The First 22 Pages of Blueprint to Cyanotypes
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Still Photography
Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection. -
History of the Offshore Oil and Gas Industry in Southern Louisiana Interim Report
OCS Study MMS 2004-050 History of the Offshore Oil and Gas Industry in Southern Louisiana Interim Report Volume II: Bayou Lafourche – An Oral History of the Development of the Oil and Gas Industry U.S. Department of the Interior Minerals Management Service Gulf of Mexico OCS Region OCS Study MMS 2004-050 History of the Offshore Oil and Gas Industry in Southern Louisiana Interim Report Volume II: Bayou Lafourche – An Oral History of the Development of the Oil and Gas Industry Author Tom McGuire Prepared under MMS Contract 1435-01-02-CA-85169 by Center for Energy Studies Louisiana State University Baton Rouge, Louisiana Published by U.S. Department of the Interior Minerals Management Service New Orleans Gulf of Mexico OCS Region July 2004 DISCLAIMER This report was prepared under contract between the Minerals Management Service (MMS) and Louisiana State University’s Center for Energy Studies. This report has not been technically reviewed by MMS. Approval does not signify that the contents necessarily reflect the view and policies of the Service, nor does mention of trade names or commercial products constitute endorsement or recommendation for use. It is, however, exempt from review and compliance with MMS editorial standards. REPORT AVAILABILITY Extra copies of the report may be obtained from the Public Information Office (Mail Stop 5034) at the following address: U.S. Department of the Interior Minerals Management Service Gulf of Mexico OCS Region Public Information Office (MS 5034) 1201 Elmwood Park Boulevard New Orleans, Louisiana 70123-2394 Telephone Number: 1-800-200-GULF 1-504-736-2519 CITATION Suggested citation: McGuire, T. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
Cyanotypes Handout
Cyanotypes Background/Context Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide. Equipment needed Ferric Ammonium Citrate Scales 3 containers for mixing (ideally brown glass bottles) Potassium Ferricyanide Measuring Jug Plastic Spoons Protective Equipment: Facemask, Brushes & Sponges Glass or Clear Perspex Gloves & Apron Sunlight or UV Source Water trays Heavy papers approx 300 gsm Found materials such as threads, Acetate/Tracing Paper Black pens/china graph pencils leaves, feathers, buttons etc Mixing the Chemicals Using a plastic spoon mix 25g of ferric ammonium citrate with 100ml of water. In a separate container mix 10g potassium ferricyanide with 100ml water. Mix the two solutions together with a 1:1 ratio immediately before use. Chemical solutions can be stored separately in glass brown bottles for months but ammonium ferric citrate will grow mould which will need sieving out. Coating the Papers Wear gloves when applying the solution. In a dark room or room with a low level light the solution can be applied to paper using a brush - or for even coverage use a sponge brush. Keep the coated papers in the dark and ideally leave to dry flat. Dry coated papers can be kept in a light sealed black bag until exposed in sunlight or using a UV light box. Exposing your Image Using sunlight: Place your objects or acetate image on top of the coated side of the paper and place a piece of glass or clear perspex on top. -
Cyanotype Detailed Instructions
Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear. -
'Cyanotype and Anthotype: Eco-Patterning with Mineral and Natural Dyes.' Proceedings: International Textile & Costume Congress
Cyanotype and Anthotype: Eco- patterning with mineral and natural dyes Item Type Article Authors Wells, Kate Citation Wells, K. (2015) 'Cyanotype and Anthotype: Eco-patterning with mineral and natural dyes.' Proceedings: International Textile & Costume Congress. 2015. Between Worlds: Innovation and Design in Textiles and Costume. Marmara University, Istanbul: 145 Publisher International Textile and Clothing Congress ITCC Journal Proceedings of the 3rd International Textiles & Costume Congress - ITCC 2015 Download date 28/09/2021 17:18:38 Link to Item http://hdl.handle.net/10545/601182 ‘CYANOTYPE AND ANTHOTYPE: ECO - PATTERNING WITH MINERAL AND NATURAL DYES.’ Wells Kate University of Derby College of Arts Markeaton Street Campus Derby DE22 3AW Abstract: The paper outlines collaborative research between two different disciplines: That of textile design and early colouration methods with historical photographic imaging techniques. The project considers the symbiotic relationship between natural plant extracts with ‘Anthotypes’ and raised colours specifically ‘Prussian Blue’ with ‘Cyanotypes’. The aim of which, is to consider the question: Could this kind of photographic image making be applied as a future, sustainable method of design generation, colouration and patterning of fabric for fashion and interiors? Looking at the substantive and the fugitive properties of the colouration materials along side different light wavelengths and analysing the success or failure of using Anthotypes and Cyanotype as an alternative sustainable surface design process can be attained: A form of Eco-patterning that relies upon light and natural substances/dyes not synthetic dyes as the colouring medium. 1. Introduction This paper discusses a research project, which considered the correlation between Natural and Mineral dyes with early 19th Century photographic processes ‘Cyanotypes’ and ‘Anthotypes’ as a form of eco-patterning that relies upon light and natural subsantnces as the colouring medium. -
US Army Photography Course Laboratory Procedures SS0509
SUBCOURSE EDITION SS0509 8 LABORATORY PROCEDURES US ARMY STILL PHOTOGRAPHIC SPECIALIST MOS 84B SKILL LEVEL 1 AUTHORSHIP RESPONSIBILITY: SSG Dennis L. Foster 560th Signal Battalion Visual Information/Calibration Training Development Division Lowry AFB, Colorado LABORATORY PROCEDURES SUBCOURSE NO. SS0509-8 (Developmental Date: 30 June 1988) US Army Signal Center and Fort Gordon Fort Gordon, Georgia Five Credit Hours GENERAL The laboratory procedures subcourse is designed to teach tasks related to work in a photographic laboratory. Information is provided on the types and uses of chemistry, procedures for processing negatives and prints, and for mixing and storing chemicals, procedures for producing contact and projection prints, and photographic quality control. This subcourse is divided into three lessons with each lesson corresponding to a terminal learning objective as indicated below. Lesson 1: PREPARATION OF PHOTOGRAPHIC CHEMISTRY TASK: Determine the types and uses of chemistry, for both black and white and color, the procedures for processing negatives and prints, the procedures for mixing and storing chemicals. CONDITIONS: Given information and diagrams on the types of chemistry and procedures for mixing and storage. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to at least 75% of the multiple-choice test covering preparation of photographic chemistry. (This objective supports SM tasks 113-578-3022, Mix Photographic Chemistry; 113-578-3023, Process Black and White Film Manually; 113-578-3024, Dry Negatives in Photographic Film Drier; 113-578-3026, Process Black and White Photographic Paper). i Lesson 2: PRODUCE A PHOTOGRAPHIC PRINT TASK: Perform the procedures for producing an acceptable contact and projection print. -
Making Photos with the Sun
MAKING PHOTOS WITH THE SUN For her exhibition at Storm King this year, artist Kiki Smith made this artwork, called river light. It is made up of nine brilliant blue flags arranged in a circle. Each flag is an image of sunlight sparkling on water. Kiki took these images from videos she made of the East River in New York City as she walked from her apartment to a nearby pool to swim. To make her flags, Kiki Smith used an almost 180-year- old photography process called cyanotype. A cyanotype is a kind of photograph made without a camera. It is made by coating paper or fabric in chemicals that change color when exposed to light. Then, an object or a transparent photo negative is placed on the treated paper and exposed to the sunlight. Everywhere the sunlight reaches, the paper turns deep blue, but everywhere that it is covered up, where the sun does not reach, stays white. Originally, cyanotypes were used to copy text and architectural drawings. Even though they’re no longer copied by cyanotype, that’s why building plans are still sometimes called blueprints! Anna Atkins was the first person to use the cyanotype process to record other kinds of things beside text and building plans. In 1843 she began placing algae and plant specimens directly onto cyanotype paper and exposing them to light to record their exact size and shape. She included over three hundred of these photograms, or photos made by placing objects directly onto photo-sensitive paper, in the very first book illustrated entirely with photographs, Photographs of British Algae: Cyanotype Impressions. -
Progress Consulting Services Modernization Blueprint
October, 2015 Progress Consulting Services Modernization Blueprint Table of Contents Introduction...3 The Definition of Modernization...4 Application Modernization Assessment...6 Modernization Assessment Details. .7 Assessment Approach. .7 Assessment Deliverables. .9 Modernization Approach...10 POC – Pilot Project. .10 Identification of Scope. .10 Set up & Configure. .12 Code Review and Assessment. .12 User Interface/User Experience Design. .12 Construction. .15 Training/Knowledge Transfer. .16 Summary...17 Progress.com 2 Introduction This whitepaper documents the primary components of the From introductions of key stakeholders, to an overview of the Progress Modernization Engagement, which we call the Progress expected development process, to Progress’ role in the project’s Modernization Blueprint. The business and technical benefits execution, the Progress Modernization Blueprint will guide you of modernization have been proven time and time again. through each step of your modernization project, ensuring an end Modernization not only minimizes hardware, development, training result that brings maximum value to your business. and deployment costs, but lessens risk with far fewer disruptions to your business. We take an iterative approach to your modernization project, working side by side with you to determine business and technical Determine Determine Set Up needs, and what architecture and technology best suits your Business & Architecture & Environment Tech Needs Technology objectives. The Blueprint is broken down into three components. Identification Modernization Assessment: determine how Progess can of Scope 1. facilitate the activities required to modernize an application to meet business goals Training & Set Up Knowledge Transfer & Configure ITERATIVE Proof of Concept: demonstrate the prescribed approach PROCESS 2. and what the final result could look like Modernization Project: an iterative approach to define the Construction Code Review & Assessment 3. -
What Is the Cyanotype Process?
Home What is the Cyanotype Process? The Cyanotype process, originally created by Sir John Herschel in 1842, is also known as a "blueprint" process. The final print is characteristically blue in color. The print is typically has a short-scale tonal range, making it somewhat "contrasty." The cyanotype print is also known as a "non-silver" process, since it employs ferric (iron) salts for its photosensitivity, from a combination of two solutions, one containing ferric ammonium citrate and the other solution containing potassium ferricyanide. Combining these complete solutions in equal parts creates a sensitizing solution which is then brushed or painted onto the surface of a substrate like cloth or hot-press watercolor paper. back home next http://www.cistercian.org/school/faculty/Fr-Mark/cyan/home.htm [3/17/2004 9:17:51 PM] Chem 1 Basic Chemistry of Cyanotyping (1) When iron ( Fe, from the Latin "Ferrum") is chemically combined with other elements, its atoms acquire a positive charge by transferring two or three of their orbiting negative electrons onto atoms of other elements. So each iron atom ends up in one of two states: "ferrous" iron - also called iron (II) or Fe2+ for short, "ferric" iron - also called iron (III) or Fe3+. This number 2+ or 3+ is called the oxidation state of the iron, and signifies the positive electric charge that the iron atom has acquired in the reaction. Oxidation makes an atom or molecule more positive (or less negative) in the electrical sense. So when iron forms compounds, it is oxidized. Reduction is the converse: making an atom or molecule less positive (or more negative). -
Blueprint for the Future of the Uniform Crime Reporting Program
U.S. DEPARTMENT OF JUSTICE Bureau of Justice Statistics Federal Bureau of Investigation BLUEPRINT FOR THE FUTURE OF THE UNIFORM CRIME REPORTING PROGRAM Final Report of the UCR Study UCR STUDY TASK FORCE Bureau of Justice Statistics Federal Bureau of Investigation Paul D. White (Chairman) Paul A. Zolbe Government Project Officer Chief, UCK Section UCR Study Benjamin H. Renshaw Yoshio Akiyama Deputy Director Chief Statistician, UCR Section Donald A. Manson Systems Specialist This project was supported by Contract Number J-LEAA-011-82 awarded to Abt Associates Inc. by the Bureau of Justice Statistics, U.S. Department of Justice. Points of view or opinions expressed in the document are those of the authors and do not necessarily represent the official position or policies of the U.S. Department of Justice. SUMMARY OF THE DRAFT REPORT, "BLUEPRINT FOR THE FUTURE OF THE UNIFORP,I CRIME REPORTING PROGRAM" The "Blueprint for the Future of the Uniform Crime Reporting Program" presents the recommendations of a study conducted for the FBI and the Bureau of Justice Statistics (BJS) by Abt Associates, Inc. Overseen by a joint BJS/FBI Task Force, the study began in September, 1982, with the first of three phases. The first phase examined the original Uniform Crime Reporting (UCR) Program and its evolution into the current Program. The second phase examined alternative potential enhancements to the UCR system and concluded with the production of the set of recommended modifications presented in the report. Upon adoption of the recommendations, the third and final phase of the study will commence to design the data collection incorporating the proposals and to implement the revised system. -
The Imaging Value Chain:Delivery of Appropriateness, Quality, Safety
GILES W. BOLAND, MD IMAGING VALUE CHAIN RICHARD DUSZAK JR, MD Delivery of Appropriateness, Quality, Safety, Efficiency and Patient Satisfaction Giles W. Boland, MD, Richard Duszak Jr, MD, Geraldine McGinty, MD, MBA, Bibb Allen Jr, MD Although radiology’s dramatic era. This spawned the development medical imaging. It offers the major evolution over the last century has of subspecialty radiology and benefits of these 2 eras, but pri- profoundly affected patient care for further raised the overall profile of marily focuses on the advancement the better, the current system is too the profession; radiologists are now of 2 key concepts: information fragmented and many providers critical to the investigation of most integration and patient centricity. focus more on technology and diseases. Yet the digital nature of Put together, these place patients at physician needs rather than what Imaging 2.0 has led to unintended the center of the imaging work really matters to patients: better consequences. Clinical interactivity process, which will be transformed value and outcomes. This latter with both referring physicians and into one dedicated to delivering dynamic is aligned with current patients has diminished dramati- enhanced patient value. national health care reform initia- cally, and the delivery of imaging This article represents the first in tives and creates both challenges services has become increasingly a series of 7 designed to guide ra- and opportunities for radiologists to fragmented, primarily through tel- diologists through the important find ways to deliver new value for eradiology, such that some are now and necessary Imaging 3.0 trans- patients. The ACR has responded even questioning the value and formation process.