Autochrome color plates captured dazzling moments from the early 1900s to 1935. While color photography evolved throughout the 1800s, by the 1890s the Lumière brothers were refining their own colored process. It was based on the three-color principle, but also put a common vegetable to work. Using potato starch, the Lumières left future generations with stunning historical images in full color.
Many Vibrant People Started The Color Wheel Rolling
Like so many innovations, color photography had a long history with multiple people adding to the science. Suffice it to say that French brothers Auguste and Louis Lumière built on the work of many who came before them. Both graduates of La Martinière, the largest technical school in Lyon, they designed and patented what is considered the first viable process for color photography.
In 1903–04, they had refined their Autochrome color plates and in 1904 presented their research the Académie des Sciences. They patented their process as Autochrome Lumière in 1907. On June 10 of the same year they held their first public demonstration of the Autochrome color process at the offices of the French newspaper L‘Illustration.
Through the early 20th century they commercially manufactured and sold their Autochrome color plates.
How The Humble Potato Brought Color To Photography
Many of the color processes developed through the later 19th century were based on the work of James Clerk Maxwell (1831-1879). A Scottish mathematician and scientist, he was developed the classical theory of electromagnetic radiation. In the 1860s he demonstrated his “additive” color process by mixing red, blue and green light. This was the basis of the Lumière brothers’ Autochrome color process
According to the Science And Media Museum:
“Autochrome plates are covered in microscopic red, green and blue coloured potato starch grains (about four million per square inch). When the photograph is taken, light passes through these colour filters to the photographic emulsion. The plate is processed to produce a positive transparency.”
Photographers Used Their Own Cameras
Photographers did not need special equipment. They simply placed an Autochrome color plate in their camera with the plain glass side nearest the lens so that light passed through the filter screen before reaching the sensitive emulsion.
“Exposures were made through a yellow filter, which corrected the excessive blue sensitivity of the emulsion for a more accurate colour rendering. This, combined with the light-filtering effect of the dyed starch grains, meant that exposure times were very long, about thirty times that of monochrome plates.” (Science and Media Museum)
Some people held the resulting Autochromes up to the light for viewing. Also popular for viewing were diasocopes , special stands that incorporated a mirror.
“These gave a brighter image and allowed several people to look at the plate at the same time. For public exhibition, Autochromes were also projected using a magic lantern.” (Science and Media Museum)
Notable Photographers Produced Extraordinary Work
Following are just a few notable photographers who produced extraordinary work using Autochrome color plates.
Frances Benjamin Johnston (January 15, 1864 – May 16, 1952)
Johnston was one of the first professional female photographers to achieve international prominence. She has long been acknowledged as an important photographer for her many contributions to early photojournalism and documentation of historic architecture.
While traveling in Europe in 1905, she learned the Autochrome color process from the Lumières. She produced countless extraordinary colored images. Among her most famous works are her garden and architectural series.
John Cimon Warburg (1867-1931)
Warburg discovered his passion for photography in the late 1880s. By 1897 he became a member of the Royal Photographic Society (RPS), one of the world’s most prestigious national photographic societies. While he used a wide range of techniques, he excelled at the Autochrome color process.
Warburg is known for his dreamlike landscapes and portraits that are reminiscent of impressionist paintings. He lectured and wrote extensively on the Autochrome color process, which he demonstrated at the annual RPS exhibition for twenty years.
Albert Kahn (1860-1940)
Kahn was a highly successful French banker known for his philanthropic work. He became passionate about the Autochrome color technique as a road to documenting human culture around the world. Through colored photographs he hoped that people could better understand and appreciate each other.
Between 1908 and 1931 he sponsored a team of paid photographers to capture images from around the world. The “Archives of the Planet” resulted in a collection of 72,000 images from 38 countries.
The collection is now available to download at high resolution thanks to the Albert Kahn Museum.
Color Photography Eventually Became A Snap
Autochrome color plates were relatively easy to use. But they were expensive and somewhat demanding. As the numbers of photographers, both professional and amateur grew worldwide, they demanded faster and more affordable methods to capture moments in time.
The Science and Media Museum writes:
“In 1932, responding to a growing trend away from the use of glass plates towards film, the Lumières introduced a version of their process which used sheet film as the emulsion support. Marketed under the name Filmcolor, within a couple of years this had virtually replaced glass Autochrome plates.” (Science and Media Museum)
Simultaneously, other manufacturers developed new multi-layer color films that used subtractive synthesis. This meant that photographers did not need to use filter screens.
“It was with these pioneering multi-layer films such as Kodachrome that the future of colour photography lay.” (Science and Media Museum)
Manufacturers like Kodak made photography so simple that anyone could take pictures like a pro.
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