PhotoResearcher No. 37, 2022

Three-Colour Photography around 1900

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Three-color photography is the basis for most color photographic technologies nowadays, so why does its multifaceted history remain ignored by historians? This issue of PhotoResearcher explores the various technologies the term “three-color photography” encompasses, investigates their use in different expeditions abroad, and elucidates their role in the visual and discursive constructions of Empire. Thus, it offers readers interpretative and methodological paradigms to complicate three-color photography’s historiographic position.

DOWNLOAD — Editorial — Nils Torske in Conversation with Hanin Hannouch — Hanin Hannouch: Gustav Fritsch around 1900

Editors

Ulla Fischer-Westhauser, Uwe Schögl

Guest Editor

Hanin Hannouch / Weltmuseum Wien, Vienna

Content

Janine Freeston
Agnes Warburg’s Determination:
Mastering the Three-Colour Print

Geoffrey Barker
Frank Hurley and the Paget Process:
Colour Photography from the Mawson and Shackleton Antarctic Expeditions 1911–1917

Rachel Wetzel
Instinctive Genius:
Frederic Eugene Ives & The Krōmscōp Color Photography System

Hanin Hannouch
Gustav Fritsch around 1900:
Anthropology and Three-Colour Photography in Imperial Germany

Inga Lára Baldvinsdóttir
Leprosy in Iceland.
Karl Grossmann’s Sanger-Shepherd Colour Photographs

Dominika Sulińska
Astute Inventions:
Jan Szczepanik’s Colour Textile, Photography and Film

Rolf Sachsse
Why in Color?
Sergei Mikhailovich Prokudin-Gorskiĭ and His Travels 1908–1918

Nils Torske in Conversation with Hanin Hannouch
A Chemist, Not a Photographer:
Harald Renbjør’s Three-Color Photography

 

 

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