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Not so. Many youtube videos are often shot using a potato. I thought it was just a joke.....till I discovered this

Someday... I've started and stopped it like 4 times now. I keep changing enough in the process that I have to scrap a bunch of footage and re-write the script

From what I understand from my extremely limited understanding of it, it’s got to do with the size of the starch grains, older versions used a specialised refining process that created tiny starch grains, which isn’t as easy to achieve when DIYing.

Would the starch autochrome work with Edwin Land's two color Retinex method? That would be interesting. Please, do a full video.

I wish! I'm definitely not that musically talented. This is from a famitracker arrangement by IsabelleChiming (linked in the description). I wrote the software to convert famitracker / nes music to a format playable on a vic

@@jonhilty7434 whoa!! is that conversion program on github? does it convert into an irq player? i need this!

@@jonhilty7434 i hate to be a pest, but i could really use this tool! :D

@@furroy Hey there! I see there are 3 replies, but only two are showing up. Maybe it got spam filtered or something? Sorry I missed your question! The script is up on Github here. I use Famistudio to output the Famitracker .txt file. The script runs in python 2.7. The output can be copy/pasted into CBM Studio to compile it for Vic20 or C64. github.com/ThePhotoChemist/Fami2Vic Hit me up if you have issues! I've been meaning to make a quick video running through how to use it

@@jonhilty7434 tyty kind sir!

Yessir! Slowly but surely getting footage, writing the script, etc. It'll still be a while before its ready. You can reference the guide I wrote in the meantime, if you're interested in seeing how it's all done! www.jonhilty.com/autochromeguide

Awesome!! thanks bud i'll check this out and can't wait for the full vid!@@jonhilty7434

They pretty much last months. I've still got some problems to work out with the second varnish, where it kind of starts to delaminate after a while. I've done this with some plates that were a year old, and were more likely to crack/leak, but still worked. But basically yeah, nowadays I'll make like 30 plates over the course of a couple weeks, and then do a big coating run all at once. You can reuse the plates a few times too - so if you don't like how an image turned out, you just wash off the gelatin, and you're ready to coat again.

I'll have to bust this out the next time you're around

Thanks! I try to keep it lighthearted and goofy, it's so much more fun that way imo

Great question! You're right, sensitizers are by far the hardest to get a hold of. I get most of my standard chemicals from The Photographer's Formulary. If you know someone who can order from Sigma Aldrich, that's how you would get a hold of the pinacyanol. You might try contacting the guys at artcraftchemicals.com, the last time I needed to put in a special order they were able to source it for me. Luckily 1g of that stuff will last forever. The other sensitizer for green, erythrosine, is pretty easy to find. I think I got like 100g off of ebay a few years ago.

@@jonhilty7434 Sorry for the late response and thank you so much for replying! I honestly didn't think you would. When doing research I did notice that Sigma Aldrich was the only "commercial" source I could "buy". Is it just hard/difficult to add to cart and buy from them or do I need to give them a good reasoning? (I ask because the sight says literally add to cart) I also wanted to do research in seeing if there is a somewhat "easy" way to synthesize pinacyanol like the chemists of old so I wouldn't have to rely on single source buying and or having to have a middle man get it for me. I'm looking into improving the process and end result of the image by trying out Oswald Ripening (once I figure out the best/easiest way to do it simply) along with making a more uniform and patterned color grid like ones in led screens. Any ways I'll try out those sources once I have everything set up to make my own autochromes and again thank you so much for responding back. :D

@@virus7g7 No worries! I try to reply to everything. If I ever don't, it's probably that I just forgot... When I last tried, Sigma would let you add stuff to the cart, but you wouldn't be able to complete the order unless you were a registered business or research institution. I did run across a pinacyanol synthesis a while back. It doensn't look TOO crazy, but you'd probably want a fume hood and some decent equipment. I actually ran across it because I wanted to see if I could make "Orthochrome T", which afaik is completely unavailable. They have extremely similar synthesis routes, and were mentioned in the same article. At the end of the day, though, I decided against it, because there were a ton of weird chemicals involved and I didn't want to end up on a list. Good luck on everything! I'll be interested to hear how progress goes!

I'd recommend following the instructions on page 13 of this pdf: nebula.wsimg.com/9b5cae4ea96ef01114473b7a87bfc276?AccessKeyId=35F2F777C356CDF4D97C&disposition=0&alloworigin=1 This is quite an old video. With the plates I've made more recently (few years ago), I'd definitely go for a medium format plate size. It's much easier to view the image, in my opinion

Oh, and further: For this plate here, I used pinacyanol for red sensitivity and erythrosine for green. But I had much better results with the "B" set of dyes for color sensitivity. They're expensive and difficult to get a hold of, but they produced much brighter results

Oh man, very cool! I'd love to see your results with the Alticolor! Sometime this spring/summer, I'm hoping to pick up an old Kodak film coating machine, so 35mm Alticolor-like film isn't outside the realm of possibility! I have a single DufayColor slide, and I absolutely love it! I'd love to try and emulate that style of screen plate. I think first, I'd need to start with a low-res system like the Joly Plate.

So I was not the only one to have their mind blown by seeing an IKEA watering can shot in real Autochrome. :D

Yes, absolutely! When the Lumière company shut down production for the original autochrome line, they switched to potato starch on a flexible support, called "Filmcolor" I believe. They produced additive roll film through the 1950's, with the last product being Alticolor. You're right 35mm would be pushing it a bit, but I think if you're using sorted grain it wouldn't be too bad. It'd probably be on par with a 4x5 with unsorted grain. I'd bet medium format would look pretty good.

This was all done with Adobe Premiere, although I don't think it's really well suited for it. I probably should've used this as an opportunity to learn After Effects instead

I'll be sure to keep your needs in mind the next time I build something like this

@@jonhilty7434 turns out i could just subtrack away the lenght i needed a bit of a hazzle but works well enought and a lot less complicated then this lol especially since you have to read out this stuff in sections anyway so for anyone actuially looking for how to laser cut this stuff quick and easy i suggest that which can be done in light burn or the xtool which i use then just laser cut several strops at a time and tape together with paineters tape its way less effort and generally appicable for anyone to do... the trick ios to cut the strip if you get it from musicboxmaniacs after you download it as DXF foirmat and then subtract away the bit you need... i had a rectangle with the size i needed for reference and then i just cut the bit of i needed copied it undid what i had done and copied in the new strop and repeated... kind of annoying but it work without having to over engeneer stuff...

anyway the most intresting project is the modify the music box to get away from that god damed flimsy mechanism... now that more of a worth while project to get fancy about..

They're both color images on glass, but the similarities pretty much end there. Autochromes are like slides, you backlight the plate and look through it to see the image. Lippmann plates, as you see here, work off of reflection. They look a little "holographic", and only work at a really specific angle. They're pretty hard to see without a dedicated setup. Here's a video of a 6x6 Lippmann plate I made a few years ago, in a special little viewer I made. instagram.com/p/B7ZWl4tpIcO/ Funnily enough, since they're both exposed glass-side first, you can make a combined Lippmann-Autochrome. My attempt didn't work so well (and maybe it will never, as a concept), but it's something I'd like to try again sometime.

@@jonhilty7434 I just read about the process, wow, it's brilliant … creating standing waves of different depths in the emulsion ( if I have that right ), what an incredible idea, and it works! Thanks for sharing this Jon.

Yup! All the actual photosensitivity/photochemistry happens in a layer that would otherwise produce a b&w image

Hey there! The first color photo actually goes back to experiments by Edmund Becquerel in 1848, using his own specially created Daguerreotypes. These used the interferential method to produce color rather tricolor. He never did figure out a way to fix them, however, so they were sparingly displayed. Maxwell's 1861 piece was on collodion plates IIRC, using 3 separate plates that were exposed through red, green and blue filters. I'm sure an alarm bell is going off - how could the red plate ever be exposed, when outdoor wetplate darkrooms use red filters in sunlight without any fog? The red plate had to be exposed much longer than the blue and green plates, and Ron Mowrey (Photo Engineer over at Photrio) theorized that the red plate is actually violet/UV reflecting off the bow leaking through a flawed red filter. I don't know if this is true, but it's always made sense, since Maxwell didn't really seem to make many more pictures using such a novel process. I don't know much about the specifics of the rest of what he did, but I assume he used the negatives to print positives on glass, and then recombined them in some manner, either using filtered light or by dyeing the collodion before it dried. As for autochromes - they use a dry plate gelatin coating over top the starch, and the exposure is made with the image passing through the starch layer first, and then to the image. This could be done with collodion instead, as long as the solvents in the collodion didn't melt the "second varnish" on the autochrome plate (it's nitrocellulose based, so there's a good chance it would). Orthochromatic collodion would only likely get you blues and greens though. IIRC ethyl violet was used for orange/red collodion sensitivity, so maybe that could work.

@@jonhilty7434 Thank you. I think this helped me understand more clearly. Have you ever sold one of your autochrome plates? I have no way to make one myself and I’d love to experiment with collodion!

@@TheSoulOfGenius Hey! I've sold them in the past. This summer I was hoping to have been shipping boxes, but I've been having a lot of trouble making them lately, for some reason... If you're looking for just the screen plates (no dry plate emulsion), though, I could sell you some!

I'm all for an autochrome-style process, even if it's not "authentic". I just don't know much about those materials. If they're sufficiently transcluscent and saturated in color, it's something that could probably be leveraged. Especially if the gelatin could go straight onto it!

Hey there! Very cool! I got my start around that age. I got a super lucky deal at a flea market, where a dude was giving away basically a whole darkroom set for $20. I ended up cramming it all in a tiny closet at my parent's house for a couple years. Developing autochromes is pretty similar to normal B&W prints, just with a couple extra steps. If you google b&w "reversal processing", you'll get a ton of info. You can develop autochromes with a normal dev/stop/fix method too, but you'll end up with color negatives instead. I've got some pictures of development here: www.jonhilty.com/autochromeexposureguide Re: 35mm. It's definitely doable, but since it's "positive" process, the plate you shoot in camera is going to be your final picture too. So it'll end up just being real small. That's why I usually shoot these with a 4x5 camera.

@@jonhilty7434 I got lucky too wkth the darkroom I have. My highschool got rid of all their film equiptment from Film Development class and I got to have all of it. And thanks for the tips and info. I'll definitely try this on a bigger camera than 35 mm 😅

@@jonhilty7434 Would you think putting one of these plates in an enlargement machine would work ? If the film used in the machine was negitive, you could just use normal black and whiite developer ? And if this is possible, I don't see why you couldn't make 8x10 plates since with an enlarger you could make it as big as possible.

@@thewindows95guy You're thinking like, apply the normal b&w film/enlarger/print workflow to autochromes? I don't see any reason why that wouldn't work, although your grain would get magnified on the "print". But assuming you got the color balance figured out, you could make as many final "plates" as you wanted. I'm not aware of this having been tried historically, but it may have been. I'll have to look into that!

@@jonhilty7434 I'll have to try this. If it works, it could be possible to make much larger prints the size of maybe a small window. That could be really cool.

Hey there! Sorry, I thought I replied to this like two weeks ago, but I guess the comment didn't go through. For original autochromes - I have absolutely no idea if they would work or not. I've definitely heard of people developing older film/plates before. Usually they add extra potassium bromide to the developer to help with fog. I developed a roll of film from the 50s a few years ago and most of it turned out pretty well, though some parts had some fungus on it. I have a few boxes of autochromes too, but I'm afraid to open them. I probably won't ever think about shooting them unless I can get my hands on an original Lumiere orange filter, since it needed one of those to correct the color balance during exposure. I agree, it is kind of weird that there isn't at least ONE mosaic screen process on the market right now, since the chemistry required isn't really that crazy.

it would be a great niche product- the original autochromes were high quality plates, might take some work to achieve that.

It's still in the forefront of my mind! I had a lot of issues getting good results this summer, which really kind of set my video plans back a bit. The process as I know it is still very much a work-in-progress, and there's a ton of room for improvement. Maybe I should double down though, and not let "perfect" be the enemy of "good"...

@@jonhilty7434 It is also always interesting to see how things are 'in progress'. It may not be at the conclusion, but little successes and failures along the way can be just as interesting as the finished 'perfect' solution. Either way I am sure whatever you choose to put out will be interesting! (And no pressure to put out any videos about it either)

@@jonhilty7434yes please! Just came across your video almost by accident, I’ve always loved autochromes and had no idea people were making them today! I’d love to know more

Same here. If I had the resources I’d try this myself 👍