acknowledged the fact. I guess
they were trying to get away with it as an "original idea". It was pretty
evident when the slides were projected onto a 20 ft wide screen.
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