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  • When color photography comes out people think of it as being very artificial at first.

  • Serious, sincere, authentic images were in black and white.

  • After WWII film for making color prints became available.

  • People’s associations with photography began to transform into color.

  • All silver based photographic processes start off as blue sensitive.

  • Blue and white photograph as the same value.

  • When you look at 19th century landscape photographs, and you wonder

  • why didn’t have any clouds in those days?

  • It’s because the white of the sky and the blue of the sky photograph as the same value.

  • In order to have color film, you must have black and white film that will record all colors.

  • The sensitizing of emulsions was actually done by adding dyes to the liquid emulsion.

  • It is called dye sensitizing.

  • Frederic Ives was instrumental in understanding that black and white film had to be

  • dye sensitized in order to get a record from which you could make color images.

  • It’s really complicated.

  • One of the earliest ways to make a color photograph was to

  • make three negatives of the same scene.

  • From the negatives, make a lantern slide.

  • Now a lantern slide is a positive transparency, a slide.

  • The positive slides were then put into three different projectors.

  • The filter that was used to take that original negative was placed in front of the projector.

  • When you projected these three different colored images upon each other

  • it produced a full color image.

  • Another way of doing an additive color plate is by having a transparency that is made up of either

  • dots or lines, using the red, the violet and the green color.

  • The dots that do the color mixing, they are so fine that you don’t see them as dots.

  • They are so close to each other they do their color mixing virtually, by your eye.

  • In England, James Clerk Maxwell experiments with the perception of color in the 1850’s.

  • He came up with an interesting way to demonstrate additive color mixing.

  • This is Maxwell’s color wheel.

  • It’s an additive color mixing machine.

  • If you look at your iPhone with a loupe, or your television screen, or your computer screen

  • with a loupe, if you get in really close, you will see the same red, violet and green dots or lines.

  • The autochrome was invented by Auguste and Louis Lumière.

  • The first color process that could be manufactured and made available to the public.

  • The Lumière brothers are best known for their invention of the motion picture camera.

  • The autochrome is, like the daguerreotype, a process that produces a single, positive image.

  • A one of a kind image.

  • However, it is a transparency.

  • You have to view it through transmitted light.

  • The autochrome, the Joly plate, these early additive screen plates enabled people to take a

  • picture in their camera with a single plate.

  • That allowed the finished product to be something you hold in your hand

  • hold up to a window, and see a full color image.

  • The other way of making a color photograph is by the subtractive method.

  • Subtractive color processes are done by using magenta, yellow and cyan images,

  • which are layered on top of each other.

  • Chromogenic color photography was invented in the 1930’s.

  • The process that really ushered in this entire movement of color was the Kodachrome process.

  • It really begins with the work of Mannes and Godowski at the Kodak research labs.

  • Chromogenic color prints are made with a gelatin emulsion.

  • It’s based on silver.

  • And there are many layers.

  • When the film or the paper is being developed, each layer releases the dye

  • that it needs on the cyan, yellow or magenta layer.

  • During the processing the silver is actually removed, leaving only the color behind.

  • You end up with a full color picture that is made with light going into the paper

  • or onto the film, simultaneously.

  • It is rocket science.

  • The chromogenic color process becomes the predominant process

  • in the twentieth century, and it is still being used today.

  • But those wheels are starting to slow down

  • Once chromogenic color is gone, we will never, ever, see it happen again.

  • It requires incredible infrastructure.

  • Once it’s gone, it is gone.

When color photography comes out people think of it as being very artificial at first.

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B1 中級

彩色攝影--攝影過程系列--第11章,共12章。 (Color Photography - Photographic Processes Series - Chapter 11 of 12)

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    Chihyu Lin 發佈於 2021 年 01 月 14 日
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