• King of Jazz (USA 1930, John Murray Anderson). Credit: Library of Congress. Photographs of the Technicolor No. III dye-tranfer nitrate print from 1930 and 1931 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
• Credit: Images courtesy of the Margaret Herrick Library. Film: Corrine Griffith in The Garden of Eden. Photograph: Barbara Flueckiger.
• Credit: George Eastman House Motion Picture Department Collection. Film: Buffalo Bill’s Last Fight (USA 1927, John W. Noble).
• Technicolor ad in Photoplay, 1930. Source: Photoplay, 1930, see Media History Digital Library
• Technicolor ad in Photoplay, 1930. Source: Photoplay, 1930, see Media History Digital Library
• Photomicrograph, 10x. Credit: Silvana Konermann.
• Photomicrograph, 20x. Credit: Silvana Konermann.
• Doctor X (USA 1932, Michael Curtiz). Credit: UCLA Film & Television Archive. Photographs of the Technicolor No. III dye-tranfer nitrate print by Barbara Flueckiger.
• Doctor X (USA 1932, Michael Curtiz). Credit: UCLA Film & Television Archive. Photographs of the Technicolor No. III dye-tranfer nitrate print by Barbara Flueckiger.

1296 Images in 37 Galleries

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

12 Images in 1 Gallery

• Credit: Gert Koshofer Collection. Photograph by Barbara Flueckiger.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

5 Images in 1 Gallery

• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.
• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

2 Images

• Magnification 20x. Credit: photomicrograph by Silvana Konermann. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Magnification 10x. Credit: photomicrograph by Silvana Konermann. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Magnification 5x. Credit: photomicrograph by Silvana Konermann. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• Magnification of an image area. Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.

78 Images in 2 Galleries

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

4 Images in 1 Gallery

1 Image

• Credit: George Eastman House Motion Picture Department Collection. Film: The Old Family Toothbrush (USA 1925).

1 Image

• Russian Ideas in Clothes! (USA 1922). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.

21 Images in 1 Gallery

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• 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.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Principle of capturing and projecting lenticular film. Credit: Joakim Reuteler and Rudolf Gschwind, Digital Humanities Lab, University of Basel, Switzerland. Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Microscopic image of a piece of Keller-Dorian lenticular film embedded in epoxide resin. The 3-dimensional structure of the lenticules is visible as well as the thin emulsion layer on the other side of the acetate base. Credit: Sample preparation and imaging by the Center for Microscopy and Image Analysis, University of Zurich.
• Lenticular surface of the acetate plastic base of Keller-Dorian lenticular film. On the back plane of the acetate layer and therefore out of focus in this image, structures defined by the silver image in the emulsion layer can be perceived. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Hexagonal structure of the lenticules of Keller-Dorian lenticular film. Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
• Microscopic images of the Keller-Dorian lenticular structure with the focus set at different points. The images have been chained to show a travelling through the 3-dimensional structure of the bee-hive shaped lenticules. Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.

14 Images in 2 Galleries

• The Phantom of the Opera (USA 1925, Rupert Julian). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.
• Credit: Images courtesy of the Margaret Herrick Library. Photograph by Barbara Flueckiger.
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
• Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55); color reconstruction of the images shown above. Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
• Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
• Arrangement of the two records on the camera negative. Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
• Film: Stage Struck (USA 1925, Allan Dwan). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
• Film: Irene (USA 1926, Alfred E. Green). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
• Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
• Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
• Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
• Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
• Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.

133 Images in 8 Galleries

• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 103.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 277.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 138.

3 Images

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
• Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).

16 Images in 1 Gallery

• The two colors visible at a splice. Credit: EYE Film Institute Amsterdam. Film: [Kleurenpracht].
• Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
• Credit: George Eastman House. Preserved by Carole Fodor, Haghefilm Digitaal fellow and graduate of The L. Jeffrey Selznick School of Film Preservation. Film: A Day with John Burroughs (Prizma, 1919).
• Credit: George Eastman House Motion Picture Department Collection. Film: The Land of the Great Spirit (1919).
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.
• Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Orange.

399 Images in 14 Galleries

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

1 Image

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

1 Image

• Polychromide samples from the Kodak Film Samples Collection at the National Science and Media Museum in Bradford. Credit: National Science and Media Museum Bradford. Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard.
• Credit: Brian Pritchard
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 279.

66 Images in 2 Galleries

• Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich. Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.

2 Images

• Knowing Men (GB 1930, Elinor Glyn), negative. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger.

3 Images in 1 Gallery

• Magnification. Source: Coe, Brian (1978): Colour Photography. The First Hundred Years 1840-1940. London: Ash & Grant.
• Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.
• Source: Heymer, Gerd (1943): Die neuere Entwicklung der Farbphotographie. In: Ergänzungswerk zum Handbuch der wissenschaftlichen und angewandten Photographie. Wien: Julius Springer 1943, pp. 337-463.
• Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
• Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
• Source: Finger, Ehrhard (1998): Die Pioniere des Wolfener Farbfilms. In: Industrie- und Filmmuseum Wolfen e. V. (ed.), Die Filmfabrik Wolfen. Aus der Geschichte, Heft 2, pp. 16-36. (in German) [quote id='4']
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 73.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 72.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 72.
• Source: Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, p. 41.

11 Images

• 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).

141 Images in 8 Galleries

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press. Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press.
• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press. Credit: Illustration by Sarah Steinbacher, Multimedia & E-Learning-Services, University of Zurich.

3 Images

• The  beam-splitter prism. Source: Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press.

6 Images in 1 Gallery

• Two-Color Kodachrome Print (USA ca. 1925 to 1927, Anonymous). Credit: George Eastman Museum. Photographs of the Kodachrome two-color double coated stock from 1925 and 1927 by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
• Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In:Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth.
• Magnification 5x. Credit: photomicrograph by Silvana Konermann.
• Magnification 10x. Credit: photomicrograph by Silvana Konermann.
• Magnification 20x. Credit: photomicrograph by Silvana Konermann.
• Kodachrome Two-color test from 1922, YouTube channel of the George Eastman House.

350 Images in 12 Galleries

• Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
• Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)
• Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: Cinechrome Colour Test with Soap Boxes and Packets (1920)

3 Images

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

1 Image

• Source: Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, p. 67.

1 Image

• 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

• Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.

39 Images in 3 Galleries

• Credit: Cinémathèque française, conservatoire des techniques, Paris.
• Credit: Cinémathèque française, conservatoire des techniques, Paris.

2 Images

• Source: Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co.

3 Images in 1 Gallery