Georg Einbeck came to photography as an amateur painter in Hamburg, where, after setting up as a shopkeeper in 1896, he took classes given by the brothers Theodor and Oskar Hofmeister. A year after arriving in the city he joined the Gesellschaft zur Förderung der Amateur-Photographie (Society for the Promotion of Amateur Photography) and took part in its exhibitions over the next two years. He records that in 1898, while in Paris, he took classes given by Henri Matisse. In 1899 he moved to Dresden. His work was to be found in the Berlin Secessionist exhibitions of 1903-07. In 1906 he traveled to North Africa and the south of France, and spent World War I in Switzerland. 
Photographische Rundschau (Photographic Review) began as the official magazine of the Club der Amateur Photographen in Wien in 1877, but within a year was published in Germany and distributed in Austria as well as Germany. It was one of the earliest magazines specifically produced for amateurs in the art and science of photography. Because these photographers were in virtually every case pictorialists, the journal was also among the chief vehicles for the international promotion and diffusion of works of the pictorialist school. Beginning in 1904 and lasting until 1911, the journal joined forces with publisher Wilhelm Knapp’s Photographisches Centralblatt, becoming the Photographische Rundschau und Photographisches Centralblatt.
Volumes contained full-page hand-pulled photogravures, additional sheet-fed gravures, as well as numerous half-tones by the world’s leading photographers of the time. Photographers include Edward Steichen, Alfred Stieglitz, Julia Margaret Cameron, Clarence H. White, Heinrich Kühn, et al.
Nordström, Alison D, Thomas Padon, and J L. Ackerman. Truthbeauty: Pictorialism and the Photograph As Art, 1845-1945. Vancouver, B.C: Douglas & McIntyre, 2008. Print. p 131
Dawm, Patrick, Francis Ribemont, and Philip Prodger. Impressionist Camera: Pictorial Photography in Europe, 1888-1918. London: Merrell Holberton, 2006. fig. 68 (gum bichromate print)
 Dawm, Patrick, Francis Ribemont, and Philip Prodger. Impressionist Camera: Pictorial Photography in Europe, 1888-1918. London: Merrell Holberton, 2006. p. 293