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Many additive color screen products were available between the 1890s and the 1950s, but none, with the possible exception of Dufaycolor, introduced as film for still photography in 1935, was as popular or successful as the Lumière Autochrome. The most recent use of the additive screen process for non-digital photography was in Polachrome, an ...
The real push for color films and the nearly immediate changeover from black-and-white production to nearly all color film were pushed forward by the prevalence of television in the early 1950s. In 1947, only 12 percent of American films were made in color. By 1954, that number rose to over 50 percent. [3]
This is a list of color film processes known to have been created for photographing and exhibiting motion pictures in color since the first attempts were made in the late 1890s. It is limited to "natural color" processes, meaning processes in which the color is photographically recorded and reproduced rather than artificially added by hand ...
It becomes the first commercially successful color photography product. 1908 – Kinemacolor, a two-color process known as the first commercial "natural color" system for movies, is introduced. 1909 – Kodak announces a 35 mm "safety" motion picture film on an acetate base as an alternative to the highly flammable nitrate base. [16]
The first practical and commercially successful color "film" was the Lumière Autochrome, a glass plate product introduced in 1907. It was expensive and not sensitive enough for hand-held "snapshot" use. Film-based versions were introduced in the early 1930s and the sensitivity was later improved.
These methods were not abandoned when film came to dominate photography. Instant film develops an image automatically, and soon after it is ejected from the camera without any processing by the photographer or by a photographic lab. Photographic paper, however, must be processed after exposure in a dark room or photographic lab.
The proliferation of television in the early 1950s contributed to a heavy mid-century push for color within the film industry. In 1947, only 12 percent of American films were made in color. By 1954, that number had risen to over 50 percent. [78] The color boom was aided by the breakup of Technicolor's near-monopoly on the medium.
All were expensive, and until the 1930s none was "fast" enough for hand-held snapshot-taking, so they mostly served a niche market of affluent advanced amateurs. A new era in color photography began with the introduction of Kodachrome film, available for 16 mm home movies in 1935 and 35 mm slides in 1936. It captured the red, green, and blue ...