Autochrome photography was not only popular in France and the United States, but had an active following in many of the countries of Europe. Indeed, in a Telegram from Chairman De Metz and De Trafft to Messieurs Lumière dated January 1909, they wrote,

"Participants in the Second Russian Photographic Congress gathered in Kiev branch of the Russian Imperial technical Society after conference by Professor De Metz on various processes of colour photography congratulate you on your felicitous and ingenious solution to this interesting and difficult problem."

One of the finest autochromists yet discovered was the Russian writer Leonid Andreyev. It therefore should come as no surprise then to learn of the popularity of the process in Germany. Indeed, the Germans were perhaps the most technologically sophisticated practitioners of the only rival to the autochrome, the three-colour separation process which reached it‘s zenith with the development by Dr. Adolf Miethe of his three-colour camera. Nevertheless, the autochrome enjoyed wide-spread use and admiration in Germany. One of it‘s main proponents in Germany was Professor of Technology Dr. Fritz Schmidt and he produced two lavish portfolios of autochromes:
 
Meesterwerken der kleuren-photographie. Eene verzameling van opnamen in de natuurlijke kleuren door middel van Lumieres autochroomplatten (Leiden: Sijthoff, 1912-1913) and a similar series entitled, Farbenphotographie: Eine Sammlung von Aufnahmen in natuerlichen Farben (Leipzig: E.A. Seemann, 1912-1913). Both series were produced as twelve books though they were sometimes bound together in one volume. Each book has a few images in the text though the majority are tipped in.
 
The illustrations included in this exhibit come from Farbenphotographie.
 
Mark Jacobs, 2006