Color photography was explored beginning in the mid-19th century. Early
experiments in color required very long exposures (several hours or days for
images from the camera) and could not "fix" the picture to avoid
fading quickly when exposed to white light.
The first permanent color photograph was taken in 1861, using the principle of
three-color separation first published by the physicist James Clerk Maxwell in
1855. The idea of Maxwell was to take
three separate black and white through red filters, green and blue. This gives
the photographer the three basic channels required to recreate a color image.
Impressions transparent image can be projected through filters like color and
superimposed on the projection screen, an additive process of color
reproduction. Color printing on paper could be produced by the superposition of
carbon footprints of photographs taken on three complementary colors, a
subtraction method of color reproduction developed by Louis Ducos du Hauron
late 1860. Russian photographer Sergei Mikhailovich Prokudin-Gorskii made
extensive use of this technique of color separation, using a special camera on
to introduce the three color filtered images at different parts of a
rectangular plate. Because their exposures were not simultaneous, the exposed
unstable color "fringe" or, if it moves quickly across the stage,
appeared like ghosts of bright colors in the resulting images projected or
printed.The development of color photography has been hampered by the limited sensitivity of photographic materials first, they were particularly sensitive to blue, little green-sensitive and relatively insensitive to red. The discovery that the dye sensitization photochemist Hermann Vogel in 1873, soon became possible to add sensitivity to red, green, yellow and even. Sensitizers improve color and continuous improvement in the overall sensitivity of emulsions gradually reduce the exposure time excessively long time required for color, thereby increasing the commercial viability.
Autochrome, four-color commercial success first, was introduced by the Lumière brothers in 1907. Autochrome plates features a color mosaic filter layer composed of grains of dyed potato starch, which allowed the three color components should be recorded as a fragments adjacent microscopic image. After a Autochrome plate was taken to produce a positive transparency treated starch grains is used to inform each fragment with the correct color and mixed color spots on the eye, the synthesis of the object color additive method. Autochrome plates was one of several types of plates and color additives screen films marketed between 1890 and 1950.
Kodachrome, the first modern "Tripack integral" (or "Monopack") color film was introduced by Kodak in 1935. Were captured to the three color components in an emulsion layers. Layer was sensitized to record the red, dominated by the spectrum, another layer records only the green and saw only a third of the blue. No special film processing, the result just three images are superimposed in black and white, yet complementary, cyan, magenta and yellow dye images were created by adding these layers of color couplers during a complex treatment process. Neu Agfa Agfacolor similar structure was introduced in 1936. Unlike Kodachrome, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplifies the treatment. Color films available today are using multiple emulsion layers and the same principles, the closest of Agfa products.
The instant color film, which is used in a special apparatus, which gave an impression of one color over a minute or two after exposure, was introduced by Polaroid in 1963.
Color picture images can be formed as a positive transparency, which can be used in a slide projector, color negative or for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of a film (not digital) color photography owing to the introduction of automated printing equipment.
