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Three-Colour Photography
THREE-COLOUR PHOTOGRAPHY, X Three-Colour Photography: THREE-COLOUR PRINTING AND THE PRODUCTION OF PHOTOGRAPHIC PIGMENT PICTURES IN NATURAL COLOURS BY ARTHUR FREIHERRN VON HUBL, COLONEL, DIRECTOR OK THE TECHNICAL SECTION OF THE ROYAL IMPERIAL MILITARY GEOGRAPHICAL INSTITUTE IN VIENNA. TRANSLATED BY HENRY OSCAR KLEIN. LONDON : A. W. PENROSE & CO., 109, FARRINGDON ROAD, E.G. [ALL RIGHTS RESERVED. CONTENTS. PAGE. PREFACE n INTRODUCTION : The reproduction of natural colours by photographic means 13 PART I. LIGHT AND COLOUR. A. THE UNDULATORY THEORY OF LIGHT - 19 the B. COLOURED LIGHT. Homogeneous light ; Prismatic and Diffraction Spectrum, Luminosity, Intensity, Hue - 23 MIXED LIGHT. Complementary colours, superposition of coloured lights 28 THE THEORY OF COLOUR SENSATION. of (a) The Theory Young- Helmholtz ; (b) Hering's Theory 32 C. BODY COLOURS AND DYES. Spectral analysis of pigments, showing broad and narrow absorption bands - 37 MIXING OF COLOURS. Mixing of substances - and coloured rays . 46 NAMES OF COLOURS 54 D. GEOMETRICAL REPRESENTATION OF COLOUR MIXTURES. Explanation of mixing line and mixing surface, construction of colour chart, the colour circle - 55 The spectral mixing line 63 Exceptions to the laws of pigment mixtures - 64 1 G2328 THREE-COLOUR PHOTOGRAPHY. PART II. THEORY AND PRACTICE OF THREE-COLOUR PRINTING. A. THE THEORETICAL BASIS OF THREE-COLOUR PRINTING. (a) CHOICE OF COLOURS. The correct theo- retical system of the primary colours. The system of permanent primary colours. The primary colours of the Photo- chromoscope 69 (b) THE PHOTOGRAPHIC PROCESS. The rela- tion between the sensitizing of plates and the the for printing pigments ; curves both colour systems 74 (c) THEORY OF IVES 84 (d) DR. -
Ack of 3Yond Ffit}Mro
ack of 3yond ffiT}Mro r),"Si,{,, A3 N. MRITT STREET Mone. UT 44532 43,5-25.9-5 | 54 VVWW. BACKOFBEYON DBOOKS. CO M ckof eyoprd. Bacx oF BEYorqo Booxs www. b ackof l'rcyo n d b oo ks. corn 435.259.sr54 llack ol'Beyond Books opened its doors in 1990 specializing in newly WnsrnRN AmERTcANA pLrblislred books about the west. Our Rare and Antiquarian department opened in 2005 and focuses on Western Americana and Exploration, Native Americana, and the writers of the west. We also feature older, 1. Anasazi Communities oJ'the San Juan beautiful books that capture the essence of the book. Our shop is open 7 Busin days a week. We buy collections, maintain want lists, and love to talk By ManSHALI-, MtcuREI-, Ir'f AL. books; please stop by. Pmcr: $125.00 Marshall, Michael, et aL Anusazi Communities o/'the Son Juan Basin. Historic Preservatitx Bureau, Planning Division Department of Finance and Adrninistration In November, the membership committee of the Anti- of the State of New Mexico, 1979. Reprintcd in 1981. Largetradepaperback in very quarian Booksellers'Association of America voted in good condition. Wraps are lightly soiled, as are the edges of the three new dealers into their body, including Back of book. Interior is clean and tight. Previous owners name is written on inside front wrap plus on bottom edge of book. "4-CAS" is stamped on top edge. Beyond Books. We're proud to join the ranks of the best antiquarian book dealers in the country and look forward to many years as a member. -
William Henry Fox Talbot the Boulevards
William Henry Fox Talbot Hill & Adamson English, 1800–1877 Scottish, active 1843–1848 The Boulevards of Paris, 1843 Elizabeth Rigby Salted paper print (calotype) (Lady Eastlake), 1843–47 Salted paper print The inventor of the salted paper process, Talbot photographed the boulevards from In the mid-1840s, the Scottish painter- a similar vantage point as J. L. M. Daguerre, photographer partners David Octavius the inventor of the daguerreotype, did. Hill and Robert Adamson produced the Talbot’s print allowed people in the know first significant body of artistic portraiture to compare these rival processes on a one using the salted paper process pioneered to one basis. The ghost images of carriages by William Henry Fox Talbot. They often along the boulevard are a product of the photographed Elizabeth Rigby, who would long exposure time needed with this early become Lady Eastlake upon her marriage printing technique. On the captured spring in 1849 to Sir Charles Eastlake, President afternoon, the streets had just been wetted of the Royal Academy, Director of the down to settle the dust stirred up from the National Gallery, and first President of unpaved road. the Royal Photographic Society. An author and critic, Lady Eastlake championed photography as a mysterious art that revived “the spirit of Rembrandt.” Louis-Jacques-Mandé Daguerre (French, 1787–1851), Boulevard du Temple, Paris, 1838. Daguerreotype. WAGSTAFF.Labels_rd3.indd 1 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 2 9/7/16 2:37 PM Unidentified Artist Roger Fenton Fern Leaves, c. 1850 English, 1819–1869 Photogenic drawing Dinornis elephantopus, 1854–58 “Photogenic drawing” was William Salted paper print Henry Fox Talbot’s name for his first— cameraless—photographic process. -
Printed Objects…………………………………
Departamento de Conservação e Restauro Faculdade de Ciências e Tecnologia Universidade de Nova de Lisboa CHARACTERIZATION AND IDENTIFICATION OF PPRINTED OOBJECTS Lénia Janete Oliveira Fernandes nº 25988 Dissertação de Mestrado em Conservação e Restauro Área de Documentos Gráficos - Fotografia Orientação: Prof. Doutor José Ramos (FBA-UL/FCT-UNL) Ryan Boatright e Gawain Weaver (IPI-RIT) 11 de Julho de 2008 INDEX Abstract……………………………………………………………………………………………. 1 Introduction……………………………………………………………………………………….. 1 Characterization and Identification of Printed Objects………………………………….. 2 Pre-photographic processes………………………………………………………….. 2 Woodcut………………………………………….…………………………….. 3 Engraving………………………………………….…………………………… 3 Etching………………………………………….……………………………… 3 Lithography……………………………………………………………………. 4 Photomechanical processes………………………………………………………….. 5 Collotype……………………………………………………………………….. 6 Woodburytype…………………………………………………………………. 7 Photogravure………………………………………………………………….. 8 Rotogravure……………………………………………………………………. 8 Letterpress Halftone………………………………………………………….. 9 Offset Lithography…………………………………………………………….. 10 Photographic processes ………………………………………………………………. 12 Printing out processes………………………………………………………... 12 Salted paper print……………………………………………………. 12 Albumen print……..…………………………………………………. 12 Collodion P.O.P. ……………………………………………………. 14 Gelatin P.O.P. ………………………………………………………. 16 Non-silver processes…………………………………………………………. 16 Carbon………………………………………………………………... 16 Color Photography……………………………………………………………. 18 Ansco Printon………………………………………………………... 19 Agfacolor prints……………………………………………………… -
The Carbon Print by Sandy King and John Lockhart
This is a preview of the first three chapters ofThe Carbon Print by Sandy King and John Lockhart. For more information, or to purchase, visit: http://www.johnlockhart.net/carbonbook Cover Image: Sèvres, The Seine at Meudon. Alphonse-Louis Poitevin. 1855 - 1860. Carbon Print. Poitevin was the first to add pigment to gelatin sensitized with dichromate and, as such, is credited as the first to make a carbon print. The transfer method would be invented later by Swan. The Carbon Print Ian at Ten. John Lockhart. Carbon Print The Carbon Print The History, Theory, and Practice of Carbon Transfer Printing Sandy King John Lockhart Copyright © 2017 by John Lockhart and Sandy King All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Document version: 1.0.1 Equipment 26 Contents Light Sources 29 Printing With the Sun 30 Preface i Bank of BL or Daylight Fluorescent Tubes 30 Acknowledgments ii Graphic Arts Printers 30 Materials 31 About the Authors iii Special Notes on Dichromates and Gelatin 31 Potassium or Ammonium Dichromate? 31 Introduction v What Kind of Gelatin Should I Purchase? 32 The Love of Craft v The Legacy of Digital Imaging vi Materials Manufacture 36 The Revival of Carbon in the Modern Era vi About Gelatin 37 Making Carbon Printing Tissue 39 A Brief History of Carbon Printing 1 Preparing the Pigmented Gelatin 40 Refinement of the Carbon Process 3 Temporary Support Material -
1.Photographic Printing Paper the Calotype, an Improvement On
The Calotype Photographic Printing Paper 1. The calotype is the negative-positive process, using a paper negative, The calotype, an improvement on William Henry Fox Talbot’s that William Henry Fox Talbot invented in 1840. Talbot named his photogenic drawing, is the starting point in the history of techniques process the “calotype,” after kalos, the Greek word for beauty; it was for printing photographs on paper. Its inventor, Fox Talbot, was a also called the Talbotype. The paper was made photosensitive by product of the British aristocracy, a multitalented scientist interested soaking it in a solution of silver nitrate and potassium iodide, then in many fields, including astronomy, mathematics, and optics. In placed in the camera while moist. After the exposure is made, the 1833, while traveling in Italy on his honeymoon, he tried to use a paper is developed and fixed to form the negative. Then it is placed in camera lucida to sketch the scenery, during which the idea of a contact with a sheet of salted paper, which has been processed with method for recording the camera’s images (photogenic drawing, or silver nitrate and table salt, and exposed to sunlight to make a what we now call photography) occurred to him. He began serious positive print. The calotype, which permitted making multiple prints experimentation the next year and by 1835 had succeeded in creating from the same negative, was the first act in the development of negatives. In 1839, when he heard of the announcement that analog photographic reproduction in the nineteenth and twentieth Daguerre of France had invented a photographic process, Fox Talbot centuries. -
Carbon © 2013 J
CARBON Dusan C. Stulik | Art Kaplan The Atlas of Analytical Signatures of Photographic Processes Atlas of The © 2013 J. Paul Getty Trust. All rights reserved. The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The GCI serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefit the professionals and organizations responsible for the conservation of the world’s cultural heritage. The Getty Conservation Institute 1200 Getty Center Drive, Suite 700 Los Angeles, CA 90049-1684 United States Telephone: 310 440-7325 Fax: 310 440-7702 Email: [email protected] www.getty.edu/conservation The Atlas of Analytical Signatures of Photographic Processes is intended for practicing photograph conservators and curators of collections who may need to identify more unusual photographs. The Atlas also aids individuals studying a photographer’s darkroom techniques or changes in these techniques brought on by new or different photographic technologies or by the outside influence of other photographers. For a complete list of photographic processes available as part of the Atlas and for more information on the Getty Conservation Institute’s research on the conservation of photographic materials, visit the GCI’s website at getty.edu/conservation. ISBN number: 978-1-937433-05-5 (online resource) Front cover: Adolphe Brown, Two Girls (detail), date unknown. -
1. Before Photography
1. Before Photography Part 1: Discovering Light The most basic aspect of photography is our understanding of how light works, and the first known writings on this come from well over two thousand years ago in China. Mo Ti (later known as Mo Tsu) was a philosopher who lived from 470 to 391 BC. Unlike most philosophers he came from a poor background, perhaps why his teachings were based on the conviction that all men were of equal worth. His followers or 'Moists' were taught that right living demanded they take responsibility for the well being of others and ensured that their actions did not harm others, but practised a universal love for others. If people follow this path, the world is 'ordered and peaceful,' if not, 'the world becomes disorder, violent, and chaotic.' Although difficult to argue against, these ideas did not generally win the affection of the rich and powerful, and Moism soon died out. Mo Ti also thought deeply about the natures of shadows, realising that they were formed by light travelling in straight lines, the first recorded law of optics. He also was able to use this to explain why the images formed when light entered a darkened room through a small aperture were inverted, so can be credited both with recognising the role of an aperture in forming an image and also with an understanding of what later became known as the 'camera obscura' which will be looked at in more detail in a later section. Back in the more primitive west, the Greek philosophers were also noticing similar effects. -
The Bostick & Sullivan Book of Modern Carbon Printing
The Bostick & Sullivan Book of Modern Carbon Printing A contemporary approach to the classic hand made carbon print $39.95 Dick Sullivan HonFRPS Cover image, Dick Sullivan, “Rocks I - Spahn Ranch” Neg. 4x5, c. 1968, carbon print 2006, 16 x 20 in, Printed: February 2 2010 : 12:1 The Bostick & Sullivan Book of Modern Carbon Printing Being a manual of technique, with a bit of history, irrelevant trivia, and philosophical musings by the author. Dick Sullivan HonFRPS The Bostick & Sullivan Press Santa Fe, New Mexico www.bostick-sullivan.com www.carbonprinting.com Copyright 2007 Dedicated to: Melody Bostick, who has been my wife for 42 years. Thank you for making my life rewarding and fun. www.bostick-sullivan.com 505-474-0890 The Book of Modern Carbon Printing v Table of Contents of Contents Table Foreword to this edition ............................................................................................2 Background of the carbon print .................................................................................5 What is a carbon print? .............................................................................................................................5 What is not a carbon print .......................................................................................................................8 Introducing the carbon print .................................................................................... 9 The tissue ......................................................................................................................................................9 -
A Presentation Set of 19Th and 20Th Century Photographic Processes from the Art Gallery of Ontario's Harris Study Collection Sara Keane Ryerson University
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2011 A presentation set of 19th and 20th century photographic processes from the Art Gallery of Ontario's Harris study collection Sara Keane Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Film and Media Studies Commons Recommended Citation Keane, Sara, "A presentation set of 19th and 20th century photographic processes from the Art Gallery of Ontario's Harris study collection" (2011). Theses and dissertations. Paper 1122. This Thesis Project is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. A PRESENTATION SET OF 19th and 20th CENTURY PHOTOGRAPHIC PROCESSES FROM THE ART GALLERY OF ONTARIOʼS HARRIS STUDY COLLECTION by Sara Keane Bachelor of Arts, Honours - University of Western Ontario, London, ON, 2007 An applied thesis project presented to Ryerson University, the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film In partial fulfillment of the requirements for the degree of Master of Arts In the program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2011 © Sara Keane 2011 Authorʼs Declaration I hereby declare that I am the sole author of this thesis project. I authorize Ryerson University, the Art Gallery of Ontario, and George Eastman House International Museum of Photography and Film to lend this thesis to other institutions or individuals for the purpose of scholarly research. -
Photography in the Printing Press: the Photomechanical Revolution
Helena E Wright Photography in the printing press: the photomechanical revolution Introduction From this vantage point, at the beginning of the twenty-first century, it is difficult to imagine the impact of photography at the time of its invention. Its subsequent influence on visual communication and cognition is acknowledged as fact and taken quite for granted. Photography has been credited with 'redefining the nature of artistic expression and information transfer',l yet this iconographic revolution actually was accomplished largely by means of the medium's wide spread reproduction. The development of various photomechanical technologies, culminating in the screened halftone, transformed both the production and the perception of photographs.2 The rise of mass media, incorporating this pictorial vocabulary into journalism, film, television and now the Internet, has changed forever the way the world communicates. Today's visual culture has its roots in photography, but owes its pre-eminence to the dissemination of photography's syntax into other media. That phenomenon - the photomechanical revolution - actively pursued internationally from the 1840s, is the topic of this paper. Its material evidence is recorded in the remarkable collection of photolithographer JW Osborne (1828-1902), donated to the Smithsonian Institution in 1888.3 In 1857, less than 20 years after the invention of photography, Lady Eastlake observed: Photography has become a household word and a household want; [it] is used alike by art and science, by love, business, and justice; is found in the most sumptuous ... and dingiest [surroundings] ... in the pocket of the detective, in the cell of the convict, in the folio of the painter and architect, among the papers and patterns of the mill-owner and manufacturer, and on the cold brave breast on the battlefield... -
Chapter 16 the Gum Bichromate Process
THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES: 2nd Edition © CHRISTOPHER JAMES 2008 SAMPLE - CHAPTER 16 THE GUM BICHROMATE PROCESS Fig 16 – 1, here, (Christopher James, John Q. w/ His own Negative, 2005, cyanotype & gum) OVERVIEW & EXPECTATIONS Here’s the truth… In gum bichromate printing there are very few absolutely correct ways to do anything. Here’s another bit of reality… In my experience, gum bichromate printers are the most passionate, and hard-headed, of all alternative process artists when it comes to their particular way of doing the process. I can just imagine many of my friends reading that last sentence and saying, "he’s talking about me!" When the gum bichromate process is broken down into its three components, and explained in the simplest of ways, it appears to be amazingly uncomplicated. However, to nearly every one of my students who has been seduced by the process, and for those artists who are dedicated to it, gum bichromate reveals itself to be one of the most complex in the alternative process genre. Gum printing is ridiculously seductive, due to its limited chemistry, simple water development, unlimited color potential with watercolors of the artist’s choice, and its flexible ability to be coupled with a wide range of other alternative and graphic arts techniques. I think of gum as the photographic ambassador to the graphic and fine arts. Because of its pigment and substrate options and brush application, gum bichromate printing is one of the few photographic processes capable of achieving that wonderful element of gesture - gesture being the evidence of painterly expression, of the artist’s © Christopher James, The Book of Alternative Photographic Processes: 2nd Edition, 2007 hand, in the creation of a mark.