Suzanne, 1961
Sandburg, 1959
Gotlandsstrand, 1973
The Royal Palace, Stockholm, 1970
Further Reading
Bellander, Sten Didrik, and Hans Hammarskio ̈ld.Vi foto-
grafera barn.Stockholm:Wahlstro ̈m & Widstrand, 1950.
Cederquist, Jan.Hans Hammarskio ̈ld, Photographer. Stock-
holm: Camera Obscura, 1979.
Eskildsen, Ute, Manfred Schmalriede, and Dorothy Mar-
tinson.Subjektive Fotografie, Images of the 50s. Essen:
Museum Folkwang, 1984.
Freeman, Martin, ed.The Frozen Image: Scandinavian
Photography. Minneapolis and New York: Walker Art
Center and Abbeville Press, 1982.
Hammarskio ̈ld, Hans, and Carl Fredrik Reuterswa ̈rd.
Laser. Stockholm: Wahlstro ̈m & Widstrand, 1969.
Hammarskio ̈ld, Hans, and Tony Lewenhaupt.Na ̈ra Linne ́.
Stockholm: Bra Bo ̈cker, 1993.
Hammarskio ̈ld, Hans, Anita and Wasterber Theorell.
Stockholms fasader 1875–1914. Stockholm: Gedins Fo ̈r-
lag, 1993.
Hard, Ulf, Sune Junsson, and Ake Sidwall.Tusen och En
Bild/1001 Pictures. Stockholm: Moderna Museet, 1978.
Jonsson, Rune.Hans Hammarskio ̈ld Fotograf. Helsingborg:
Fyra Fo ̈rla ̈ggare AB, 1979.
Tellgren, Anna.Tio Fotografer. Sja ̈lvsyn och bildsyn (Ten
Photographers: Self-perception and Pictorial Perception).
Stockholm: Informationsfo ̈rlaget, 1997.
Wigh, Leif. Subjectivt sett. Stockholm: Fotografiska
Museet/Moderna Museet, 1993.HAND COLORING AND HAND TONING
The practise of applying colour by hand onto mono-
chromatic photographs was common from almost
the very beginnings of photography until well into
the mid-twentieth century, by which time commer-
cially viable colour processes had been developed
and replaced the need to add colours to a black
and white print. To consider the use and need for
hand colouring it is important to appreciate the
expectancies of photographers in the early nineteenth
century. It was soon after the advent of the Daguer-
reotype and Calotype that photographers questioned
their art’s inability to render natural colours. Despite
several attempts by a succession of inventors
throughout the 1800s, it would not be until 1907
that the Lumiere brothers were successful in creating
and manufacturing their Autochrome process. Yet
the cumbersome nature and expense of early color
processes ensured that hand-coloring persisted.
The technique flourished especially as a service
offered by the portrait photographer. By the end of
the nineteenth century, many establishments offered
not only delicate coloured additions to the portrait
but sometimes would completely over-paint the
photograph in oils, watercolour, or crayons to such
an extent that the resulting hybrid generally pre-
sented the visual characteristics of both painting
and photograph with the aesthetic qualities of
neither. Often the best colourists had been miniature
portrait painters whose craft had been superseded by
the advent of the photograph. These painters found
their skills were in demand for applying colour to
glass plates or prints and retouching—removing
technical defects and improving the appearance of
the subject. Many photographers who had higher
aspirations than the family portrait found such prac-
tise derisory to the seriousness of their work.
Travel photographers aiming their work at the
popular market often coloured their prints as well
as the lantern slides used in their lectures. Burton
Holmes, an American photographer active between
the 1880s and 1950s, was a well-known producer of
coloured glass slides to the popular market. In later
years Holmes’s slides were hand painted to such a
high standard by a team he himself trained that the
results compared favorably to slides produced by
modern colour film (Colebeck, 14).
The humble picture postcard was initially
coloured by hand in the late nineteenth century.
Stencils were produced to allow block colours to
be applied selectively by teams of workers in fac-
tories throughout the world. As the popularity of
postcards grew, this labour-intensive method was
mostly replaced by machinery by the late 1920s.
Whether by hand or machine, colouring had initi-
ally been used to replicate a natural rendition; it also
eventually created its own aesthetic, one largely asso-HAND COLORING AND HAND TONING