In 1964, there was a trademark change from Agfa to ORWO (Original Wolfen), but the methods originally developed by Agfa were still being implemented. After the war, the Wolfen film factory had to submit to the socialist planned economy. Technologies developed by Kodak began to take up more and more of the overall market share and prototypes developed by Agfa were becoming displaced more and more. A little later, Kodak produced colour film that was based on the methods developed by Agfa and further developed. After the Second World War, other manufacturers in Europe, Japan, and the US took up the methods developed by Agfa and developed them further. The method of colour film manufacturing, which was kept strictly secret up until that time, was disclosed. During World War II, US American troops occupied the Wolfen film factory. However, the glory days of the Agfa film factory didn’t last for long. It was a musical film directed by the German director Georg Jacoby and it stars the dancer Marie-Luise, who is sent on a diplomatic mission to the Frankfurt Parliament to help her uncle, who is a casino manager, and prevent his casino from being shut down. The movie was called “Frauen sind doch bessere Diplomaten” (German for “Women Are Better Diplomats”). Another sensation came about in 1941 when the first feature film of the world filmed using the positive/negative method on Agfacolor film appeared in cinemas. This was made possible by a reaction of a colour coupler with the oxidation product of the developing agent. With the help of colour couplers (colourless substances or substances coated with colourless azo dye compounds), it was finally possible to create the three colours red, blue, and green in multi-layered films using subtractive colour mixing. From 1936 to 1939, the Agfacolor negative/positive method was also further developed. The prototype “Agfacolor-Neu-Film” was then presented to the public in October 1936 in the form of a colour filmstrip for daylight and a home movie. In January 1936, the first colour film was completed and could be tested out at the Olympic Games in Berlin. Colour films that were developed up till this point in time may not have been perfect, but it was a race against time, especially against the competition Eastman Kodak based in the US. The resulting Agfacolor-method was based on basic principles of subtractive three-colour photography, developed by Rudolf Fischer in 1912, using the components of blue, green, and red as a means of colour development. Wilhelm Schneider were successful in creating a universal Agfacolor-method for slides, negatives, paper prints and cinematic films. Beginning in the 1970’s, life without photographic colourisation was impossible to imagine. Especially the years between 19 could be labelled as “the years of colourisation.” With the creation of the autochrome method, which came about in the 1950’s, colour photographs also became economically viable. The initial indignation was quickly replaced by complete enthusiasm. With the discovery of the tintype in the 1860’s, which was a direct-positive method, photographs finally became affordable for the general public. Yokoyama Matsuaburo created the first photographic oil painting in order to do this, the backing paper of the photograph was cut away and pigments were applied to the remaining emulsion. At this time, manual colourisation was spreading throughout Japan. The end result was anything but perfect, however it was the first photograph of its kind. In 1861, the Scottish mathematician and physicist James Clark Maxwell was successful in creating the first colour photograph without colourising it by hand. In order to do this, he traced the image on a transparent surface and created a template for each individual colour. In 1839, after the announcement of the new photographic method, the daguerreotype, which was named after the painter Louis Daguerre, the Swiss painter and graphic printer Johann Baptiste Isenring was colourising photographs by hand. Even among these objections, however, the colour photograph was soon able to establish itself as the norm. Some people at the time could be heard saying that colour would distort the photo and take away a degree of authenticity. Until photographic colouration was invented, all pictures were black and white. Its long development was shaped by both a fair amount of indignation as well as zeal. Photographic colouration has been around for about 175 years.
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