The present paper focuses on the analysis of the symbolism of color and the texture of the picture in the historical documentary Fotoamator [Amateur Photographer] by Dariusz Jabłoński. As a result of the film director’s utilization of strategies for constructing narrative, including the mode of using colored and monochrome photographs, we have obtained a multi-aspectual and ambiguous historical picture made of several more or less parallel or mutually exclusive themes, based on one place, which is the Łódź (Lodz) ghetto. The analysis of the ways of using color in Jabłoński’s film enabled investigation of the strategy for constructing film narrative and the historical presented world, which the director utilized while making Fotoamator. The analysis of color in Fotoamator also made it possible to show the double character of historical film narrative (torn between thetransparency and complexity of form) and the ambivalent character of the ontic status of the historical presented world, which appears on screen as realistic at one time and as fictional at another. This means that in the case of Fotoamator we are dealing with a historical documentary film made on the basis of a multistage coding strategy.