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The history of three-color photography (1925)
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42 History of Three-Color Photography
Couleurs," 1899, 159; La Phot. 1895, Feb. G. Lippmann anticipated this: "The lens front of an ordinary camera carried three small lenses, arranged in a straight line, and provided respectively with three cells filled with suitable solutions; for every objective there was a plate orthochromatized for the rays, which the cells transmitted; three positives were printed and placed in the plane of the ground glass and strongly illuminated, and suitably colored glasses were placed in front of the lenses or positives; there was thus obtained on the screen an image of which the size could be varied by interposing a divergent or convergent lens between the screen and the objectives. It was possible to produce, with the same arrangement slightly modified, an aerial image; the object was then seen in colors and relief." L. Vidal, Jahrbuch, 1892, 6, 303; Bull. Photo-Club, Paris, 1892, pointed out that Cros, in 1869 (see p. 8), and du Hauron (see p. 4), had suggested the superposition of the three images and that he himself had shown three-color transparencies in the same way at the Conservatoire des Arts et Metiers on Feb. 1, 1892, and on Mar. 4, 1892 these were shown before the Societe Franchise de Photographic A. W. Scott, E.P. 19,402, 1890; abst. Brit. J. Phot. 1907, 54, Col. Phot. Supp. 1, 7 used four glasses; Anthony's Phot. Bull. 1891, 22, 118. For description of A. Miethe's apparatus see Brit. J. Phot. 1905, 52, 268; Phot. Chron. 1905, 12, 9; Zeits. wiss. Phot. 1905, 3, 40; Phot. Korr. 1905, 42, 21.
23. Traill Taylor Memorial Lecture, Phot. J. 1900, 40, 100; Brit. J. Phot. 1900, 47, 743, 757, 773, 788; 1901, 48, 77, 127, 141, 191, 223, 430, 511; Brit. J. Almanac, 1902, 86; Phot. News, 1900, 44, 764, 781, 795, 809, 832, 842; J. Soc. Arts, 1892, 40, 687.
A long controversy ensued between Ives and Howard Farmer, Brit. J. Phot. 1901, 48, 63, 68, 77, 127, 141, 154, 172, 190, 223, 430, 512, in which the latter contended that Ives' conclusions were wrong and useless for practical work.
24. Brit. J. Phot. 1901, 48, 15.
25. Brit. J. Phot. 1900, 49, 23; 1903, 50, 27; 1906. 53, 489; 1907, 54, 315; "Die Dreifarbenphotographie," 1st edit. 1897, 92; 2nd edit. 1902, 102; 3rd edit. 1912, 98; H. Klein's translation, "Three-Color Photography," 1915, 74; Phot. Coul. 1906, 1, 27; 1907, 2, 65; Camera Craft, 1903, 6, 208.
26. Phot. Korr. 1893, 30, 564; 1894, 31, 564; Mon. Phot. 1894; Bull. Soc. franc. Phot. 1894, 41, 166; Brit. J. Phot. 1898, 45, 133, 310; Amat. Phot. 1894, 19, 25; Photogram, 1894, 1, 36; Process Photogram, 1898, 5, 51, 66; abst. Phot. J. 1894, 34, 261. Cf. H. Krone, "Die Darstellung der natiirlichen Farben," 93; von Hiibl, Brit. J. Phot. 1907, 54, 315.
27. Phot. Korr. 1893, 30, 374. Cf. O. Hruza, Phot. Korr. 1893, 30, 277; Jahrbuch, 1894, 8, 52; H. Krone, loc. cit. L. Pfaundler, Jahrbuch, 1906, 20, 53.
28. Phot. J. 1901, 41, 303; Brit. J. Phot. 1901, 48, Supp. 63, 503, 534; Brit. J. Almanac, 1902, 847.
For controversy Ives v. Farmer see Phot. J. 1901, 41, 339, 350.
29. Brit. J. Phot. 1902, 49, 566.
30. Paper read before the Optical Society, Dec. 1903 ; Brit. J. Phot. 1904, 51, 47. Bull also read a paper, entitled : "The Principles of Trichromatic Photography" before the Optical Convention; Brit. J. Phot. 1905, 52, 447, 467; Optician, 1905, 29, 242; abst. Phot. J. 1905, 45, 309, which covers the same ground. Cf. Abney "Instruction in Photography," 1900, 10th edit. 352; also papers by him, Phot. J. 1904, 44, 81; 1899, 39, 192; 1900, 40, 121; 1895, 35, 328; 1905, 45, 366; 1906, 46, 298.
A. Miethe, "Dreifarbenphotographie nach der Natur," Halle, 1904, 34; Phot. J. 1903, 43, 214, recommended filters without overlap, but attained the same effect by exposing through two filters for each negative.
31. Brit. J. Phot. 1894, 41, 458; 1895, 42, 774. Cf. E. J. Wall, Jahrbuch, 1895, 9, 34. The passage quoted appears in "Colour Vision, being the Tyndall Lectures delivered in 1894 at the Royal Institution." London, 1895, 47. Cf. Ives v. Joly, Brit. J. Phot. 1894, 41, 526.
W. Weissenberger, Phot. Korr. 1893, July; Anthony's Phot. Bull. 1893, 24, 736; Phot. J. 1893, 33, 42; Phot. Times, 1894, 25, 10; Annuaire gen. International de Phot. 1894, 59 arbitrarily divided the spectrum into twelve colors, and gave diagrams of the absorptions of the filters and the sensitizing actions of certain plates that he recommended, using von Hubl's ammoniacal collodion emulsion. The final conclusion was that the yellow-printing negative was the most troublesome and can not be correctly prepared, and that retouching must be resorted to. F. Stolze, Phot. Woch, 1888, 4, 114, 123; Anthony's Phot. Bull. 1888, 19, 516, 555, 588, 647, 678 starting with the Young-Helmholtz theory, split the spectrum into three regions, which closely corresponded to those now recognized as correct. He ignored actually