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HARE, GEORGE
and early 20th century, the colors were red, blue, yel-
low and often black. Today, the common colors are
cyan (light blue), magenta (darkish-purple), yellow and
black. To make the negative, the object is photographed
four times through a half-tone screen and through fi lters
that eliminate all colors from each negative except for
the desired color. When printed successively on top of
each other, the resulting has the realistic color. If you
examine a color picture in a magazine with a magnifying
glass or microscope, you will see that the image is made
of a made dots of different color. True color half-tone
relief printing was introduced in the 1890s, though it
did not produce quality color pictures until the turn of
the century. In this printing, black ink was not used until
the 20th century. Instead, the red, blue and yellow were
printed on top of each other to achieve black. Color
half-tone lithography was not commercially successful
until the 20th century.
David Rudd Cycleback
See also: Woodburytype, Woodburygravure.
Further Reading
Curwen, Harold, The Process of Graphic Reproduction in Print-
ing, London, 1966.
Gascoigne, Bamber, How to Identify Prints, New Yorkk: Thames
and Hudson, 1986.
Griffi ths, Antony, Prints and Printmaking: An introduction to
the history and techniques, Berkely: University of California
Press, 1996.
Newton, Charles, Photography in Printmaking, London: Victoria
and Albert Museum, 1979.
HAMMERSCHMIDT, WILHELM
(active 1858–1870)
Wilhelm Hammerschmidt seemed to have been born in
Berlin around 1830. Between 1858 and 1870, he resided
in both Cairo and Berlin and operated photographic
studios. Besides an extraordinary quality in technical
respects, his images resemble the light of the southern
parts of the Mediterranean Sea with a hitherto unknown
character. In the early years of his Egyptian travels, he
worked up and down the Nile River into the Sudan, and
covered the Lybian desert as well. He apparently worked
for Hermann Wilhelm Vogel. His panoramic views of
Egyptian cities and the desert countryside belong to the
pantheon of the best material produced of the second
generation of travel photographers. Their vision was
not only dedicated to the ruins of antique origins alone,
but to the integration of everyday life and modernisa-
tion as well.
In 1865 Hammerschmidt was offered membership
in the Société française de la photographie, in 1867
he showed his photographs at the Paris World Fair. In
1869, Wilhelm Hammerschmidt took photographs of the
opening of the Suez canal which were widely published.
After this event, he fell into total obscurity. There is no
record of his later life.
Rolf SachsseHANSEN, GEORG E. (1833–1891).
Danish photographer by appointment to the king
Georg Emil Hansen was born in Næstved, Denmark, on
May 12, 1833. He was out of a family of photographers.
His father, Carl Christian Hansen, became a photo-
grapher in 1849, initially using the daguerreotype, his
father’s brother, Just Hansen, also became a daguerreo-
typist, and his brother, Niels Christian Hansen, became a
painter and photographer. In 1854, G.E. Hansen’s father
opened a studio in Copenhagen. Two years later, G.E.
Hansen opened his own studio, also in Copenhagen.
Hansen became one of the most respected and well-
paid photographers of his day. Among his regular cus-
tomers were the Danish Royal Family, not least Princess
Alexandra, the later Queen of England. In 1864, he was
appointed Photographer to the King. His most famous
portraits are, however, of the fairytale writer Hans Chris-
tian Andersen, whose large profi le he immortalized in
innumerable versions.
G.E. Hansen was one of the leading Danish photog-
raphers with regards to photographic technique. He was
the fi rst to open a studio with paper prints, the fi rst to
use prepared gelatine plates, and the fi rst to make full
body size enlargements. He exhibited internationally
and received medals for his work in London (1862)
and Berlin (1865).
Jannie Uhre EjstrudHARE, GEORGE (1825–1913)
American born photographer and inventor
George Hare was born in 1825 and served an apprentice-
ship as a joiner before moving to London. He joined the
fi rm of Ottewill, Collis & Co. where he began making
cameras and photographic equipment. He stayed with
the fi rm for one or two years before establishing his own
business circa 1857. Hare’s business was last recorded
in 1911.
Hare’s portable binocular, or stereoscopic, camera
was exhibited in 1860 and his 1864 design for a studio
camera was popular throughout the century. The New
Universal camera was based on W. J. Stillman’s patent
of 1871.
British patent number 3035 of 27 June 1882 was
Hare’s main contribution to camera design. He described
a camera where the baseboard was hinged to the body
of the camera and held in position by brass bars which
could be secured in any position by retaining knobs