DOI article:
Eduard J. [Jean] Steichen, Color Photography
DOI Page / Citation link:https://doi.org/10.11588/diglit.31045#0027
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can be done in this way. Naturally, the regular screen is unsuitable for the
purpose, as its absorption and compensation is calculated for white light-
daylight—which flashlight does not equal. Of several dozen screens, that I
have made and tried with all sorts of dyes, those made with Flavine, Chryso-
phenine, and one with Filter Yellow K, Hoechst, give the best results. A
slow plate is fixed, washed, dried, and then stained in a weak solution of
one of the above dyes, by immersion for a few minutes, after which it is
rinsed and dried. It is well to make a number of screens, of different
intensities, and try them. A very pale screen is sufficient—it is best to
make it of two glasses, as that will equalize any unevenness in the dyeing.
The Filter Yellow K can be used lighter than the Chrysophenine, and it has
the additional advantage of more completely cutting off the ultra-violet rays.
I have made portraits in this manner that are remarkably true in color
rendering.
Naturally, these indications are but tentative, and thus of interest to
the pictorialist only. The further development of the subject I must leave
to abler and more scientific minds. The addition of one of the above
mentioned screens to the regular Lumière screen, in daylight photography,
gives some extremely interesting effects, with slight increase in exposure.
The tendency is to make the color warmer and richer.
I have often wondered why some one did not market suitably adjusted
panchromatic collodion emulsion, with which one could coat spoiled plates,
and thus use them again. It seems a pity to waste those beautiful screen
plates, of which I have hundreds that have been used merely in endless
experiments, which the wonderful fascination of this process has led me to
make.
As regards the printing of Autochromes, the three-color process affords
no end of possibilities, such as Gum, Carbon and Pinatype. But other
simpler processes are under way, and the practical solutions of the problem
are nearer at hand. I shall leave any more definite reference to the printing
process for another article, when my own experiments have been more
complete. But one thing we must not lose sight of: it is futile ever to
expect any process on paper, or other substance that presents the picture by
reflected light, to give an exact reproduction of a color transparency, any
more than a painting on canvas can represent the effects of a painting on
glass. In this way the screen plate will always possess value and beauty that
are not to be copied—and color that can not exist on paper. Furthermore
and of particular interest pictorially is this fact: that what may appear very
beautiful as a transparency, may when transferred to paper be absolutely
horrible, for the richness and purity of the color produced by transmitted
light admits of color arrangements that would be impossible, if attempted
in the dull tones that reflected light would make of them.
There are color harmonies which can only be indulged in when colors
as luminous as in enamel or stained glass are available—such combinations
are possible on Autochrome plates. This is one of the direct facts that
point to color harmony as the vital element to strive for in Autochromy.
23
purpose, as its absorption and compensation is calculated for white light-
daylight—which flashlight does not equal. Of several dozen screens, that I
have made and tried with all sorts of dyes, those made with Flavine, Chryso-
phenine, and one with Filter Yellow K, Hoechst, give the best results. A
slow plate is fixed, washed, dried, and then stained in a weak solution of
one of the above dyes, by immersion for a few minutes, after which it is
rinsed and dried. It is well to make a number of screens, of different
intensities, and try them. A very pale screen is sufficient—it is best to
make it of two glasses, as that will equalize any unevenness in the dyeing.
The Filter Yellow K can be used lighter than the Chrysophenine, and it has
the additional advantage of more completely cutting off the ultra-violet rays.
I have made portraits in this manner that are remarkably true in color
rendering.
Naturally, these indications are but tentative, and thus of interest to
the pictorialist only. The further development of the subject I must leave
to abler and more scientific minds. The addition of one of the above
mentioned screens to the regular Lumière screen, in daylight photography,
gives some extremely interesting effects, with slight increase in exposure.
The tendency is to make the color warmer and richer.
I have often wondered why some one did not market suitably adjusted
panchromatic collodion emulsion, with which one could coat spoiled plates,
and thus use them again. It seems a pity to waste those beautiful screen
plates, of which I have hundreds that have been used merely in endless
experiments, which the wonderful fascination of this process has led me to
make.
As regards the printing of Autochromes, the three-color process affords
no end of possibilities, such as Gum, Carbon and Pinatype. But other
simpler processes are under way, and the practical solutions of the problem
are nearer at hand. I shall leave any more definite reference to the printing
process for another article, when my own experiments have been more
complete. But one thing we must not lose sight of: it is futile ever to
expect any process on paper, or other substance that presents the picture by
reflected light, to give an exact reproduction of a color transparency, any
more than a painting on canvas can represent the effects of a painting on
glass. In this way the screen plate will always possess value and beauty that
are not to be copied—and color that can not exist on paper. Furthermore
and of particular interest pictorially is this fact: that what may appear very
beautiful as a transparency, may when transferred to paper be absolutely
horrible, for the richness and purity of the color produced by transmitted
light admits of color arrangements that would be impossible, if attempted
in the dull tones that reflected light would make of them.
There are color harmonies which can only be indulged in when colors
as luminous as in enamel or stained glass are available—such combinations
are possible on Autochrome plates. This is one of the direct facts that
point to color harmony as the vital element to strive for in Autochromy.
23
