impractical and dangerous. With the advent of photographic emulsions on glass came the potential to make enlargements from them, but for the lack of a sufficiently strong light source to project them on to the receiving emulsion as prints on paper, canvas or other supports. The solar camera, employing the focussed light of the sun, addressed the problem in a repurposing of the solar microscope by American portrait artist David Acheson Woodward in 1857, and others, before being superseded by enlargers employing artificial light sources from the 1880s. Life-size portraits made by this means were hand coloured in crayon or overpainted in oils and were popular into the 1910s. Hand-colouring remained the easiest and most effective method to produce full-colour photographic images until the mid-20th century when American Kodak introduced Kodachrome colour film. Japanese hand-coloured photographs (circa 1860–1899) Though the hand-colouring of photographs was introduced in Europe, the technique gained considerable popularity in Japan, where the practice became a respected and refined art form beginning in the 1860s. It is possible that photographer Charles Parker and his artist partner William Parke Andrew were the first to produce such works in Japan, but the first to consistently employ hand-colouring in the country were the photographer Felice Beato and his partner, The Illustrated London News artist and colourist Charles Wirgman. In Beato's studio the refined skills of Japanese watercolourists and woodblock printmakers were successfully applied to European photography, as evidenced in Beato's volume of hand-coloured portraits, Native Types. Another notable early photographer in Japan to use hand-colouring was Yokoyama Matsusaburō. Yokoyama had trained as a painter and lithographer as well as a photographer, and he took advantage of his extensive repertoire of skills and techniques to create what he called shashin abura-e (写真油絵) or "photographic oil paintings", in which the paper support of a photograph was cut away and oil paints then applied to the remaining emulsion. Later practitioners of hand-colouring in Japan included the firm of Stillfried & Andersen, which acquired Beato's studio in 1877 and hand-coloured many of his negatives in addition to its own. Austrian Baron Raimund von Stillfried und Ratenitz, trained Japanese photographer and colourist Kusakabe Kimbei, and together they created hand-coloured images of Japanese daily life that were very popular as souvenirs. Hand-coloured photographs were also produced by Kusakabe Kimbei, Tamamura Kozaburō, Adolfo Farsari, Uchida Kuichi, Ogawa Kazumasa and others. Many high-quality hand-coloured photographs continued to be