Gualtierotti or Cicona e Gualtierotti | Timeline of Historical Colors in Photography and Film

Timeline of Historical Colors in Photography and Film

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Gualtierotti or Cicona e Gualtierotti

1930

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Gualtiero Gualtierotti, Società Cicona

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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

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

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France / Scotland

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Gilmore Color

1918

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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

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(Gevaert Photo-Produkten N. V )

Applied colors: Pretinted film

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Gevacolor T 6 82

1978

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 80

1974

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 55

1968

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 54

1964

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 53

1958

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 52

1954

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor T 6 51

1948

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(Gevaert Photo-Produkten N. V )

Subtractive 3 color: Chromogenic monopack

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Gevacolor Print Film T 9 86

1974

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(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Print Film T 9 85

1971

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(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Positive Film T 9 54

1968

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(Agfa-Gevaert N. V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Positive Film T 9 53

1958

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(Gevaert Photo-Produkten N.V.)

Subtractive 3 color: Chromogenic monopack

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Gevacolor Negative

1948

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(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

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(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

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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

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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–ca. 1952) / Bauchet Color Paper (1953–1955)

1944

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Bela Gaspar; manufactured by Ansco (1944–46), manufactured by Etablissement Bauchet (1953–1955)

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

“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

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L. S. Trimble (Trimble Laboratories)

Subtractive 2 colors: Bi-pack, duplitized film

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Fujifilm peel-apart films

1984 –

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Fujifilm Corporation

Subtractive 3 color: dye diffusion process, still photography

“The company also launched its first peel-apart color print films, Fuji FP-100 and Fuji FP-800, which were compatible with Polaroid cameras and camera backs. The image formation of the new peel-apart films was similar to that of Fuji integral ...

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Fujifilm integral films

1981–

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Fujifilm Corporation

Subtractive 3 color: dye diffusion process, still photography

“The chemistry and structure layer of Fuji FI-10 integral film were very similar to those of Kodak PR-10, with the film being exposed on one side and viewed on the opposite side. However, its layers were much thinner than those of Kodak and ...

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Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 245.

1 Image

Fujicolor Positive, type 8819

1968

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

See also Fujicolor.

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Fujicolor Positive, type 8818

1966

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

See also Fujicolor.

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Fujicolor Positive Film Super F-CP 3510 / 3610

2001

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film Super F-CP 3510 / 3610

2002

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film F-CP 3519D

1999

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Fujicolor Positive Film F-CP 3519

1996

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(Fuji Photo Film Co., Ltd.)

Subtractive 3 color: Chromogenic monopack

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Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Quote as Flueckiger, Barbara (2012 ff.): Timeline of Historical Film Colors. (= https://filmcolors.org/).
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