The First Complete Zebra Autochrome Plate!
Following our April Fools’ joke this time, it’s real!
There is a moment in every long process where separate experiments stop being isolated steps and begin to connect into something complete. For us, this was that moment.
For the first time, we have successfully produced a complete Autochrome plate, bringing together all the individual layers into a single working system capable of forming an image. A colour screen, a panchromatic emulsion, and light passing through both are no longer separate variables, but parts of a unified structure that finally behaves as intended.
What makes this stage particularly significant is not only that it works, but that it works as a system. Up until now, each component had been developed and tested independently. The colour screen, the pressing process, the emulsion, and the coating each presented their own challenges, often requiring entirely different approaches. However, Autochrome does not tolerate isolation. Every layer is dependent on the others, and even small changes in one part immediately affect the behaviour of the whole.
One of the more subtle and fascinating aspects of this process lies in the relationship between the colour screen and the emulsion. These two elements cannot be treated independently. The spectral sensitivity of the emulsion directly determines how the image responds to the coloured filter layer, meaning that the balance of the colour screen must be adjusted accordingly. In practice, this means that the ratio of red, green, and blue particles is not fixed, but must be carefully tuned to match the response curve of the panchromatic emulsion sitting above it.
If the balance shifts too far in one direction, colour reproduction quickly becomes unstable. Too much of one component leads to dominant colour casts, while too little causes parts of the spectrum to weaken or disappear entirely. What initially appears to be a static layer is, in reality, part of a dynamic system that only functions correctly when both layers are in agreement.
The plate shown here represents the first time all of these elements came together into a complete image. When this finally happened, we have to admit that we were completely blown away. After so many years of incremental progress, failed attempts, and partial results, seeing all the components align into a functioning image was something entirely different.
This is, in many ways, why analog processes remain so compelling. When everything falls into place, even briefly, the result feels earned in a way that is difficult to replicate elsewhere. The materials resist you at every stage, and yet when they finally cooperate, the satisfaction is overwhelming.
Interestingly, this first complete Autochrome was produced as a negative. No reverse processing was used, not by choice, but because at this stage reversing a hand-coated plate evenly is extremely difficult. Variations in emulsion thickness introduce inconsistencies that make the process unreliable, especially when working with such sensitive layers.
Even so, the result was enough to confirm what matters most. The system works. Light passes through the colour screen, the emulsion responds, and colour begins to appear. For the first time, the barrier of what seemed impossible has been crossed.
A few days later, we continued experimenting by preparing additional colour screens with slightly different ratios of red, green, and blue particles. The intention was to observe how these variations would influence colour rendering and to better understand the relationship between the screen and the emulsion.
These new plates were also reverse processed, and somewhat unexpectedly, the results were encouraging. The reversal process worked more reliably than anticipated, suggesting that this part of the workflow may be more flexible than initially assumed. However, while the process itself held together, the colour balance was noticeably off. Small changes in particle ratios translated directly into visible shifts in the final image, confirming just how sensitive the system is to these parameters.
What became clear through these tests is that the balance achieved in the first plate was not accidental. It was already close to the correct relationship between the colour screen and the emulsion. As a result, we are now returning to that original ratio as a reference point, refining from there rather than moving further away.
This stage also marks the transition from experimentation toward something that begins to resemble a controlled process. Hand coating has been essential in allowing us to explore freely, but it comes with inherent limitations, particularly when dealing with layers that are this sensitive to variation.
This is where our Zebra Emulsion Coater becomes increasingly important. The ability to produce extremely thin and consistent coatings opens the door to a level of repeatability that is simply not achievable by hand. For Autochrome, where even minor variations in emulsion thickness influence both exposure and colour rendering, this level of control is not just beneficial but necessary.
At the same time, introducing a coating machine into the workflow presents its own set of challenges. Autochrome plates require full panchromatic sensitivity, which means that the entire coating process must take place in complete darkness. There is no safelight and no visual feedback during operation.
This raises a practical question that is not yet fully solved. How do you operate a coating machine when you cannot see it? Some form of night vision may be required, but not just any system will suffice. It would need to operate without emitting light, be comfortable enough for extended use, and provide a real-time image without delay. It is, in many ways, a continuation of the same pattern we have encountered throughout this process, where each solution introduces a new layer of complexity.
While the core process is now functioning, several significant challenges remain before Autochrome plates can be considered for practical use. These include scaling the sorting of potato starch to achieve a consistent particle size in the 10–15 micron range, developing reliable methods for evenly distributing the colour screen across larger plate formats, and refining the compression process to ensure a uniform and optically stable layer.
Equally important is the production of a highly sensitive panchromatic emulsion in larger volumes, as well as establishing a reliable method for coating this emulsion in complete darkness. Beyond the technical aspects, there is also the question of how to make the process more accessible, safer, and approachable for those who may not have prior experience with complex photographic chemistry.
Each of these challenges represents a substantial project in itself, and together they define the next phase of development.
Looking ahead, this is where our focus will be directed in the coming months. At the same time, we have been considering how to involve the community more directly in this process. Many of you have already suggested the idea of crowdfunding, and we believe this could be a meaningful way to support the development of the specialised tools and equipment required to bring Autochrome plates back into practical use.
More importantly, it would allow us to share the entire process in a deeper and more transparent way. Not just as a final product, but as a complete journey, from raw materials to finished image, exploring what makes Autochrome both so beautiful and so demanding.
Until then, we will continue refining the process step by step improving consistency, testing variations, and pushing each part of the system further.
If you would like to support this work, the best way to do so right now is by exploring ZEBRA STORE and working with our existing dry plate products and equipment. They provide a natural foundation for understanding the materials, workflow, and discipline required for Autochrome and when the time comes, that experience will make the transition not only possible, but intuitive.
And if you want to stay in the loop as this progresses, make sure to subscribe to our newsletter. We’ll be sharing updates, behind-the-scenes insights, and early access when Autochrome plates become available.