The Only Color Picture of Tolstoy, Taken by Photography Pioneer Sergey Prokudin-Gorsky (1908)

The photo above depicts Lev Nikolayevich Tolstoy, better known in the English-speaking world as Leo Tolstoy. It dates from 1908, when he had nearly all his work behind him: the major novels War and Peace and Anna Karenina, of course, but also the acclaimed late book The Death of Ivan Ilyich. His own death, in fact, lay not much more than two years before him. (See footage of the final days of his life here.) This didn’t offer much of a window of opportunity to the chemist Sergey Prokudin-Gorsky, who had recently developed a photography process that could capture the great man of letters in “true color” — and who understood that such a portrait would score a promotional coup for his innovation.

“After many years of work, I have now achieved excellent results in producing accurate colors,” Prokudin-Gorsky wrote to Tolstoy early that same year. “My colored projections are known in both Europe and in Russia. Now that my method of photography requires no more than 1 to 3 seconds, I will allow myself to ask your permission to visit for one or two days (keeping in mind the state of your health and weather) in order to take several color photographs of you and your spouse.” After receiving that permission, Prokudin-Gorsky spent two days at Yasnaya Polyana, Tolstoy’s family estate, where he took color pictures of not just the man himself but his working quarters and the surrounding grounds.

“A few months later, in its August 1908 issue, The Proceedings of the Russian Technical Society ran the following announcement describing ‘the first Russian color photoportrait,’ a color photograph of L. N. Tolstoy,” according to Tolstoy Studies Journal. The resulting fame drew Prokudin-Gorsky an invitation to show his work to Tsar Nicholas II, who subsequently furnished him with the resources to spend ten years photographically documenting Russia in color. “To this day, nobody knows exactly what camera Prokudin-Gorsky used,” writes Kai Bernau at Words that Work, “but it was likely a large wooden camera with a special holder for a sliding glass negative plate, taking three sequential monochrome photographs, each through a different colored filter.” This appears to be a technological descendant of the process developed in the early eighteen-sixties by Scottish physicist-poet James Clerk Maxwell, creator of the first color photograph in history.

To view that photograph, Maxwell “projected the three slides using three different projectors, each affixed with the same color filter that had been used to produce the slide.” Prokudin-Gorsky, too, had to project his photos, though he did later make color prints; “he also published it, in significant numbers, as a collectible postcard,” says Tolstoy Studies Journal, adding that the version seen here is a scan of one such postcard. How accurately a lithographed reproduction like the one above of Tolstoy represents the ‘real’ colors of Prokudin-Gorsky’s original projected image is debatable”; the basic technological difference between “subtractive” lithography and “additive’ projection means that we can’t be seeing quite the same picture of Tolstoy that the Tsar did — but then, it’s a good a likeness of him as we’re ever going to get.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

The Earliest Surviving Photos of Iran: Photos from 1850s-60s Capture Everything from Grand Palaces to the Ruins of Persepolis

The technology and art of photography emerged in nineteenth-century Europe. And so, when a part of the world outside Europe was well-photographed in those days, it tended to be a traveling European behind the camera. Take John Thomson, previously featured here on Open Culture, for his photos of China in the eighteen-seventies. Even before that, an Italian colonel and photographer named Luigi Pesce was hard at work documenting a land geographically closer to Europe, but hardly less exotic in the European worldview of the time: Persia, or what we would today call Iran.

“According to scholars and historians, the first photographer in Iran was Jules Richard, a Frenchman who, as stated in his diaries, arrived in Tehran in 1844,” says the web site of the National Museum of Asian Art.

“He served as the French language tutor of the Gulsaz family and took daguerreotypes of Mohammad Shah (reigned 1834–48) and his son, the crown prince, Nasir al-Din Mirza.” Alas, these photographs seem to be lost, much like most others taken before Pesce’s arrival in the country in 1848, “during the reign of Naser al-Din Shah Qajar, to train Iranian infantry units.”

Pesce’s photographic subjects included Naser al-Din himself, pictures of whom appear in the online collection of Pesce’s work at the Metropolitan Museum of Art. It was the Met that received a copy of the photo collection Pesce produced of Iran’s ancient monuments — probably the very same copy that the photographer had originally sent to Prince William I, King of Prussia.

In those days, even such exalted figures had a great deal of curiosity about far-flung realms, and before photography, they had no easier way of seeing what those realms really looked like than making the arduous journey themselves.

The sites captured in this collection include Toghrol Tower, the Tomb of Seeh-i Mumin, and the Mosque of Nasser-eddin Shah — as well as Pasargadae, Naqsh-e Rustam, and Persepolis, the famed ceremonial capital complex of the ancient Achaemenid Empire, which Pesce was the first to photograph. Or at least he was the first to succeed in doing so, Naser al-Din having previously sent Richard off to make some daguerreotypes of Persepolis that never came out.

But even Pesce’s photographs, fully executed using just about the height of the technology at the time, no longer have the immediacy they would have when Prince William gazed upon them; more than a century and a half later, they have a patina of historical distance that shades into unreality, making them feel not unlike ruins themselves. You can also view more photos on Google Arts and Culture.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

The Romanovs’ Last Ball Brought to Life in Color Photographs (1903)

In 1903, the Romanovs, Russia’s last and longest-reigning royal family, held a lavish costume ball. It was to be their final blowout, and perhaps also the “last great royal ball” in Europe, writes the Vintage News. The party took place at the Winter Palace in St. Petersburg, 14 years before Czar Nicholas II’s abdication, on the 290th anniversary of Romanov rule. The Czar invited 390 guests and the ball ranged over two days of festivities, with elaborate 17th-century boyar costumes, including “38 original royal items of the 17th century from the armory in Moscow.”

“The first day featured feasting and dancing,” notes Russia Beyond, “and a masked ball was held on the second. Everything was captured in a photo album that continues to inspire artists to this day.” The entire Romanov family gathered for a photograph on the staircase of the Hermitage theater, the last time they would all be photographed together.

It is like seeing two different dead worlds superimposed on each other—the Romanovs’ playacting their beginning while standing on the threshold of their last days.

With the irony of hindsight, we will always look upon these poised aristocrats as doomed to violent death and exile. In a morbid turn of mind, I can’t help thinking of the baroque gothic of “The Masque of the Red Death,” Edgar Allan Poe’s story about a doomed aristocracy who seal themselves inside a costume ball while a contagion ravages the world outside: “The external world could take care of itself,” Poe’s narrator says. “In the meantime it was folly to grieve or to think. The prince had provided all the appliances of pleasure…. It was a voluptuous scene, that masquerade.”

Maybe in our imagination, the Romanovs and their friends seem haunted by the weight of suffering outside their palace walls, in both their country and around Europe as the old order fell apart. Or perhaps they just look haunted the way everyone does in photographs from over 100 years ago. Does the colorizing of these photos by Russian artist Klimbim—who has done similar work with images of WW2 soldiers and portraits of Russian poets and writers—make them less ghostly?

It puts flesh on the pale monochromatic faces, and gives the lavish costuming and furniture texture and dimension. Some of the images almost look like art nouveau illustrations (and resemble those of some of the finest illustrators of Poe’s work) and the work of contemporary painters like Gustav Klimt. Maybe it’s just me, but it seems that unease lingers in the eyes of some subjects—Empress Alexandra Fedorovna among them—a certain vague and troubled apprehension.

In their book A Lifelong Passion, authors Andrei Maylunas and Sergei Mironenko quote the Grand Duke Alexander Mikhailovitch who remembered the event as “the last spectacular ball in the history of the empire.” The Grand Duke also recalled that “a new and hostile Russia glared through the large windows of the palace… while we danced, the workers were striking and the clouds in the Far East were hanging dangerously low.” As Russia Beyond notes, soon after this celebration, “The global economic crisis marked the beginning of the end for the Russian Empire, and the court ceased to hold balls.”

In 1904, the Russo-Japanese War began, a war Russia was to lose the following year. Then the aristocracy’s power was further weakened by the Revolution of 1905, which Lenin would later call the “Great Dress Rehearsal” for the Revolutionary takeover of 1917. While the aristocracy costumed itself in the trappings of past glory, armies amassed to force their reckoning with the 20th century.

Who knows what thoughts went through the mind of the tzar, tzarina, and their heirs during those two days, and the minds of the almost 400 noblemen and women dressed in costumes specially designed by artist Sergey Solomko, who drew from the work of several historians to make accurate 17th-century recreations, while Peter Carl Fabergé chose the jewelry, including, writes the Vintage News, the tzarina’s “pearls topped by a diamond and emerald-studded crown” and an “enormous emerald” on her brocaded dress?

If the Romanovs had any inkling their almost 300-year dynasty was coming to its end and would take all of the Russian aristocracy with it, they were, at least, determined to go out with the highest style; the family with “almost certainly… the most absolutist powers” would spare no expense to live in their past, no matter what the future held for them. See the original, black and white photos, including that last family portrait, at History Daily, and see several more colorized images at the Vintage News.

Note: An earlier version of this post appeared on our site in 2019.

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The Oldest Known Photographs of Rome (1841-1871)

The ravages of COVID-19 have been followed by the ravages of the post-pandemic tourism boom. If you’ve been reading recent coverage of aggressive travel and its discontents, you may well assume that it’s too late to have a genuine experience of, say, the great cities of Europe. Paris, Vienna, Barcelona: none are as they used to be, we’re told, and the same may even be true of the Eternal City. Lovers of such places were complaining about tourists decades and decades ago, of course, but how far back in time would one have to travel in order to take in the glories of a Rome that hadn’t yet fallen to the invading T-shirt-and-flip-flopped hordes?

One would have to travel back about 150 years, at least according to the pictorial evidence provided in the video above from Youtuber Jarid Boosters, who appears to have a strong interest in historical photography.

His most popular videos include gatherings-up of pictures of old Los Angeles, of the lost architecture of the German Empire, of nineteenth-century Iran. In this new episode, he presents the earliest known photographs taken in Rome, which date from the early eighteen-forties to the early eighteen-seventies. Most were taken by an early Italian adopter of photography named Gioacchino Altobelli.

Soon after picking up a camera in the eighteen-thirties, Altobelli dedicated his career to “photographing some of the most ancient and most infamous sites throughout Rome,” says Boosters. “From 1841 through 1871, Altobelli, along with a team of other photographers, including Richard Jones, took it upon themselves to document the most famous and ancient city of Rome as completely as possible.” Their subjects included the still-recognizable likes of the Colosseum and Hadrian’s tomb, naturally, as well as the Arch of Drusus, the Temple of Venus and Roma, and the Porto di Ripetta. Having been demolished by the early twentieth century, the Porto di Ripetta stands out as one of the features that sets the Rome of Altobelli’s day apart from the Rome of today — well, that and the absence of selfie-takers.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Exquisite 2300-Year-Old Scythian Woman’s Boot Preserved in the Frozen Ground of Siberia

Shoes and boots, show where your feet have gone. —Guy Sebeus, 10 New Scythian Tales 

In the age of fast fashion, when planned obsolescence, cheap materials, and shoddy construction have become the norm, how startling to encounter a stylish women’s boot that’s truly built to last…

…like, for 2300 years.

It helps to have landed in a Scythian burial mound in Siberia’s Altai Mountains, where the above boot was discovered along with a number of nomadic afterlife essentials—jewelry, food, weapons, and clothing.

These artifacts (and their mummified owners) were well preserved thanks to permafrost and the painstaking attention the Scythians paid to their dead.

As curators at the British Museum wrote in advance of the 2017 exhibition Scythians: Warriors of Ancient Siberia:

Nomads do not leave many traces, but when the Scythians buried their dead they took care to equip the corpse with the essentials they thought they needed for the perpetual rides of the afterlife. They usually dug a deep hole and built a wooden structure at the bottom. For important people these resembled log cabins that were lined and floored with dark felt – the roofs were covered with layers of larch, birch bark and moss. Within the tomb chamber, the body was placed in a log trunk coffin, accompanied by some of their prized possessions and other objects. Outside the tomb chamber but still inside the grave shaft, they placed slaughtered horses, facing east.

18th-century watercolor illustration of a Scythian burial mound. Archive of the Institute of Archaeology of the Russian Academy of Sciences, St Petersburg

The red cloth-wrapped leather bootie, now part of the State Hermitage Museum‘s collection, is a stunner, trimmed in tin, pyrite crystals, gold foil and glass beads secured with sinew. Fanciful shapes—ducklings, maybe?—decorate the seams. But the true mindblower is the remarkable condition of its sole.

Speculation is rampant on Reddit, as to this bottom layer’s pristine condition:

Maybe the boot belonged to a high-ranking woman who wouldn’t have walked much…

Or Scythians spent so much time on horseback, their shoe leather was spared…

Or perhaps it’s a high quality funeral garment, reserved for exclusively post-mortem use…

The British Museum curators’ explanation is that Scythians seated themselves on the ground around a communal fire, subjecting their soles to their neighbors’ scrutiny.

Become better acquainted with Scythian boots by making a pair, as ancient Persian empire reenactor Dan D’Silva did, documenting the process in a 3-part series on his blog. How you bedazzle the soles is up to you.

Note: An earlier version of this post appeared on our site in 2020.

If you would like to sign up for Open Culture’s free email newsletter, please find it here.

If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

The First Known Photograph of People Having a Beer (1843)

It should go without saying that one should drink responsibly, for reasons pertaining to life and limb as well as reputation. The ubiquity of still and video cameras means potentially embarrassing moments can end up on millions of screens in an instant, copied, downloaded, and saved for posterity. Not so during the infancy of photography, when it was a painstaking process with minutes-long exposure times and arcane chemical development methods. Photographing people generally meant keeping them as still as possible for several minutes, a requirement that rendered candid shots next to impossible.

We know the results of these early photographic portraiture from many a famous Daguerreotype, named for its French inventor, Louis-Jacques-Mandé Daguerre. At the same time, during the 1830s and 40s, another process gained popularity in England, called the Calotype—or “Talbotype,” for its inventor William Henry Fox Talbot. “Upon hearing of the advent of the Daguerreotype in 1839,” writes Linz Welch at the United Photographic Artists Gallery site, Talbot “felt moved to action to fully refine the process that he had begun work on. He was able to shorten his exposure times greatly and started using a similar form of camera for exposure on to his prepared paper negatives.”

This last feature made the Calotype more versatile and mechanically reproducible. And the shortened exposure times seemed to enable some greater flexibility in the kinds of photographs one could take. In the 1843 photo above, we have what appears to be an entirely unplanned grouping of revelers, caught in a moment of cheer at the pub. Created by Scottish painter-photographers Robert Adamson and David Octavius Hill—who grins, half-standing, on the right—the image looks like almost no other portrait from the time. Rather than sitting rigidly, the figures slouch casually; rather than looking grim and mournful, they smile and smirk, apparently sharing a joke. The photograph is believed to be the first image of alcoholic consumption, and it does its subject justice.

Though Talbot patented his Calotype process in England in 1841, the restrictions did not apply in Scotland. “In fact,” the Metropolitan Museum of Art writes, “Talbot encouraged its use there.” He maintained a correspondence with interested scientists, including Adamson’s older brother John, a professor of chemistry. But the Calotype was more of an artists’ medium. Where Daguerreotypes produced, Welch writes, “a startling resemblance of reality,” with clean lines and even tones, the Calotype, with its salt print, “tended to have high contrast between lights and darks…. Additionally, because of the paper fibers, the image would present with a grain that would diffuse the details.” We see this especially in the capturing of Octavius Hill, who appears both lifelike in motion and rendered artistically with charcoal or brush.

The other two figures—James Ballantine, writer, stained-glass artist, and son of an Edinburgh brewer, and Dr. George Bell, in the center—have the rakish air of characters in a William Hogarth scene. The National Galleries of Scotland attributes the naturalness of these poses to “Hill’s sociability, humour and his capacity to gauge the sitters’ characters.” Surely the booze did its part in loosening everyone up. The three men are said to be drinking Edinburgh Ale, “according to a contemporary account… ‘a potent fluid, which almost glued the lips of the drinker together.'” Such a side effect would, at least, make it extremely difficult to over-imbibe.

Note: An earlier version of this post appeared on our site in 2017.

If you would like to sign up for Open Culture’s free email newsletter, please find it here.

If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Some of the Oldest Photos You Will Ever See: Discover Photographs of Greece, Egypt, Turkey & Other Mediterranean Lands (1840s)

Beginning in the late seventeenth century, aristocratic Englishmen or continental Europeans came of age and went on a Grand Tour. Lasting anything from few a months to a few years, such trips were meant directly to expose their young takers to the legacy of the Renaissance and antiquity. Naturally, most Grand Tour itineraries placed the utmost importance on Italy and Greece; some even went to the Holy Land, as satirized by Mark Twain in The Innocents Abroad. By the time that book was published in 1869, the Grand Tour was out of high fashion — but a couple of decades earlier, Joseph-Philibert Girault de Prangey had preserved many of its destinations with a piece of cutting-edge technology known as the camera.

Girault de Prangey went on his first photographic “Grand Tour” in 1841, when he was in his late thirties. Having already traveled extensively and received an education in both art and law, he was hardly a callow youth in need of refinement. But he was an aristocrat, the sole inheritor of his family fortune, and thus able to “devote his life to his passions: travel, arts, and publishing.”

So says the narrator of the Kings and Things video above, which tells the story of how Girault de Prange managed to leave us the earliest known photographs of a large swath of the world. This project “took him from Italy to Greece, Egypt, Turkey, and the Levant, he captured over 1,000 photographs, with subjects ranging from streetscapes and architectural details to nature and landscapes and portraits of local people.”

Not that photography per se was Girault de Prangey’s goal; for him, taking a picture constituted merely an early step in the creation of a drawing or painting. “Although he only intended to use them as a sort of sketch to refer to back home in his studio,” he “arranged his pictures so as to produce a sense of drama or mystery, and this artistic sensibility sets him apart from many other pioneers of photography, who were primarily technicians or inventors.” The age of the Grand Tour was ending even in Girault de Prangey’s day, but 180 years later (and about a century after their rediscovery in one of his estate’s storerooms), his photographs send us on a very different kind of trip: not just across the world, but — much more thrillingly — deep back in time as well.

via Aeon

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

How to Develop Photographs with Coffee

James Hoffmann knows something about coffee. He’s authored The World Atlas of Coffee and runs a prolific YouTube channel, where he covers everything from making coffee with the AeroPress and MokaPot, to brewing the perfect espresso and also providing basic coffee making tips & tricks. Pretty bread and butter stuff, if you can use that expression when talking about coffee. But he also covers some subjects at the margins of the coffee world–like how to develop photographs with coffee. Above, Hoffmann introduces you to Caffenol, a process whereby photographs can be developed with coffee and sometimes Vitamin C. To take a deeper dive into the subject, you’ll want to explore PetaPixel’s primer, Caffenol: A Guide to Developing B&W Film with Coffee.

If you would like to sign up for Open Culture’s free email newsletter, please find it here.

If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

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