Photographic Processing

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Photographic processing From Wikipedia, the free encyclopedia Photographic processing is the chemical means by which photographic film and paper is treated after photographic exposure to produce a negative or positive image. Photographic processing transforms the latent image into a visible image, makes this permanent and renders it insensitive to light. All processes based upon the gelatin-silver process are similar, regardless of the film or paper's manufacturer. Exceptional variations include instant films such as Polaroid and thermally developed films. Kodachrome required Kodak's proprietary K-14 process. Kodachrome film production ceased in 2009, and K-14 processing is no longer available as of December 30, 2010. Ilfochrome materials use the dye destruction process. Common processes All film and paper is treated in a series of chemical baths, which are closely monitored and maintained at a specific temperature and treatment time. Developer baths are most sensitive to deviations from the standard time and temperature of treatment; other baths are less sensitive. Black and white negative processing 1. The film may be soaked in water to swell the gelatin layer. 2. The developer converts the latent image to metallic silver. 3. A stop bath,† typically a dilute solution of acetic acid or citric acid, halts the action of the developer. A rinse with clean water may be substituted. 4. The fixer makes the image permanent and light-resistant by dissolving any remaining silver halide salts. Fixer is sometimes called hypo, a deprecated term originating from casually shortened form of the alchemist's name hyposulphite. 5. Washing in clean water removes any remaining fixer. Residual fixer can corrode the silver image, leading to discolouration, staining and fading.[ The washing time can be reduced and the fixer more completely removed if a hypo clearing agent is used after the fixer. 1. Film may be rinsed in a dilute solution of a wetting agent to assist uniform drying, which eliminates drying marks caused by hard water. (In very hard water areas, a pre-rinse in distilled water may be required - otherwise the final rinse wetting agent can cause residual ionic calcium on the film to drop out of solution, causing spotting on the negative.) 2. Film is then dried in a dust-free environment, cut and placed into protective sleeves. Once the film is processed, it is then referred to as a negative. The negative may now be printed; the negative is placed in an enlarger and projected onto a sheet of photographic paper. There are many different techniques that can be used during the enlargement process. Two examples of enlargement techniques are dodging and burning. Assignment Directions: Open both the Chapter 6 and 7 Worksheet links and print yourself a new copy to fill out, or you can use the worksheet passed out in class. Read the general overview on the previous page after reading Chapters 6 and 7 in your text book, and answer the questions on the worksheet as completely and as best as you can. All answers can be found in the above information as well as the text. If you have any questions…feel free to email me at [email protected] .

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COURSE TITLE Cyanotypes Blue Prints COURSE CODE
COURSE TITLE Cyanotypes Blue Prints COURSE CODE WC1801PR89 TUTOR Melanie King DATES 10th & 11th November 2018 DAY & TIME Saturday & Sunday, 10:00 am - 5:00 pm LEVEL This class is suitable for those aged 18 or over. All levels welcome COST £165 LOCATION Mermaid Court, click here for a map Daily breakdown Days Topic/skills covered Preparing the chemistry. Coating paper with the photosensitive solution. Sat Making photograms using UV from the atmosphere. Colour tinting prints. Preparing digital negatives on a computer. Making contact prints using an Sun industrial UV exposure machine. The Cyanotype method is an incredibly versatile, simple and fun process to learn. The Cyanotype was invented by Sir John Henry Herschel in1841. This early photographic process produces distinctive and striking Prussian blue images which can also be toned in various other colours. Simple and economic, it remained in use well into the twentieth century as a means of reproducing architectural and engineering drawings as Blueprints. In more recent times, the Cyanotype has been rediscovered by contemporary artists. Also sometimes known as sun printing, the Cyanophyte process is one you can easily learn to do in a weekend. It offers a perfect introduction to alternative and traditional photographic processes and to the use of computers to produce photographic negatives for such processes. The course takes place in the Print Studio and also utilises the Digital Suite at the Art Academy. Both facilities offer a much wider programme of evening, weekend and daytime courses throughout the year. Please refer to our website for full terms and conditions: Mermaid Court, 165A Borough High Street, London SE1 1HR www.artacademy.org.uk/terms-conditions/ 020 7701 2880 The cyanotype process is simple, non-toxic and can be adapted and incorporated into a range of other printmaking techniques such as photo-etching and mono-printing.
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7th AICCM Book, Paper and Photographic Materials Symposium, 2012 More than meets the eye: Holographic works in the collection of the National Gallery of Australia Andrea Wise The National Gallery of Australia (NGA) holds a varied collection of new media, which includes intriguing virtual art such as holograms. Whether the term ‘new’ can still be applied to holography is debatable; the theory was announced in 1948, with the realisation in images occurring after the invention of lasers in the 1960s. Famously, Salvador Dali claimed to be the first artist to have worked with holography with his 1972 New York exhibition. This, however, was not strictly true as there had been two previous dedicated hologram exhibitions in the US in 1968 and 1970, highlighting the enthusiasm with which the medium was taken up by artists. Over the years hologram materials and techniques have evolved, becoming more sophisticated and, reflecting similar trends to those in photography, incorporating digital technology with applications in art, science, industry and medicine. Holograms are part of everyday life, and extraordinary developments in colour holography have led to artists working exclusively in the medium, producing entire exhibitions created in holographic images. This paper considers some of the implications of these works for the conservator and provides a brief summary of the history and manufacture of holograms, together with an overview of the materials and techniques of a small selection of holographic images in the NGA collection by Paula Dawson and Margaret Benyon. Both artists have been creative with the technical process, collaborating with a wide range of scientists and technicians over the course of their careers, incorporating different holographic methods as these evolved.
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UNLV Retrospective Theses & Dissertations 1-1-1992 The progression of photographic image manipulation in communication: An argument against the "revolution" of technological change Cynthia Lynn Wood University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Wood, Cynthia Lynn, "The progression of photographic image manipulation in communication: An argument against the "revolution" of technological change" (1992). UNLV Retrospective Theses & Dissertations. 250. http://dx.doi.org/10.25669/bqu5-khy0 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.
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