Yes, really, we come back to a traditional color photography, but, pay attention, at a new level, on a new dialectic coil. What new the photo in traditional can introduce Lippmann’s photography? The first and main is a wide dynamic range of transferred brightnesses. This property from the holographic nature Lippmann’s images. In a classical photo this parameter name photographic breadth. When you photographed Lippmann photos, you, probably, have noticed, that the digital chamber does not transfer all to a detail the Lippmann image. Something it is necessary to endow: or details in shadows, or details on light sites. Or to do two pictures with different expositions, to show all to gradation of brightness.Your 3-layer idea takes us back to traditional color photography. I am not sure it gains us anything compared to "pan" sensitization of a single layer. For one thing, my impression is that you really need major technology to produce emulsions like that.
When I have looked in the reference book as it is arranged color emulsion Kodak or Fuji I have been surprised: the arrangement of layers in accuracy coincides that I have offered. And moreover, each photosensitive layer consists of two sublayers! Therefore the technology of drawing of such thin layers already exists.
I met Jury Nikolaevich Denisjuk on school of holography, which takes place in small town on coast of Caspian Sea in 1985. Remarkable there was a person. I was amazed with his story how he at last minute has left the plane and has bought the ticket for other flight in other city. And when has arrived, has learned, that that first plane in which there was his baggage, it was broke at landing.I want to mention here an idea I had back in 1995 or 1996. (I will have to check my notes.) I mentioned it to Denisyuk at the last Lake Forest symposium, the only one I have been to and the only time I met him. He was really fascinating by the way, a fountain of ideas. He said he had a similar idea but never tried it. To my knowledge, this is the first publication of this idea.
Then I have presented him the Lippmann picture (made on DCG), which worked, both on reflection, and on transmitting, giving fine complementary colors. There the peacock that I have photographed in the Kharkov zoo has been represented. I think, that this picture was not kept, as at that time I yet did not give special attention of hermetic sealing.
Working above 3-layer idea I recognized that layers will be photopolymeric as in this case it is possible to provide spectral independence of layers. If to use silver or chrome their natural sensitivity to blue light, will present considerable challenge and will cross out all expected advantages. I think, what exactly this circumstance and did not allow Denisjuk to start experiments. Therefore I impatiently also wait, that will tell in this regard Martin and Sergio.
To optimize the form, the size and orientation of grains under specific test conditions, it is very interesting, useful and perspective idea.I wonder if some version of this, perhaps at low grain concentration, could be made to work. But it is likely not simple to trick the grains to line up with flat surfaces parallel to the emulsion face.