Frederic Eugene Ives

[5][6] His fully developed Kromskop (long-vowel marks over both "o"s and pronounced "chrome-scope") color photography system was commercially available in England by late 1897 and in the US about a year later.

Alternatively, a Kromskop "triple lantern" projector could be used to illuminate each image with light of the correct color and exactly superimpose them on a projection screen.

Ives first exhibited such an image in 1901, at which time he stated that the basic concept had occurred to him about sixteen years earlier while working with line screens for the halftone process.

[11] Berthier had also created an extremely coarse and nonfunctional interlaced image for purposes of illustration,[12] but he never reduced the idea to practice or attempted to patent it.

Eventually, several other inventors, including Ives' son Herbert, substituted an array of narrow cylindrical lenses for the simple parallax barrier and incorporated more than two viewpoints, creating lenticular parallax panoramagram 3-D images of the type most familiar from 3-D postcards, trading cards and similar novelties, often confused with holograms.

By 1922, he and fellow inventor Jacob Leventhal were producing a popular series of anaglyph 3-D novelty shorts called Plastigrams.

Halftone processes allow photographs, complete with their "half-tone" intermediate shades of gray or color, to be reproduced in ink on paper by means of a printing press, like text.

Prior to such processes, images were printed in books and periodicals by means of hand-engraved metal plates or wood blocks, or from drawings made on lithographic stones.

Half-tone effects were obtained by engraving closely spaced parallel or hatched lines, by stippling, or by exploiting the granular texture inherent in the stone lithography process.

The lines or dots, of varying widths or sizes respectively, had to be small enough to adequately blend together in the eye at a normal viewing distance, producing the illusion of various shades of gray, yet the printing plates had to be durable enough to last through a typical press run without excessive degradation.

Combined with the inherently stark black-and-white nature of the photoengraving process, these devices served to break up the image into a regular pattern of dots of various sizes with optimized shapes.

During the 1890s, photographs reproduced by this second "Ives process" largely replaced the use of hand-engraved wood block and steel plate illustrations.