Color Photography in the 19th Century and Early 20th Century: Sciences, Technologies, Empires

We (Janine + Hanin) are going on a break this December and will be back with a vengeance in January 2026. As a present to the members of this exciting, energizing, and downright colorful working group, we are preparing a giveaway game. So stay tuned to the newsletters we send you and who knows what Santa Clause will be sending you this holiday season!
We look forward to seeing you all in January and to enjoy a wonderful new year together filled with niche color processes, even nich-er scientists and off-the-beaten-track collections.

Group hugs from Vienna + Oxford,
Hanin + Janine

NOVEMBER SPECIAL: Focus Session
Looking forward to 2025 a new year filled with enthusiasm, inspiration and perspectives on early color photography, Hanin  & Janine will present  an informal session organized as follows:
We will open with a short presentation reflecting how participants in this group and their work point towards poignant and pertinent arguments expanding field of research of science, technology and color photography in the 19th & early 20th Century.
After which, we invite you to share your early color photographs and ephemera with the group.  People interested in sharing write to us telling us that they would like to share and what they would like to share.
After which, the session will be open for questions and discussions in a relaxed setting whilst Hanin poses questions and tells her jokes. This will be a valuable opportunity to get to know each other better and continue building our color photography community.
 

19th century experiments in color micrography by Fernand Monpillard with Nicole Liao
My project is interested in the use of new synthetic dyes in the life sciences and how this would have shaped color and photo media in the 19th century. I will be looking at the earliest experiments in color micrography by little known French photographer Fernand Monpillard, who seized upon synthetic color’s chemical and visual properties to visualize biological structures and microscopic organisms. While there was no shortage of atlases featuring micrography in the wake of photography’s invention, Monpillard and zoologist Étienne Rabaud’s Atlas d'histologie normale: Principaux tissus et organes (1900) appears to be the first scientific atlas of its kind to print its photographed specimens in color. I explore how this incorporation of color forces us to reconsider assumptions around “mechanical objectivity” and the active role corporeal relations between viewer and image, between specimen and technology, play in the relay of information. Monpillard’s other unpublished monochrome, bichrome and trichrome prints of parasites, insects, embryos and minerals will also be analyzed in relation to his written articles on the technical art of micrography. Thinking through the material and technical execution of Monpillard’s process, I ask how his visualization of “living” tissues and organisms might have intersected with what Jacques Loeb referred to as “Technology of Living Substance” in the lab wherein man can manipulate living nature to his will.
Biography:
Nicole Liao is currently a PhD student in the Department of Art History at the University of Toronto. Her interests lie at the intersection of the history of photography and film, science and technology studies, and aesthetics. Her dissertation will foreground the importance of colour in theories of evolution and biology as scientist sought to reveal, magnify and animate life processes in the latter half of the 19th century. Prior to pursuing a doctorate, Nicole worked as an artist and designer in the architectural field.
 
Bibliography:
Allen, Grant. The Colour-Sense in Insects: Its Development and Reaction. London s.n., 1879.
Breidbach, Olaf. “Representation of the Microcosm: The Claim for Objectivity in 19th Century Scientific Microphotography.” Journal of the History of Biology 35, no. 2 (2002): 221–5
Canguilhem, Georges. “The Living and Its Milieu.” Translated by John Savage. Grey Room 3, no. 3 (2001): 7–6.
Donné, Alfred. Cours de microscopie complémentaire des études médicales: anatomie microscopique et physiologie des fluides de l’économie. J.-B. Baillière, 1844. https://wellcomecollection.org/works/nbp87rbk/items?canvas=35
Kennedy, Meegan. “‘Throes and Struggles … Witnessed with Painful Distinctness’: The Oxy-Hydrogen Microscope, Performing Science, and the Projection of the Moving Image.” Victorian Studies 62, no. 1 (2019): 85–118.
Monpillard, Fernand. Appareil de photomicrographie. Paris: Impr. nationale, 1903.
———. Écrans et plaques orthochromatiques. Paris: Impr. nationale, 1907. http://gallica.bnf.fr/ark:/12148/bpt6k34120132.
———. Note sur la photographie indirecte des couleurs appliquée à la microphotographie. Paris: Impr. nationale, 1900.
Rabaud, Etienne, and Fernand Monpillard. Atlas d’histologie normale : principaux tissus et organes. Paris: Georges Carré et C. Naud, 1900. http://archive.org/details/atlasdhistologie00raba.
 
 

Looking Over the Over Looked - Lesser-known Colour Photography Processes with Janine Freeston
Janine will be sharing a work in progress that focuses knowledge exchange pertaining to lesser-known screen plate processes in particular illustrations of screen plates presented during a 1912 slide lecture that point to the complexities of launching nascent technologies and  the importance of further interrogation of how and why some processes forefronted commercial interest and eclipsed others. Along with other researchers, Janine is interested in learning more about new lesser/unknown processes and their unique attributions.
Pre-1914, seeing examples of color photography processes was limited to photographic exhibitions, photographic studio windows or disappointingly photomechanically transposed for very expensive publications which inherently lacked the luminosity of the backlit originals. Much was written in black and white about various processes in the photographic press, but imagining how they looked in comparison to each other was impossible. Consequently, many nuanced nascent solutions were swiftly eclipsed by the more commercially successful competitors. As a result, little is known about many less successful processes and their contributions to the incremental improvements that innovators explored while seeking to achieve simple and economic color photographs. The dissemination of information about early colour photography rested on the enthusiasm of manufacturers’ representatives and  amateur photographers’ exhibiting, presenting and demonstrating to camera clubs and reporting in press articles. Unfortunately these events usually confined themselves to one process at a time making comparisons between them impossible. This conundrum was addressed at the First Colour Photography Exhibition in Britain and the subsequent founding of the Society of Colour Photographers who actively circulated examples of members work and feedback from specialists work in the portfolios, leading to the publication of didactic guides and descriptive critiques in the monochrome photographic press leaving readers to try and imagine the ease of production and the fidelity of various processes. 
Reference Material
Pénichon, Sylvie. Twentieth Century Colour Photographs: The Complete Guide to Processes, Identification & Preservation. London ; New York: Thames and Hudson Ltd, 2013.
Wall, E. J. History of Three Color Photography. First. Boston, Mass., USA: American Photographic Publishing Company, 1925.
Friedman, Joseph Solomon. History of Colour Photography. 2nd ed. American Photographic Publishing Company, 1945.
König, Dr, E., and E. J. Wall. Natural Colour Photography, with Color Chart, Test-Results, and Diagrams. First. London: Dawbarn and Ward Ltd., 1906.
Rendall, H. E. Colour Photography. First Edition. RPS, 1931.
Utterback, James M. Mastering the Dynamics of Innovation. Boston, Mass: Harvard Business School, 2006.
Sobieszek, Robert A. Color as Form; A History of Colour Photography-Exhibition Catalogue from the International Museum of Photography George Eastman House. George Estman House Rochester New York: George Eastman House, 1982.
Biography
Janine Freeston is an Independent Researcher, writer, practitioner, tutor, lecturer, consultant and co-convener of this CHSTM Working Group. She specializes in early color photography and photographic processes, currently researching the associated technological and litigious aspects of trichromatic technology up to the 1930s. Her completed thesis Colour photography in Britain, 1906-1932: Exhibition, Technology, Commerce and Culture - the Dynamics that Shaped its Emergence, will presently be available. Janine is currently co-authoring an undergraduate study guide to understanding and applying research methods for photography in cultural studies and coordinates annual research symposiums on behalf of the Royal Photographic Society Historical Group with the Senior Lecturer in Photography at Wolverhampton University for academics, writers and collectors at any stage of their research.

Re-discovering the Joly screen process through making art as practice research with
Alan Phelan
 
The Joly screen process was the first screen plate commercially introduced for colour images. Patented in 1894 and introduced in 1895 by Irish physicist John Joly, the process had a very short life and was out of use within a decade. It did however prove Louis Ducos du Hauron's colour theories in making a full-colour image via a red, green and blue filter, where a striped screen is placed in front of black & white film on exposure and then display. The process was subsumed by the autochrome and largely forgotten and unused subsequently.
Over the past 6 years I have revived the process and used it as part of a series of exhibitions. My approach is far from scientific and far less detailed that the original but I have managed to make these additive photographs using analogue methods (albeit with a digitally produced striped screen). I have remained true to the process and exhibit the film from the camera, not reproductions as I reverse process the sheet film used. The method is precarious using analogue chemistry and the results are unpredictable but stunning when it works. The small photographs function like illuminated miniatures, and demand a different engagement from that of contemporary photography. A parallax effect adds an extra analogue kick where the colour shifts as the RGB screen lines mis-align.
As the process was not much used I have sought to create a new visual history that the process never had a chance to have. This has involved traversing many centuries and media, exploring a wide range of images, themes, and concepts. The difficulty in explaining the process in a digital world has also led me to use the RGB colour palette in a variety of installations, sculptures and interventions.
I will discuss the original process, my version of it and how I have used it in different art contexts. The Joly screen process is lacking serious academic research and I hope my work can help in unlocking some of the barriers that have left the process to dark fade into obscurity.
 
Reading Material:
* Essay by Joanne Laws in response to the exhibition Red Lines, 2019 at The Dock, Carrick-on Shannon, Ireland
https://alanphelan.com/wp-content/uploads/2021/07/JOANNE_LAWS_A_response_to_an_exhibition_Red_Lines_Alan_Phelan_1-min.pdf
* PDF published as a USB card documenting the work with the Dunboyne Flower and Garden Club in making floral Joly screen photographs, 2019-2020
http://www.alanphelan.com/AlanPhelanJOLY2020.21.pdf
* Review of the exhibition Echos toujours plus sourds (echos are always more muted) at the Centre Culturel Irlandais, Paris, 2019 by Gilles Renault for Libération
https://www.liberation.fr/images/2021/01/21/alan-phelan-dans-les-racines-oubliees-de-la-couleur_1818160/
English translation at https://alanphelan.com/associated-texts/echos-toujours-plus-sourds-2021/
 
Biography
 
Alan Phelan (born 1968 Dublin, Ireland) received BA, Dublin City University, 1989 and MFA, Rochester Institute of Technology, New York, 1994 on a Fulbright and John F Kennedy Fund scholarships. He worked at the George Eastman House subsequently and obtained a Certificate in Photographic Preservation and Archival Studies. It was there that he first came cross Joly screens as a small Irish connection in the vast collections of George Eastman Museum. He has exhibited Joly screen photographs at Casino Marino Dublin (2024); Molesworth Gallery Dublin (2021 and 2023); PhotoIreland Festival Dublin (2021 and 2022); Centre CultureI Irlandais Paris (2021); Void Derry (2020); Royal Hibernian Academy Dublin (2020); and The Dock Carrick-on-Shannon (2019). His practice that began in photography has extended into many different media and mediums with a focus on interpretation, language, and collaborations with other artists, writers, and curators. His work has recently been concerned with queer counterfactual temporalities, where histories are revised, recovered and reassembled into artworks and scenarios. Other solo exhibitions include: The Hugh Lane Gallery (2016); Oonagh Young Gallery (2015 and 2013); Golden Thread Belfast (2014); The Black Mariah Cork (2011); Irish Museum of Modern Art (2009); and Mother's Tankstation Dublin (2007). Group exhibitions/projects include: Self-Determination; IMMA (2023); MOE Communal (2023); TONE/TOLD/TEXT/TALK (2022-23), TBGS, RHA, DHG, HLG Dublin and Libairie Yvon Lambert Paris; CCA Derry (2021); Garage Rotterdam (2020); EVA International (2016); Bonn Kunstmuseum (2015); Treignac Projet (2014); Bozar Brussels (2013); Feinkost Berlin (2007); The Whitney Museum of American Art (2004).
 

 Peppers Ghost. The Archive & Performance with Bronwyn Lace and Anna Seiderer
 How do we begin to look at an image collectively? What are the ways in which a visual archive – entrenched in the heavy histories of colonialism and rendered silent through an extractive approach to photography – can begin to speak? In provoking and surfacing the narratives embedded in these archives, is it music, performance, improvisation and collaboration that can become vital tools for re-reading images in a contemporary way? These are questions Lace and Seiderer continue to ask themselves in their ongoing collaboration as artists, activators and researchers across various spaces and platforms. Using experimental, performative and playful tools for exchange and dialogue between artists and thinkers whose practices are devoted to the material traces of history the two are interested in deepening their artistic and academic reflections on the issues of remediation, analysis and reuse of filmic materials produced in controversial and complex contexts.
 
Within this process Lace and Seiderer have been invited to engage with a collection of photographs from the Musée départemental Albert-Kahn in Paris. The photographs, which are autochromes – the first photographic process that allowed for the reproduction of colour – were made in Dahomey (now Benin) in 1930 and are part of a larger project, the Archives of the Planet, funded by French banker and philanthropist Albert Kahn (1860-1940). Lace and Seiderer will speak about how the projection of digital versions of these autochromes into a Pepper’s Ghost, a 19th- century theatrical illusion mechanism that makes use of a half-silvered mirror, projection and live performance – became a hugely productive tool for engaging with – through music, dance, drawing, live narration and more – the photographs, that might have remained otherwise silent and inactive in the archive.
 
The two will share the way in which free spirited, open and collective responses to images through myriad sounds, gestures, and materials can become tools for layering, agitating, rescripting and expanding upon the people, places, landscapes, rituals and knowledge systems represented in the images and films. In engaging the archive in an active, collective, and interdisciplinary manner, new possibilities and tactics are able to emerge. Collapsing and unfolding time through performance becomes a means of destabilising the authority of an image. De-objectifying and dehumanising those present in the image. The act of embracing the incidental and the fragmentary becomes a way of working around the gaps and mistranslations in the historical narratives that accompany these images, pursuing instead the emergent material traces surfaced through the body, the voice, the ensemble. The introduction of language – be it linguistic, musical, or visual – can allow one to give a voice to a silenced image, while the use of physical performance and gesture can challenge, animate and expand upon a frozen or recreated moment.
 
Bronwyn Lace is a visual and performance artist. Site specificity and responsiveness are central to her practice. Lace’s focus is on the collaborative relationships between art and other fields, including physics, history, museology, philosophy and literature.
In 2016 Lace joined William Kentridge in the founding and animating of the Centre for the Less Good Idea in Johannesburg, South Africa, today Lace is the Centre’s steering force and its international liaison arm. In 2020 Lace co-founded The Zone: a collective that calls for the development of an entirely novel transdisciplinary and deliberative approach to inquiry and curation across the arts and sciences and beyond based in Vienna, Austria. Lace lives and works between Johannesburg and Vienna.
 
Anna Seiderer is senior lecturer at the Department of Arts at University of Paris 8/Vincennes and researcher at the laboratory Arts of Images and contemporary arts [AIAC/EPHA]. She’s member of the editorial board of the journal Slaveries & Post~Slaveries. She has just
published Traces du dé/colonial dans les collections de musées, avec Margareta von Oswald, Félicity Bodenstein et Damiana Otoiu (eds.), Horizon d’attente, Paris (2024) and curated Moving archives at Villa Medici in the frame of the short residency of Academy of Traces. Together
with Bronwyn Lace, she’s running the seminar Arts|Archives|Performances, questioning the performativity of colonial film and photographic archives.
 
Reading links
https://lessgoodidea.com/thinking-in-2020-2024#/thinking-in-archives-2022/
https://lessgoodidea.com/how#/may-2023-how-the-peppers-ghost/
https://journals.openedition.org/slaveries/801

Evolution of Conservation Approaches for Autochromes: Insights from Clara von Waldthausen and Luisa Casella
Autochromes present unique challenges due to the specific characteristics of their material composition. Over time, few conservators and conservation scientists have dedicated efforts to understand and address these challenges, resulting in a nuanced evolution of conservation approaches. This discussion explores that research, focusing on the contributions of Clara von Waldthausen and Luisa Casella within this landscape.
Historically, conservation efforts for autochromes targeted issues like rapid light fading and delamination of the image layer. Common practices were limited to replacing cover glasses and rebinding damaged plates. Key figures such as Bertrand Lavédrine, Jean-Paul Gandolfo, and Peter Krause played pivotal roles by conducting historical research and characterizing materials and deterioration mechanisms. Lavédrine's 1991 study on autochrome dyes underscored their low light stability, influencing widely adopted guidelines against their display.
Building on this foundation, Clara and Luisa addressed practical concerns still faced by conservators. Starting in 2001, Clara collaborated with Bertrand Lavédrine to propose an effective consolidation method using solvent vapors, a sea-change moment in the treatment of these objects. In 2007, marking the autochrome's centennial, Luisa explored low-oxygen display methods to enable their safe exhibition. Although both Clara and Luisa’s research is over a decade ago, they remain the latest advances in conservation approaches to these objects.
This presentation will review Clara and Luisa’s research results, which exemplify innovative approaches in navigating the delicate balance between preservation and intervention strategies for these historical artifacts.
 
Clara C. von Waldthausen (she/her) holds a Master of Arts in Photograph Conservation from the University of Amsterdam.  She is lecturer in Photograph Conservation at the University of Amsterdam where she established the program in 2015. Clara also works in private practice at her Foto Restauratie Atelier VOF. There she works with museums and archives, giving advice, teaching workshops and performing condition surveys and conservation treatments. (Amsterdam, The Netherlands)
 
Luisa Casella (she/ her) trained in Art Conservation at the Instituto Politécnico de Tomar in Portugal. She was an Advanced Residency Program in Photograph Conservation Fellow at George Eastman House/ Image Permanence Institute, and a Research Scholar in Photograph Conservation at The Metropolitan Museum of Art. She has held photograph conservator positions at Luis Pavão, Lda., Harry Ransom Center, and West Lake Conservators. (Ithaca, New York, USA).
 

Caring for early chromogenic film: a methodological approach to understand its use and significance through Portuguese collections by Lénia Oliveira Fernandes
The history of colour photography shifted in the 1930s as the industry began researching the manufacture and use of chromogenic dyes. Transparencies on plastic film with this type of colourants yielded direct positive images, simplifying the process of obtaining, viewing, and reproducing images in full colour. A dynamic visual communication tool, colour slide film was distributed and adopted in many contexts. Over the years, and as other technologies took over, slide film started to make its way into numerous private and public collections worldwide.
Although an estimated 6 million colour slides became part of several Portuguese cultural institutions, little is known about their relationship with the global photographic industry. Collection surveys are taking place to learn more about these objects’ sociocultural context and material characteristics. To this point, it has been possible to ascertain that their use became more common after the 1950s, especially by professional photographers. Specific issues arose across institutions, which further motivate in-depth investigation into their characterization and preservation. The study of colour slide film is being complemented by documenting memories related to their use and attributed values, on both national and international levels.
This presentation will explore the transition of colour photography into chromogenic processes, focusing on early slide film (1930s-1950s) and the challenges presented by these materials. The main focus will be on objects found in Portuguese institutions, studied in the scope of the ongoing PhD project “Chromogenic film: Characterization, conservation and appreciation of case-studies in Portuguese collections” (ref. 2022.13036.BDANA). 
 
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Lénia Oliveira Fernandes is a PhD student at NOVA University Lisbon that is researching colour slide film in Portuguese collections, financed by Fundação para a Ciência e Tecnologia). She is a photograph conservator whose professional experience is connected to the following institutions: Rijksmuseum, Nederlands Fotomuseum, Historisches Archiv der Stadt Köln, Hochschule für Technik und Wirtschaft - Berlin, Arquivo e Biblioteca da Madeira, and Image Permanence Institute. She has been a volunteer in several cultural heritage associations, including APOYOnline – Association for Heritage Preservation of the Americas.
Buzit-Tragni, Claire, Corinne Dune, Lene Grinde, and Phillipa Morrison. 2005. “Coatings on Kodachrome and Ektachrome Films.” In Coatings on Photographs : Materials, Techniques, and Conservation, edited by Constance McCabe, 168–79. Washington, D.C.: American Institute for Conservation of Historic and Artistic Works, Photographic Materials Group.
Mervis, Stanley H., and Vivian K. Walworth. 2004. “Color Photography 5-8.” In Kirk-Othmer Encyclopedia of Chemical Technology, edited by Jacqueline I. Kroschwitz and Arza Seidel, 5th ed., 19:231–72. Hoboken (NJ): Wiley-Interscience.
Pénichon, Sylvie. 2013. “Dye Coupling (or Chromogenic) Processes.” In Twentieth-Century Color Photographs: Identification and Care, 160–205. Los Angeles (CA): Getty Publications.
Shanebrook, Robert L. 2016. Making Kodak Film: The Illustrated Story of State-of-the Art Photographic Film Manufacturing. Expanded second edition. Rochester (NY): Robert L. Shanebrook.
Vernallis, Kayley. 1999. “The Loss of Meaning in Faded Color Photographs.” Journal of the American Institute for Conservation 38 (3): 459–76.
Vicente, Filipa Lowndes. 2018. “A obra fotográfica de Helena Corrêa de Barros acordou.” News. PÚBLICO. December 2, 2018. https://www.publico.pt/2018/12/02/culturaipsilon/noticia/obra-adormecida-helena-correa-barros-acordou-1853110.
Wilhelm, Henry. 1993. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. 1st edition. Grinnell (IA): Preservation Publishing Company.

"Unidentified color positives in Slovak collections - Research and challenges" by Kitti Baráthová   
The main purpose of the presentation is to introduce my doctoral research on different color positive processes on transparent supports regarding Slovak collections. The focus is on additive and subtractive color techniques on various bases, such as glass, cellulose film sheets or film roll. The urgency of this topic lies mainly in the fact that Slovak collections do not have identified and correctly categorised these valuable pieces in their depositories, which can lead to sudden deterioration under wrong storage conditions. Extensive research on this topic is constantly carried out in the world, but publications of international literature are mostly in English and only limited information is accessible in Slovakia, which is not widely available for all. The lack of professional literature and higher education of museum staff are few of the problems I am facing. As a conservator I realised that revision of the collections is necessary, because proper identification is the first step of preventive care, appropriate storage conditions and conservation of these rare color positives is extremely important for their future preservation.
 
Target audience: Conservators/restorators, archivists, curators, museum studies
 
 
Mgr. art. Kitti Baráthová is a photograph conservator based in Slovakia. She is a  Department of Restoration and Conservation graduate at the Academy of Fine Arts and  Design (AFAD) in Bratislava who specialises in paper and photograph conservation. Since  2019 she has assisted at teaching at the Department of Restoration at AFAD in the  Photograph Conservation Studio, lecturing courses such as Historical Photographic  Techniques - Theory and Practice. In 2022, she started her PhD studies under the  supervision of Associate Professor Mgr. art. Janka Blaško Križanová ArtD. Her research  focuses mainly on color photographs on transparent supports. As a PhD student and a  private conservator, she actively participates in conferences and workshops and  collaborates with institutions on national and international projects. She attended  workshops such as the Twentieth-century Photographs - Identification and Care with  Sylvie Pénichon (2019, 2022), the Colour Photo & Film Conference in Florence (2022), the  Conservation Science, Technology and Industry conference in Bratislava (2023) and the  ICOM-CC Triennial Conference in Valencia (2023). Since 2019, Kitti Baráthová and Janka  B. Križanová have been working closely with Albertina Museum Wien (Austria) on an  ongoing international collaboration Daguerrotype Project, where they survey, conserve,  and preserve the vast daguerrotype collection of the museum. In November 2023, they  hosted a course within the DITAH Project Autumn School of Photograph Conservation in  St. Florian Abbey (Austria) with the European Research Centre for Book and Paper  Conservation-Restoration. Her abstract got accepted to the 2024 AIC-Annual Meeting in  Salt Lake City, where she will be also presenting her doctoral research within the  Photographic Materials session during May 2024. 

Literature/recommended readings:
• PÉNICHON, Sylvie: Twentieth-Century Color Photographs. The Getty Conservation Institute, Los Angeles, 2013.
• WILHELM, Henry: The Permanence and Care of Color Photographs. Preservation Publishing Company, Iowa, 1993.
• ROHRBACH, John: Color! American Photography Transformed. Amon Carter Museum, University of Texas Press, Austin, 2013.
• LAVÉDRINE, Bertrand – GANDOLFO, Jean-Paul: The Lumiére Autochrome. The Getty Conservation Institute, Los Angeles, 2013.
• LAVÉDRINE, Bertrand: A Guide to the Preventive Conservation of Photographs Collections. The Getty Conservation Institute, Los Angeles, 2003.
• NORRIS, Debra Hess – GUTIERREZ, Jennifer Jae: Issues in the Conservation of Photographs. The Getty Conservation Institute, Los Angeles, 2013.
• HIRSCH, Robert; ERF, Greg: Exploring Color Photography: From Film to Pixels. Elsevier Focal Press, 2011.
• FLUECKIGER, Barbara – HIELSCHLER, Eva – WIETLISBACH, Nadine: Color Mania, The Material of Color in Photography and Film, Lars Müller Publishers, Zurich, 2020.

The International Reach of Lippmann Photography
Lippmann photography aka interferential color photography generates direct positives on glass that are dazzling in brilliance and archival stability but which cannot be transferred unto paper. This exciting technical genesis meant, however, that opportunities for spectators, scientists, and photography aficionados to connect with Lippmann photography hinged on the physical photograph and on the use of projection devices, capable of megascopic projection, and were thus scarce! Also, lithographs and engravings failed to transmit its unique shimmering colors and its “jewel-like” quality. As a result, examining the international reach of Lippmann photography challenges historical studies that focus on the medium’s „circulation and mobility” through print culture, simply because printing a Lippmann plate was a dream, not an option.
This presentation addresses one dreamer’s attempt to “print the unprintable”; German engineer Hans Lehmann whose “one hit wonder” Lippmann print has so far received scant scholarly interest. My talk also investigates how, despite the lack of Lippmann prints, knowledge about the process circulated beyond Paris (where Gabriel Lippmann’s lab was located) through other forms of disclosure. Mapping how Lippmann photography reached Sweden, Argentina, and Russia etc. illuminates the international scholarly networks Lippmann was part of as well as the reception (both aesthetic and scientific) of his work.
 
 
Target Audience: Historians of physics, historians of science, French Studies, Global History
 
Dr. Hanin Hannouch (she/her) is Curator of analog and digital media at the Weltmuseum Wien where she is oversees the photography, film and sound collections and vice-president of the European Society for the History of Photography (ESHPh).
She is the editor of the first volume on interferential color photography "Gabriel Lippmann's Colour Photography: Science, Media, Museums" (Amsterdam University Press, 2022), PhotoResearcher’s special issue „Three-Color Photography around 1900: Technologies, Expeditions, Empires“ (vol.37, 2022), and the open-access journal Cinergie’s special issue titled “Destabilizing Histories: (Re-)appropriation in Photography and Cinema” (2020).
She was postdoctoral researcher at the Ethnologisches Museum - Berlin State Museums and at the Kunsthistorisches Institut in Florenz / Max-Planck-Institut where she investigated the colonial and imperial entanglements of color photography. She earned her PhD summa cum laude from IMT Lucca, Scuola Alti Studi (2017) with a thesis about Soviet filmmaker Sergei Eisenstein as art historian. She completed the international Masters in art history and museology (IMKM) at the Ecole du Louvre in Paris and the University of Heidelberg in Germany (2014). She has also earned a previous Masters (2012) and a Bachelors in European art history, focusing on art in the 20th century, both from Université Saint-Esprit de Kaslik in Lebanon. She is currently writing her monograph titled “Color Photography in Imperial Germany”.
 
Recommended Readings: Please visit the ressource section in this group for all things Lippmann!
 
 
 

Understanding colors of Dufaycolor
Jan Hubička

Dufaycolor was an additive process of color photography introduced in 1932 for motion film and in 1935 for still photography (the same year as Kodachrome). It was the most advanced color screen process, but is under-appreciated today because the dyes in their emulsion tend to fade. In a previous talk I discussed the possibility of digital color reconstruction based on high resolution scans of original transparencies (ideally including an infrared channel) which makes it possible to reproduce the original colors.

In order to make the color reconstruction historically authentic, it is necessary to understand details of the process. I will discuss the historical method of printing the Dufaycolor color screen (reseau) and the properties of dyes used to produce it.  Since published data are incomplete, imprecise, and often contradicting each other, I implemented a full digital simulator of the process which makes it possible to turn the spectrum of light seen by the camera into the expected response of Dufaycolor film. I discuss lessons learned from the experiment and how that improves our understanding of the accuracy of color recordings.

There are three main goals of our project:
 1) We would like to find practical methods of digitizing early color photographs which faithfully and completely reproduce the physical object as it is today.
 2) We would like to digitally restore the colors to their appearance at the time of original processing.
 3) We would like to adapt modern algorithms for processing RAW camera images to digitally restore the color of the scene to how it would have appeared at the time of capture and based on that understand the color vision of Dufaycolor film.

This is joint work with Linda Kimrova (Charles University) and Doug Peterson (DT Heritage) with significant support from the National Geographic Society.
 
Jan Hubička  is following on from his presentation to the group on Tuesday, December 19, 2023 when he spoke on Digitizing Paget, Finlay and Dufaycolor photographs at National Geographic Society.  He is an associate professor at the Department of Applied Mathematics, software developer at SUSE LINUX s.r.o. and also a co-founder and a co-director of Šechtl and Voseček Museum of Photography in Tábor, Czech Republic. His interest in early color photography was sparked by Autochromes taken by his great grandfather, Josef Jindřich Šechtl. In 2006 he organized exhibition of early color photographs by Sergei Mikhailovich Prokudin-Gorsky (first in Europe except for Moscow) for which he made his own tool composing scans of the separation negatives. In 2007 he organized exhibition of (reproductions of) Czech Autochromes which got him into contact with American collector of early color photography, Mark Jacobs. He helped to digitize important part of Mark Jacobs' collection and in 2012 organized exhibition “When the World Turned to Color Early Color Photography from the Mark Jacobs Collection”. Work on regular color screen processes started in 2011 for exhibition of photographs from the American Colony Collection where Mark Jacobs identified negatives for Finlay color process. He also co-organized two international workshops on early color photography, "Legacy of three-color photography" in 2008 and "Space, Color, Motion" in 2013.
Cornwell-Clyne, Adrian. Colour Cinematography. United Kingdom: Champman & Hall, 1951.
https://archive.org/details/in.gov.ignca.15062/page/n303/mode/2up
 
Thorne Baker, Thomas. The Spicer-Dufay Colour Film Process. The Photographic Journal, March, 1932, 109-117
https://archive.rps.org/archive/volume-72
 
Bonamico, C., and T. Thorne Baker. "Dyes and Colours in Photography." Journal of the Society of Dyers and Colourists 49, no. 4 (1933): 103-105.
https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1478-4408.1933.tb01749.x
 
The Dufaycolor Manual: Of Interest to Advanced Amateurs, Professional Photographers and Printers. United States: Dufaycolor, Incorporated, 1938.
https://filmcolors.org/wp-content/uploads/2013/05/Dufaycolor_Manual_1938_print.pdf
 
Harrison and Horner. "The Principles of Dufaycolor prinitng" The photographic journal, May 1939, 320-329
https://archive.rps.org/archive/volume-79
 

Renwick, F. F.. "The Dufaycolour Process" The photographic journal, January 1935, 28-37
https://archive.rps.org/archive/volume-75/734248

 
Developing a RAW photo "by hand"
https://www.odelama.com/photo/Developing-a-RAW-Photo-by-hand/
 

Madame Yevonde and the VIVEX process - A talk by Disruptive Print
The work presented here is the result of a collaboration between the National Portrait Gallery and Disruptive Print, then part of the Centre for Print Research at the University of the West of England. The National Portrait Gallery approached us when they were looking for someone who could help them to print colour images taken by Madame Yevonde [1] in the 30s of the last century. Madame Yevonde was the most famous user of the VIVEX process [2] , the photomechanical reproduction process for colour photographs before the second world war in the UK. The VIVEX process was a commercial method and therefore only ill documented. What we know is that the images were taken through red, green, and blue filters on black and white film and then printed by layering pigmented gelatine layers in cyan, magenta, and yellow in top of each other, but how exactly is lost. We will discuss the registration of the three negatives and possible printing methods.
 
Disruptive Print
Disruptive Print is a collective of 4 printmakers with diverse backgrounds. Susanne Klein and Abigail Trujillo Vazquez are physicists, Elizabete Kozlovska is a conservator and Harrie Fuller a printmaker. Our research interests are old, partly forgotten, printing methods and how to
transform them into new, 21 st century, technologies with the aim to make them relevant again. All four of us are practising artists and our work can be seen in national and international print exhibitions.
Recommended Readings:
[1] N. P. Gallery. "Yevonde: A beginner's guide." National Portrait Gallery.
https://www.npg.org.uk/blog/yevonde-a-beginners-guide (accessed 25 of September,
2023).
[2] F. W. Coppin and D. A. Spencer, "Basic Features of the "VIVEX" process," The
Photographic Journal, vol. 88b, Section B: Scientific and Technical Photography, p. 5,
1948.

Digitizing Paget, Finlay and Dufaycolor photographs at National Geographic Society
Jan Hubička 
 
Early color collection of National Geographic Society consists of over 15,000 plates. In 2020, the Society began the Early Color Photography Conservation and Digitization Project. Probably for the first time a large archive of early color photographs has been digitized in resolution high enough to capture the individual color patches of the mosaic color processes.  While the archive consists mostly of Autochromes, in this talk I will focus on processes based on color screen filters with periodically repeating color patterns (Paget and Finlay color plates and Dufaycolor). These presented interesting problems for digitization, since the regular color pattern interferes with the Bayer filter in the camera. The high resolution scans also makes it possible to digitally reconstruct original color and geometry. It also motivated further research about manufacture process of these materials, color dyes used and other interesting aspects of these color processes. 
 
This is a joint work with Mark Jacobs, Linda Kimrová (Charles University), Kenzie Klaeser (Digital Transitions), Sara Manco (National Geographic Society), Doug Peterson (Digital Transitions).
 

Jan Hubička is an associate professor at the Department of Applied Mathematics, software developer at SUSE LINUX s.r.o. and also a co-founder and a co-director of Šechtl and Voseček Museum of Photography in Tábor, Czech Republic. His interest in early color photography was sparkled by Autochromes taken by his great grandfather, Josef Jindřich Šechtl. In 2006 he organized exhibition of early color photographs by Sergei Mikhailovich Prokudin-Gorsky (first in Europe except for Moscow) for which he made his own tool composing scans of the separation negatives. In 2007 he organized exhibition of (reproductions of) Czech Autochromes which got him into contact with American collector of early color photography, Mark Jacobs. He helped to digitize important part of Mark Jacobs' collection and in 2012 organized exhibition “When the World Turned to Color Early Color Photography from the Mark Jacobs Collection”. Work on regular color screen processes started in 2011 for exhibition of photographs from the American Colony Collection where Mark Jacobs identified negatives for Finlay color process. He also co-orgnized two international workshops on early color photography, "Legacy of three-color phorography" in 2008 and "Space, Color, Motion" in 2013.
 
Reading
Geoffrey Barker, Jan Hubička, Mark Jacobs, Linda Kimrová, Kendra Meyer, Doug Peterson: Finlay, Thames, Dufay, and Paget color screen process collections: Using digital registration of viewing screens to reveal original color
https://arxiv.org/abs/2211.16076
 
Jan Hubička, Linda Kimrová, Kenzie Klaeser, Sara Manco, Doug Peterson: Digital analysis of early color photographs taken using regular color screen processes
https://arxiv.org/abs/2309.09631

The Interferential Colour Plate (aka Lippmann Plate), an introduction to the first true and permanent colour photographic technique in the history of photography
 
Materiality, Identification, and Conservation Challenges of Lippmann Plates
Jens Gold, PhD candidate, Preus Museum – National Museum of Photography, Norway
 
Keywords: Lippmann-Interferential-colour-plate, Interferential-colour, Lippmann, Neuhauss, Lehmann, Krone, Hertzberg
 
In 1891 the first true and permanent colour photographic technique in the history of photography was presented by Gabriel Lippmann (1845-1921). Almost immediately after the presentation, several photographers and scientists started to experiment and produce images with Lippmann colour. This utmost fascinating technique depends on the standing wave phenomenon of light, it therefore does not need pigments, nor dyes, to perform. Looking at the activity and the historic literature, several thousand Lippmann interferential colour images must have been produced. Today however, only a few institutions and collectors worldwide possess original examples of these rare colour images.
This photographic colour technique appears in a variety of conditions and presentation forms which highly affect their vulnerability, permanence, and viewing properties. The Preus Museum – the National Museum of Photography in Norway – has a considerable collection of twelve unique Lippmann colour plates made by two key pioneers of Lippmann colour: Richard Neuhauss and Hans Lehmann. In addition, a unique historic collection with books, papers and objects concerning the Lippmann process is part of this collection. The group of objects builds the basis of a four-year PhD research project that started in the summer of 2021, by the conservation department of Preus Museum [1]. The project aims to investigate Lippmann colour in terms of its materiality, history and its preservation and conservation challenges. The legendary interferential colour photographs by Richard Neuhauss, Hans Lehmann, Hermann Krone [2], Gabriel Lippmann and John Hertzberg are in focus of the presentation to be held. It will give an introduction to the history, technology, presentation, and preservation challenges of Lippmann colour plates. Examples of interferential colour plates will be shown during the presentation. This will be items from the Preus Museum collection, the Norwegian Museum of Technology, the Hermann Krone collection at the TU-Dresden, the Lette Verein Berlin as well as from the Photo Elysée Lausanne. 
 
[1] J. Gold, Materiality, Identification, and Conservation of Lippmann Plates - in Hanin Hannouch (Editor) Gabriel Lippmann’s Colour Photography: Science, Media, Museums; Amsterdam University Press, Florence 2022, Chapter 9, pp. 213-250.
[2] J. Gold, Hermann Krone’s contributions to Lippmann colour photography – colour plates, materiality, and condition; Rundbrief Photography; coming 2024.
 
CV:
Jens Gold has been a photograph conservator at Preus Museum: National Museum for Photography (Norway) since 2002. Currently, he is PhD Candidate at the University of Oslo – Institute for Archaeology, Conservation and History, with the research project: “Lippmann Interference Photography: History, Materiality and Treatment Challenges”. He was co-curator of Slow Color Photography – Lippmann interferential color photography in the Preus Museum Collection. In 1998 he completed his studies in photograph conservation from HTW Berlin - University of Applied Sciences, and in 2018 he graduated from the University of Oslo with an MA in object conservation. From 1999 to 2001, he was a fellow in the Mellon Advanced Residency Program in Photograph Conservation at the George Eastman House and the Image Permanence Institute in Rochester, New York.
Literature:  Hanin Hannouch (Editor): Gabriel Lippmann’s Colour Photography: Science, Media, Museums; Amsterdam University Press 2022.

Filters, Optics, Visions: Color Imaging and Missionary Photography in Modern China
 
Abstract: 
 
Cameras and visual technologies accompanied missionaries as they undertook diverse cultural, political, and religious projects in China across the first half of the twentieth century. In the process, missionaries and Chinese associates thought about and deployed evolving forms of color image-making and photography, tapping into global visual cultures with nineteenth century (and earlier) historical trajectories. Vivid evangelistic posters in quasi-photographic styles, hand-tinted lantern slides and photographic prints, and later color film embodied ideas about the roles of color in relation to cross-cultural visual modernities, local and international. Furthermore, these visual practices and products ultimately escaped their missionary mold and entered global perceptions, shaping transpacific views of modern China alongside Chinese engagements with the world. Drawing from his new book, Developing Mission: Photography, Filmmaking, and American Missionaries in Modern China, Professor Joseph W. Ho will discuss intersections between color imaging, technological and religious imaginations, and transnational visions that transformed twentieth century Sino-Western encounters on both sides of the lens.
 
Short Bio:
 
Joseph W. Ho is Associate Professor of History at Albion College, Michigan, and a Center Associate at the University of Michigan’s Lieberthal-Rogel Center for Chinese Studies. He is a historian of modern East Asia, US-China encounters, and transnational visual culture and media. Ho is the co-editor of War and Occupation in China: The Letters of an American Missionary from Hangzhou, 1937–1938 (Lehigh University Press, 2017), and the author of Developing Mission: Photography, Filmmaking, and American Missionaries in Modern China (Cornell University Press, 2022). In 2024–2025, he will be the EDS-Stewart Distinguished Research Fellow at Boston College's Ricci Institute for Chinese-Western Cultural History, and is currently preparing his next monograph, Bamboo Wireless: Mediating the Cold War in Asia.  

Chromatic Imagination: Realising Early Colour Photography in Britain, 1890 to 1939
When colour photography emerged in industrialised societies in the late nineteenth century it sparked industrial and scientific interest for some and aesthetic and conceptual concern for others. Over the course of fifty years, from 1890 until 1939, the accessibility of colour photography changed dramatically, culminating with the widespread uptake of Kodak Corporation’s Kodachrome colour-coupler technology in the late 1930s. Kodachrome reversal film redefined the photographic industry. It was celebrated as the solution to nearly one hundred years of research and development concentrated on finding a way to make affordable and practical colour pictures, and was so proficient that by the early 1940s it was in position to usurp the majority of competing colour processes established before it.
The flourishing industry of colour photography that existed before Kodachrome was driven largely by improvements in technology, including the introduction of aniline dyes and faster equipment; increased accessibility because of changing economies; and evolving conceptions of colour in public consciousness as it related art, advertising and collective taste. Although most nascent colour photography enterprises failed, the sheer volume of processes introduced signifies an enormous amount of creative velocity attributable to diverse thought and experimentation on behalf of colour photography’s innumerable stakeholders. Through consideration of the meaning of colour in contemporary British society, and the economic and social networks that underpinned the industry, this thesis aims to establish a stronger understanding of the competitive and dynamic market for early colour photography between 1890 and 1939.
Bio
Hana Kaluznick is Assistant Curator of Photography at the Victoria and Albert Museum (V&A). She was Assistant Curator of the expansion of the V&A Photography Centre (2023) and has contributed to other V&A displays including Known and Strange (2021) and Valérie Belin / Reflection (2019). She is a PhD student at the University of Liverpool studying the industrial history of early colour photography.
Suggested reading is the first chapters of ‘Chromophobia’ by David Batchelor 
https://archive.org/details/chromophobia00batc_0/page/24/mode/2up
Target audience: Historians of Britan, Curators, Industrial Historians.

TBA

 
Eastman Kodak and Early Color Photography: From Competitive Threat to Research and Promotional Tool 
by Prof. Joris Mercelis (Johns Hopkins University).
My presentation will briefly outline my current book project, “The Long Shadow of Kodak: Market Dominance and Scientific Control in Twentieth-Century Photography,” before turning to the aspects of this work-in-progress that might be most relevant to members of this working group. My book examines the nature and scope of the Eastman Kodak Co.’s influence over photographic knowledge production and circulation, exploring to what extent this multinational enterprise could translate its near-monopolistic position on markets for photographic film and cameras into scientific and technological control. Although color photography is not a specific focus of this research, it mattered in several different ways, three of which I highlight in this talk. First, from at least 1904 onward, Kodak founder George Eastman and his associates approached color photography as a (potential) technological alternative that posed a major competitive threat and therefore had to be controlled.
This concern about market dominance prompted Kodak to invest substantially in color-related research and development work—most famously but by no means exclusively at the Kodak Research Laboratory in Rochester, NY, which was even partly established for this reason. Second, in parallel to Kodak’s search for a color photography process suitable for the mass amateur market, the company’s researchers managed to improve the sensitivity of photographic materials to specific regions of the light spectrum, thus helping to create new photographic visions valuable for scientific and military purposes. For instance, from the 1910s onward, Kodak supported the development of infrared photography and the “thermal vision” that this technique enabled. Not untypically, Kodak took into account the interests in infrared imaging of users ranging from anthropologists and art conservators to astronomers and the photographic surveillance personnel of the U.S. Army Air Corps, and several of these groups effectively came to depend on the company for their specialized photographic needs. Third and finally, within five years of the public announcement of three-color Kodachrome film in 1935, scientific institutions with which Kodak collaborated had started using color photography as a marketing tool. For example, in the context of a tropical photography research program initiated early in World War II, Kodak and its military and civilian partners used Kodachrome not only for research purposes (e.g., to document material-damaging fungi) but also to generate enthusiasm for the study of tropical biology. More specifically, with Kodak’s support, Kodachrome color slides and motion pictures were deployed extensively to promote the U.S.-controlled biological station in Panama that later became known as the Smithsonian Tropical Research Institute.
 
Joris Mercelis is an assistant professor at the Department of History of Science and Technology at Johns Hopkins University in Baltimore. His research interests include the economic history of science and technology and the histories of chemical and photographic technology, science, and business. He is the author of Beyond Bakelite: Leo Baekeland and the Business of Science and Invention (MIT Press, 2020) and a co-editor of special journal issues of Ambix, History and Technology, and Management & Organizational History.
 
Recommended reading: 
Mercelis Joris. “Commercializing Academic Knowledge and Reputation in the Late Nineteenth and Early Twentieth Centuries: Photography and Beyond.” History and Technology 23–52. https://doi.org/10.1080/07341512.2017.1338553.
Mercelis Joris. 2022. “‘Men Don’t Like to Work Under a Woman’: Female Chemists in the Photographic Manufacturing Industry Ca. 1918–1950.” Ambix 291–319. https://doi.org/10.1080/00026980.2022.2097980.
 

In Natural Colours. Three Colour Photography in Spain. 
Laura Covarsí. April, 2023.
In the first quarter of the 20th century, the definitive evolution of colour photographic processes took place, but also its commercialization. Apart from the well-known success of autochromes, various other trichromatic colour processes appeared, that would perfect the production of colour images in books and magazines and satisfy the increasing appetite for them.
But not all of these trichromatic photographic processes had the same application. Some of them were used to obtain colour images on paper demanded by a smaller market: the amateur photographer and the client of photographic studios. These exclusive products, especially when we think of trichromatic colour portraits, became more accessible to the general public from the twenties onwards after the resolution of some technological impediments such as the simultaneous shooting of the three-colour separation negatives. These techniques are included in the group of subtractive colour processes, and we consider them photomechanical since only dyes are used for their final printing step and no photosensitive materials are involved. Techniques such as Hicro, Pinatype, Sanger- Shepherd, Uvatype or Jos-Pe are some of the commercial names for these processes.
Due to the lack of knowledge of these techniques, many of these prints in museums and archive collections are not correctly identified or catalogued. And neither are the printing matrices, colour separation negatives and other materials used in the process. They remain hidden among other negatives and positives in the collections, waiting to be discovered.
This presentation illustrates this situation from the specific case of the Jos-Pe process (dye imbibition process patented in Germany in 1924) and its apparent absence in Spain. The lack of identified specimens in our collections led us to believe that the process was not used. However, the discovery of a portrait of Nobel laureate Santiago Ramón y Cajal, an outstanding theoretician of colour photography in Spain, made with this process, prompted the beginning of this research.
Bibliography:
Jos-Pe Farbenfoto. (1927 and 1930). Hamburg.
Covarsí, L. (2022). The Jos-Pe process in the Jacob Merkelbach collection at the Rijksmuseum in Amsterdam. COLOR CULTURE AND SCIENCE Journal. Milan : Gruppo del Colore – Associazione Italiana Colore. DOI: 10.23738/CCSJ.00.
Friedman, J. (2010). History of color photography. Milton Keynes, UK: Lightning Source.
Koshofer, G. (1986). Die Farbfotografie III. Lexikon der Verfahren, Geräte und Materialien. München: Laterna Magica /Callwey.
Pénichon, S. (2013). Twentieth-century color photographs. Los Angeles: The Getty Conservation Institute.
Proaño, A., Neevel, H. (2020). Analysis of Jos-Pe colourants used in Jacob Merkelbach’s photographs from the 1930s. RCE Research Report No. 2018-126.Ministry of OCW, Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory. Amsterdam
Ramón y Cajal, S (1912). La fotografía de los colores : bases científicas y reglas prácticas. Madrid: Ed. Moya.
Wall, E., 1928. Practical color photography. Boston: American photographic Pub. Co.
Willekens, L.C.C. (1926). Het Jos-pé Kleurenprocédé. Fotografische bibliotheek, 11A. Dordrecht: C. Morks Cz.
Biography
Laura Covarsí Zafrilla is an independent conservator and researcher specialized in photographic heritage. She received her M.A. in Conservation from Instituto Politécnico de Tomar, Portugal, with an internship in the photographic archive of the Maritime Museum of Barcelona (Spain). She previously studied History of Art (University of Salamanca, Spain) and Photography (School of Arts of Huesca, Spain). She worked for public and private collections in Spain and at the Rijksmuseum of Amsterdam between 2017 and 2019. She also works as a photography curator.
 
EN COLORES NATURALES. FOTOGRAFÍA TRICROMA EN ESPAÑA.
Laura Covarsí. Abril, 2023.
En el primer cuarto de siglo XX se produce la evolución definitiva de los procedimientos fotográficos en color, pero sobre todo se desarrolla su comercialización. Al margen del conocido éxito de los autochromes, en este panorama hacen aparición otros procesos que, aplicando los principios de la fotografía tricroma, perfeccionarán la impresión de imágenes en color en libros y revistas.
Pero no todos estos procesos fotográficos tricromos tuvieron la misma aplicación. Algunos de ellos se emplearon para obtener copias en color sobre papel, demandadas por otro tipo de clientes, un mercado de menor alcance: el fotógrafo amateur y el cliente de los estudios fotográficos. Un producto exclusivo, sobre todo si hablamos del retrato, más accesible a partir de los años veinte tras la resolución de algunos impedimentos tecnológicos como el disparo simultáneo de los tres negativos de separación de color, que hasta el momento hacía difícil el desarrollo de este género. Estas copias en color son fotomecánicas ya que para su impresión final solo se emplean colorantes y no están implicados materiales fotosensibles. Nombres como Hicro, Pinatype, Sanger- Shepherd, Uvatype o Jos-Pe son algunos de los nombres comerciales para este procedimiento.
Debido al desconocimiento de estas técnicas en el entorno de museos y archivos, no solo muchas de estas copias no están identificadas o catalogadas correctamente, sino que tampoco los artefactos fotográficos empleados en el proceso (matrices de impresión, negativos de separación de colores,…) lo están y permanecen ocultos entre otros negativos y positivos de las colecciones, esperando a ser descubiertos.
Esta presentación ilustra esta situación desde el caso concreto del proceso Jos-Pe (proceso tricromo de imbibición patentado en Alemania en 1924) y su aparente ausencia en España. La inexistencia de ejemplares en nuestras colecciones nos llevaba a pensar que no se empleó. Sin embargo, el descubrimiento de un retrato del premio Nobel Santiago Ramón y Cajal, destacado teórico de la fotografía en color en nuestro país, realizado con este proceso, ha supuesto un cambio en esta idea y el inicio de esta investigación.
Biografía
Laura Covarsí Zafrilla es conservadora e investigadora independiente especializada en patrimonio fotográfico. Obtuvo su MA en Fotografía, Conservación de Patrimonio Fotográfico en el Instituto Politécnico de Tomar (Portugal), realizando las prácticas en el Archivo Fotográfico del Museo Marítimo de Barcelona. Previamente estudió Historia del Arte (Univ. Salamanca) y Fotografía (Escuela Superior de Artes de Huesca). Ha trabajado para colecciones públicas y privadas en España y en el Rijksmuseum de Amsterdam. También trabaja como comisaria de exposiciones de fotografía.

Illuminating Fashion: the colour of clothes in Autochromes 1907-1930
Presenter: Cally Blackman (Senior Lecturer, Central Saint Martins, UAL, London)
This presentation addresses Cally Blackman's book which will examine fashion between 1907-1930 through the lens of the autochrome as a robust register of colour. A technological advance, the autochrome links photography with fashion, often upheld as a metaphor for modernity, and both
were integral in mediating the influence of colour on commerce and consumer culture at this period.
(Published by Thames & Hudson early 2024).
 
Reading Material, attached below:
- Cally Blackman. Costume Journal, vol.48, no.2, 2014, "Colouring the Claddagh: a distorted  view?"
- Cally Blackman. Costume Journal, vol.56, no.1, 2022, "The Colour of Fashion at the Salon du Goût Français: a virtual exhibition of French luxury commodities, 1921-1923."
 
Targeted Audience: French Studies, Fashion Studies, Curators, Designers,
Cally Blackman is a fashion historian with over twenty years experience of teaching and writing, having published several books on the subject: 100 Years of Fashion Illustration 2007, 100 Years of Menswear 2009, 100 Years of Fashion 2012, A Portrait of Fashion 2015 and Fashion Central 2019. She has been researching the representation of fashion and clothing through autochromes for much of this time, its importance to the field being that this process affords a unique and robust register of colour during the period it was in use that is more reliable than other types of visual media, including printed material and even painting, and therefore is extremely useful as evidence of the colour of clothes in high fashion and the everyday dress of ordinary people. She has given several presentations on this topic at international conferences, including: in 2014 Mode et Guerre Europe 1914-18: fashion, dress and society during World War 1 at L'Institute Francais de la Mode, Paris; in 2015 Fashion at 84th Anglo-American Conference of Historians, Institute of Historical Research, University of London; in 2018 Der Wereld in Kleur: kleurenfotographie voor 1918, Allard Pierson Museum Amsterdam; in 2021 Colour Fever, V&A, London.
Her forthcoming book is the first to use the autochrome as a medium for viewing the history of fashion and will include approx. 350 examples of autochromes and complimentary images, and 40,000 words of text and captions. The autochromes, some of which have not been published before, have been sourced from museum, archive and private collections all over the world. In addition, Cally is acting as co-curator and consultant on a forthcoming exhibition, Les Couleurs de la Mode, at the Palais Galliera, Paris, of autochromes from the Salon du Gout Francais archive from June 2023-March 2024.