PRESERVATION LEAFLET

PHOTOGRAPHS

5.2.2 Types of Photographs, part 2: Color

Amanda Maloney Subtractive color: Color that is based on combinations of
Associate Photograph and Paper Conservator cyan (C), magenta (M), and yellow (Y), which when combined
Northeast Document Conservation Center together result in black. Subtractive color requires light to
reflect off of the object and can be used with opaque or
transparent supports. Subtractive color theory was dominate
Monique Fischer
in 20th century color technology and is still used today in
Senior Photograph Conservator
digital output media (e.g. color inkjet printing).
Northeast Document Conservation Center
Image material: Although most color processes are based on
COLOR PHOTOGRAPHY silver halide chemistry, the final image material is primarily
The desire to depict photographic images in color has existed made up of either pigments or dyes. Pigments tend to be
since the invention of the medium. Many different large, stable, and opaque particles, while dyes tend to be
techniques were developed, each with its own unique small, fugitive, and transparent particles.
aesthetic and varying complexities. It wasn’t until the
introduction of chromogenic color in the 1930s that accurate Misregistration: Some photographic processes, such as dye
color photography was made widely available. There were imbibition prints and pigment processes, have the layers of
many intriguing and lovely color processes invented along the color applied separately to the final support, and they may
way. The list below discusses some of the most common of not be perfectly aligned. As a result, a single color may be
these. Please note, while some major manufacturers and visible at the edges of an area made up of multiple colors.
tradenames are listed below, the list is by no means
exhaustive. IDENTIFICATION
The following are the most important features used to
DEFINITIONS identify a type of color photograph:
Additive color: Color that is based on combinations of red,
green, and blue (RGB), which when combined together result 1. Positive or negative
in white. Additive color requires light to pass through the 2. Nature of support material
object being viewed. Additive color photographs are usually 3. Format
on transparent supports and require a transmitted light 4. Texture and surface quality
source for viewing. Familiar technologies that use additive 5. Color and tone
color are phone screens and computer/television monitors. 6. Characteristics of deterioration
Under magnification, one can see red, green, and blue dots or 7. Manufacturers’ back printing
lines.

NEDCC, 100 Brickstone Square, Andover, MA 01810-1494 • 978-470-1010 • www.nedcc.org

ADDITIVE PROCESSES (DYE BASED)
Technique Commercial Support Dates Image at 235x magnification Identifying Features
Names
Additive Autochrome, Glass or 1890s – • Silver gelatin image viewed
color screen Agfacolor, plastic 1940s Autochrome Plate through a screen
processes Dufaycolor, • Repeating geometric or
Finlay Color, random pattern of RGB dyes,
Joly, Paget visible under magnification
Color • May be varnished
• Are bound with black paper
tapes at the edges with cover
Joly Plate (photo from Graphics glass
Atlas)

SUBTRACTIVE PROCESSES (DYE BASED)

Technique Trade Names Support Dates Image at 235x Identifying Features
magnification
Chromogenic Transparencies: Cellulose Transparent Chromogenic print on RC • Action of light on silver halides
Kodachrome, nitrate, support: paper to create layers of gelatin
Ektachrome, pigmented 1935 – colored with dyes to CMY
Agfacolor Neue (white) present (silver removed during
cellulose processing)
Prints: acetate, Prints: 1942 • Light and dark fading possible;
Minicolor, fiber based – present loss of C&Y during dark fading;
Kodachrome, paper, and (many Chromogenic 35mm slide loss of M&C during light fading
Kodacolor, resin brands are • Yellowing from dye coupler
Gevacolor, Fuji coated (RC) no longer staining in the highlights
Crystal Archive, paper manufactur (especially prints pre-1954)
Kodak Endura ed) • Prints made after 1990 tend to
be much more stable
• Most common 20th century
color process
Dye Dye Transfer Baryta 1946 – 1993 • Silver gelatin image used to
Imbibition (Kodak), paper make separate matrices to
prints Flexichrome, apply dye color layers (usually
Eastman Wash- CMY) imbibed into a gelatin
off Relief coating and transferred onto a
paper
• Bright whites
• Registration marks may be
visible in the border, may see
slight misregistration of color
layers
• Pre-1989 magenta dye
fluoresces in UV
• Excellent dark stability

2 NEDCC • Leaflet 5.2.2: Types of Photographs, part 2: Color • www.nedcc.org

 • Most common as fine art and
advertising
Silver Dye Film: Polyester 1906 – • Action of light on silver halides
Bleach Gasparcolor or resin- present to bleach layers of gelatin
coated (RC) colored with dyes to CMY
Print: Utocolor, paper (silver removed during
Cibachrome, processing)
and Illfochrome • Usually very high gloss
• Boarders will usually be black if
they are visible
• Printed from a positive
transparency
• Base is white plastic
• Sharp stable images; high color
saturation
Dye Diffusion Polaroid, Peel- Various 1963 – • Soft diffuse lines under
Apart, plastic present magnification
Polarcolor, and/or • Integral has plastic border
Polarcolor II paper around image
and Integral • Peel-apart may have adhesive
(SX-70), Fuji residues at border, slight relief,
Instapix and clear coating on top

SUBTRACTIVE PROCESSES (PIGMENT BASED)

Technique Commercial Support Dates Image at 235x magnification Identifying Features
Names
Pigment Fresson, Paper or 1890s – • Little fading, excellent dark
Process UltraStable, plastic present stability
carbon, • Slight relief (whites are
carbro, gum support base)
dichromate • Pigments held in gelatin (most
common) or gum arabic;
• May have misregistration of
color layers
• May have delamination of
color layers

REFERENCES/RESOURCES
Graphics Atlas. Image Permanence Institute, College of Art and Design, Rochester Institute of Technology.
http://www.graphicsatlas.org/

Lavédrine, Bertrand. 2009. Photographs of the Past Process and Preservation. Los Angeles, CA: The Getty Conservation Institute.

Pénichon, Sylvie. 2013. Twentieth-Century Color Photographs: Identification and Care. Los Angeles, CA: The Getty Conservation
Institute.

Wilhelm, Henry. 1993. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides,
and Motion Pictures. Grinnell, IA: Preservation Publishing Co.

COPYRIGHT STATEMENT
© 2020. Northeast Document Conservation Center. All rights reserved.

3 NEDCC • Leaflet 5.2.2: Types of Photographs, part 2: Color • www.nedcc.org