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unaided eye. They were then spread onto the adhesive, creating a layer with approximately 4,000,000 grains per square inch but only one grain thick. The exact means by which significant gaps and overlapping grains were avoided still remains unclear. It was found that the application of extreme pressure would produce a mosaic that more efficiently transmitted light to the emulsion, because the grains would be flattened slightly, making them more transparent, and pressed into more intimate contact with each other, reducing wasted space between them. As it was impractical to apply such pressure to the entire plate all at once, a steamroller approach was used which flattened only one very small area at a time.
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halide emulsion coated over it. When the finished image was viewed by transmitted light, each bit of the silver image acted as a micro-filter, allowing more or less light to pass through the corresponding colored starch grain, recreating the original proportions of the three colors. At normal viewing distances, the light coming through the individual grains blended together in the eye, reconstructing the color of the light photographed through the filter grains.
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of
Autochromes in old books and magazines have often been noticeably hand-adjusted by the photoengravers in an effort to compensate for some of the difficulties of reproduction, and as a result, they sometimes look more like hand-colored photographs than "natural color" ones. In short, it is very difficult to form an accurate impression of the appearance of any Autochrome image without seeing the original "in person" and correctly illuminated.
409:. This includes a collection of over 100 plates purchased by the museum in 2017 thanks to the generosity of local individuals and organisations. The images cover a range of subjects from still lifes, posed studies, local people and landscapes, and his travels abroad, and were taken between 1910 and the early 1930s. The Pegler collection of autochromes is thought to be the largest collection of autochromes by one photographer in Britain today.
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diascope, which was a folding case with the
Autochrome image and a ground glass diffuser fitted into an opening on one side, and a mirror framed into the other side. The user would place the diascope near a window or other light source so that light passed through the diffuser and the Autochrome, and the resulting back-lit, dark-surrounded image would be viewed in the mirror. Slide projectors, then known as
482:, which works in essentially the same way as the colored starch grains in an Autochrome plate—by breaking up the image into microscopically small color-filtered elements. In physical arrangement, however, the Bayer filter mosaic much more closely resembles the regular geometric pattern used in other color screen plates of the Autochrome era, such as the Paget and Finlay plates.
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children and the diascope mirror viewing device, which closes into itself in a leather-bound case similar in size and appearance to a book, are well preserved and still viewable in 2015. Ethel
Standiford-Mehling later moved her Louisville enterprise Standiford Studios to Cleveland, Ohio, and it is not known if any other examples of her autochrome diascopes still exist.
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Du Hauron's (1869) technique, which had already been improved upon by other inventors such as John Joly (1894) and James
William McDonough (1896), making it possible to print photographic images in colour. One of the most broadly used forms of colour photography in the early twentieth century, autochrome was recognized for its aesthetic appeal.
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to protect the moisture-vulnerable grains and dyes from the water-based gelatin emulsion, which was coated onto the plate after the shellac had dried. The resulting finished plate was cut up into smaller plates of the desired size, which were packaged in boxes of four. Each plate was accompanied by a
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Although difficult to manufacture and fairly expensive, Autochromes were relatively easy to use and were immensely popular among enthusiastic amateur photographers, at least among those who could bear the cost and were willing to sacrifice the convenience of black and white hand-held "snapshooting."
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However, a projector-like optical system (i.e., using condenser lenses for illumination, with a viewing lens in place of the projection lens), employing daylight (not direct sunlight) for the light source, can produce comparably excellent visual results—although for only one viewer at a time—without
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The luminance filter (silver halide layer) and the mosaic chrominance filter (the colored potato starch grain layer) remained precisely aligned and were distributed together, so that light was filtered in situ. Each starch grain remained in alignment with the corresponding microscopic area of silver
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to which the emulsion was overly sensitive. Because of the light loss due to all the filtering, Autochrome plates required much longer exposures than black-and-white plates and films, which meant that a tripod or other stand had to be used and that it was not practical to photograph moving subjects.
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Making modern film or digital copies of
Autochromes introduces other problems, because a color system based on red, green, and blue is used to copy an image that exists within the red-orange, green, and blue-violet system, providing further opportunities for color degradation. Vintage reproductions
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Unlike ordinary black-and-white plates, the
Autochrome was loaded into the camera with the bare glass side facing the lens so that the light passed through the mosaic filter layer before reaching the emulsion. The use of an additional special orange-yellow filter in the camera was required to block
72:
utilized the separation technique to create colour images on paper with screen plates, producing natural colours through superimposition, which would become the foundation of all commercial colour photography. Descendants of photographer
Antoine Lumière, inventors Louis and Auguste Lumière utilized
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scattering (the effect seen through a glass of water into which a couple of drops of milk have been mixed) is exacerbated, and the use of artificial light—especially fluorescent light—upsets the color rendition of a system which the Lumière
Brothers carefully balanced for use with natural daylight.
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To create the
Autochrome color filter mosaic, a thin glass plate was first coated with a transparent adhesive layer. The dyed starch grains were graded to between 5 and 10 micrometers in size and the three colors were thoroughly intermingled in proportions which made the mixture appear gray to the
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If an
Autochrome was well made and has been well preserved, color values can be very good. The dyed starch grains are somewhat coarse, giving a hazy, pointillist effect, with faint stray colors often visible, especially in open light areas such as skies. The smaller the image, the more noticeable
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The lamination of the grains, varnish, and emulsion makes autochrome plates susceptible to deterioration with each layer being vulnerable to changes in environment including moisture, oxidation, cracking, or flaking as well as physical damage from handling; Solutions include conservative lighting
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made extensive use of autochromes and other mosaic color screen plates for over twenty years. 15,000 original Autochrome plates are still preserved in the Society's archives. The collection contains unique photographs, including numerous autochromes from Paris by Auguste Léon from 1925 and by W.
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respectively). Nevertheless, the Lumière products had a devoted following, above all in France, and their use persisted long after modern color films had become available. The final version, Alticolor, was introduced in 1952 and discontinued in 1955, marking the end of the nearly fifty-year-long
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Autochromes were especially popular, the combined color and depth proving to be a bewitching experience to early 20th-century eyes. Usually of a small size, they were most commonly viewed in a small hand-held box-type stereoscope. Larger, non-stereoscopic plates were most commonly displayed in a
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describes the process more generally: the grains can be orange, violet, and green, or red, yellow, and blue (or "any number of colors"), optionally with black powder filling the gaps. Experimentations within the early twentieth century provided solutions to many issues, including the addition of
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was an experimental photographer and artist and owner of the Standiford Studio in Louisville, Kentucky. She was commissioned by Louisville artist and art patron Eleanor Belknap Humphrey to create an autochrome diascope of her two oldest children. Both the autochrome photograph of the Humphrey
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The use of a "light box" or similar highly diffused artificial light source for viewing Autochromes, can damage the plates as the heavy scattering of light within and among the several layers of coatings on the plate degrades the color saturation. The slight pinkish tinge caused by colloidal
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were typical) and could visibly "fry" the plate if continued for more than two or three minutes, causing serious damage to the color. Many surviving Autochromes suffer from such "tanning" and conventional projection is not a recommended means of displaying these irreplaceable images today.
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There has been a revival of interest in the process by some, including a few groups in France working with original Lumière machinery and notes. One such recreation is a series of images from 2008 by the French photographer Frédéric Mocellin. The British multimedia artist
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Autochromes failed to sustain the initial interest of more serious "artistic" practitioners, largely due to their inflexibility. Not only did the need for diascopes and projectors make them extremely difficult to publicly exhibit, they allowed little in the way of the
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these effects are. Autochrome has been touted as "the colour of dreams." The resulting "dream-like" impressionist quality may have been one reason behind the enduring popularity of the medium even after more starkly realistic color processes had become available.
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This term was first coined by John Wood in his book The Art of Autochrome: The Birth of Colour Photography (Iowa City: University of Iowa Press, 1993) and has subsequently become familiar terminology used in reference to autochrome images. Josef Maria Eder,
135:— that is, the plate was first developed into a negative image but not "fixed", then the silver forming the negative image was chemically removed, then the remaining silver halide was exposed to light and developed, producing a positive image.
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plates into the 1930s, when film-based versions were introduced, first Lumière Filmcolor sheet film in 1931, then Lumicolor roll film in 1933. Although these soon completely replaced glass plate Autochromes, their triumph was short-lived, as
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The Royal Horticultural Society, UK has among the earliest colour photographs of plants and gardens taken by amateur photographer William Van Sommer (1859–1941), including of RHS Garden Wisley taken around 1913.
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For many photographers, the autochrome, unlike printing processes such as gum and bromoil, was a totally unresponsive and therefore ultimately unsatisfactory medium, inherently unsuited to the 'pictorialist'
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screen plates, a yellow filter designed to balance the blue, and adjustments to the size of the silver halide crystals to allow for a broader spectrum of colour and control over the frequency of light.
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thin piece of cardboard colored black on the side facing the emulsion. This was to be retained when loading and exposing the plate and served both to protect the delicate emulsion and to inhibit
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has helped popularise the medium via his autochrome enhancement work in magazines, newspapers, and online platforms, with over 200,000 followers on his autochrome enhancement Twitter feed
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Because the presence of the mosaic color screen made the finished Autochrome image very dark overall, bright light and special viewing arrangements were needed for satisfactory results.
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in Rochester, N.Y. has an extensive collection of early colour photography, including Louise Ducos Du Hauron's earliest autochrome images and materials used by the Lumière brothers.
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258:, were a less common but especially effective display technique, more suitable for public exhibitions. Projection required an extremely bright and therefore hot light source (a
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Between 1909 and 1931, a collection of 72,000 autochrome photographs, documenting life at the time in 50 countries around the world, was created by French banker
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dyed red-orange, green, and blue-violet (a variant of the standard red, green, and blue additive colors); the grains of starch act as color filters.
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tried to recreate the look of Autochrome, although apparently basing that "look" on published reproductions rather than on actual Autochrome plates.
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conditions, chemical-free materials, medium-range humidity control of between 63 and 68 degrees Fahrenheit, and a well-designed preservation plan.
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104:"mosaic screen plate" process. The medium consists of a glass plate coated on one side with a random mosaic of microscopic grains of
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1219:"BabelColour: Meet the man breathing new life into early colour photographs from the Gulf region and beyond"
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58:"mosaic screen plate" process. It was the principal color photography process in use before the advent of
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364:. The collection, one of the biggest of its kind in the world, is housed in The Albert Kahn Museum (
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One of the first books published with color photography used this technique. The 12 volumes of "
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372:. A new compilation of images from the Albert Kahn collection was published in 2008. The
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942:"Maximum Time Limit for Leaving Color Plates in the Stereopticon" (article subsection).
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Guide to the Special Collections of Prints & Photographs in the Library of Congress
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was used to block up the slight spaces that remained. The plate was then coated with
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ultraviolet light and restrain the effects of violet and blue light, parts of the
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425:" included 1,260 color photographs and a chapter on how this process worked.
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388:'s work, 384 of his autochrome plates were among the holdings as of 1955.
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807:. Vol. 21 (11th ed.). Cambridge University Press. p. 518.
423:
Luther Burbank: His Methods and Discoveries, Their Practical Application
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Autochomes by William Van Sommer on the RHS Digital Collections website
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215: in this section. Unsourced material may be challenged and removed.
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The Dawn of the Color Photograph: Albert Kahn's Archives of the Planet
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The colored starch grains in an Autochrome plate, greatly enlarged.
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30:
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405:, Nottinghamshire holds a collection of over 700 autochromes by
2007:
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Los Angeles: The Getty Conservation Institute (2013), p 61, 78.
660:
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931:
The Lumiere Autochrome: History, Technology, and Preservation.
853:
The Lumière Autochrome: History, Technology, and Preservation.
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2090:
1550:
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622:
369:
336:
331:
87:
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Los Angeles: The Getty Conservation Institute (2013), p. 85.
988:"History of the autochrome: The dawn of colour photography"
855:
Los Angeles: The Getty Conservation Institute (2013), p 53.
343:
soon began to produce multi-layer subtractive color films (
340:
83:
in Paris photographed in 1914 using the Autochrome process.
1098:, the Library of Congress, Washington, D.C., 1955, page 63
842:
Los Angeles: The Getty Conservation Institute (2013), p14.
384:'s huge collection of American Pictorialist photographer
887:"Collections | National Museum of American History"
54:
in France and first marketed in 1907. Autochrome was an
112:
fills the spaces between grains, and a black-and-white
741:
Autochrome Price List pamphlet, 1925 - reverse (scan)
1186:. Case Western Reserve University. 19 February 2020
1129:
A Colourful Past: The Autochromes of Stephen Pegler
729:
Autochrome Price List pamphlet, 1925 - front (scan)
355:
1306:(some errors in Autochrome historical information)
1067:
906:
582:Mirror view in a diascope of a 1913 Autochrome of
288:photographed in 1928 using the Autochrome process.
38:photographed in 1917 using the Autochrome process.
131:The plate was reversal-processed into a positive
3171:
325:
91:A box of Autochrome plates, expiration date 1923
1026:The Evolution of the Autochrome - Rise and Fall
439:was a pioneer and popularizer of Autochrome in
1279:(includes original instruction booklet (1908))
1145:
977:(New York: Dover Publications Inc, 1978), 639.
909:"The New Lumiere Process of Color Photography"
609:photographed by Jean Desboutin, 13 March 1914.
3137:Procession at Seville and bullfighting scenes
2994:
2980:
1345:
929:Lavedrine, Bertrand and Jean-Paul Gandolfo.
851:Lavedrine, Bertrand and Jean-Paul Gandolfo.
779:Journal of the Society of Chemical Industry,
695:An Autochrome of the Royal Swedish Opera in
3032:The Photographical Congress Arrives in Lyon
2897:Conservation and restoration of photographs
1320:Autochromes from the Mark Jacobs Collection
150:
2987:
2973:
2634:Comparison of digital and film photography
1352:
1338:
300:
3081:L'Arrivée d'un train en gare de La Ciotat
2854:Photographs considered the most important
1271:Autochrome: Beauty in Colored Pointillism
889:. Americanhistory.si.edu. 7 February 2012
377:Robert Moore from 1936 just before WWII.
231:Learn how and when to remove this message
1292:The Albert-Kahn Museum Official Web site
1266:1907–1935: Universal Polychrome Overview
791:
330:Autochromes continued to be produced as
277:
141:
86:
75:
29:
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1038:
478:in digital cameras most commonly use a
14:
3172:
992:National Science and Media Museum blog
776:French patent 339,223, Dec. 17, 1903.
122:is coated on top of the filter layer.
2968:
1333:
961:Twentieth-Century Colour Photographs.
840:Twentieth-Century Colour Photographs.
459:
180:
944:American Annual of Photography, 1931
907:M. L. Heidingsfeld (June 27, 1908).
446:
213:adding citations to reliable sources
184:
95:
3011:La Sortie de l'usine Lumière à Lyon
2849:Museums devoted to one photographer
1287:Photographs of World War I in color
24:
2396:Timeline of photography technology
1302:(including World War I) et al. by
1039:McGrath, Jacqueline (1997-03-30).
271:the hazards of actual projection.
25:
3206:
1259:
1183:Encyclopedia of Cleveland History
996:National Science and Media Museum
659:An Autochrome of the pavilion of
416:
2947:
2937:
2936:
1315:Presentation of Czech Autochrome
1153:"Exhibition: William Van Sommer"
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356:Important autochrome collections
189:
50:process patented in 1903 by the
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1221:. The National. 25 October 2020
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1121:
1109:"Support us – Bassetlaw Museum"
1101:
1088:
1059:
1032:
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980:
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534:and Maria Wysocka, Poland, 1909
352:public life of the Autochrome.
200:needs additional citations for
68:Prior to the Lumière brothers,
27:Early color photography process
1094:Vanderbilt, P. (compiled by),
1074:. Princeton University Press.
923:
900:
879:
858:
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832:
811:
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13:
1:
2446:Painted photography backdrops
2378:Golden triangle (composition)
1653:35 mm equivalent focal length
763:
712:
641:
565:
547:
326:Advent of film-based versions
3025:La Pêche aux poissons rouges
919:(26). Lancet-Clinic Pub. Co.
7:
3123:Carmaux, défournage du coke
3102:Bataille de boules de neige
3067:Place des Cordeliers à Lyon
2156:Intentional camera movement
1157:Royal Horticultural Society
868:. Home.bway.net. 1906-06-05
821:. Home.bway.net. 1906-06-05
746:
374:National Geographic Society
10:
3211:
2844:Most expensive photographs
2201:Multi-exposure HDR capture
1178:"Standiford, Ethel Conway"
1131:. Bassetlaw Museum. 2010.
486:
3180:Auguste and Louis Lumière
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2996:Auguste and Louis Lumière
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1304:Jean-Baptiste Tournassoud
866:"Color Theory-Autochrome"
819:"Color Theory-Autochrome"
640:and his family, Vietnam,
3095:La Charcuterie mécanique
3074:La Mer (Baignade en mer)
2778:Digital image processing
1310:Autochromes from Belgium
1022:"autochromes.culture.fr"
430:Ethel Standiford-Mehling
151:Manufacturing techniques
3060:Le Saut à la couverture
2451:Photography and the law
1066:Okefuna, David (2008).
1041:"A Philosophy in Bloom"
804:Encyclopædia Britannica
503:Autochrome portrait of
437:Vladimír Jindřich Bufka
301:Artistic considerations
3190:Photographic processes
3088:Barque sortant du port
2798:Gelatin silver process
1822:Science of photography
1807:Photographic processes
1785:Perspective distortion
975:History of Photography
758:Sergey Prokudin-Gorsky
368:) on the outskirts of
289:
147:
92:
84:
39:
2256:Schlieren photography
1795:Photographic printing
1718:Exposure compensation
1282:National Media Museum
564:Katherine Stieglitz,
393:George Eastman Museum
281:
145:
90:
79:
70:Louis Ducos du Hauron
33:
2040:Straight photography
1678:Chromatic aberration
519:Gullick family, 1909
318:of the then-popular
209:improve this article
3116:Démolition d'un mur
2907:photographic plates
2592:Digital photography
1770:Hyperfocal distance
1683:Circle of confusion
798:"Photography"
683:, Autochrome, 1930.
428:In the early 1900s
382:Library of Congress
3159:Autochrome Lumière
2411:Autochrome Lumière
2406:Analog photography
2231:Pigeon photography
2020:Social documentary
1499:discontinued films
1046:The New York Times
959:Penichon, Sylvie.
838:Penichon, Sylvie.
586:, photographed by
460:In popular culture
290:
181:Viewing techniques
148:
93:
85:
65:in the mid-1930s.
44:Autochrome Lumière
40:
3195:French inventions
3185:Color photography
3167:
3166:
3046:L'Arroseur Arrosé
2962:
2961:
2763:Collodion process
2699:Chromogenic print
2686:Color photography
2196:Multiple exposure
2171:Lo-fi photography
1698:Color temperature
1241:"The illusionist"
1081:978-0-691-13907-4
913:The Lancet-Clinic
711:Auguste Lumière,
532:Anna Iwaszkiewicz
492:Autochrome images
447:Neo-Autochromists
366:Musée Albert-Kahn
241:
240:
233:
100:Autochrome is an
96:Structure and use
60:subtractive color
48:color photography
36:Nieuport aircraft
16:(Redirected from
3202:
3109:Partie de cartes
3053:Le Repas de bébé
2989:
2982:
2975:
2966:
2965:
2951:
2950:
2940:
2939:
2818:Print permanence
2768:Cross processing
2726:CMYK color model
2711:Color management
2664:Foveon X3 sensor
2659:Three-CCD camera
2303:Miniature faking
2261:Sabattier effect
1873:Astrophotography
1728:Zebra patterning
1354:
1347:
1340:
1331:
1330:
1296:
1253:
1252:
1247:. Archived from
1245:cinemareview.com
1237:
1231:
1230:
1228:
1226:
1215:
1209:
1208:
1205:"autochromes.fr"
1201:
1195:
1194:
1192:
1191:
1174:
1168:
1167:
1165:
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1125:
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883:
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862:
856:
849:
843:
836:
830:
829:
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826:
815:
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808:
800:
789:
783:
774:
738:
726:
717:
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708:
692:
676:
656:
646:
643:
634:
618:
599:
579:
570:
567:
561:
552:
549:
543:
528:
516:
500:
454:Stuart Humphryes
399:Bassetlaw Museum
236:
229:
225:
222:
216:
193:
185:
174:1906 U.S. patent
52:Lumière brothers
21:
3210:
3209:
3205:
3204:
3203:
3201:
3200:
3199:
3170:
3169:
3168:
3163:
3142:
2998:
2993:
2963:
2958:
2928:
2885:
2832:
2823:Push processing
2744:
2737:
2731:RGB color model
2680:
2586:
2470:
2382:
2348:Diagonal method
2334:
2074:
1978:Photojournalism
1841:
1673:Black-and-white
1641:
1620:Slide projector
1615:Movie projector
1494:available films
1363:
1358:
1294:
1262:
1257:
1256:
1239:
1238:
1234:
1224:
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824:
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790:
786:
775:
771:
766:
749:
742:
739:
730:
727:
718:
715:
709:
700:
699:, Sweden, 1934.
693:
684:
677:
668:
657:
648:
644:
638:Hoang Trong Phu
635:
626:
619:
610:
600:
591:
580:
571:
568:
562:
553:
550:
546:Louis Lumière,
544:
535:
529:
520:
517:
508:
501:
489:
468:The Illusionist
462:
449:
419:
358:
328:
303:
237:
226:
220:
217:
206:
194:
183:
153:
98:
28:
23:
22:
15:
12:
11:
5:
3208:
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3141:
3140:
3133:
3126:
3119:
3112:
3105:
3098:
3091:
3084:
3077:
3070:
3063:
3056:
3049:
3042:
3035:
3028:
3021:
3014:
3006:
3004:
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2999:
2992:
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2984:
2977:
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2876:
2871:
2866:
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2846:
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2805:
2800:
2795:
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2765:
2760:
2755:
2749:
2747:
2739:
2738:
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2734:
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2728:
2723:
2718:
2708:
2703:
2702:
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2690:
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2682:
2681:
2679:
2678:
2673:
2668:
2667:
2666:
2661:
2656:
2651:
2641:
2636:
2631:
2626:
2625:
2624:
2619:
2614:
2613:
2612:
2600:Digital camera
2596:
2594:
2588:
2587:
2585:
2584:
2579:
2574:
2569:
2564:
2559:
2554:
2549:
2544:
2539:
2534:
2529:
2524:
2519:
2514:
2509:
2504:
2499:
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2489:
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2476:
2472:
2471:
2469:
2468:
2463:
2458:
2453:
2448:
2443:
2438:
2433:
2428:
2426:Camera obscura
2423:
2418:
2413:
2408:
2403:
2398:
2392:
2390:
2384:
2383:
2381:
2380:
2375:
2370:
2368:Rule of thirds
2365:
2360:
2355:
2350:
2344:
2342:
2336:
2335:
2333:
2332:
2327:
2322:
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2295:
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2273:
2268:
2263:
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2238:
2233:
2228:
2223:
2218:
2213:
2208:
2203:
2198:
2193:
2188:
2183:
2178:
2173:
2168:
2163:
2158:
2153:
2148:
2143:
2138:
2136:Harris shutter
2133:
2131:Hand-colouring
2128:
2123:
2118:
2113:
2108:
2103:
2098:
2093:
2088:
2082:
2080:
2076:
2075:
2073:
2072:
2067:
2062:
2057:
2052:
2047:
2042:
2037:
2032:
2027:
2022:
2017:
2016:
2015:
2005:
2000:
1995:
1990:
1985:
1980:
1975:
1970:
1965:
1960:
1955:
1950:
1945:
1940:
1935:
1930:
1925:
1920:
1915:
1910:
1905:
1900:
1895:
1890:
1885:
1880:
1875:
1870:
1865:
1860:
1855:
1849:
1847:
1843:
1842:
1840:
1839:
1834:
1829:
1824:
1819:
1817:Red-eye effect
1814:
1809:
1804:
1803:
1802:
1792:
1787:
1782:
1777:
1772:
1767:
1762:
1757:
1752:
1751:
1750:
1745:
1735:
1730:
1725:
1723:Exposure value
1720:
1715:
1710:
1708:Depth of focus
1705:
1703:Depth of field
1700:
1695:
1690:
1685:
1680:
1675:
1670:
1665:
1660:
1655:
1649:
1647:
1643:
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1634:
1633:
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1622:
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1607:
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1600:
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1528:
1523:
1518:
1508:
1503:
1502:
1501:
1496:
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1486:
1481:
1476:
1466:
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1460:
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1454:
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1443:
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1437:
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1427:
1422:
1417:
1412:
1407:
1402:
1397:
1392:
1387:
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1371:
1369:
1365:
1364:
1357:
1356:
1349:
1342:
1334:
1328:
1327:
1322:
1317:
1312:
1307:
1297:
1289:
1284:
1277:Dawn of Colour
1273:
1268:
1261:
1260:External links
1258:
1255:
1254:
1251:on 2016-12-01.
1232:
1210:
1196:
1169:
1144:
1138:978-0956493200
1137:
1120:
1100:
1087:
1080:
1058:
1031:
1013:
979:
965:
952:
935:
922:
899:
878:
857:
844:
831:
810:
795:, ed. (1911).
793:Chisholm, Hugh
784:
768:
767:
765:
762:
761:
760:
755:
748:
745:
744:
743:
740:
733:
731:
728:
721:
719:
710:
703:
701:
694:
687:
685:
678:
671:
669:
658:
651:
649:
636:
629:
627:
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601:
594:
592:
581:
574:
572:
563:
556:
554:
545:
538:
536:
530:
523:
521:
518:
511:
509:
502:
495:
493:
488:
485:
484:
483:
472:
465:The 2006 film
461:
458:
448:
445:
418:
417:Commercial use
415:
407:Stephen Pegler
357:
354:
327:
324:
314:much loved by
302:
299:
262:or a 500-watt
252:magic lanterns
239:
238:
197:
195:
188:
182:
179:
152:
149:
102:additive color
97:
94:
56:additive color
26:
9:
6:
4:
3:
2:
3207:
3196:
3193:
3191:
3188:
3186:
3183:
3181:
3178:
3177:
3175:
3160:
3157:
3155:
3154:Cinematograph
3152:
3151:
3149:
3145:
3139:
3138:
3134:
3132:
3131:
3127:
3125:
3124:
3120:
3118:
3117:
3113:
3111:
3110:
3106:
3104:
3103:
3099:
3097:
3096:
3092:
3090:
3089:
3085:
3083:
3082:
3078:
3076:
3075:
3071:
3069:
3068:
3064:
3062:
3061:
3057:
3055:
3054:
3050:
3048:
3047:
3043:
3041:
3040:
3039:Les Forgerons
3036:
3034:
3033:
3029:
3027:
3026:
3022:
3020:
3019:
3015:
3013:
3012:
3008:
3007:
3005:
3001:
2997:
2990:
2985:
2983:
2978:
2976:
2971:
2970:
2967:
2955:
2946:
2944:
2935:
2934:
2931:
2925:
2922:
2920:
2917:
2915:
2912:
2908:
2905:
2903:
2900:
2899:
2898:
2895:
2894:
2892:
2888:
2880:
2877:
2875:
2872:
2870:
2867:
2865:
2862:
2861:
2860:
2859:Photographers
2857:
2855:
2852:
2850:
2847:
2845:
2842:
2841:
2839:
2835:
2829:
2826:
2824:
2821:
2819:
2816:
2814:
2811:
2809:
2806:
2804:
2801:
2799:
2796:
2794:
2791:
2789:
2786:
2784:
2781:
2779:
2776:
2774:
2771:
2769:
2766:
2764:
2761:
2759:
2756:
2754:
2753:Bleach bypass
2751:
2750:
2748:
2746:
2740:
2732:
2729:
2727:
2724:
2722:
2721:primary color
2719:
2717:
2714:
2713:
2712:
2709:
2707:
2706:Reversal film
2704:
2700:
2697:
2696:
2695:
2692:
2691:
2689:
2687:
2683:
2677:
2674:
2672:
2671:Image sharing
2669:
2665:
2662:
2660:
2657:
2655:
2652:
2650:
2647:
2646:
2645:
2642:
2640:
2637:
2635:
2632:
2630:
2627:
2623:
2620:
2618:
2615:
2611:
2608:
2607:
2606:
2603:
2602:
2601:
2598:
2597:
2595:
2593:
2589:
2583:
2580:
2578:
2575:
2573:
2572:United States
2570:
2568:
2565:
2563:
2560:
2558:
2555:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2510:
2508:
2505:
2503:
2500:
2498:
2495:
2493:
2490:
2488:
2485:
2483:
2480:
2479:
2477:
2473:
2467:
2464:
2462:
2459:
2457:
2454:
2452:
2449:
2447:
2444:
2442:
2439:
2437:
2434:
2432:
2431:Daguerreotype
2429:
2427:
2424:
2422:
2419:
2417:
2414:
2412:
2409:
2407:
2404:
2402:
2399:
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2394:
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2379:
2376:
2374:
2371:
2369:
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2356:
2354:
2351:
2349:
2346:
2345:
2343:
2341:
2337:
2331:
2328:
2326:
2323:
2321:
2318:
2316:
2313:
2311:
2308:
2304:
2301:
2300:
2299:
2296:
2294:
2291:
2287:
2284:
2283:
2282:
2279:
2277:
2276:Stopping down
2274:
2272:
2269:
2267:
2264:
2262:
2259:
2257:
2254:
2252:
2249:
2247:
2244:
2242:
2241:Rephotography
2239:
2237:
2234:
2232:
2229:
2227:
2224:
2222:
2219:
2217:
2214:
2212:
2209:
2207:
2204:
2202:
2199:
2197:
2194:
2192:
2189:
2187:
2184:
2182:
2179:
2177:
2176:Long-exposure
2174:
2172:
2169:
2167:
2164:
2162:
2159:
2157:
2154:
2152:
2149:
2147:
2144:
2142:
2139:
2137:
2134:
2132:
2129:
2127:
2124:
2122:
2119:
2117:
2114:
2112:
2109:
2107:
2104:
2102:
2099:
2097:
2094:
2092:
2089:
2087:
2084:
2083:
2081:
2077:
2071:
2068:
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2063:
2061:
2058:
2056:
2053:
2051:
2048:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2026:
2023:
2021:
2018:
2014:
2011:
2010:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1986:
1984:
1981:
1979:
1976:
1974:
1971:
1969:
1966:
1964:
1961:
1959:
1956:
1954:
1951:
1949:
1946:
1944:
1941:
1939:
1936:
1934:
1931:
1929:
1926:
1924:
1921:
1919:
1916:
1914:
1911:
1909:
1906:
1904:
1901:
1899:
1896:
1894:
1891:
1889:
1886:
1884:
1881:
1879:
1876:
1874:
1871:
1869:
1868:Architectural
1866:
1864:
1861:
1859:
1856:
1854:
1851:
1850:
1848:
1844:
1838:
1835:
1833:
1830:
1828:
1827:Shutter speed
1825:
1823:
1820:
1818:
1815:
1813:
1810:
1808:
1805:
1801:
1798:
1797:
1796:
1793:
1791:
1788:
1786:
1783:
1781:
1780:Metering mode
1778:
1776:
1773:
1771:
1768:
1766:
1763:
1761:
1758:
1756:
1753:
1749:
1746:
1744:
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1739:
1736:
1734:
1731:
1729:
1726:
1724:
1721:
1719:
1716:
1714:
1711:
1709:
1706:
1704:
1701:
1699:
1696:
1694:
1693:Color balance
1691:
1689:
1686:
1684:
1681:
1679:
1676:
1674:
1671:
1669:
1666:
1664:
1661:
1659:
1658:Angle of view
1656:
1654:
1651:
1650:
1648:
1644:
1638:
1635:
1631:
1628:
1627:
1626:
1623:
1621:
1618:
1616:
1613:
1611:
1608:
1606:
1605:Manufacturers
1603:
1599:
1596:
1594:
1591:
1589:
1586:
1584:
1581:
1579:
1576:
1574:
1571:
1569:
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1561:
1557:
1554:
1552:
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1497:
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1471:
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1428:
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1418:
1416:
1413:
1411:
1408:
1406:
1403:
1401:
1398:
1396:
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2919:Polaroid art
2813:K-14 process
2808:Instant film
2803:Gum printing
2758:C-41 process
2743:Photographic
2644:Image sensor
2639:Film scanner
2410:
2293:Sun printing
2226:Print toning
2013:space selfie
1983:Pictorialism
1913:Ethnographic
1893:Conservation
1765:Guide number
1760:Focal length
1276:
1249:the original
1244:
1235:
1223:. Retrieved
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1199:
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380:In the U.S.
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320:Pictorialist
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312:manipulation
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247:Stereoscopic
245:
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207:Please help
202:verification
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171:
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133:transparency
124:
114:panchromatic
99:
81:Eiffel Tower
67:
43:
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2924:Stereoscopy
2788:E-6 process
2783:Dye coupler
2716:color space
2629:Digiscoping
2622:camera back
2537:Philippines
2466:Visual arts
2456:Glass plate
2441:Heliography
2340:Composition
2315:Ultraviolet
2271:Stereoscopy
2266:Slow motion
2251:Scanography
2166:Kite aerial
2106:Contre-jour
1998:Post-mortem
1988:Pornography
1968:Neues Sehen
1903:Documentary
1837:Zone System
1812:Reciprocity
1738:Film format
1668:Backscatter
1646:Terminology
1516:beauty dish
1415:rangefinder
1380:light-field
1361:Photography
1300:Autochromes
1295:(in French)
716: 1935
645: 1914
569: 1910
551: 1910
362:Albert Kahn
316:aficionados
3174:Categories
3147:Inventions
3018:La Voltige
2914:Lomography
2745:processing
2694:Print film
2610:comparison
2577:Uzbekistan
2527:Luxembourg
2487:Bangladesh
2436:Dufaycolor
2416:Box camera
2373:Simplicity
2330:Zoom burst
2325:Xerography
2320:Vignetting
2310:Time-lapse
2298:Tilt–shift
2191:Mordançage
2181:Luminogram
2146:Holography
2141:High-speed
2121:Fill flash
2101:Burst mode
2079:Techniques
2060:Vernacular
2055:Underwater
2050:Toy camera
2030:Still life
1958:Monochrome
1948:High-speed
1898:Cloudscape
1888:Conceptual
1790:Photograph
1775:Lens flare
1755:Film speed
1637:Zone plate
1583:wide-angle
1568:long-focus
1225:27 October
1190:2021-12-23
1114:2019-10-19
1052:2008-02-03
1009:aesthetic.
893:2013-01-29
872:2013-01-29
825:2013-01-29
764:References
753:Dufaycolor
621:Family in
607:Queen Mary
505:Mark Twain
345:Kodachrome
322:approach.
285:Mauretania
260:carbon arc
18:Autochrome
2864:Norwegian
2828:Stop bath
2773:Developer
2401:Ambrotype
2363:Lead room
2286:Slit-scan
2221:Photogram
2216:Panoramic
2126:Fireworks
2111:Cyanotype
1953:Landscape
1598:telephoto
1546:reflector
1541:monolight
1536:lens hood
1521:cucoloris
1457:safelight
1368:Equipment
697:Stockholm
681:Stockholm
679:House in
158:Lampblack
110:Lampblack
2943:Category
2649:CMOS APS
2547:Slovenia
2475:Regional
2421:Calotype
2358:Headroom
2236:Redscale
2151:Infrared
2096:Brenizer
2070:Wildlife
1993:Portrait
1938:Forensic
1928:Fine-art
1863:Aircraft
1853:Abstract
1733:F-number
1713:Exposure
1688:Clipping
1663:Aperture
1531:hot shoe
1452:enlarger
1447:Darkroom
747:See also
167:halation
128:spectrum
120:emulsion
2954:Outline
2890:Related
2582:Vietnam
2567:Ukraine
2502:Denmark
2482:Albania
2461:Tintype
2388:History
2353:Framing
2246:Rollout
2211:Panning
2161:Kirlian
2065:Wedding
1943:Glamour
1923:Fashion
1908:Eclipse
1878:Banquet
1800:Albumen
1610:Monopod
1588:fisheye
1556:softbox
1405:pinhole
1395:instant
1385:digital
1162:23 June
917:LXXXXIX
667:, 1925.
507:, 1908.
487:Gallery
474:Modern
441:Bohemia
403:Retford
162:shellac
3130:Naples
2952:
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2874:street
2869:Polish
2562:Turkey
2557:Taiwan
2542:Serbia
2532:Norway
2507:Greece
2492:Canada
2086:Afocal
2045:Street
2025:Sports
2008:Selfie
1963:Nature
1918:Erotic
1883:Candid
1858:Aerial
1846:Genres
1748:medium
1625:Tripod
1593:swivel
1506:Filter
1484:holder
1479:format
1375:Camera
1135:
1078:
661:Poland
625:, 1914
3003:Films
2879:women
2837:Lists
2793:Fixer
2676:Pixel
2605:D-SLR
2552:Sudan
2522:Korea
2517:Japan
2512:India
2497:China
2281:Strip
2206:Night
2186:Macro
2091:Bokeh
2035:Stock
2003:Ruins
1743:large
1573:prime
1551:snoot
1511:Flash
1489:stock
1464:Drone
1425:still
1410:press
1400:phone
1390:field
1002:4 May
782:1905.
665:Paris
623:Paris
370:Paris
337:Kodak
332:glass
2902:film
2617:MILC
2116:ETTR
1973:Nude
1933:Fire
1832:Sync
1630:head
1578:zoom
1563:Lens
1526:gobo
1474:base
1469:Film
1440:view
1227:2020
1164:2023
1133:ISBN
1076:ISBN
1004:2020
605:and
391:The
347:and
341:Agfa
339:and
283:RMS
264:bulb
254:and
172:The
63:film
42:The
2654:CCD
1435:toy
1430:TLR
1420:SLR
950::69
663:in
401:in
211:by
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