22 April 2020
Sergey Prokudin-Gorsky. Unknown Genius of Colour Photography
The Cathedral of St. Demetrius in Vladimir
When do you think this photo was taken? In 1911! And when was it discovered by the wide audience? Only in 2002. This post is about the pioneer of colour photography, who left an incredible number of photos of cities, villages and diverse ethnical groups of the Russian Empire between 1904 and 1916. His name is Sergei Prokudin-Gorsky. Today many monuments and details of the everyday life that were documented by him do not exist anymore, but the people that look at us from his photos, from peasants performing seasonal works to the Emir of Bukhara, are so full of life that it is hard to believe that they are not our contemporaries.
In this post, you will see photographs by Prokudin-Gorsky and learn more about this humble genius. In the end, you will find the link to Russia in Bloom, a captivating documentary about Prokudin-Gorsky, his photographs and the empire that was lost forever. Prokudin-Gorsky's collection is, probably, the most impressive history book of the Russian Empire on the verge of collapse and we want you to discover it!
When do you think this photo was taken? In 1911! And when was it discovered by the wide audience? Only in 2002. This post is about the pioneer of colour photography, who left an incredible number of photos of cities, villages and diverse ethnical groups of the Russian Empire between 1904 and 1916. His name is Sergei Prokudin-Gorsky. Today many monuments and details of the everyday life that were documented by him do not exist anymore, but the people that look at us from his photos, from peasants performing seasonal works to the Emir of Bukhara, are so full of life that it is hard to believe that they are not our contemporaries.
In this post, you will see photographs by Prokudin-Gorsky and learn more about this humble genius. In the end, you will find the link to Russia in Bloom, a captivating documentary about Prokudin-Gorsky, his photographs and the empire that was lost forever. Prokudin-Gorsky's collection is, probably, the most impressive history book of the Russian Empire on the verge of collapse and we want you to discover it!
The majority of photographs, travel maps and postcards in this post are taken from the website of the International Research Project "The Legacy of S. M. Prokudin-Gorsky", where you can see most photographs in several versions – original version, rendered through colour filters, and restored versions. For some images, you will find present-day photo comparisons taken from the same location.
Prokudin-Gorsky's Early Life
Little is known about first 30 years of life of Sergey Prokudin-Gorsky, much of the information that you can find today is rather controversial, and many details have been lost in time.
Prokudin-Gorsky was born in 1863 to a noble family from Murom in the Vladimir region, one of the cradles of old Russian architecture and culture (see our Golden Ring post that features Vladimir). As an adolescent, he was taken to St. Petersburg to continue his education.
During his student years, Prokudin-Gorsky visited classes on painting at the Imperial Academy of Arts, science lectures at the St. Petersburg State University and, possibly, studied chemistry under the guidance of famous scientist Dmitri Mendeleev. Prokudin-Gorsky did not graduate from the university, instead, he started visiting lectures at the Military Medical Academy, which he did not finish either.
Little is known about first 30 years of life of Sergey Prokudin-Gorsky, much of the information that you can find today is rather controversial, and many details have been lost in time.
Prokudin-Gorsky was born in 1863 to a noble family from Murom in the Vladimir region, one of the cradles of old Russian architecture and culture (see our Golden Ring post that features Vladimir). As an adolescent, he was taken to St. Petersburg to continue his education.
During his student years, Prokudin-Gorsky visited classes on painting at the Imperial Academy of Arts, science lectures at the St. Petersburg State University and, possibly, studied chemistry under the guidance of famous scientist Dmitri Mendeleev. Prokudin-Gorsky did not graduate from the university, instead, he started visiting lectures at the Military Medical Academy, which he did not finish either.
Fence of Michael's Garden in St. Petersburg (1905)
In the 1890-s started his life love affair with the photography. In 1900 black-and-white photos of Prokudin-Gorsky represented the Russian Empire at the World Fair in Paris. In 1901 Prokudin-Gorsky opened his photo studio in St. Petersburg on Bolshaya Podyacheskaya Street, 22 (Petrogradskaya Side). Later the photography courses and the editorial board of the photography magazine, headed by Prokudin-Gorsky, were opened in the same premises.
In the 1890-s started his life love affair with the photography. In 1900 black-and-white photos of Prokudin-Gorsky represented the Russian Empire at the World Fair in Paris. In 1901 Prokudin-Gorsky opened his photo studio in St. Petersburg on Bolshaya Podyacheskaya Street, 22 (Petrogradskaya Side). Later the photography courses and the editorial board of the photography magazine, headed by Prokudin-Gorsky, were opened in the same premises.
Colour Photography and Prokudin Gorsky's First Photo Expeditions
In 1902 Prokudin-Gorsky studied colour photography in the Berlin studio of Adolf Miether. The knowledge that he received during that internship helped him later develop his own method of colour photography.
Although the first colour photo was made as early as in 1861, colour photography at that time did not accurately convey all the shades of colours of real life objects and the main issue since then was creating special emulsion for the photographic plates that would be equally sensitive to all colours in the spectrum. By 1904-1905 Prokudin-Gorsky invented and patented his own emulsion that allowed him to receive true to life colour images.
In 1902 Prokudin-Gorsky studied colour photography in the Berlin studio of Adolf Miether. The knowledge that he received during that internship helped him later develop his own method of colour photography.
Although the first colour photo was made as early as in 1861, colour photography at that time did not accurately convey all the shades of colours of real life objects and the main issue since then was creating special emulsion for the photographic plates that would be equally sensitive to all colours in the spectrum. By 1904-1905 Prokudin-Gorsky invented and patented his own emulsion that allowed him to receive true to life colour images.
Women of Avar Ethnicity in Dagestan (1904)
In 1904 Prokudin-Gorsky travelled to Dagestan where he took amazing pictures of local nations. Little is know about that journey, he probably took it at his own expense.
In 1904 Prokudin-Gorsky travelled to Dagestan where he took amazing pictures of local nations. Little is know about that journey, he probably took it at his own expense.
Postcard with the view of Yalta, Crimea (1905)
In 1905 Prokudin-Gorsky went on his first large photo journey to the European part of the Russian Empire, Caucasus, Crimea and Ukraine. One of the charities in St. Petersburg agreed to sponsor his journey and use his photos for colour postcards. On the first part of the advance payment from the charity Prokudin-Gorsky managed to make nearly 400 images of St. Petersburg, Kiev, Sevastopol and other cities, but as the political crisis of 1905 escalated into the first revolution in Russia, Prokudin-Gorsky's agreement with the charity was terminated and only few postcards were eventually printed, most of the images were lost.
In 1905 Prokudin-Gorsky went on his first large photo journey to the European part of the Russian Empire, Caucasus, Crimea and Ukraine. One of the charities in St. Petersburg agreed to sponsor his journey and use his photos for colour postcards. On the first part of the advance payment from the charity Prokudin-Gorsky managed to make nearly 400 images of St. Petersburg, Kiev, Sevastopol and other cities, but as the political crisis of 1905 escalated into the first revolution in Russia, Prokudin-Gorsky's agreement with the charity was terminated and only few postcards were eventually printed, most of the images were lost.
Prison in Bukhara (1907)
Throughout 1906 and 1907 Prokudin-Gorsky travelled to Europe, where he took colour photos and participated in several photography exhibitions, and visited Turkistan. During his trip to Central Asia he made some astonishing photos of Samarkand and Bukhara.
Throughout 1906 and 1907 Prokudin-Gorsky travelled to Europe, where he took colour photos and participated in several photography exhibitions, and visited Turkistan. During his trip to Central Asia he made some astonishing photos of Samarkand and Bukhara.
In 1908 Prokudin-Gorsky made several shoots of Leo Tolstoy in his estate of Yasnaya Polyana (see our Tolstoy in Moscow tour). The photos of the famous writer on the year of his 80th anniversary impressed many contemporaries. The same year Prokudin-Gorsky started to make photographs of the members of the Russian royal family. Unfortunately, their portraits are not available today, only a few landscapes of royal villas survived.
Danish summer house of Russian Empress Maria Feodorovna (1908)
Meeting with the Emperor
In 1909 emperor Nicholas II, who was deeply impressed by colour photographs of Prokudin-Gorsky, invites the photographer for a private meeting. During that meeting, the tsar agreed to support Prokudin-Gorsky's ambitious project to document the present-day Russian Empire in colour with all its vast territories, numerous nations, patriarchal traditions and towns that were gradually falling back before the industrialization of the country.
It was Prokudin-Gorsky's dream to show to the nation their country in all its splendor and full colour, and use his photographs to educate schoolchildren. It was decided that the project should last for 10 years, from 1909 to 1919, and within this period the photographer should have been able to document the vast territory of the empire in photos.
Meeting with the Emperor
In 1909 emperor Nicholas II, who was deeply impressed by colour photographs of Prokudin-Gorsky, invites the photographer for a private meeting. During that meeting, the tsar agreed to support Prokudin-Gorsky's ambitious project to document the present-day Russian Empire in colour with all its vast territories, numerous nations, patriarchal traditions and towns that were gradually falling back before the industrialization of the country.
It was Prokudin-Gorsky's dream to show to the nation their country in all its splendor and full colour, and use his photographs to educate schoolchildren. It was decided that the project should last for 10 years, from 1909 to 1919, and within this period the photographer should have been able to document the vast territory of the empire in photos.
Crew of the steamship Sheksna (1909)
Nicholas II ordered to equip Prokudin-Gorsky with a special railroad-car with a darkroom for train expeditions, a small steamship with a crew for travelling by Russian waterways and a Ford vehicle for the expedition in the Urals. In addition to that, tsar granted Prokudin-Gorsky with a special permit that allowed him to access restricted areas and rely on the help of local officials on all the territory of the empire for his project.
At the same time, all the other expenditures Prokudin-Gorsky had to pay with his own funds. Probably, because of that he was often running out of money, that led to longer pauses between the expeditions.
Nicholas II ordered to equip Prokudin-Gorsky with a special railroad-car with a darkroom for train expeditions, a small steamship with a crew for travelling by Russian waterways and a Ford vehicle for the expedition in the Urals. In addition to that, tsar granted Prokudin-Gorsky with a special permit that allowed him to access restricted areas and rely on the help of local officials on all the territory of the empire for his project.
At the same time, all the other expenditures Prokudin-Gorsky had to pay with his own funds. Probably, because of that he was often running out of money, that led to longer pauses between the expeditions.
Girl with strawberries in the Vologda Region (1909)
Prokudin-Gorsky´s Photo Expeditions of 1909-1916
Just in a few days after the meeting with the emperor Prokudin-Gorsky embarked on the first expedition of the project along the Mariinsky waterway from St. Petersburg to the Volga River. It was dedicated to the 200th anniversary since the inauguration of this waterway. During this trip he made some astonishing photographs in the Vologda Region.
Read about sailing through Russian waterways in our post
Prokudin-Gorsky´s Photo Expeditions of 1909-1916
Just in a few days after the meeting with the emperor Prokudin-Gorsky embarked on the first expedition of the project along the Mariinsky waterway from St. Petersburg to the Volga River. It was dedicated to the 200th anniversary since the inauguration of this waterway. During this trip he made some astonishing photographs in the Vologda Region.
Read about sailing through Russian waterways in our post
Three generations. A.P. Kalganov with his son and granddaughter in Zlatoust Factory, Urals (1909)
In the autumn of 1909 he undertook another expedition to the industrial areas of the Urals.
In the autumn of 1909 he undertook another expedition to the industrial areas of the Urals.
Bashkir woman in a folk costume
In 1910 Prokudin-Gorsky went to the Urals again, this time he explored its southern part.
In 1910 Prokudin-Gorsky went to the Urals again, this time he explored its southern part.
Tver. Left bank of Volga with Catherine church (1910)
In 1910, Prokudin-Gorsky makes two journeys along the Volga River, capturing it from the origin to Nizhny Novgorod.
In 1910, Prokudin-Gorsky makes two journeys along the Volga River, capturing it from the origin to Nizhny Novgorod.
Church of Resurrection in the Grove in Kostroma (1911)
In 1911 Prokudin-Gorsky visited Kostroma, Yaroslavl and other ancient Russian cities that are now known under the name of the Golden Ring of Russia. We wrote about them in our post, where you can also see mesmerizing photos of Kostroma sights made by Prokudin-Gorsky.
In 1911 Prokudin-Gorsky visited Kostroma, Yaroslavl and other ancient Russian cities that are now known under the name of the Golden Ring of Russia. We wrote about them in our post, where you can also see mesmerizing photos of Kostroma sights made by Prokudin-Gorsky.
The Emir of Bukhara (1911)
In the same year Prokudin-Gorsky returned to Central Asia to capture some more astonishing images in what is now known as Uzbekistan and Turkmenistan, including the portraits of the emir and his subordinates.
In the same year Prokudin-Gorsky returned to Central Asia to capture some more astonishing images in what is now known as Uzbekistan and Turkmenistan, including the portraits of the emir and his subordinates.
The year of 1912 was rich for expeditions. Prokudin-Gorsky managed to visit other ancient Russian towns that now comprise the Golden Ring of Russia, as well as sights along the way of the Napoleon Army that invaded Russia exactly 100 years ago. He also returns to the Caucasus and captures the process of the construction of dams on the River Oka (not far from Moscow).
Monastery for women in Cherdyn, Perm Region (1915)
In 1913-1915 Prokudin-Gorsky might have experienced problems with financing of his journeys, as he stopped travelling for his project so extensively and started searching for patrons that could have helped him to cover expenses. In 1913 Prokudin-Gorsky returns to the Urals again and takes some pictures in the Perm Region.
During this period, he got absorbed by another passion – colour cinema. On the order of Prokudin-Gorsky and his companion a special equipment for shooting and screening of colour cinema was created in France in 1914, but the outbreak of the First World War did not allow them to develop this project (source). During the war Prokudin-Gorsky taught aerial photography to Russian aviators.
In 1913-1915 Prokudin-Gorsky might have experienced problems with financing of his journeys, as he stopped travelling for his project so extensively and started searching for patrons that could have helped him to cover expenses. In 1913 Prokudin-Gorsky returns to the Urals again and takes some pictures in the Perm Region.
During this period, he got absorbed by another passion – colour cinema. On the order of Prokudin-Gorsky and his companion a special equipment for shooting and screening of colour cinema was created in France in 1914, but the outbreak of the First World War did not allow them to develop this project (source). During the war Prokudin-Gorsky taught aerial photography to Russian aviators.
Chaliapin as Mephistopheles (Copy of the reproduction, no original negatives survived, 1915)
In 1915 Prokudin-Gorsky makes several portraits of famous Russian bass Feodor Chaliapin in his scenic costumes.
In 1915 Prokudin-Gorsky makes several portraits of famous Russian bass Feodor Chaliapin in his scenic costumes.
Korozhnaya Tower of Solovetsky Monastery (1916)
In the summer of 1916 Prokudin-Gorsky embarked on his last photo journey – he took photographs on the vast territory along the newly built Murmansk Railroad, and he visited the camps with Austrian and German prisoners of war, located in the same area.
In the summer of 1916 Prokudin-Gorsky embarked on his last photo journey – he took photographs on the vast territory along the newly built Murmansk Railroad, and he visited the camps with Austrian and German prisoners of war, located in the same area.
The ambitious project on capturing the image of Imperial Russia was interrupted by the First World War and the Russian Revolution. Nevertheless, in the period of 1904 -1916 Prokudin-Gorsky visited such a great number of places with his photo expeditions, some of them twice, that it is still hard to believe that it could have been possible at that time.
Travel map of photo journeys of Prokudin-Gorsky (in Russian)
After the Revolution of 1917 (see our Revolutionary Tour) Prokudin-Gorsky participated in the creation of the Institute of Photography and Photographic Equipment. In 1918, before the outburst of the Russian civil war, Prokudin-Gorsky went to Norway to buy projection equipment for primary schools. He never returned back to Russia. During the 1920-s his family reunited with him in the immigration. In 1921 Prokudin-Gorsky settled in Paris, where he lived until his death. He and his sons continued making photographs, but mainly to earn some money for a living, they would never have the same scale projects as Prokudin-Gorsky had in the Imperial Russia.
After the Revolution of 1917 (see our Revolutionary Tour) Prokudin-Gorsky participated in the creation of the Institute of Photography and Photographic Equipment. In 1918, before the outburst of the Russian civil war, Prokudin-Gorsky went to Norway to buy projection equipment for primary schools. He never returned back to Russia. During the 1920-s his family reunited with him in the immigration. In 1921 Prokudin-Gorsky settled in Paris, where he lived until his death. He and his sons continued making photographs, but mainly to earn some money for a living, they would never have the same scale projects as Prokudin-Gorsky had in the Imperial Russia.
Prokudin-Gorsky (in the far right) with two officers during his last expedition in 1916
Initially, Prokuding-Gorsky did not take his collection of negative images with him when he left Russia, but, somehow, in his own words, "thanks to the favourable circumstances" he was permitted to take out one part of his collection later (probably with his relatives). It consisted of roughly one half of all his negatives. It is not clear in which year it was done, but we know that in 1931 Prokudin-Gorsky was demonstrating these negatives through special projection equipment to other Russian immigrants in Paris.
Initially, Prokuding-Gorsky did not take his collection of negative images with him when he left Russia, but, somehow, in his own words, "thanks to the favourable circumstances" he was permitted to take out one part of his collection later (probably with his relatives). It consisted of roughly one half of all his negatives. It is not clear in which year it was done, but we know that in 1931 Prokudin-Gorsky was demonstrating these negatives through special projection equipment to other Russian immigrants in Paris.
Grave of Sergey Prokudin-Gorsky and his wife in Sainte-Geneviève-des-Bois
Sergey Prokudin-Gorsky died in 1944 and he was buried in the Russian Cemetry of Sainte-Geneviève-des-Bois. He left the collection, that consisted of 1900 negatives and 710 album prints, to his children, who sold it to the U.S. Library of Congress in 1948. The negatives were digitalized and printed out in the early 2000-s and thanks to this work we now can see the masterpieces of Prokudin-Gorsky at last! Digitally processed images from the collection together with their negatives are now available on the website of the Library of Congress and everyone can access them for free.
Nothing is known about the fate of another part of Prokudin-Gorsky's collection that was left in the Soviet Union…
Sergey Prokudin-Gorsky died in 1944 and he was buried in the Russian Cemetry of Sainte-Geneviève-des-Bois. He left the collection, that consisted of 1900 negatives and 710 album prints, to his children, who sold it to the U.S. Library of Congress in 1948. The negatives were digitalized and printed out in the early 2000-s and thanks to this work we now can see the masterpieces of Prokudin-Gorsky at last! Digitally processed images from the collection together with their negatives are now available on the website of the Library of Congress and everyone can access them for free.
Nothing is known about the fate of another part of Prokudin-Gorsky's collection that was left in the Soviet Union…
How did Prokudin-Gorsky make his photos?
Prokudin-Gorsky used a camera designed by Adolf Miethe. For each image, there existed 3 negatives of identical size (9 cm wide by 24 cm high), made of glass and covered with the special composition, invented and patented by Prokudin-Gorsky. These negatives were made with the help of 3 glass filters, that were installed in a camera. They were responsible for blue, green and red colour spectrums.
Prokudin-Gorsky used a camera designed by Adolf Miethe. For each image, there existed 3 negatives of identical size (9 cm wide by 24 cm high), made of glass and covered with the special composition, invented and patented by Prokudin-Gorsky. These negatives were made with the help of 3 glass filters, that were installed in a camera. They were responsible for blue, green and red colour spectrums.
3 negatives of the same photo and the final image through the same filters (red-blue-green)
Although in 1907 there already existed an experimental colour camera that required only one filter, Prokudin-Gorsky did not use it because of worse color rendering and lower quality images. The black and white colour negatives, unlike autochromic negatives obtained in a single copy, made it possible to duplicate colour photographs and use them for the production of postcards and other printed materials. Later another advantage of Prokudin-Gorsky's method was also discovered - the longer durability of the images on the glass plates, as they contained silver, rather than other dyes. Until today, colour separation into separate black-and-white negatives is considered the most reliable way to store colour images and it is still used for archiving colour cinema.
Although in 1907 there already existed an experimental colour camera that required only one filter, Prokudin-Gorsky did not use it because of worse color rendering and lower quality images. The black and white colour negatives, unlike autochromic negatives obtained in a single copy, made it possible to duplicate colour photographs and use them for the production of postcards and other printed materials. Later another advantage of Prokudin-Gorsky's method was also discovered - the longer durability of the images on the glass plates, as they contained silver, rather than other dyes. Until today, colour separation into separate black-and-white negatives is considered the most reliable way to store colour images and it is still used for archiving colour cinema.
Triple lock on the Saimaa Canal, present-day Finland. Between 1903 and 1904
According to Blaise Agüera y Arcas, who helped produce digital images for all Prokudin-Gorsky's negatives in the Library of Congress, "originally, these negatives would have been viewed using a projector with three lenses, each projecting coloured light, produced with the same filters as those used to photograph the corresponding exposures. Blue, green and red light would have mixed on the projection screen to produce full-color images."
In the 2000-s thanks to the evolution of the digital computer method it became possible to combine all three negatives in one colour image and that is how Prokudin-Gorsky negatives were turned into photographs that we can see today.
According to Blaise Agüera y Arcas, who helped produce digital images for all Prokudin-Gorsky's negatives in the Library of Congress, "originally, these negatives would have been viewed using a projector with three lenses, each projecting coloured light, produced with the same filters as those used to photograph the corresponding exposures. Blue, green and red light would have mixed on the projection screen to produce full-color images."
In the 2000-s thanks to the evolution of the digital computer method it became possible to combine all three negatives in one colour image and that is how Prokudin-Gorsky negatives were turned into photographs that we can see today.
View of Rostov Veliky from the bell tower of the Church of All Saints (1911)
Russia in Bloom. Documentary with Prokudin-Gorsky's Photographs
In 2013 Russian journalist Leonid Parfyonov and his crew created a breathtaking documentary film about the works of Prokudin-Gorsky. They visited the locations that were captured by Prokudin-Gorsky one century ago and compared their present-day state to the original photos from the same viewpoint. Regretfully, not all of these sights survived in the course of the turbulent 20th century.
The name of the documentary in Russian is literally The Colour of the Nation, another meaning of this expression in our language is the best people of the nation. One of key ideas of the film is the lost civilization, which was abruptly destroyed by the Bolsheviks who swiped off all its cultural foundations, social classes and traditions. Parfyonov finds that present-day Russia developed from the Soviet Union and it does not have any common grounds with the civilization, that was called the Russian Empire.
We recommend you to watch this documentary if you are interested in life and creative work of Prokudin-Gorsky. The film is available in various streaming services in Russian with English subtitles.
Russia in Bloom. Documentary with Prokudin-Gorsky's Photographs
In 2013 Russian journalist Leonid Parfyonov and his crew created a breathtaking documentary film about the works of Prokudin-Gorsky. They visited the locations that were captured by Prokudin-Gorsky one century ago and compared their present-day state to the original photos from the same viewpoint. Regretfully, not all of these sights survived in the course of the turbulent 20th century.
The name of the documentary in Russian is literally The Colour of the Nation, another meaning of this expression in our language is the best people of the nation. One of key ideas of the film is the lost civilization, which was abruptly destroyed by the Bolsheviks who swiped off all its cultural foundations, social classes and traditions. Parfyonov finds that present-day Russia developed from the Soviet Union and it does not have any common grounds with the civilization, that was called the Russian Empire.
We recommend you to watch this documentary if you are interested in life and creative work of Prokudin-Gorsky. The film is available in various streaming services in Russian with English subtitles.