Hicrography / Hicrome

1915

|

Frederic Eugene Ives

Subtractive 3 color: dye imbibition process, still photography

“In 1915 the company launched a hybrid dye imbibition color printing system called Hicrography.9 From the separation negatives, positive impressions were made through the base on the presensitized dichromated film (Hicro Film), which also ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 134.

1 Image

Hérault Trichrome

1926

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A. H. A. Hérault (Société Française des Films Hérault)

Additive 3 color: Alternately stained in red, green and blue

“The Hérault Trichrome process was demonstrated in Paris on 1 October 1926, with three films made by A. Rodde — a fashion show, a documentary on Brittany and a tableau of the Legend of the King of Ys. Hérault Trichrome was an extension of ...

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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger.

12 Images in 1 Gallery

Harriscolor

1929

|

J.B. Harris, Jr.

Subtractive 2 color: Beam-splitter, single-coated

“Harriscolor In this method as in other methods of color photography, independent color value negatives are first obtained. The Harriscolor process can employ one of the following two methods: Either a camera wherein the dividing light prisms ...

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Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.
Credit: Technicolor Collection. George Eastman House Moving Image Department. Photograph by Barbara Flueckiger.

3 Images

Harmonicolor

1935

|

Maurice Combes

Subtractive 2 color: Bi-pack, double-coated

“Harmonicoior was developed by French chemist Maurice Combes. It was first formally demonstrated in London by Harmonicoior Films Ltd, of 4 Great Winchester Street, on the 23 March 1936 at the Curzon Soho with the film Talking Hands, produced at ...

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Handschiegl / DeMille-Wyckoff / Wyckoff Process

1916

|

Max Handschiegl and Alvin Wyckoff

Applied color: Imbibition

Similar to stenciling, the Handschiegl process was applied mechanically to manually defined image parts. Therefore it is an applied color process. After the film was shot and edited, for each color applied a separate print was made. In contrast to ...

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Black-and-white with Handschiegl in Lights of Old Broadway (USA 1925, Monta Bell). Credit: Library of Congress. Photograph of the nitrate print by Barbara Flueckiger.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI. Film: Greed (USA 1925, Erich von Stroheim).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Forbidden Fruit (USA 1921, Cecil B. DeMille).
Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 24.
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Trail of '98 (USA 1929, Clarence Brown).

142 Images in 8 Galleries

Hand coloring

1895

|

(technique inherited from lantern slides)

Applied colors: Manual application

Coloring of individual frames by the use of very fine brushes. The process was previously applied to lantern slides. Any water based translucent dye was suited for the process, most often the coloring was done with acid dyes.

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Loïe Fuller (FRA 1905, Anonymous). Credit: BFI National Archive. Photographs of the hand colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Métamorphoses du papillon (FRA 1904, Gaston Velle). Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
Credit: Turconi Collection by courtesy of George Eastman Museum, Moving Image Collection. Film: Zara.
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

310 Images in 19 Galleries

Gualtierotti or Cicona e Gualtierotti

1930

|

Gualtiero Gualtierotti, Società Cicona

|

Italy

Additive two-color: optical system, filters, 64mm negative.

Unlike other additive systems invented in previous years, Gualtierotti tried to avoid the phenomenon of chromatic aberration inherent in the use of multiple lenses or the creation of successive separation records. The proposed solution was based on ...

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Rotating filters permitting to adjust tonality and intensity of the colors. Source: Pierotti, Federico (2016): Un'archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, p. 62

1 Image

Gorsky Process

1921

|

Prof. Gorsky and R. G. Booth (Manager of Messrs. Gaumont's Scottish branch)

|

France / Scotland

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Gilmore Color

1918

|

Frederic Eugene Ives and Otto C. Gilmore

Additive 2 color: Rotary filter

“Gilmore’s two-color additive process was based on a patent granted to F. E. Ives in 1918. A unique optical system exposed two images in pairs, and quarter-turned them lengthwise side by side on standard 35 mm film stock. One of the images was ...

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Source: U.S.P. 1,262,954 (Ives, Frederic Eugene; filed Feb. 18, 1914; granted Apr. 16, 1918)

1 Image

Gevaert Positif Color

1925

|

(Gevaert Photo-Produkten N. V )

Applied colors: Pretinted film

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Gevacolor T 6 82

1978

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 80

1974

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 55

1968

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 54

1964

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 53

1958

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 52

1954

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 51

1948

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor Print Film T 9 86

1974

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Print Film T 9 85

1971

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Positive Film T 9 54

1968

|

(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Positive Film T 9 53

1958

|

(Gevaert Photo-Produkten N.V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Negative

1948

|

(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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No masking in the negative. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).

4 Images in 1 Gallery

Gevachrome

1966

|

(Agfa-Gevaert)

Subtractive 3 color: Chromogenic monopack, reversal 16mm

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Comparing cross section schemes of different Gevachrome types. Scource: Verbrugghe, R. G. L. (1967): A Sharp Reversal Color Print Film. In: Journal SMPTE, Vol. 76, Dec. 1967, p. 1198.

10 Images in 1 Gallery

Gaumont Chronochrome

1912

|

Léon Gaumont (Gaumont)

Additive 3 color: Sawn-off lenses and filters, simultaneous taking and projection

“The competition between Kinemacolor and other rival systems was partially stimulated by a Utopian faith in the potential of film technology to achieve ‘natural colour’, reality ‘as it is’ being the goal of the cinematic ...

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Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.
Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ede, François (1994): Jour de fête ou la couleur retrouvée. Cahiers du Cinéma: Paris.
Credit: Cinémathèque française, conservatoire des techniques, Paris.
Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.
Source: Gaumont, Léon (1959): Gaumont Chronochrome Process Described by the Inventor. In: Raymond Fielding (ed.): A Technological History of Motion Pictures and Television. An Anthology from the Pages of The Journal of the Society of Motion Picture and Television Engineers. Berkeley; Los Angeles: University of California Press, 1967, pp. 65-67.

12 Images in 2 Galleries

Gasparcolor OR Gaspar Color

1933

|

Béla Gaspar (Gasparcolor Naturwahre Farbenfilm GmbH, Berlin)

Subtractive 3 color: silver dye-bleach multilayer print film, still photography and film

Gasparcolor was the first three-color multi-layer monopack film available for practical use. It was a double-coated print film with a cyan layer on one side and two layers dyed magenta and yellow on the other side (see illustrations).

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Uit het rijk der kristallen (NDL 1927?, J.C. Mol). Credit: EYE Film Museum. Photographs of the Dufaycolor and Gasparcolor nitrate print by Barbara Flueckiger.
Kreise (English title Circles) (Oskar Fischinger, GER 1933-34) Oskar Fischinger's own nitrate print. Credit: Library of Congress, (c) Fischinger Trust, courtesy Center for Visual Music. Photograph Fischinger's own nitrate print by Barbara Flueckiger.
Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Allegretto by Oskar Fischinger (1936-1943).
Credit: (c) Fischinger Trust, courtesy Center for Visual Music. Film: Gasparcolor tests by Oskar Fischinger, c. 1933-34.
Credit: Cinémathèque suisse. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
Credit: Cinémathèque suisse. © Fischinger Trust, courtesy Center for Visual Music. Film: Komposition in Blau (Composition in Blue) AKA Lichtkonzert Nr. 1 (Light-Concert No. 1) (GER 1935, Oskar Fischinger).
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Color chart on Agfa Tripofilm. This was the raw stock used for Gasparcolor in Germany until about 1939. Source: Arens, Hans; Heymer, Gerd (1939): Die „Agfa-Farbentafel für Farbenphotographie“. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, Vol. 6, 1939, pp. 225-229. Leipzig: Hirzel. Photograph by Barbara Flueckiger.
Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 213.

398 Images in 24 Galleries

Gasparcolor Opaque

1944

|

Bela Gaspar; manufactured by Ansco (1944-46)

Subtractive 3 color: dye destruction process, silver dye-bleach, still photography

“In 1944 he launched a new reflection printing material on a white-pigmented acetate base called Gasparcolor Opaque, which was, initially and for the duration of the war, available only to the U.S. military. The processing of Gasparcolor Opaque ...

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Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 235.
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 228.

2 Images

Gaspar Color subtractive 2 color

1941

Subtractive 2 color: Silver dye-bleach

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Fullcolor

1942

|

L. S. Trimble (Trimble Laboratories)

Subtractive 2 colors: Bi-pack, duplitized film

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Fujicolor Positive, type 8819

1968

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive, type 8818

1966

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

Fujicolor Positive Film Super F-CP 3510 / 3610

2001

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film Super F-CP 3510 / 3610

2002

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film F-CP 3519D

1999

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film F-CP 3519

1996

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film Eterna-CP 3523XD

2010

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film Eterna-CP 3521XD

2007

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film Eterna-CP 3514DI / 3614DI

2010

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film Eterna-CP 3513DI / 3613DI

2002

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film Eterna-CP 3512 / 3612

2010

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8516

1972

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8515

1969

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8514

1965

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8513

1965

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8512

1958

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative, type 8511

1955

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative High Speed AX, type 8512

1983

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative AX, type 8514

1984

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack, 35 mm, 16 mm, Tungsten, 500 ASA

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Fujicolor Negative A, type 8517

1981

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative A, type 8511

1983

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Negative A 250, type 8518

1980

|

(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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