Camera Work: A Photographic Quarterly (1907 (Heft 20))

photography. But why consider that of importance ? I wish to repeat that
the Lumière process is only seemingly nothing more than a mechanical one.
It is generally supposed that every photographer will be able to get fine
artistic pictures in color merely by following the Lumière instructions, but I
fear that suppositions are based upon mere illusions. Given a Steichen and a
Jones to photograph the same thing at the same time, the results will, like
those in black and white, in the one case reflect Steichen, and in the other
case probably the camera and lens—in short, the misused process. Why
this should be so in a mechanical process—mechanical and automatic are not
synonymous—is one of those phenomena not yet explained, but still under-
stood by some.
The Lumière process, imperfect as some may consider it, has actually
brought color photography in our homes for the first time, and in a beauti-
fully ingenious, quick, and direct way. It is not the ideal solution of color
photography by any means, but it is a beautiful one, and, with all its short-
comings, when properly used will give satisfaction even to the most fastidi-
ous. Those who have seen the Steichen pictures are all of one opinion.
Lumière's own examples which I have thus far seen, as well as those samples
shown me at the various dealers in Munich, would never have aroused me
to enthusiasm nor led me to try the process myself. That in itself tells
a story ."
My own opinion about the plates is reflected in the two letters, and
little need be added to them. Eugene and I continued our experiments in
Tutzing, but owing to circumstances over which we had no control, they
were only of a comparatively short duration and made under great difficul-
ties. We satisfied ourselves, nevertheless, that the scope of the plates was
nearly as remarkable as the invention itself. The tests—permanency, and
for keeping qualities, were all considered in the experiments. The varnishing
question, an important one, is still unsettled in my mind. In short, the
process received a thorough practical test in my hands, and my enthusiasm
grew greater with every experiment, although the trials and tribulations were
many, and the failures not few. On getting to Paris, on my way back to
New York, I found that Steichen had not been idle; he had far surpassed
his early efforts. He had been experimenting chiefly to get quality and tone,
and had obtained some beautiful pictures. In fact he had evolved a method
of his own for treating the plates.* Hand-work of any kind will show on
the plates — that is one of the blessings of the process—and faking is out

* A special supplement to Camera Work is in the course of preparation.
It is to deal with this new color photography. Steichen is preparing the
text. The celebrated firm of Bruckmann, in Munich, early in July received
the order to reproduce four of Steichen's early efforts for the book. They
are the pictures of Lady Hamilton, Mrs. Alfred Stieglitz, G. Bernard Shaw,
and the portrait group made on Mr. George Davison's house-boat The
date of publication will be announced later.—Editor.

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