Ray spoke of the search for images beyond the Black and White, and from 1839 onwards, independent individuals were attempting to progress capturing colour onto glass plates. Many could be hand-coloured as Daguerre type and even up to 1880, hand overlaying with oils was a popular method, this being continued into modern digital colouring methodology. A major step forward occurred in 1802, when Thomas Young introduced the 3-colour Receptor Theory; this was improved upon in 1860 through James Clark Maxwell, with the RGB Additive Principle, whereupon the search continued for a practical and commercial process for the masses. Soon, beautiful, creamy, blended and smooth images were being produced by male and female photographers versed in the skilled art of Autochrome imagery. Shellack use promoted a patent in 1892 and continued well into the 1940's; the Lumierre Brothers assisted the popular growth at the turn of the Century, and another advanced Autochrome patent was produced in1903 displaying full pano-chromatic coating - this went into production in 1907 utilising potato starch as grains, based on a filtration system and colour bias. The explanation of a cross section of an Autochrome plate was informative, whereby it is the reverse of the modern light-path method; in Autochrome section, the light passes through the glass, through a varnish layer, into the RGB screen, through a second varnish sandwich layer before striking the emulsion. The light loss for such resulted in an ISO of less than 1, hence a tripod was required and the subject needed to be stationary for a considerable period (Sport and Wildlife didn't feature for Autochrome!) The cost of the Autochrome media was raised and, despite the attempt to allow the masses to use Autochrome with a basic camera, the plates were about ten times the cost of the B&W alternative - very much a hobby for the more 'affluent' in society. The Presentation also showed the basic Projector function for the Autochrome glass slides, including a latter use 'water cooled' electronic or carbon-arc rear lit unit (what a treat for early H&S Managers...). Ray then spoke of how the Autochrome plates continued throughout the 1930s, before the Tri-pack 'Subtractive' methodology from the likes of Agfa and Kodak impacted on their favour in terms of ease and cost. Finally, a short review through PDI showed members just how beautiful, detailed and sympathetic this process was; even on the large screen, the projections were simply magnificent.

During the break, members had the opportunity to meet Ray, he was delighted to speak and his table presentation had numerous images taken from Autochrome slides, as well as four Autochrome slides with a magnifier, all backlit, so members could see each in their glory. There are a number of National Autochrome collections, a popular one being at the 'Science and Media Museum' in Bradford. Ray also brought a book entitled 'The Colour Photography Book' (up to approx 1940) by Brian Coe, which gives a further comprehensive account of the history and development of the Autochrome process. In sum, a wonderful, nostalgic and educational evening, well received by members.