Figure 1.--Here we see an Autochrome taken some time during World War I, probably early in the War--perhaps 1915. It is a clearly staged scene. Autchrome could not at the time be used by the average anateur photograper. Notice the 75 on the cannon. The French 75 was one of the iconic artillery pieces of World War I. It played an important role in slowing down the German advance toward Paris at the onset of the War. Put your cursor on the image to see the rest of the scene.

The chronology of Autochrome photography is difficult to follow precisely because the available images are somewhat limited and many are undated. The Lumière brothers developed their process (1904). They began marketing it (1907). We are not sure how extensively it was marketed, but as the only available color process, it must have created some interest. As it was introduced late in the decade, we suspect that the numbers taken during the decade were limited. We have not yet found an example dated in the 1900s. Many more early Autochromes date from the 1910s. We note a few World War I images. There seems to be three main photographers in France using Autochrome during World War I. Jean Baptiste Tournassoud was head of the Photography Department of the French army, Paul Castelnau (1888-1944), and Fernand Cuville (1887-1927). Autochrome continued to be the exclusive available color process available in the 1920s. A great deal of work was done on color photography during the 1920s. Lumière introduced Filmcolor sheet film (1931). And then Lumicolor roll film (1933). The films quickly replaced glass plate Autochromes. Autochrome by this time no longer had its exclusivity. Competitors, Kodak and Agfa, began to produce multi-layer subtractive color films (Kodachrome and Agfacolor Neu) which proved very popular. The color reproducrtion of these new films were more accurate. Some users reported a 'dream-like quality' to Autochrome images. This among some photographers, especially those seeking an artistic result, Autochrome continued to hold a market share. The film made color photography more usable by amateurs. The Depression and then World war II limited the commercial success of color photography. A few Autochromes were taken in the early-40s, but production was discontinued during the German occupation (1942). Production was resumed after the War and some French photographers remsined loyal. The quality of the images, however, could not comprte with the ne color films appearing on the mnarket. The final Autochrome film, Alticolor, appeared (1952). Disappointing sales mean that production was terminated (1955).

The 1900s

The chronology of Autochrome photography is difficult to follow precisely because the available images are somewhat limited and many are undated. The Lumière brothers developed their process (1904). They began marketing it (1907). We are not sure how extensively it was marketed, but as the only available color process, it must have created some interest. As it was introduced late in the decade, we suspect that the numbers taken during the decade were limited. We have not yet found an example dated in the 1900s.

The 1910s

Many more early Autochromes date from the 1910s. We note images from the optimistic period before World War I (1914-18). We also note a few World War I images. This includes images of children playing at War. Unlike black and white images, thgere were no real snapshots shot with small portable cameras. Autochromes tend to be more posed scenes. There seems to be three main photographers in France using Autochrome during World War I. Jean Baptiste Tournassoud was head of the Photography Department of the French army, Paul Castelnau (1888-1944), and Fernand Cuville (1887-1927). Photography played an important role in warfare for the first time in World War I. This was because aircraft for the first time allowed comanders to acquire detailed images of eneny positions about to be photographed, in prticulr positions beyond the front-line trenches. Not only could areas behinf the front line be photographed, but aerial views provide a host of valuable information. As a result, each important combtant country had major photographic deprtments. Color photography as far as we know, however, played no role in operations.

The 1920s

Autochrome continued to be the exclusive available color process available in the 1920s. A great deal of work, however, was done by the major photographic companies on color photography during the 1920s. The companies were canxious to bring a color film to market to compete with Autochrome.

The 1930s

Lumière introduced Filmcolor sheet film (1931). And then Lumicolor roll film (1933). The films quickly replaced glass plate Autochromes. Autochrome by this time no longer had its exclusivity. Competitors, Kodak and Agfa, began to produce multi-layer subtractive color films (Kodachrome and Agfacolor Neu) which proved very popular. The color reproducrtion of these new films were more accurate. Some users reported a 'dream-like quality' to Autochrome images. This among some photographers, especially those seeking an artistic result, Autochrome continued to hold a market share. The film made color photography more usable by amateurs. The Depression and then World war II limited the commercial success of color photography.

The 1940s

A few Autochromes were taken in the early-40s, but production was discontinued during the German occupation (1942). Production was resumed after the War and some French photographers remained loyal.

The 1950s

The quality of the Autochrome images, however, could not compete with the new color films appearing on the mnarket. The final Autochrome film, Alticolor, appeared (1952). Disappointing sales mean that production was terminated (1955).

Created: 9:15 PM 2/5/2012
Last updated: 9:15 PM 2/5/2012