![\"loeschen.indd\"](\"http:\/\/www.eshph.org\/journal\/wp-content\/uploads\/sites\/2\/2022\/01\/PHR_37_cover.jpg\")
<\/a>\nThree-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.<\/p>\n
DOWNLOAD \u2014 Editorial \u2014 Nils Torske in Conversation with Hanin Hannouch \u2014 Hanin Hannouch: Gustav Fritsch around 1900<\/a><\/p>\n DOWNLOAD \u2014 Why in Color? Sergei Mikhailovich Prokudin-Gorski\u012d and His Travels 1908\u20141918 \u2014 Rolf Sachsse<\/a><\/p>\n <\/p>\n Ulla Fischer-Westhauser, Uwe Sch\u00f6gl<\/p>\n Hanin Hannouch \/ Weltmuseum Wien, Vienna<\/p>\n Janine Freeston Geoffrey Barker Rachel Wetzel Hanin Hannouch Inga L\u00e1ra Baldvinsd\u00f3ttir Dominika Suli\u0144ska Rolf Sachsse Nils Torske in Conversation with Hanin Hannouch <\/p>\n <\/p>\n <\/i> Order the PhotoResearcher Journal or single articles as a PDF<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Three-Colour Photography around 1900 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… Read more »<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[316],"tags":[321,318,317,320,83,322,323,319],"_links":{"self":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts\/755"}],"collection":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/comments?post=755"}],"version-history":[{"count":34,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts\/755\/revisions"}],"predecessor-version":[{"id":865,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts\/755\/revisions\/865"}],"wp:attachment":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/media?parent=755"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/categories?post=755"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/tags?post=755"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Editors<\/h3>\n
Guest Editor<\/h3>\n
Content<\/h3>\n
\nAgnes Warburg\u2019s Determination:
\nMastering the Three-Colour Print<\/strong><\/p>\n
\nFrank Hurley and the Paget Process:
\nColour Photography from the Mawson and Shackleton Antarctic Expeditions 1911\u20131917<\/strong><\/p>\n
\nInstinctive Genius:
\nFrederic Eugene Ives & The Kr\u014dmsc\u014dp Color Photography System<\/strong><\/p>\n
\nGustav Fritsch around 1900:
\nAnthropology and Three-Colour Photography in Imperial Germany<\/strong><\/p>\n
\nLeprosy in Iceland.
\nKarl Grossmann\u2019s Sanger-Shepherd Colour Photographs<\/strong><\/p>\n
\nAstute Inventions:
\nJan Szczepanik\u2019s Colour Textile, Photography and Film<\/strong><\/p>\n
\nWhy in Color?
\nSergei Mikhailovich Prokudin-Gorski\u012d and His Travels 1908\u20131918<\/strong><\/p>\n
\nA Chemist, Not a Photographer:
\nHarald Renbj\u00f8r\u2019s Three-Color Photography<\/strong><\/p>\n