A Brief History of Photography: Part 8 – Kodachrome & Color Film

The additive screen color photography techniques, as theorized by Maxwell, and as realized in the practical sense through the Dufaycolor and Autochrome processes discussed in the previous installment of this series, failed to gain broad and lasting acceptance due to some fundamental shortcomings. Additive techniques required color filters to be somehow maintained in register both for the initial image exposure and then to view the final product. These filters introduced image-degrading artifacts in the forms of lines, crosshatches, or grain patterns. The filters also screened out a significant percentage of the light hitting the film emulsion, effectively lowering their sensitivity and use in lower light situations.

Beginning in 1869 with the published papers accompanying his patents on the subject, Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive color theory in color photography. The subtractive process removes certain colors from white light while allowing other colors. The three subtractive primary colors (cyan, magenta, yellow) are the complementary colors of the three additive primary colors (red, green, blue), and in combined use as filters can generate almost any color. Continue reading “A Brief History of Photography: Part 8 – Kodachrome & Color Film”

A Brief History of Photography: Part 7 – The Dawn of Color

While the advancement of photography steadily progressed from daguerreotypes, through calotypes, wet plate collodion, dry gelatin plate, on to celluloid film, one aspect of this progress was a constant – the images obtained were monochromatic or gray scale, exhibiting a tonal response from white through gray to black. All of these methods failed to address a key limitation posed by the silver-based emulsions they all shared. They did not capture the natural world as the human eye perceived it – in color.

Continue reading “A Brief History of Photography: Part 7 – The Dawn of Color”