About Early Color

The Archives de la Planète operators worked mainly with autochrome glass plates beginning in the 1910s. Cushman used Kodachrome transparencies from the 1930s onward.

Prokudin-Gorsky recorded three filtered exposures on glass. The Library of Congress color images are later digital renderings and composites of those negatives.

Fred Payne Clatworthy worked with Autochrome plates. This browser includes only History Colorado records that explicitly identify an Autochrome and expose a public color image.

Charles C. Zoller also worked with Autochrome plates. This checked George Eastman Museum subset concentrates on dated documentary views of American life: children and families, Florida streets and sponge markets, parks, public concerts, waterfronts, and Rochester civic life. Every included transparency names Zoller, identifies the color process, and exposes a verified public JPEG; broad museum date ranges are excluded.

Frank Lauder documented Kansas City in Autochrome. This browser includes only records with an exact date no later than December 31, 1936, explicit color-process evidence, and a verified public original JPEG from Kansas City Public Library.

Early American Color brings together 112 selected U.S. photographs from multiple repositories. Alongside the Smithsonian San Francisco Kromograms and Arnold Genthe Autochromes, it includes the complete 50-image U.S. Autochrome gallery transcribed by Vintag.es, represented without duplicate cards. Documentary scenes cover rodeos, ranches, markets, families, students, public spaces, and working life through 1930. Records without a source-level date remain visible but stay out of Year and Decade filters. Every image action reports the dimensions actually served by the public source.

Color Pioneers reaches back to 1874 with Louis Ducos du Hauron’s trichromatic views, Edward Bierstadt’s color portrait, and Gabriel and Laurence Lippmann’s interference-color plates. English titles support browsing while French source titles remain searchable and preserved in the original metadata. Source-hosted JPEGs and PNGs remain remote; two unmodified Photo Elysée press images are narrowly documented local exceptions.

The Library of Congress FSA/OWI color archive documents American farms, factories, towns, transportation, and the wartime home front from 1939 through 1944. Item-level catalog dates take precedence over the collection search date. Kodachrome is named only when the item metadata explicitly identifies it; original TIFF downloads appear separately when the Library of Congress exposes them.

The Imperial War Museums group is a visually reviewed selection of 219 original color photographs from 1937 through 1945, including substantial coverage of France and Germany. The gap-fill adds 52 public JPEG mirrors from the Ministry of Information color transparency series after live duplicate checks; one selected PNG stayed out under the collection's direct-JPEG gate. The added Commons records publish no authoritative depicted-place field, so their country and map position remain empty rather than inheriting query or subject-nationality labels. Rights wording is preserved from IWM and Commons provenance is kept in the original metadata. Descriptive content notes remain ordinary metadata and never hide, blur, suppress, or reorder photographs.

Germany in Color brings together visually reviewed original-color photographs of civilian everyday life from 1930 through 1939. English display titles support navigation while original German titles and catalog metadata remain preserved and searchable. Political context stays in the metadata, but the selection centers streets, families, schools, work, shops, transport, housing, leisure, agriculture, towns, and ordinary urban life.

Israel and Palestine in Color presents Meitar Collection color slides from the National Library of Israel, including Moshe Marlin Levin and Benno Rothenberg photographs from 1947–1970. English display titles lead each record; Hebrew catalog titles remain preserved and searchable. Only records whose source medium explicitly identifies both a slide and color photography are included.

Whiting and Matson Screen Color brings together ten curated Library of Congress transparencies: six made in Mandatory Palestine and four made in Syria. Curator dates and historical country labels guide browsing, while the LOC catalog wording remains preserved in original metadata. Cards use economical JPEG previews, and every master action opens the verified anonymous LOC TIFF.

WWII Documentary Color begins with two verified camera-original Signal Corps color photographs of American troops boarding barges at a British port in June 1944 (NARA 111-C-1232 and 111-C-1237). Images are hotlinked from Wikimedia Commons; Signal Corps Archive Flickr is preserved as provenance. The selection prefers candid logistical scenes over ceremony or propaganda.

Central Europe Agfacolor gathers eight verified Agfacolor still photographs from Poland and Hungary (1938–1944), including Zakopane, Wisła, Warsaw, and Budapest. Every image action opens a pinned Wikimedia Commons JPEG revision; Fortepan provenance is preserved where it applies. Deferred candidates without a named color process, and motion-picture frames, stay out of this first release.

Petsamo Early Color brings together thirteen Finnish Heritage Agency color transparencies from Petsamo (modern Pechenga) made in 1929 and 1939–1940, while the area was still part of Finland. Cards use Finna JPEG previews; every master action opens the verified remote Finna TIFF. Country browsing keeps Finland; present-day Murmansk Oblast geography is preserved in the metadata.

Larsson Matson Kodachrome adds thirty-six Lewis Larsson color slides of Jerusalem, Bethany, and nearby ridges from the Matson Photograph Collection. Exposure dating follows Matson Registers v. 2 (1940–1946); later catalog and slide-mount wording stays in the metadata. Cards use LOC JPEG previews, and every master action opens the verified anonymous LOC TIFF.

Washington State in Color begins with ten Jim Skinner color slides of Seattle's Century 21 Exposition from April 1962, held by Seattle Municipal Archives. Cards use SMA IIIF previews; every highest-resolution action opens the verified remote SMA full JPEG, with the archival TIFF available separately. Rights are CC BY 2.0 with Courtesy Seattle Municipal Archives citation.

Baseball in Color adds thirty-one reviewed American game-day photographs from 1953–1978, beginning with found Kodachromes of the 1953 Little League World Series. The set uses only records whose Flickr or Wikimedia Commons pages still expose an anonymous original JPEG under CC BY or CC BY-SA terms.

Mildred Harris Los Angeles Color adds 605 photographic color slides of midcentury Los Angeles civic and street life (1948–1976) from the Los Angeles Public Library TESSA catalog. Images remain remote TESSA IIIF JPEGs; rights stay unknown unless TESSA states them, and Ordering & Use terms are preserved. The usual 1,600-pixel floor is waived for this collection only because many public derivatives are smaller.

Commons Autochromes adds 156 freely reusable Autochrome plates from Wikimedia Commons, including Dutch beach and farm life, Hanna Resvoll-Holmsen's Norwegian field photography, and plates by Immink, Gérardin, Gervais-Courtellemont, Acland, and other early color photographers. Every image action opens a pinned anonymous Commons JPEG revision; deferred research candidates stay out.

Classic Sports Color adds forty-six reviewed sports photographs from 1943 through the 1970s across Commons, Flickr, and the Library of Congress. The first release keeps only item-level color/process evidence, conservative date and place claims, and anonymously hotlinkable public JPEGs, with a dedicated Sport facet for browsing across golf, soccer, tennis, boxing, volleyball, and related play scenes.

Mosier Japan Color adds 304 Occupation-era color slides by Robert V. Mosier (1946–1947) from the National Diet Library Digital Collections, released under Public Domain Mark 1.0.

1950s Japan Found Slides adds forty-nine Flickr photographs from the Vintage Japan-esque found-slide albums (Children's Fashion & Toys slides, plus Tokyo Cars & Trains 1957). Rights remain CC BY-NC-SA 2.0 as asserted by the uploader; the original photographer and chain of title are unidentified. Children's album dates are approximate (c. 1950s); Tokyo street scenes are dated 1957 from the slidebook caption. Images stay remote on Flickr.

Los Gatos Kodachrome adds ten 35mm SFMemory slides from 1954 and July 1963: two Highway 17 views at The Cats and eight scenes at the Billy Jones Wildcat Railroad. SFMemory permits website display of its watermarked derivative while leaving copyright responsibility with the user, so rights remain unknown. The owner approved a collection-specific 1000-pixel exception; images stay remote and are not upscaled.

Commons Kodachrome adds a finite Wikimedia Commons selection of color photographs with live rights checks and affirmative item or reviewed-series Kodachrome evidence. The first wave centered on everyday life from 1939 through 1976. An owner-approved expansion adds further pre-1970 category members, including Smithsonian industrial and aviation publicity stills that are tagged so Featured ranking keeps them quieter than street and people photographs. Images remain remote; sub-1000-pixel exceptions are listed only when the owner accepted them.

Stockholm in Color presents 282 Gustaf W:son Cronquist analog-color photographs from Stockholm City Museum, verified item-by-item with digistad Färg analog: Ja evidence and hotlinked from Digitala Stadsmuseet. Dates run from 1908 through 1940 under the pre-1970 cutoff. Rights are CC BY at the item level. Dia slides without that color field stay out of this release.

Montevideo Autochromes adds two stereoscopic Autochrome plates of the Rosedal del Prado by Juan Alberto Duclós Diz from the Centro de Fotografía de Montevideo. Item catalogs name Autocromo. Reuse is limited to attributed, non-commercial sharing without adaptations, under CC BY-NC-ND 4.0, with required credit Autor: Juan Alberto Duclós. Cards use the public 1200-pixel JPEG under a collection-specific size exception; the anonymous master TIFF is offered as a separate download.

Romania Early Color currently publishes one Franz Duschek Jr. Autochrome from the National Museum of the Romanian Peasant archive: the ceramics hall of the Mint exhibition in Bucharest, January–February 1910. Item metadata names Lumière Autochrome. Rights stay labeled as MNȚR terms under Law 109/2007 with moral rights under Law 8/1996 and are not treated as unrestricted PD.

Post-D-Day France in Color assembles curator-approved original-color photographs from Wikimedia Commons Category:World War II color photographs in France, chiefly liberation and Northwest Europe 1944–45, plus a few occupation-era frames. André Zucca / BHVP remains metadata-only pending permission.

New Zealand Early Color currently publishes nine Robert Walrond Autochromes from Museum of New Zealand Te Papa Tongarewa (1913–1918). Every record names Autochrome at item level, carries Te Papa’s No Known Copyright Restrictions downloadable media statement, and hotlinks the anonymous full JPEG. Six National Library Waikoko Autochromes remain deferred pending item-level reuse and endpoint confirmation.

Fortepan Hungary Color is everyday-life colour photographs from the Fortepan archive (1933–1978), hotlinked from Wikimedia Commons under CC BY-SA. Color evidence is Commons Category:Colour photographs from Fortepan plus attribution to the donor and Fortepan. A 2026 batch added further pre-1970 Hungary plates from the same Commons category after measured colour checks. The two Fortepan Agfacolor stills already in Central Europe Agfacolor (3284 and 3303) stay out of this set.

Thomas Neumann: Germany and Norway in Agfacolor, 1937 is a finite 75-photograph set held by the National Archives of Norway and published on Wikimedia Commons under CC BY 4.0. Every record is an Agfacolor Neu image dated to 1937 and hotlinked from Commons; the masters run about 1,481 to 1,500 pixels on the longest edge, below the usual floor by a collection-specific exception. Sixteen photographs carry content notices for Nazi-era political symbolism and are shown, not hidden.

Dave's Old Slides adds mid-century Kodachrome everyday-life photographs from the Flickr account of the same name. Only Creative Commons items are included (mostly CC BY-NC-SA 2.0, plus one CC BY 2.0). Dates, places, and named photographers come from each item caption; rights remain uploader-asserted with unresolved chain of title. Images stay remote on Flickr.

Robert Yarnall Richie's 1939 Puerto Rico color transparencies, from the DeGolyer Library at Southern Methodist University via Flickr Commons. These are among the earliest color photographs of Latin America in the archive. Dates and places come from the Flickr description fields (not Flickr Taken-on scan dates); rights are No known copyright restrictions with a DeGolyer citation. Images stay remote on Flickr.

Toni Frissell's digitized color film transparencies from the Library of Congress, a tightly curated set of everyday life, travel, street, and beach scenes from 1947–1969: Swiss village streets, Acapulco and Bermuda beaches, a Hong Kong harbor, the Fulton Fish Market, and Central Park. Fashion, society, and editorial commissions are excluded. Rights are No known restrictions on publication. Masters are LOC TIFFs.

C. E. Hablutzel's Southeast Asia, 1963 gathers seventy Kodachrome photographs from one coherent journey through Vietnam, Cambodia, Thailand, Malaysia, Myanmar, Indonesia, and the Philippines. This is not a representative survey of Southeast Asian history. David Pirmann digitized and published the slides on Flickr under CC BY 2.0 after Hablutzel's family or estate supplied them and agreed to Creative Commons publication. Images stay remote on Flickr.

Postwar Malaya, Singapore, and Brunei in Colour adds 83 original colour transparencies from the Imperial War Museums Central Office of Information collection. The first release focuses on Malaysia, Singapore, and Brunei from the 1950s through 1964. Modern countries support browsing while original colonial-era titles and place wording remain in the catalog metadata. Every image is an anonymously accessible IWM Share and Reuse derivative and remains subject to the IWM Non-Commercial Licence.

Postwar Kenya, Uganda, Sierra Leone, and The Gambia in Colour adds 24 original colour transparencies from the same Imperial War Museums Central Office of Information collection. The selection centers everyday life, work, transport, and landscapes while preserving colonial-era titles and place wording in the catalog metadata. Descriptive content notes mark military, royal-tour, ethnographic, and colonial-administration scenes and never hide or reorder photographs. Ghana and Nigeria COI frames stay out of this release for sibling West Africa work. Every image is an anonymously accessible IWM Share and Reuse derivative under the IWM Non-Commercial Licence.

Lionel Caplan's Rural Nepal gathers 112 colour slides made during anthropological fieldwork in eastern Nepal in 1964 and 1965 and around Dailekh and Surkhet in July 1969, published by the University of Virginia's Mandala Collections under CC BY-NC 4.0. The set is everyday village life: paddy sowing, bazaars, households, and ritual, in places that rarely appear in early color photography.

Ceylon and Nepal in Colour, 1961 gathers 76 colour slides from a single 1961 journey, scanned and published on Wikimedia Commons by Hannes Grobe under CC BY 3.0 and CC BY-SA 3.0. The photographer is not named in the source, so the slides are credited to the collection rather than to a person. Most files are captioned Ceylon even where the frame shows the Kathmandu valley, so each record was placed by what the photograph actually depicts: 38 in Sri Lanka, 38 in Nepal.

Southern Africa in Colour, 1943 adds 18 Imperial War Museums Second World War official colour transparencies from South Africa and Southern Rhodesia (modern Zimbabwe), hotlinked as public-domain files from Wikimedia Commons. The set centers Commonwealth Joint Air Training Plan aviation training, with people-centered frames from Johannesburg and Waterkloof. Historical place wording stays in the catalog; browsing uses modern countries.

Marc Ferrez Autochromes adds 189 Lumière Autochrome plates from the Instituto Moreira Salles Gilberto Ferrez collection, mostly stereoscopic views of Rio de Janeiro plus a few European gardens and Alpine scenes. Cards and details show the whole uncropped plate, including both half-images, mount, and handwritten label, following the Montevideo Autochromes convention. Ferrez died in 1923; IMS publishes the plates as public domain with download liberado for cultural use and required attribution to Marc Ferrez and Acervo Instituto Moreira Salles.

Finna Autochromes adds 96 early Lumière Autochrome plates (1900–1936) from Finnish Finna institutions, including Museovirasto, Helsinki City Museum photography, the Finnish Museum of Photography, SLS, and Vapriikki. The set is not Finland-only: travel plates include Sarajevo, San Remo, Lake Geneva, Bad Homburg, and Monaco. A fourteen plate series records the Suur-Merijoki manor in the former Viipurin maalaiskunta, on the Karelian Isthmus; country browsing keeps Finland, which is where the estate stood when the plates were made, and present-day Vyborgsky District geography is preserved in the metadata. Titles stay in Finnish or Swedish. Rights are per-record CC BY 4.0, Public Domain Mark, or CC0, with institution attribution. Cards use remote Finna Cover JPEGs; when the public derivative caps near 1200px, that floor is a documented collection-specific size exception, following Montevideo Autochromes. The 124 Satakunta 1955 diakuvat slides from the source inventory stay out because they are mid-century color slides, not Autochromes.

Carlquist Papua New Guinea 1963 adds twenty Sherwin Carlquist colour positives (1960–1967) published on Wikimedia Commons via DPLA and Claremont Colleges under CC BY 4.0. Most frames date to the 1963 field season, with a handful from 1960 and one dated between 1966 and 1967. Commons originals are 1,500 pixels on the long edge, below the usual floor by a collection-specific exception. Images stay remote on Commons.

Suriname 1975 adds 81 colour slides from Anefo, the Dutch press agency whose archive is held by the Nationaal Archief, released CC0 through Wikimedia Commons. Bert Verhoeff photographed 78 of them and Rob Mieremet three; 23 frames were made in Paramaribo. This is the one collection here given over entirely to a subject after 1970; elsewhere a few later frames trail the end of collections centred earlier. Suriname was otherwise absent from this atlas, and no open body of earlier colour photography of the country exists to draw on, so the independence year stands in its place. The collection label carries that year so the exception stays visible instead of quietly widening the scope of an early-colour project. Place comes from the archive Locatie field. Independence ceremonies photographed in the Netherlands stay out because the subject here is Suriname itself, and each exclusion records its reason in the selection file.

NSAG West Africa 1961–62 adds 287 Maarten van Dis colour transparencies from the Dutch NSAG student overland journey, held by the African Studies Centre Leiden and released CC BY-SA 4.0 through Wikimedia Commons. The locked set comes from a full cull of the NSAG Commons category (1,464 files to 287). It fills production zeros for Sudan, Senegal, Nigeria, Ghana, Ivory Coast, Chad, Cameroon, Mali, and Togo, and adds Dahomey-era Benin frames. Place is taken from each file's ImageDescription or depicted place, never from the filename. Egypt, Uganda, Netherlands, and Gibraltar frames stay out. Cards hotlink Commons JPEG derivatives; TIFF masters remain the downloadable originals.

Swedish Autochromes adds forty curator-reviewed plates from DigitaltMuseum, dated 1910–1925 and held by Tekniska museet and Örebro läns museum. Every record carries item-level Autochrome evidence, Public Domain Mark rights, and an anonymously accessible source JPEG at least 1,600 pixels on the long edge. Images remain remote on DigitaltMuseum.

Australia in Colour gathers thirty photographs made between 1937 and 1967 from Wikimedia Commons and Museums Victoria. The original twelve include amateur Kodachrome and Agfacolor railway, tramway, and street scenes, the Sydney Opera House under construction, and Edward Roberts's 1937 Dufaycolor photograph of Barkindji People at Wilcannia. Eighteen curator-approved additions include twelve Public Domain color transparencies from the Museums Victoria International Harvester collection, three explicitly captioned Kodachromes, a 1952 color film portrait, a 1960 color slide, and a 1958 Puffing Billy frame made on Anscocolor film. Every added image was opened and confirmed as visible color, then checked for item-level date, process, rights, dimensions, and duplicate status. Images stay remote on their source hosts.

Archduchess Margaretha's Autochromes gathers 236 glass plates made between March 1910 and May 1914 by Margaretha von Österreich, held by OÖ Landes-Kultur GmbH in Linz. They read as a private album rather than a commission: summers at the Villa Toskana in Lindau on Lake Constance, walking seasons in the Tyrol, the Salzburg mountains, and the Dolomites, days in Nuremberg and Rothenburg, and a last run down the Adriatic coast that reached Dubrovnik on 7 May 1914, less than three months before the war began, with a handful of plates from Piran and Portorož on today's Slovenian coast. Two hundred and one plates are dated to the exact day by the institution, thirty-one to the month, and four to a year span. The catalogue's country field records the holding institution rather than the subject, so depicted place was resolved separately here from each plate's IIIF Place field: 123 plates in Germany, 42 in Croatia, 33 in Italy, 31 in Austria, and 7 in Slovenia. Images are requested from the museum's own IIIF service and stay remote.

Nordic Museum Color now presents 110 DigitaltMuseum photographs spanning 1900 to 1969. The gap-fill adds 74 records from Sjöhistoriska museet, Vasamuseet, Kulturparken Småland, Örebro läns museum, Bohusläns museum, ArkDes, and Malmö museer. Thirty-one native max JPEGs below the usual 1600-pixel floor remain under a scoped 1300-pixel exception after the source endpoint was tested with dimension=max; 42 added records carry CC BY 4.0 and the rest carry Public Domain Mark. Records without an explicit depicted place leave country empty rather than inheriting the institution's country. Images stay remote on DigitaltMuseum.

Tekniska Museet Autochromes adds 238 Autochrome plates from the Swedish National Museum of Science and Technology (Tekniska museet) via DigitaltMuseum. The holding is one institution's Autochrome archive: Olaf Eriksson, John Jäderström, Tor Ekström, E. D. Schött, John Hertzberg, and others, mostly 1908–1934, with fifty-seven plates whose capture year the catalog never recorded. Every image was measured for colour (mean saturation) before inclusion, and the set excludes plates already shipped under DigitaltMuseum Autochromes and Nordic Museum Color. Images stay remote on DigitaltMuseum under Public Domain Mark.

Brenzinger Autochromes adds 59 Lumière Autochrome plates by Annemarie Brenzinger held at the Badisches Landesmuseum Karlsruhe. Europeana lists the museum country as Germany; depicted place comes from each record's GND spatial field instead, and the kept set is mostly Switzerland (Engadin / Zuoz), with smaller groups in Baden and on Capri and Sicily. Catalogue dates are years of manufacture from 1910 to 1926. Every kept plate is CC0, names Autochrome, and measures as colour after cropping the mount. The museum's native masters stop near 1024 pixels on the long edge (larger width= requests upscale), so the usual 1600-pixel floor is waived to 1000 pixels. Images stay remote on the museum's digital catalogue.

American Car Culture gathers 16 photographs of mid-century American car culture, weighted toward young people but no longer limited to them. Fourteen are found 35mm color slides from a Langhorne, Pennsylvania car-club member's 1950s collection, published on Flickr by rich701 under CC BY 2.0: club gatherings, posing with cars, garage and service-station work, and a Speed Shop Mercury. The fifteenth is a Robert Yarnall Richie Ektachrome of a Houston Texaco station in August 1965, held by SMU DeGolyer Library and published on Flickr Commons with no known copyright restrictions. The sixteenth is a Kodachrome slide made about 1950 by Martin J. Walsh Jr. in Murdock, Minnesota, showing two local men, Jim Cain and Jack Clarke, with the filling-station operator at the pumps; his son scanned it and published it under CC BY-NC 2.0, and the names and date come from the cardboard mount. Streetscapes with parked stock cars, family driveway snapshots, and modern photographs of restored cars stay out. Process is recorded from source evidence, as Color slide, Ektachrome, or Kodachrome, never inferred. Floors are mixed: the usual 1600-pixel minimum is waived to 1260 pixels for the scanned Langhorne slides and to 1000 pixels for SMU Flickr Commons material. Images stay remote on Flickr. Repeated searches of American repositories for more of this material have found the subject abundant but almost never openly licensed; that shortfall is reported rather than padded.

Latin America in Colour now gathers 45 pre-1970 photographs associated with Cuba, Peru, Ecuador, Guatemala, Bolivia, Chile, and Brazil. Eleven 1947 Library of Congress Kodachromes show the Guatemalan model Sabina. The gap-fill also adds 14 Peru marketplace Kodachromes, a 1916 Paget-process rescue photograph made at the Chilean tug Yelcho, three Bolivian views, one Brazilian Amazon view, and explicitly labeled orbital Ektachrome photographs. The Yelcho record has no authoritative depicted-place field, so its country remains empty rather than being inferred from the vessel. Four candidates already present in the live Latin America index were held out as duplicates. NASA geography remains approximate in the source prose and receives no guessed map pin. Rights stay per record, including CC BY, CC BY-NC, CC BY-NC-ND, public domain, and No known copyright restrictions. Images stay remote on LOC, Flickr, and Wikimedia Commons; the LOC sequence is served at its documented 1024-pixel public-derivative exception.

Early Color Processes adds 105 curator-reviewed pre-1970 photographs from Wikimedia Commons: twenty-four Agfacolor, eight Anscochrome, twenty-four Autochrome, sixteen wartime color transparencies, twenty-three Ektachrome, three Lippmann interference photographs, one Miethe three-color photograph, and six Paget process images. Selection required named process evidence, reusable item-level rights, an anonymous Commons image at least 1,200 pixels on the long edge, and duplicate checks against the existing archive. Images remain remote on Commons.

Albertina Autochromes adds 283 Lumière Autochrome glass plates from ALBERTINA, Wien (Sammlungen Online). The holding is dominated by Joseph von Rheden and Arthur von Hübl, with smaller groups by Karl Prokop, Eduard Valenta, Heinrich Kühn, Wilhelm August Schwind, and Georg Winter. Catalogue dates run from 1907 into the early 1930s; many plates carry institution-level ranges such as ca. 1916–1926 rather than a day date. The catalogue publishes no depicted-place field, so country is left empty rather than filled with Austria (the museum's country). Every kept plate names Autochrome and is Gemeinfrei (Public Domain Mark). The institution's IIIF Image API caps its public derivatives at approximately 1200 pixels on the long edge, so the usual 1600-pixel contributor floor is waived to 1000 pixels; cards and detail pages still render at the archive's own display tier. Images remain remote on the ALBERTINA IIIF service.

Inga Walde's Småland Color Slides adds 209 färgdia photographs from Kulturparken Småland / Smålands museum via DigitaltMuseum, dated 1950–1969 and centred on everyday life in Växjö. Every record carries an item-specific pre-1970 date, Public Domain Mark rights, and an anonymously accessible source JPEG at least 800 pixels on the long edge. The set excludes the fourteen Walde plates already shipped under Nordic Museum Color. Images stay remote on DigitaltMuseum.

Vietnam in Color, 1962–1969 gathers eighty original-color photographs from NARA and the LBJ Library: Signal Corps 111-CCV item-level Color records, nine Navy 428-K color-series frames (five NARA JPEGs and four Commons JPEG mirrors of NARA TIFF-only objects), one Marine Corps 127-GVC camp view, and Yoichi Okamoto C-series photographs from President Johnson's Cam Ranh Bay visits. Rights are unrestricted U.S. federal / LBJ Library public-domain works. Images stay remote.

Bernard Gotfryd's Vietnam Moratorium, 1969 adds thirty Library of Congress color transparencies of the New York Moratorium demonstrations. Cards use LOC v.jpg previews; every highest-resolution action opens the verified anonymous master TIFF. Rights remain No known restrictions on publication. Campus protest archives for FSM, People's Park, UCSB North Hall, and UW-Madison Dow remain overwhelmingly monochrome or rights-locked under this project's hotlink rules.

James M. Shelley's Woodstock Kodachromes, 1969 adds five photographer-uploaded Wikimedia Commons files from Bethel, New York. Shelley wrote that he loaded a borrowed 35mm camera with one roll of Kodachrome slide film for the festival. Rights are CC BY-SA 4.0; images stay remote on Commons. Shipping at five is deliberate for this set; Featured uses the default small-collection weight without a home-highlights formula change.

Warnecke Hollywood Carbro, 1938–1948 adds fourteen Harry Warnecke New York Daily News tri-color carbro film-star portraits from the National Portrait Gallery (Smithsonian Open Access CC0) plus two Gaylord Carter Hollywood Kodachromes from Wikimedia Commons (CC BY-SA 3.0). Still photography only. This provisional review pack recommends an early-american-color extension because the count is sixteen, under the twenty-five-record own-code floor.

U.S. City Gaps Color adds twelve pre-1950 original-colour city views for under-covered American places: David C. Cook Kodachromes on Flickr (CC BY-NC-SA 2.0) and two Robert Yarnall Richie SMU Flickr Commons Houston Lodestar colour transparencies (no known restrictions; Electra frames already live in commons-kodachrome were dropped as duplicates). Seattle, Boston, Cambridge, and Houston gain coverage; Philadelphia and most other measured gaps stay at zero. The shortfall against the collection floor is documented in reports/us-city-gaps/REPORT.md.

Los Angeles Golden Age in Color gathers 171 photographs from 1940 to 1969. The original Security Pacific core still holds Hollywood Boulevard at Christmas, Broadway neon, the Brown Derby, and Pershing Square. The 2026 expansion adds the postwar built environment that was missing: Valley and South Bay drive-ins, Harbor Freeway views, Century City, Watts festival streets, and neighborhood commercial color from LAPL TESSA. Roy Hankey beach and Ports O' Call frames stay in roy-hankey-beach-color; this set does not duplicate them. Empty TESSA rights fields stay unknown and IIIF derivatives sit near 800 pixels. Open-rights glamorous Los Angeles remains scarce (Getty Shulman, USC Whittington, Huntington street Kodachromes, and LA Metro Flickr all fail on licensing); the deeper open seam is TESSA's suburban and neighborhood color.

San Diego Aerospace in Color gathers 55 photographs of the industry that built the city, made between 1943 and 1967. Forty come from the San Diego Air and Space Museum's Flickr archive and document the Convair and General Dynamics Astronautics test site on Point Loma: the drop-test tower, Atlas missiles being erected and shrouded, liquid-oxygen dumps pouring off the cliff into the Pacific, and the Centaur site. Ten are Office of War Information photographs of the Consolidated Vultee plant in 1943, working under camouflage netting. The rest are Navy change-of-command ceremonies at North Island, the Spirit of St. Louis replica built for the museum, and three city views: the El Cortez Hotel, a highway, and one handwritten April 1955 slide. This is deliberately an industry collection rather than a portrait of the city. San Diego's downtown, beaches, waterfront, fishing fleet, and its two Balboa Park expositions remain open gaps: no openly licensed original colour was found for them in this pass, and the collection id leaves the city name free for a later run. Dates come from the SDASM catalogue's own negative notes, which carry exact days for 33 records. Five Library of Congress slides were dropped because their source date reads 'between 1960 and 1980', a range that cannot be asserted as pre-1970.

San Diego in Color gathers 98 original-color photographs made before 1970. The fifty-photo Robert Glasheen core documents the early UC San Diego campus and La Jolla from 1964–1969. A reviewed 48-photo expansion adds Mission Beach, Ocean Beach, Mission Bay, Balboa Park, the San Diego Zoo, La Jolla Cove, Point Loma, downtown theaters, the fishing fleet, military life, and everyday family scenes from Flickr source collections and the San Diego History Center. Two researched Library of Congress slides were excluded because they were already present in San Diego Aerospace in Color. Every added record has a live source page, documented original-color evidence, a verified anonymous image, and completed exact-hash and perceptual duplicate review. The four History Center records use the archive's best public files at 362–450 pixels; the other additions use 1,024-pixel Flickr derivatives. Rights vary by source and are recorded per photograph.

Rijksmuseum Autochromes adds 488 Lumière Autochrome plates and stereographs from the Rijksmuseum, mostly Dutch subjects from the 1900s–1920s (Rotterdam, Hoorn, The Hague, the Jacob Olie family) with CC0 or Public Domain Mark rights. Postcard and photomechanical reproductions cataloged under the autochrome technique query are excluded. Titles stay Dutch. Albert Kahn also holds Netherlands Autochromes; apparent subject overlap is noted for review and never auto-dropped.

Orange County in Color gathers 222 photographs from the Orange County Archives and Wikimedia Commons, made between 1945 and 1969. The set keeps beaches, harbors, Disneyland, and Knott’s Berry Farm, and adds the postwar build-out that remade the county: shopping plazas and Fashion Island, freeway corridors, tract housing, Harbor and Katella commercial strips, civic construction, and orange groves giving way to subdivisions. Places are recorded as the Orange County cities they are, never as Los Angeles. Most records are CC BY 2.0 or Public Domain Mark from the county archive’s own Flickr stream.

David Tewes Kodachromes presents 97 photographs from 1944–1949, including Tewes’s wartime service on Attu, Alaska; autumn and spring scenes around Hutchinson, Minnesota; Minneapolis and the Minnesota State Fair; White House interiors; and two family Christmas trees. The source identifies the holding as Tewes’s Kodachrome slides and permits reuse with attribution. A non-photographic Attu title card and two post-1949 conflicts were excluded. Cards use economical remote derivatives; image actions open the measured source-hosted masters.

Tadeusz Rząca's Polish Autochromes adds Lumière Autochrome glass diapositives by the Kraków photographer Tadeusz Rząca (1868–1928) from Muzeum Fotografii w Krakowie. Catalogue technique is fot. barwna - autochrom; object type is diapozytyw; rights are domena publiczna. Subjects centre on Kraków, Podhale, Tarnów, and nearby Galicia in the 1910s–1920s. MuFo WordPress masters cap at 1500 pixels on the long edge, so the usual 1600-pixel contributor floor is waived to 1500. Images stay remote on the MuFo catalog.

Thomas T. Hammond's Soviet Slides gathers 1,843 original-color slide scans from the University of Virginia historian's Soviet travels, 1950–1975, from Wikimedia Commons. The expanded set covers modern country and city facets across Russia, Ukraine, Central Asia, the Caucasus, and related travel in Europe, while historical place names remain in the raw catalog metadata. Each frame carries per-file CC BY-SA 4.0 rights, photographer attribution, verified Commons master dimensions, and hotlinked delivery. The 1970s subset is included and clearly tagged by decade.

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