American Colony Photo Department: Longido girls with large ear
ornaments, Tanganyika
Finlay additive screen
process, glass negative, approx. 10 × 13 cm, 1936, G. Eric and
Edith Matson Photograph Collection, Library of Congress,
LC-M31-8641.
The plate belongs to G. Eric Matson’s East African series of
1936, made during a journey with Imperial Airways. The route
followed the Nile toward Lake Victoria. Longido lies in northern
Tanganyika, now Tanzania, in a region long associated with Maasai
communities. In colour, the metal ear ornaments, beads and clothing
are especially striking and became some of the most distinctive
motifs in Matson’s African series.
American Colony Photo Department: Girl with a dog and
chrysanthemums
Finlay additive screen
process, glass negative, approx. 10 × 13 cm, 1930s, G. Eric and
Edith Matson Photograph Collection, Library of Congress, negative
no. 7335.
Negatives from this collection marked the beginning of the
Color-Screen project. While preparing an exhibition for the Šechtl
& Voseček Museum of Photography in 2011, Mark Jacobs recognised
that some inconspicuous plates in the Matson archive were Finlay
colour negatives. This photograph also shows that the Finlay
process could already capture livelier situations: the girl and dog
are sharp while the wagging tail is blurred. The exact exposure
time is unknown, but in sunlight it was probably a few hundredths
of a second — the dog still had to cooperate for a moment. In 2025
the Library of Congress made new full-quality scans of these
samples available.
American Colony Photo Department: Arusha wedding dancers,
Tanganyika
Finlay additive screen
process, glass negative, approx. 10 × 13 cm, 1936, G. Eric and
Edith Matson Photograph Collection, Library of Congress, negative
no. 8617.
The photograph belongs to Matson’s East African journey of 1936.
The American Colony Photo Department was based in Jerusalem, but
its photographers travelled far beyond the Middle East. This series
was made during a journey with Imperial Airways into East Africa.
For this negative the Library of Congress also preserves a Finlay
colour transparency precisely registered with its viewing screen.
While preparing the exhibition we were able to examine the
original; its colours are noticeably richer than in the older
catalogue scan.