Albumen Printing Instructions
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17. Display and Illumination of Color and B&W Prints
575 The Permanence and Care of Color Photographs Chapter 17 17. Display and Illumination of Color and B&W Prints The Alarming Light-Induced Image Discoloration and Base Cracking of B&W RC Prints on Long-Term Display Those serving the needs of collections being as for how much image fading and staining can be toler- heavily used for exhibition face a serious di- ated. As discussed in Chapter 7, valuable color prints should lemma. On one hand, they are chronicling, aid- be monitored with a densitometer, and visually significant ing and abetting in the systematic destruction changes in color balance, overall density, and minimum of the photographs they are charged to protect density stain levels should not be permitted to take place. by supporting reprehensible exhibition prac- Display of color prints is inherently detrimental to them, tices. On the other hand, they largely owe their but avoiding display runs counter to the reasons most pho- existence to those very exhibition programs. tographs are made and frequently conflicts with the pur- . The current exhibition vogue amounts to poses for which most individuals and museums collect prints. a systematic program of accelerating the deg- radation of our most valued and important pho- The Expendable or Replaceable Color Print tographs. The practice can and must be changed. No doubt there will be many who will claim that If a color print has no lasting value — or if it can be such an assessment is too extreme and that replaced with a new print after the original has deterio- the problem is being exaggerated. -
19Th Century Photograph Preservation: a Study of Daguerreotype And
UNIVERSITY OF OKLAHOMA PRESERVATION OF INFORMATION MATERIALS LIS 5653 900 19th Century Photograph Preservation A Study of Daguerreotype and Collodion Processes Jill K. Flowers 3/28/2009 19th Century Photograph Preservation A Study of Daguerreotype and Collodion Processes Jill K. Flowers Photography is the process of using light to record images. The human race has recorded the images of experience from the time when painting pictographs on cave walls was the only available medium. Humanity seems driven to transcribe life experiences not only into language but also into images. The birth of photography occurred in the 19th Century. There were at least seven different processes developed during the century. This paper will focus on two of the most prevalent formats. The daguerreotype and the wet plate collodion process were both highly popular and today they have a significant presence in archives, libraries, and museums. Examination of the process of image creation is reviewed as well as the preservation and restoration processes in use today. The daguerreotype was the first successful and practical form of commercial photography. Jacques Mande‟ Daguerre invented the process in a collaborative effort with Nicephore Niepce. Daguerre introduced the imaging process on August 19, 1839 in Paris and it was in popular use from 1839 to approximately 1860. The daguerreotype marks the beginning of the era of photography. Daguerreotypes are unique in the family of photographic process, in that the image is produced on metal directly without an intervening negative. Image support is provided by a copper plate, coated with silver, and then cleaned and highly polished. -
Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, Laura [email protected]
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2017 Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Art and Design Commons, Chemistry Commons, Fine Arts Commons, History of Art, Architecture, and Archaeology Commons, Nonfiction Commons, and the Photography Commons Recommended Citation Michaud, Laura, "Alternative Process Photography: Beyond Digital and Film" (2017). Senior Honors Projects. Paper 545. http://digitalcommons.uri.edu/srhonorsprog/545http://digitalcommons.uri.edu/srhonorsprog/545 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Laura Michaud THE ALT PROCESS COOKBOOK A simplified way to making beautiful non-traditional photographic prints. THE ALT PROCESS COOKBOOK Laura Michaud Special Thanks to: Zoey Stites Ron Onorato Annu Matthew Jill Enfield Laurie Sherman Steve Michaud Brian Podgurski Casey Miller Alex Murdock Porter Dolan Kim Manjuck Corey Favino Heidi Allen Anna Sherman Thank you all so much for all your help and support. Table of Contents 1. A Brief Overview of Photography…………………………….………..1 2. Making The Negative…………………………………...……....….…..5 -
Introduction to Collection Surveys and Condition Reports
Fundamentals of the Conservation of Photographs SESSION: Introduction to Collection-Level Surveys and Condition Reporting INSTRUCTOR: Monique Fischer, Tram Vo SESSION OUTLINE ABSTRACT This part of the course will provide systematic approaches to writing condition reports for photographs and performing collection-level surveys. This section of the course will provide students with the information needed to perform the small scale survey during the distance mentoring phase. LEARNING OBJECTIVES As a result of this session, participants should be able to: Understand photographic materials, processes, and deterioration characteristics in order to write a proper condition report. Know how to implement a systematic preservation program and understand issues such as environmental control, disaster preparedness, storage and handling, potential hazards, reformatting and conservation treatment. Understand that performing a survey is the best way for a collection to survive. CONTENT OUTLINE Introduction with PPT presentations: “Condition Reporting of Photographs” and “Surveying Photograph Collection” Examples of different condition report forms, including electronic formats, will be examined and discussed. Samples will be provided to participants. Provide students with a basic outline of a survey report and discuss. Pros and cons of the condition report and survey form hand -outs will be discussed. “Hands-on” exercise: provide each student with an unknown photograph and have them write a complete condition report using a form that has been made available. Students will present reports in class. During the distance mentoring phase students will conduct a survey of their family photographs. The introduction given during the summer school will provide the information students need for this activity. www.getty.edu/conservation SESSION OUTLINE CONT’D. -
Travel Photography of the Nineteenth Century
The Wandering Lens Travel Photography of the 19ᵗ� Century Algeria, Egypt, France, Guernsey, India, Italy, Japan, Jerusalem, Morocco, Palestine, Scotland, Sri Lanka, Syria, Wales Bernard Quaritch Ltd Bernard Quaritch Ltd 36 B������ R��, L�����, WC1R 4JH Tel.: +44 (0)20 7297 4888 Fax: +44 (0)20 7297 4866 Email: [email protected] / [email protected] Web: www.quaritch.com Some of our recent lists & catalogues Bankers: Barclays Bank PLC, 1 Churchill Place, London E14 5HP Sort code: 20-65-90 Boston Virtual Book Fair 2020 Account number: 10511722 The Library of Sir Geoffrey Bindman Part II Swift code: BUKBGB22 Paris Salon du Livre Rare 2020 Sterling account: IBAN GB71 BUKB 2065 9010 5117 22 Natural History Euro account: IBAN GB03 BUKB 2065 9045 4470 11 Summer Miscellany U.S. Dollar account: IBAN GB19 BUKB 2065 9063 9924 44 The Library of Brian Aldiss VAT number: GB 322 4543 31 Firsts 2020 Art & Design © Bernard Quaritch Ltd 2021 Banking, Business & Finance The English & Anglo-French novel 1740-1840 List 2021/1 NB all items are subject to VAT in the UK except those marked with an asterisk *. Index of photographers ALINARI 34 KELHAM, Augustus 52 ALTOBELLI, Gioacchino 29 LOMBARDI, Paolo 34 ANDERSON, Domenico 35 LYON, Edmund David 22, 23 ANDERSON, James 30, 31, 32 MOLINS, Pompeo 29 BEATO, Antonio 2 RIVE, Roberto 35 BEATO, Felice 36, 40, 41, 42 ROBERTSON, James 40, 41, 42 BÉCHARD, Émile 3, 4, 5, 6, 7 SACHÉ, John Edward 24 BEDFORD, Francis 37 SEBAH, Pascal 10 BISSON FRÈRES 14, 15 SCOWEN, Charles 47 BONFILS 38, 39, 40, 44, 49, 50, 51 SKEEN & CO. -
Paper and Light: the Calotype in France and Great Britain, 1839-1870
Paper and Light r-.~heCalotype in Franceand GreatBritain, 183 9-18 7 0 The Museum of FineArts, Houston September24-November 21, 1982 Organized by the Museum of fine Arts , Houston, and the Art Institute of Chicago in cooperation with the Univer sity of Texas at Austin. The exhibition and its catalogue were made possible in part through a grant from the National Endowment for the Arts, Washington, D .C., a federal agency . The exhibition will be shown at the Art Institute of Chicago from December 15, 1982, to February 13, 1983. Designed by Michael Glass Design, Inc ., Chicago, Illinois The information in this brochure was drawn from Paper and Light: The Calotype in France and Great Britain , 18 39-1870 (at press). All rights reserved . No portion of this brochure may be used without permission of the Pub lications Department , the Art Institute of Chicago. A 1'6'~ [982- '1 I L-. 7- A Symposium on 17thCentury FrenchPainting Nicolas Poussin, Landscape with Saint John on Patmos, c . 1640, oil on canvas,T he Art Institute of The Art Institute of Chicago Chicago, A. A. Munger. H :E ;>;"' :E ::r P> !:!..::ro Friday, October 29, 1982 Friday, October 29 <n O Pl S 0 "' ~ .... ' < Pl and Saturday, October 30, 1982 (JQ. s ;ii :::, 6:00 Inspiration of the Poet: Reflections on Two Paintings by Nicolas 5· fE S ~ Poussin, Marc Fumaroli, Professor, The Sorbonne, Pari s. Pl :::, (1) Pl s· p.:, ~ - -<= OQ :::i < A symposium of American and European scholars to be held n ,O"'~ Saturday, October 30 8. r::r''-< ::;' in conjunction with the exhibition France in the Golden Age: 10:00 Opening Remarks (t):::, (1)p.:, I") ~ (J'J-· 17th Century French Painting in Ameri can Collections at the Art 0-::rp_. -
Mechanisms of Controlling Colour and Aesthetic
MECHANISMS OF CONTROLLING COLOUR AND AESTHETIC APPEARANCE OF THE PHOTOGRAPHIC SALT PRINT A thesis submitted in fulfilment of the requirements for the degree of Master of Applied Science (Photography) Eleanor (Ellie) D. Young School of Applied Sciences Science, Engineering and Technology Portfolio RMIT University February 2008 DECLARATION This thesis contains no material which has been accepted for the award of any other degree or diploma in any university and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference is made in the text of the thesis. This thesis contains no work that was performed prior to the official commencement date of this research project. Eleanor (Ellie) D. Young ii CONTENTS D ECLARATION ..................................................................................... II LIST OF FIGURES ................................................................................. IV LIST OF C HARTS.................................................................................. VI LIST OF TABLES .................................................................................. VI ACKNOWLEDGEMENTS......................................................................... VIII ABSTRACT ......................................................................................... 1 I NTRODUCTION ................................................................................... 3 BACKGROUND .................................................................................... -
Chapter 21 the Albumen Process
THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES: 2nd Edition © CHRISTOPHER JAMES 2008 SAMPLE - CHAPTER 21 THE ALBUMEN PROCESS Fig 21-1 here, (France Scully Osterman, Embrace, 2002 – gold toned albumen / H. Greenberg Gallery) OVERVIEW & EXPECTATIONS This chapter is pretty direct in its intentions… to guide you into making albumen prints with as few problems as possible. I’ll begin, as I do in every chapter, with “a little history” about the brief and luminous life of the albumen process… a beautiful and labor-intensive technique involving egg whites, salt, acetic acid, silver nitrate, and occasionally, gold chloride. You will learn how the process works and how to prepare the chemistry with both the traditional, and contemporary, raw egg white albumen. I’ll also be offering you Zoe Zimmerman’s unique matte albumen method. This technique will be in print for the first time and is the one I use exclusively to introduce students to the process. It is also my favorite way to make an albumen print. I’ll also describe the “instant gratification” and powdered albumen versions of the technique and will do my best to simplify the coating, printing, processing, toning, and fixing stages. I’ll go over some trouble-shooting issues and discuss the importance of not taking too many short cuts. This technique is truly beautiful, and one of my personal favorites. Fig: 21 – 2 here (Nadar, Self Portrait Carte d’ Visite in hot air balloon - 1863 - albumen) ICON – 1 here (A Little History) A LITTLE HISTORY © Christopher James, The Book of Alternative Photographic Processes: 2nd Edition, 2007 The earliest photographic prints on paper were created using sodium chloride salted papers that had been sensitized in a bath of silver nitrate to create UV sensitive silver chloride. -
19Th Century Materials, Processes, Technologies
19th Century Materials, Processes, Technologies Photographic Process ID Webinar #1 Image Permanence Institute 2017-2018 Resources Web Resources • Graphics Atlas – www.graphicsatlas.org • George Eastman Museum Photographic Processes Series – YouTube • Lingua Franca: A Common Language for Conservators of Photographic Materials – iTunes App • The Atlas of Analytical Signatures of Photographic Processes – www.getty.edu/conservation/publications_resources/pdf_publications/atlas.html Print Resources • Care and Identification of 19th Century Photographic Prints by James Reilly • Photographs of the Past: Process and Preservation by Bertrand Lavedrine • In the Darkroom: An Illustrated Guide to Photographic Processes Before the Digital Age by Sarah Kennel What is a Photograph? • An Image – Light Sensitivity of Chemical Compounds • Silver Salts • Iron Salts • Chromium Salts • A substrate Salts (Chemistry): an ionic compound which is made up of two groups of oppositely charged ions (positive and Chromium Salt: Potassium dichromate negative) Building Blocks of a Photograph • Image Material • Support • Image Binder* • Support Coating* *not always present Image Material • Metal – Silver – Gold – Platinum • Pigment Supports • Common – Paper – Metal – Glass • Less common – Cloth – Ceramic – Leather Image Binder • Materials – Albumen – Collodion – Gelatin • Purpose – To hold and suspend the image material above support – Sharper image • Properties – Transparent – Ideal for suspensions Albumen print – Each binder has specific properties Support Coating Baryta • Materials – Barium sulfate and gelatin • Purpose – Cover paper fibers • Smooth surface • Reduces light scattering – Higher surface sheen – Sharper image – Higher density in shadows – Improve binder adhesion Gelatin POP Building Blocks of Photographic Prints Image material One layer Support Image material in Binder Two layers Support Image material in Binder Three layers Baryta Support Types of Photographs • Negative • Print • Positive Transparency • Direct Positive Negative A tonally reversed image on a transparent support. -
He Museum of Modern Art Iest 53 Street, New Y«Rk, N.Y
he Museum of Modern Art iest 53 Street, New Y«rk, N.Y. 10019 Circle 5-8900 Cable: Modernart CHECKLIST THE EDWARD STEICHEN PHOTOGRAPHY CENTER Initial Installation, May 25, 196k ABBOTT, Berenice* American, Contemporary 1. Exchange Placet New York. July, 1933• Anonymous gift. 2. New York at Night* 1933. Purchase. 3# "A gold ball, bouncing along a hard flat boards loses energy...." Made in 1959 for the Physical Science Study Committee, initiated by the Massachusetts Institute of Technology. Purchase. ADAMS, Ansel. American, born 1902 li. Moonrise - Hernandez, New Mexico. 191*1* Purchase. 5« Mount Williamson - Clearing Storm. Sierra Nevada, California. 19Uw Purchase. ADAM-SALOMON, Antoine Samuel. French, 1811-1881 6. Ernest Renan. Undated. Purchase. ALVAREZ-BRAV0, Manuel. Mexican, born 190li. ?• El Peinado (The Coiffure), c. I9I4O? Purchase. ATGET, Eugene. French, 1856-1927 8. Saint-£loud #iu (Roota of tree) Not yet dated, c. 1905-1910? Edward Steichen FunST" 9« Chanteurs des Rues. (Street Singers! Not yet dated, c. 1905-1910? "Print made by Berenice Abbott. Anonymous gift. 10. Saint-Cloud - #9* Not yet dated, c. 1905-1910? Edward Steichen Fund. BISCHOF, Werner. (MAGNUM) Swiss, 1916-195U 11. Hong Kong (Baby),1953. Gift of Mrs. Rene Burri. -2- BISSON FRERES, Louis Auguste. French, born 181U Auguste Rosalie. French, born 1826 Death dates not know, 12. The alps; view of the "Garden" from Mont Blanc. 1860-1861 13. Halfway, Mont Blanc. 1860-1861 H* • Mont Blanc. I86O-I86I Albumen Prints From the album Le Mont Blanc et ses glaciers Souvenirs du voyage de LL Majestes HEmpereur et 1fImperatricej Paris, I960. Purchase. BLANQUART-EVRARD, Louis. -
Photographs of the 19Th Century: a Process Identification Guide
PHOTOGRAPHS FROM THE 19th CENTURY: A Process Identification Guide William E. Leyshon Copyright 1984-2001 William E. Leyshon Copyright (c) 1984-2001 William E. Leyshon. All rights are reserved. This manuscript may not be reproduced in whole or part for commercial distribution without written consent of Sharlot Hall Museum Archives, Prescott, AZ 86301. Single copies may be made for reference use by individuals. The FOTOFIND V2.7 computer program is provided with no warranty of any kind, expressed or implied. Copyright 1984-2001 William E. Leyshon PHOTOGRAPHS FROM THE 19th CENTURY: A Process Identification Guide William E. Leyshon Contents Page Acknowledgements........................................... 4 Credits.................................................... 6 Preface.................................................... 7 How To Use This Book....................................... 7 Introduction............................................... 8 Part One - History of the Processes Chapter 1 - Uncoated Paper................................. 13 Chapter 2 - Coated Paper................................... 21 Chapter 3 - Flexible Negatives............................. 27 Chapter 4 - Bichromate, Carbon, and Oil Processes.......... 33 Chapter 5 - Photomechanical Reproduction................... 37 Chapter 6 - Glass Negatives and Positives.................. 47 Chapter 7 - Daguerreotypes, Ambrotypes, and Tintypes....... 56 Chapter 8 - Cases, Paper Mounts, and cartes de visite...... 66 Chapter 9 - Transferotypes and Miscellaneous Bases........ -
Joachim Bonnemaison Collection of Panorama Photographs, 1803-1998, Bulk 1846-1944
http://oac.cdlib.org/findaid/ark:/13030/c8xw4hrf No online items Finding Aid for the Joachim Bonnemaison collection of panorama photographs, 1803-1998, bulk 1846-1944 Beth Ann Guynn and Sandra Starke 98.R.19 1 Descriptive Summary Title: Joachim Bonnemaison collection of panorama photographs Date (inclusive): 1803-1998 (bulk 1846-1944) Number: 98.R.19 Creator/Collector: Bonnemaison, Joachim Physical Description: 72.5 Linear Feet(24 boxes, 47 flatfile folders) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The collection, compiled by the French photographer and collector Joachim Bonnemaison, consists of over 630 photographic and printed panoramic images of cities and sites mainly in Europe, but also in Africa, Asia, North America and South America. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in French,English, and German. Biographical/Historical Note Joachim Bonnemaison is a French photographer and collector. Access Open for use by qualified researchers. Publication Rights Contact Library Reproductions and Permissions . Preferred Citation Joachim Bonnemaison collection of panorama photographs, 1803-1998 (bulk 1846-1944) The Getty Research Institute, Los Angeles, Accession no. 98.R.19. http://hdl.handle.net/10020/cifa98r19 Acquisition Information Acquired in 1998. Processing History Processed and researched by Sandra Starke in 2011. The finding aid written in 2012 by Beth Ann Guynn with assistance from Linda Kleiger. Scope and Content of Collection The collection, compiled by the French photographer and collector Joachim Bonnemaison, between 1973 and 1997, consists of over 630 photographic and printed panoramic images of cities and sites mainly in Europe, but also in Africa, Asia, North America, and South America.