![]() ![]() ![]() Japanese hand-coloured photographs (circa 1860–1899) Hand-colouring remained the easiest and most effective method to produce full-colour photographic images until the mid-20th century when American Kodak introduced Kodachrome colour film. ![]() Life-size portraits made by this means were hand coloured in crayon or overpainted in oils and were popular into the 1910s. The solar camera, employing the focussed light of the sun, addressed the problem in a repurposing of the solar microscope by American portrait artist David Acheson Woodward in 1857, and others, before being superseded by enlargers employing artificial light sources from the 1880s. With the advent of photographic emulsions on glass came the potential to make enlargements from them, but for the lack of a sufficiently strong light source to project them on to the receiving emulsion as prints on paper, canvas or other supports. When he finally did publish his treatise in 1856, the process – whether bona fide or not – was certainly impractical and dangerous. Hill delayed publication of the details of his process for several years, however, and his claims soon came to be considered fraudulent. Sales of conventional uncoloured and hand-coloured daguerreotypes fell in anticipation of this new technology. Hill announced his invention of a process of daguerreotyping in natural colours in his Treatise on Daguerreotype. The results of the work of Davis and Thompson were only partially successful in creating colour photographs and the electroplating method was soon abandoned. patented a method for colouring daguerreotypes through electroplating, and his work was refined by Warren Thompson the following year. Parallel efforts to produce coloured photographic images affected the popularity of hand-colouring. ![]() Later, hand-colouring was used with successive photographic innovations, from albumen and gelatin silver prints to lantern slides and transparency photography. Variations of this technique were patented in England by Richard Beard in 1842 and in France by Étienne Lecchi in 1842 and Léotard de Leuze in 1845. Coloured powder was fixed on the delicate surface of the daguerreotype by the application of heat. The first hand-coloured daguerreotypes are attributed to Swiss painter and printmaker Johann Baptist Isenring, who used a mixture of gum arabic and pigments to colour daguerreotypes soon after their invention in 1839. In an attempt to create more realistic images, photographers and artists would hand-colour monochrome photographs. The majority of photography remained monochrome until the mid-20th century, although experiments were producing colour photography as early as 1855 and some photographic processes produced images with an inherent overall colour like the blue of cyanotypes. Monochrome (black and white) photography was first exemplified by the daguerreotype in 1839 and later improved by other methods including: calotype, ambrotype, tintype, albumen print and gelatin silver print.
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