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Shooting Trichromes on Color Film as Triple Exposures In-Camera

nograin_nogain

Member
Joined
Jul 8, 2025
Messages
15
Location
New York
Format
Medium Format
Hey everyone,

I’ve been experimenting with trichrome photography for a while now, usually using three separate black and white negatives through RGB filters and recombining them digitally.

On a recent trip, I decided to try a different approach and shoot trichromes directly onto color negative film as in-camera triple exposures. The goal was to see how viable this is outside of controlled conditions, dealing with movement, changing light, and alignment while traveling.

These were shot on a Mamiya 645 Pro on Ektar 100. As expected, subjects like water, foliage, and people moving between exposures introduce noticeable color separation artifacts. I did have a few frames with registration issues, but overall I was surprised by how workable the results were, especially given the constraints.

I’m curious how others here think about trichrome or color separation work in general, particularly when done in the field or while traveling. And if anyone has tried similar work on color film specifically, I’d be interested to hear how it went.

I also put together a short video walking through the process and results in more detail, for anyone interested:


I’ve attached a few representative frames below. Happy to answer any questions about the setup or process.


 
I'm puzzled. What is the point of shooting trichromes with color negative film? The technique was invented to make color photographs using black and white film.
 
Dan Fromm said:
I'm puzzled. What is the point of shooting trichromes with color negative film? The technique was invented to make color photographs using black and white film.
Click to expand...
Hey Dan,

You’re absolutely right about the origins of the technique. I’m not trying to recreate traditional trichrome color photography so much as explore what happens when that separation logic is applied directly to color negative film.

Part of the appeal for me is keeping the entire process in-camera and fully analog. Because the color layers are already co-registered on the film, it avoids the need for digital channel alignment afterward and allows me to work through more frames on a roll while staying within a consistent exposure strategy.

Shooting it this way also lets the film’s own color layers interact across the multiple exposures, producing color behavior and artifacts that are difficult to arrive at through standard trichrome workflows. It also preserves the option of making optical prints later on, which is important to how I think about the work.
 
Thanks for the explanation. I'm still puzzled, but you're the only person you have to please.
 
That's a clever way to get the Harris Shutter effect without dealing with registration issues. It's also, at the current time, less expensive than using B&W film, generally speaking. If the main reason for shooting trichrome is to get the Harris Shutter, it makes sense.
 
loccdor said:
That's a clever way to get the Harris Shutter effect without dealing with registration issues.
Click to expand...

Precisely.
Another, more subtle effect is that the color response will be different from the film as used without a filter. Due to the cumulative effect of the different filters, some parts of the spectrum will receive less emphasis. I can imagine this can also be exploited for a somewhat bewildering, unsettling or confusing effect.
 
I’ve thought about that as well, but with the idea of shifting the red channel toward the near-IR range using a 720 nm filter. For film, I chose Kodak Aerocolor 2460 - the spectral sensitivity diagrams are a bit confusing, but I think there might be sufficiently extended red sensitivity, similar to black-and-white aerial films. However, I only recently managed to get hold of all the filters - unfortunately, in Europe this is a bit difficult. Not to mention that out of three orders, two turned out to be very problematic…
 
I did try a few trichromes with the red channel replaced with 720 IR. On Aviphot 200. That's one case where the B&W version is significantly cheaper than color, at least if you compare it to Aerochrome. I hadn't heard about any IR sensitivity from Aerocolor.

 
Nice idea and great results.



Seems like a great idea to get the rainbow effect which can be creatively used. Combined with John Blakemore's multiple exposure technique, it might take the photography of wind to a different dimension.
 

What FUN !!!
 
Cool idea, but unfortunately that won’t work very well. Sensitivity falls around 700nm. Compare to something like Aviphot 200 where the sensitivity falls to the same level around 760-775nm.

If you can get a usable image, it will be a very long exposure. Look at Foma 400, which has a similar sensitivity curve near the red end. It can kind of be done, but it gives subpar results.
 
Last edited:
MCB18 said:
Cool idea, but unfortunately that won’t work very well. Sensitivity falls around 700nm. Compare to something like Aviphot 200 where the sensitivity falls to the same level around 760-775nm.
Click to expand...
In fact, I really don’t know how strong the IR response of this film will be. I was just speculating based on its characteristics. There are two diagrams - one for spectral sensitivity and one for the dyes. I’m not entirely sure what the second one actually shows. But there’s nothing stopping me from testing it.
Some time ago, I managed to get hold of a whole large roll of this film - it arrived without a metal can, in a vacuum-sealed black bag. That worried me quite a bit, and I started looking for an empty can… but unfortunately I ran into a medical issue and had to stop working in photography for a while. I’m getting better now and will probably return to it soon, and the film is still sitting there just as it is, in the bag, unopened… I hope it’s fine. If it is, there’s a lot to experiment with
 
I would love to get a bunch of this film at some point, but unfortunately the only place I can get it is very expensive. My friend said he picked up an areal camera magazine with 2500 ft of it, but unfortunately it was damaged at some point in the past and most of the film was mangled and unusable.

As far as the packaging, there will be an outer vacuum sealed foil pouch (I’ve seen both black and silver depending on age), and then a normal black bag like what comes in a can. They just pack it like that since they don’t have a can big enough for that length of film.
 
My roll is from Kodak, shortly after they announced that they would stop packaging some films in metal cans. It seems I drew the short straw when it comes to the cans… Otherwise, the roll is 35 mm 1000 ft (305 meters). Indeed, it’s really not easy to get hold of such film…
 
Where did you get it, if you don’t mind?

I might have a contact that can get me rolls of 9.5” film, but 35mm is unfortunately not something they use so I can’t get it from them.

I am hoping that I can make a 9.5” film slitter and cut 70mm rolls of film, but I’m having trouble designing this contraption.
 
It went through an intermediary. I’m not familiar with how exactly they managed to convince Kodak - it’s not something they would tell me anyway. The intended use of this film is very specific, and to be honest, I have no idea who else besides governments and the military could provide sufficiently convincing justification. In any case, I’m happy with what I managed to arrange, and let’s hope it’s still in good condition.
The 9.5" option sounds great, it would cover a lot of formats, so I don’t think it would be a mistake.
 
I mean, I know how to get it, your order 38 rolls that are 1000 feet long for $40k. It’s not like Kodak isn’t selling this film, they just have high minimum order quantities.
 
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