Camera Work: A Photographic Quarterly (1903 (Heft 2))

THE PICTORIAL ASPECT OF
PHOTOGRAPHY IN COLORS.
DURING THE last few years there have been one or two
occasions on which photographs in colors have found their way
into exhibitions which were avowedly limited to what are called
works of pictorial interest only. To some people this fact is a
portent, foretelling what we have to expect in the near future
when the walls will be covered with "photographs in natural colors,” as the
public call them, to the partial or complete exclusion of the old monochrome
pictures. ’“Never prophesy unless you know” is a good old rule; but it
is quite possible that before very long we may see this development
flourishing and ordinary black-and-white work in neglect. Still, while
recognizing the possibility of such a result, it is as well to keep a clear idea
of the distance we have still to travel before that end is attained.
ARE we any nearer to the solution of the problem of color-photography
to-day than we were ten years ago ? When we survey what has been done
during that period, one is compelled to answer, No! More than that, we
are no nearer than we were fifty years ago—in fact, as far as can be seen,
no step toward color-photography has ever been made, except, perhaps*
photography itself. " As far as can be seen,” let us say; because, for all we
know, the carbon process, wet collodion, blue-printing, platinotype, or any
other photographic method whatsoever may prove ultimately to be the
bridge by which that goal is reached.
HOW it will be reached we can not tell. There is no indication in any of
the processes themselves. There is no method by which one single color
can be photographed with as great a certainty of truthful reproduction, say,
as any method will give in the mere matter of outline. Still less can we
reproduce two or more. " Photography in Natural Colors,” using the
words with no forced meaning, but simply in the sense in which they are
understanded of the people, is simply impossible in the present state of our
knowledge.
SOME such preface as that which I have written above is essential if
misunderstanding is to be prevented. Photographers are continually asked
if it is " true that color-photography has been discovered,” and are often
assured that it has been and thought lightly of perhaps because they admit
they do not practice it. Saying so much, then, to prevent the casual reader
from being misled by supposing a problem to be solved while its very
threshold has not been passed, we may consider for a little while the actual
condition of the methods by which the difficulties that lie in the way of its
solution have been, if not surmounted, dodged.
LITTLE reference need be made to the Lippmann process. Beautiful as
it is as an elaborate and illuminative physical experiment, as a serious
solution of the question it can hardly be put forward. As is well known, in
this process the plate is exposed through the glass and the film is backed
up with mercury. The reflection of the light-waves upon themselves gives

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