DOI chapter:
Prefatory note
DOI Page / Citation link:https://doi.org/10.11588/diglit.47958#0021
PREFATORY NOTE.
IN considering the recent important developments which have
taken place in photography, more especially as regards the
question of colour, the fact should not be lost sight of that,
notwithstanding the introduction of many improved processes during
recent years, colour-photography is still in its infancy. It is, there-
fore, the Editor’s intention to deal with this important branch of the
subject only as regards the results which have so far been obtained,
and to do so with a view to contemplating its artistic possibilities
rather than its scientific aspects.
Much has already been said and written about photography in
relation to the Arts. Attempts have been made to draw comparisons
between the work of the painter and that of the photographer ; and
in dealing with colour-photography the tendency to join issue
with the painter is naturally increased. But the Editor considers
that it is to the best interests of photography that it should be
regarded apart, and any artistic success that may be obtained is better
judged on its own merits rather than by the standards set up by the
painter or engraver. Endeavours to reproduce effects obtained by
these artists are in themselves opposed to the spirit of true photo-
graphy, and only display a lack of appreciation of the possibilities
of the camera, and the opportunity it offers for the attainment of
original effects. In this respect it is gratifying to find that many
of the plates which have been submitted in connection with this
volume bear distinct evidence of the independence of the photo-
grapher, and justify the belief that colour-photography will be
developed on original and progressive lines.
Whilst photography in natural colours cannot be regarded as an
entirely new development, it is only quite recently that it has been
brought within the range of practical pictorial work by the intro-
duction of the autochrome plate, and fourteen of the coloured
illustrations given here are reproduced from plates of this nature. In
selecting them the Editor has endeavoured to show various effects that
can be obtained by the process ; and, apart from any artistic qualities
they may possess, it is interesting to note the different results which
some of the leading photographers have arrived at in using these
plates. No pains have been spared to give in each case a true repre-
sentation of the autochrome as it appears when held up to the light;
but it will be readily understood that, owing to the peculiar nature
of the originals—which exist, of course, only as transparencies—these
coloured reproductions are exceedingly difficult to accomplish.
Similar care has been bestowed upon the illustrations in monochrome
A 2
IN considering the recent important developments which have
taken place in photography, more especially as regards the
question of colour, the fact should not be lost sight of that,
notwithstanding the introduction of many improved processes during
recent years, colour-photography is still in its infancy. It is, there-
fore, the Editor’s intention to deal with this important branch of the
subject only as regards the results which have so far been obtained,
and to do so with a view to contemplating its artistic possibilities
rather than its scientific aspects.
Much has already been said and written about photography in
relation to the Arts. Attempts have been made to draw comparisons
between the work of the painter and that of the photographer ; and
in dealing with colour-photography the tendency to join issue
with the painter is naturally increased. But the Editor considers
that it is to the best interests of photography that it should be
regarded apart, and any artistic success that may be obtained is better
judged on its own merits rather than by the standards set up by the
painter or engraver. Endeavours to reproduce effects obtained by
these artists are in themselves opposed to the spirit of true photo-
graphy, and only display a lack of appreciation of the possibilities
of the camera, and the opportunity it offers for the attainment of
original effects. In this respect it is gratifying to find that many
of the plates which have been submitted in connection with this
volume bear distinct evidence of the independence of the photo-
grapher, and justify the belief that colour-photography will be
developed on original and progressive lines.
Whilst photography in natural colours cannot be regarded as an
entirely new development, it is only quite recently that it has been
brought within the range of practical pictorial work by the intro-
duction of the autochrome plate, and fourteen of the coloured
illustrations given here are reproduced from plates of this nature. In
selecting them the Editor has endeavoured to show various effects that
can be obtained by the process ; and, apart from any artistic qualities
they may possess, it is interesting to note the different results which
some of the leading photographers have arrived at in using these
plates. No pains have been spared to give in each case a true repre-
sentation of the autochrome as it appears when held up to the light;
but it will be readily understood that, owing to the peculiar nature
of the originals—which exist, of course, only as transparencies—these
coloured reproductions are exceedingly difficult to accomplish.
Similar care has been bestowed upon the illustrations in monochrome
A 2