Lake Peno and the Site of Its Confluence with the Volga


In May 1910, Sergei Mikhailovich Prokudin-Gorskii (1863–1944) photographed in the Ostashkov area of Tver Province. Of particular interest were the lakes that form the upper reaches of the Volga River. This view shows a part of Lake Peno at the village of Shvetsova near the point where the Volga leaves the lake. The name derives from the Russian word for “stump,” in recognition of the large number of tree stumps on the lake bottom. At 7.2 kilometers in length, Lake Peno was part of scheduled passenger boat service during the Soviet period. In the center of the image, a long fishing net is suspended on poles to dry. At the left is a boathouse with a wooden skiff in the foreground. A patch of water lilies floats in the lake shallows. On the opposite shore is a large wooden house near the village of Zuevo. Pasturage stretches toward the forested hills in the background. Prokudin-Gorskii used a special color photography process to create a visual record of the Russian Empire. Some of Prokudin-Gorskii’s photographs date from about 1905, but the bulk of his work is from between 1909 and 1915, when, with the support of Tsar Nicholas II and the Ministry of Transportation, he undertook extended trips through many different parts of the empire.

Date Created

Subject Date

Title in Original Language

Озеро Пено и место впадения Волги

Type of Item

Physical Description

Glass negative (presented as a digital color composite)


  • Prokudin-Gorskii’s photographic work survives primarily in two forms: 1,901 black-and-white triple-frame glass plate negatives, made with color separation filters, which Prokudin-Gorskii used to make color prints and lantern slides; and 12 albums of sepia-tone prints, made from the glass negatives, which Prokudin-Gorskii compiled as a record of his travels and studies. The Library of Congress purchased the glass plate negatives and the albums from the Prokudin-Gorskii family in 1948. In 2004, the Library of Congress had digital color composites made from all the surviving glass negatives using a software algorithm to automatically align the color components. As with most historical photographs, title and subject identifications are corrected and enhanced through new research. Current information on the collection is at

Last updated: October 3, 2016