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Agfacolor was the name of a series of color film products made by Agfa of Germany. The first Agfacolor, introduced in 1932, was a film-based version of their Agfa-Farbenplatte (Agfa color plate), [1] a "screen plate" product similar to the French Autochrome. In late 1936, Agfa introduced Agfacolor Neu (New Agfacolor), a pioneering color film of the general type still in use today. [2] The new Agfacolor was originally a reversal film used for making "slides", home movies and short documentaries. By 1939, it had also been adapted into a negative film and a print film for use by the German motion picture industry. After World War II, the Agfacolor brand was applied to several varieties of color negative film for still photography, in which the negatives were used to make color prints on paper. The reversal film was then marketed as Agfachrome. These films use Color Developing Agent 1 in their color developer. [3]
Agfacolor Neu, called simply Agfacolor after its predecessor had been retired, was the German response to Technicolor and Kodachrome. Like Kodachrome, introduced by Eastman Kodak in 1935, the new Agfacolor film was an "integral tripack" with three differently color-sensitized emulsion layers. Unlike Kodachrome, the corresponding color-forming dye couplers were made integral with each layer during manufacture, greatly simplifying the processing of the film: with Kodachrome, the dye couplers had to be introduced one at a time during a very complicated development procedure that required special equipment and could only be done at a Kodak processing plant.
Agfa was formed in 1867, and part of IG Farben from 1925 to 1945. Its Wolfen plant, which was the sole producer of Agfacolor film until the end of World War II, was constructed in 1909. [4]
Realizing they were at least one year behind their American competitors, German technicians decided to steer away from Kodak's approach to capturing color images on film and invested in their own technology. Their work bore fruits in the summer of 1936, when chemical engineers of the Agfa company in Germany tested their new material Agfacolor at the swimming competition of the 1936 Summer Olympics in Berlin. Although the German technology promised the use of one and the same material for different purposes, ranging from photographic negative film for prints to photographic slides and motion picture films, it took another three years—until July 1939—for any German motion picture film studio to experiment with the film.
The Third Reich's Minister of Propaganda Joseph Goebbels admired Hollywood movies and examined them carefully in regular private screenings (sometimes with Adolf Hitler and his staff).[ citation needed ] Technicolor films such as The Garden of Allah (1936), Gone with the Wind (1939) and Disney's Snow White and the Seven Dwarfs (1937) made him realize that Hollywood feature films presented a threat to Germany's internal market, and that Hollywood's dominance of color film technology should be matched, at least if Germany was serious about engaging in a cultural war with the US and Britain.[ citation needed ]
It was not until the beginning of principal photography for Women Are Better Diplomats (German: Frauen sind doch bessere Diplomaten) a 1939 musical starring the singer/dancer Marika Rökk and actor Willy Fritsch that Agfacolor was used for a major motion picture. The use of Agfacolor was reinforced by the top of the Nazi film industry, Reichsminister Joseph Goebbels, and the executives at UFA eventually gave in to his pressure. Agfacolor was then used throughout the entire film shoot of Women Are Better Diplomats.[ citation needed ]
Throughout the shoot, the film yielded mixed results as it was still very sensitive to different color temperatures caused by solar altitude at different times of day. Thus, outdoor shots were difficult to handle: A lawn in front of a castle appeared completely yellow, later brown, then bluish. The technology was not fully developed, and Agfa labs were virtually using the shooting of the film as testing grounds for their new stock, continually changing the formula throughout the shoot based upon unsatisfactory results, so that entire scenes had to be repeated once a new formula was being tested.[ citation needed ]
Meanwhile the production costs had risen from 1.5 to 2.5 million ℛ︁ℳ︁. More than two years after its start date, Women Are Better Diplomats opened in October 1941. Despite its rather weak color quality, the film proved to be a major hit, earning more than 8 million ℛ︁ℳ︁ by the end of the war.[ citation needed ]
After the process's growing pains had been overcome throughout the production of Women Are Better Diplomats, the following Agfacolor movies were shot and printed much quicker and with better results. The technology was improved at a rapid pace. Veit Harlan was allowed to shoot his next picture in Agfacolor. Between the summers of 1941 and 1942, Veit Harlan finished Die goldene Stadt (Eng: The Golden City), a dreamy propaganda fairytale starring his wife Kristina Söderbaum as a young, innocent country girl who comes to the golden city of Prague and is seduced by an unscrupulous gigolo.
The Golden City premièred at the Venice Film Festival in September 1942 and was awarded for its outstanding technical quality, and actress Kristina Söderbaum won an acting award. Shot by cameraman Werner Krien, who had done black-and-white pictures before, and assisted by special effects specialist Konstantin Irmen-Tschet (once in charge of the SFX camera in Fritz Lang's Metropolis ), the film displays an impressive symphony of colors.
Made for UFA's 25th Anniversary, Münchhausen (1943) was the third German feature film – out of over a dozen – to be produced using Agfacolor film between 1939 and 1945. Other Agfacolor productions include The Woman of My Dreams (1944), a musical starring Marika Rökk and Kolberg (1945), a dramatization of German resistance throughout the Napoleonic Wars and the regime's last major propaganda feature film. A significant number of Agfacolor movies shot between 1939 and 1945 survived the war, but most of them exist only in fragments today.
Towards the end of World War II, large quantities of raw Agfacolor stock were seized by the Soviet Union and served as the basis for the Sovcolor process, [5] which was widely used in the USSR and other Eastern bloc nations; [6] such films produced in Poland were also described as Polcolor, the first being Adventure at Marienstadt (1954). [7] One of the best-known Sovcolor films is War and Peace (1965–67) and many of Andrei Tarkovsky's films used it as well. [8] [9] Sovcolor was known for the variable quality of its colors, which led to continuity errors as colors changed between scenes; more prestigious productions used imported Eastman Kodak stock instead. [10] [11]
Agfa was divided into Agfa-Werke, a subsidiary of Farbenfabriken, in West Germany and Agfa Wolfen in East Germany after World War II and the division of Germany. Agfa-Werke opened a plant in Leverkusen. Agfa Wolfen sold the Agfa brand rights to Agfa-Werke in 1964, and changed its name to ORWO. Agfa-Werke merged with Gevaert that same year to form Agfa-Gevaert. [12]
Agfacolor consumer products were also marketed in North America under the names Ansco Color and Anscochrome (from Agfa's then-US subsidiary, Agfa-Ansco). Prior to World War II, the film had been imported from Germany. After the War began, the American subsidiary was seized by the US Government. At the request of the War Department, Ansco then developed a similar color film, which it produced in its own factory in Binghamton, New York. Anscochrome was widely distributed, but met with limited commercial success in competition with Kodak product. [13] [14]
Ansco Color was also used in Hollywood films, including some produced by Metro-Goldwyn-Mayer. Films shot in Ansco Color included The Man on the Eiffel Tower (1949), Bwana Devil (1953), Kiss Me, Kate (1953), Seven Brides for Seven Brothers (1954), Brigadoon (1954), and Lust for Life (1956), the final film shot on this film stock. Anscochrome films for still photography were manufactured until 1977. [15] Agfacolor [16] was used in one of the first color French comedy and topless films with Louis de Funès called Women of Paris [17] (fr. Ah! Les belles bacchantes ) dated 1954.
Famous professional early works made in Agfacolor were war photo reports made during Invasion of Poland (1939) by Hugo Jaeger; [18] Paris during German occupation (1940-1944) by André Zucca; Warsaw Ghetto Uprising (1943) by Zbigniew Borowczyk (3 photos), Karol Grabski (1 photo) and Rosemarie Lincke (1 photo); [19] Warsaw Uprising (1944) by Ewa Faryaszewska and Gerhard Wiechmann; [20] Prague uprising (1945) by Oldřich Cerha [21] and during Hungarian Revolution of 1956 by Jeno Kiss. [22] Works were made by occupants and also by resistance members. All photographs survived in excellent condition.
In 1978, Agfa ceased production of color film based upon the original Agfacolor process, switching to Kodak's C-41 process.
Film stock is an analog medium that is used for recording motion pictures or animation. It is recorded on by a movie camera, developed, edited, and projected onto a screen using a movie projector. It is a strip or sheet of transparent plastic film base coated on one side with a gelatin emulsion containing microscopically small light-sensitive silver halide crystals. The sizes and other characteristics of the crystals determine the sensitivity, contrast and resolution of the film. The emulsion will gradually darken if left exposed to light, but the process is too slow and incomplete to be of any practical use. Instead, a very short exposure to the image formed by a camera lens is used to produce only a very slight chemical change, proportional to the amount of light absorbed by each crystal. This creates an invisible latent image in the emulsion, which can be chemically developed into a visible photograph. In addition to visible light, all films are sensitive to X-rays and high-energy particles. Most are at least slightly sensitive to invisible ultraviolet (UV) light. Some special-purpose films are sensitive into the infrared (IR) region of the spectrum.
The following list comprises significant milestones in the development of photography technology.
Agfa-Gevaert N.V. (Agfa) is a Belgian-German multinational corporation that develops, manufactures, and distributes analogue and digital imaging products, software, and systems.
ORWO is a registered trademark of the company ORWO Net GmbH, based in Wolfen and is also traditionally known for black-and-white film products, made in Germany and sold under the ORWO brand.
Kodachrome is the brand name for a color reversal film introduced by Eastman Kodak in 1935. It was one of the first successful color materials and was used for both cinematography and still photography. For many years, Kodachrome was widely used for professional color photography, especially for images intended for publication in print media.
In photography, reversal film or slide film is a type of photographic film that produces a positive image on a transparent base. Instead of negatives and prints, reversal film is processed to produce transparencies or diapositives. Reversal film is produced in various sizes, from 35 mm to roll film to 8×10 inch sheet film.
Colour photography is photography that uses media capable of capturing and reproducing colors. By contrast, black-and-white or gray-monochrome photography records only a single channel of luminance (brightness) and uses media capable only of showing shades of gray.
Color print film is used to produce color photographic prints, which date to the early 20th century. Initially a two-color process, it became three-color, more accurate, and more durable with the 1935 introduction of Eastman Kodak’s Company’s Kodachrome film, followed a year later Agfa Company’s Agfacolor. Color print film is the most common type of photographic film in consumer use. Print film produces a negative image when it is developed, requiring it to be reversed again when it is printed onto photographic paper.
Ansco was the brand name of a photographic company based in Binghamton, New York, which produced photographic films, papers and cameras from the mid-19th century until the 1980s.
A chromogenic print, also known as a C-print or C-type print, a silver halide print, or a dye coupler print, is a photographic print made from a color negative, transparency or digital image, and developed using a chromogenic process. They are composed of three layers of gelatin, each containing an emulsion of silver halide, which is used as a light-sensitive material, and a different dye coupler of subtractive color which together, when developed, form a full-color image.
In still photography, Kodak's Kodacolor brand has been associated with various color negative films since 1942. Kodak claims that Kodacolor was "the world's first true color negative film". More accurately, it was the first color negative film intended for making paper prints: in 1939, Agfa had introduced a 35 mm Agfacolor negative film for use by the German motion picture industry, in which the negative was used only for making positive projection prints on 35 mm film. There have been several varieties of Kodacolor negative film, including Kodacolor-X, Kodacolor VR and Kodacolor Gold.
In bipack color photography for motion pictures, two strips of black-and-white 35 mm film, running through the camera emulsion to emulsion, are used to record two regions of the color spectrum, for the purpose of ultimately printing the images, in complementary colors, superimposed on one strip of film. The result is a multicolored projection print that reproduces a useful but limited range of color by the subtractive color method. Bipack processes became commercially practical in the early 1910s when Kodak introduced duplitized film print stock, which facilitated making two-color prints.
Technicolor is a family of color motion picture processes. The first version, Process 1, was introduced in 1916, and improved versions followed over several decades.
Gevacolor is a color motion picture process. It was introduced in 1947 by Gevaert in Belgium, and an affiliate of Agfacolor. The process and company flourished in the 1950s as it was suitable for on location shooting. Both the companies merged in 1964 to form Agfa-Gevaert, and continued producing film stock till the 1980s.
Kurt von Holleben was a German chemist working for Agfa-Gevaert Technical-Scientific Laboratory as the head of the colour screen research group, overseeing development of Additive color screens (kornraster) for the Agfa-Farbenplatte glass plates (1916), and film based Agfacolor (1932) and Agfacolor Ultra (1934) ranges.