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The Technical Analysis of Hand-Painted Tintypes from The
Article: Inexcusable but Appropriate: the Technical Analysis of Hand-Painted Tintypes from the Smithsonian National Museum of American History and the Winterthur/University of Delaware Program in Art Conservation Collections Author(s): Alisha Chipman Topics in Photographic Preservation, Volume 14. Pages: 168 - 185 Compilers: Camille Moore and Jessica Keister © 2011, The American Institute for Conservation of Historic & Artistic Works. 1156 15th St. NW, Suite 320, Washington, DC 20005. (202) 452-9545, www.conservation-us.org. Under a licensing agreement, individual authors retain copyright to their work and extend publication rights to the American Institute for Conservation. Topics in Photographic Preservation is published biannually by the Photographic Materials Group (PMG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Photographic Materials Group, Topics in Photographic Preservation is primarily comprised of papers presented at PMG meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Topics in Photographic Preservation, Vol. 14, have not undergone a formal process of peer review. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the PMG or the AIC. The PMG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. INEXCUSABLE BUT APPROPRIATE: THE TECHNICAL ANALYSIS OF HAND-PAINTED TINTYPES FROM THE SMITHSONIAN NATIONAL MUSEUM OF AMERICAN HISTORY AND THE WINTERTHUR/UNIVERSITY OF DELAWARE PROGRAM IN ART CONSERVATION COLLECTIONS ALISHA CHIPMAN CONTRIBUTING AUTHORS: DR. JOSEPH N. WEBER AND DR. JENNIFER L. MASS Presented at the 2011 PMG Winter Meeting in Ottawa, Canada ABSTRACT This technical study was conducted during the author‟s second year in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC). -
Dating Photographs Presentation 2007
DDaatitinngg PPhhoottogogrraaphsphs FFiinnddiinngg FFaammiillyy HHiissttoorryy CClluueess tthhrrouougghh OOlldd PPiiccttuurreses l The earliest known photograph taken in North America was taken in October or November 1839. HHisisttorioriccaall TTiimeme LLiinene l NNoo pphhoottooss pprriioorr ttoo 18391839 l DDaagguueerrrreeoottyyppee 11839839 --18601860 l AmAmbbrroottyyppee 18541854 –– 18601860 l TTiinn TTyyppee 18551855 --19301930’’ss l CCararttee ddee VViissttaass 18591859 --18901890’’ss l CCaabbiinneett CCararddss 18661866 –– 19201920’’ss DaDagguueerrrreeoottyyppeses 18391839--18601860 l The Daguerreotype uses a polished, silver plated sheet of metal, and once seen is easily recognized by its mirror-like surface. l The plate has to be held at the correct angle to the light for the image to be visible. That image is extremely sharp and detailed. l The Daguerreotype fell out of favor after 1860 as less expensive techniques supplanted it. l Usually found in cases — either the leather or paper covered wood-frame case, or black molded plastic l Within that case, the photograph is covered with a brass matte, sometimes encased in a brass “preserver” and placed under glass. l If there is no preserver, the Daguerreotype probably dates from the 1840s. l If the matte and preserver are both plain, then it dates from 1850-55. l If there are incised or pressed patterns and decorations on the matte or preserver, then it was probably produced after 1855. AAmmbbrroottyyppeses 18541854--1860s1860s l TThhee AmAmbbrroottyyppee iiss eesssseenntitiaallllyy aa ggllaassss nneeggaatitivvee wwitithh aa bbllaacckk bbaackckggrroounundd tthhaatt mmaakkeess tthhee iimmaaggee aappppeearar ppoossiititivvee.. l MMoorree ccllaarriittyy tthhaann aa ddaagguueerrrreeoottyyppe.e. l IItt iiss aa ccaasseedd pphhootto.o. l IInvnveenntteedd aabboouutt 11854854,, tthhee foforrmm lloosstt ppooppuullarariittyy iinn tthhee eeararllyy 18601860ss wwhheenn ttiinnttyyppeess aanndd ccarardd mmouounntteedd ppaappeerr pprriinnttss rreeppllaacceedd iitt. -
TINTYPE PARLOR KIT Plate Is Backed with a Piece of Black Cloth to Create Contrast, and Mounted So That the Image Is Viewed Through the Glass
AMBROTYPES: These are a variation on tintypes, using glass plate backed with black cloth instead of a black metal plate. Coat the glass with Ag-Plus emulsion, let it dry, and expose it in a camera like a tintype plate. After processing, the glass INSTRUCTIONS FOR TINTYPE PARLOR KIT plate is backed with a piece of black cloth to create contrast, and mounted so that the image is viewed through the glass. TROUBLESHOOTING: HISTORY OF TINTYPES: 1. The correct exposure is a balance of light and dark areas. If the tintype Tintypes, also known as ferrotypes, are last century’s "instant" photographs. plate is nearly all black, the remedy is to increase the exposure. If it is too Historically, "wet-plate" tintypes, containing silver halide in a collodion light with no black areas to provide contrast, the exposure should be suspension, came first. They were made obsolete by "dry-plate" tintypes decreased. that used gelatin instead of flammable collodion. Dry-plate tintypes were coated on steel that was painted black and sometimes on black paper or 2. To check that the developer and plates are performing correctly, thinly cardboard. (The "tin" in tintypes comes from the similarity of the metal plates coat two postage stamp-size areas. Expose one area to room light a few to the steel used in “tin” cans.) The Tintype Parlor produces authentic dry- seconds and the other just to safelight. Develop simultaneously for at least 1 plate tintypes. minute. The unexposed area should be black and the exposed area yellow- brown. (Reclaim the plates for re-use by rinsing with warm water.) Tintypes are an optical illusion that is based on the same principle as when you view an underexposed or thin black-and-white negative by reflected light 3. -
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. -
REDISCOVER the WORLD of ANALOG PHOTOGRAPHY Rollei Cinestill Revolog Cinestill Rollei
CHOICES We carry the world’S LARGEST SELECTION of black & white and color film in almost every format that you can imagine! Take a sneak peek at some cool choices inside or check out our huge selection online. Check it out! www.FreestylePhoto.Biz Rollei CineStill Revolog PRSRT STD U.S. POSTAGE PAID PHOTO & IMAGING SUPPLIES FREESTYLE 5124 Sunset Boulevard Hollywood, CA 90027 800.292.6137 FreestylePhoto.Biz REDISCOVER THE WORLD OF WORLD THE REDISCOVER ANALOG PHOTOGRAPHY ANALOG NEW AGAIN! NEW 800.292.6137 PHOTO & IMAGING & PHOTO | FreestylePhoto.Biz SUPPLIES © Trevor Masid Trevor © What a unique time period to be a photographer ! Everyone is taking pictures. We document every event, and even non-events, T? in an instant. Our cell phones have more photographs taken with them than WHA calls made. The amount of photography produced is the greatest it has ever … From a Paintcan been in any time period. Social media has opened up an entire new world with LegacyPro Paintcan and a whole new generation of photographers. Pinhole Camera (page 7) THE JOURNEY IS ANALOG! So, what are we doing producing an Analog Catalog? … With a box with Ars Imago Lab Box (page 22) Thanks to all of the above, the interest in photography has increased as a whole. So why not go back to our roots! Living in this online world has not only created a new generation interested in experimentation, but also a renewed passion for the arts in its many facets…old and new! This has led to a boom in new and one-of-a-kind film stocks, a resurgence in all formats, and a desire for alternative processes and hand-made images. -
Photography and Time-Based Media
Time-Based Media Photography Film and Video Performance Art Computer/Internet Art Illusion vs Truth Photography • Photography = “Writing with Light” • Photography = The artistic practice of taking and processing photographs. • Camera = A device for recording visual images in the form of photographs, film, or video. Paul McCartney selfie, 1963 Early Days of Photography Pinhole Camera Daguerreotype, Tintype Later Days of Photography Film Photography Color Photography Digital Photography Pinhole Camera = A box with a hole on one side, used to capture a photograph Daguerreotype = Photographic process that yields a positive image on a treated metal plate. – Invented in 1839 by Louis- Jacques-Mande Daguerre. – Democratized portraiture: whereas only the wealthy could aFFord a painted portrait, everyone – rich, middle class, and the poor – could aFFord a daguerreotype portrait. – DiFFicult to prepare the plate. – Could not be reproduced. Richard Beard, “Maria Edgeworth,” 1841 Early Roles of Photography • Captures the “soul” of the sitter • Photojournalism reveals the horrors of war • Can simplify reality • Aestheticize the mundane – Elements an principles, composition are still important when taking a photograph – Organize oBjects in the frame of the shot • These roles are still pertinent today • People had (and still have) very mixed feelings about the role of photography in the world of art – Competes with and sometimes replaces painting – Too easy – is it art? What makes it art? Portraiture captures the “soul” of the sitter Tintype, Blacksmith with Dog Tintype, Private George A. Stryker Photojournalism gives the public insight into the horrors of war: Crimean War, Civil War Simplify reality – replace 3- dimensional space with 2-dimensional representation. Abstraction: emphasize formal elements over realistic representation. -
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. -
Photographic Treasures: Bringing Your Research Into Focus
PHOTOGRAPHIC TREASURES: BRINGING YOUR RESEARCH INTO FOCUS Michael L. Strauss, AG-505 Kings Grove Dr. VA Beach, VA 23452 ©GenealogyResearchNetwork, 2010-2014 INTRODUCTION: Tintype (Widely produced 1856-into the 1920’s) When doing genealogical research on your Ancestors-It usually involves the collecting of The tintype can be seen as a modification of the names, dates, and places. Sometime genealogists earlier ambrotype, replacing the glass plate with a overlook aspects of their lives. Discover how thin sheet of japanned iron. Tintypes are simple photographs can add a new dimension to your and fast to prepare, compared to other early family tree. photographic techniques. A photographer could prepare, expose, develop, and varnish a tintype PHOTOGRAPHY THAT EXISTS TODAY: plate in a few minutes, quickly having it ready for The first permanent photograph was an image a customer. Earlier tintypes were sometimes produced in 1826 by the French inventor Joseph placed in cases, as were daguerreotype and Nicephore Niepce. His photographs were produced ambrotypes; but uncased images in paper sleeves on a polished pewter plate covered with a and for albums were popular from the beginning petroleum derivative called “Bitumen of Judea’, which he then dissolved in white petroleum. Carte-De-Visite (CDV) (Available 1858-1910) Daguerreotypes (Very popular from 1839-1860) The CDV was a type of small photograph which was patented in Paris. The carte de visite The daguerreotype proved popular in response to photograph proved to be a very popular item the demand for portraiture that emerged from the during the Civil War. Soldiers, friends and family middle classes during the years that preceded the members would have a means of inexpensively Industrial Revolution. -
Old Photographs: Windows to the Past
News for Schools from the Smithsonian Institution, Office of Elementary and Secondary Education, Washington, D.C. 20560 NOV.lDEC. 1979 Old Photographs: Windows to the Past by ANN BAY and THOMAS LOWDERBAUGH Office of Elementary and Secondary Education Snapshot or daguerreotype, tintype or carte de visite, consider it as you will, in Daguerreotypes. The various kinds of nineteenth-century photographs you and black and white or in color, a photograph is a kind of miracle. your students may find are the daguerreotype, the ambrotype, the tintype, paper And especially miraculous are old photographs like the one shown here. "Of prints produced by the collodion (wet plate) or the gelatin (dry plate) process, all documentary evidence, photographs come closest to bringing us, as observers, and the snapshot. The oldest of these is the daguerreotype. In~ented in 1839 by a to the scenes of historical events," says Eugene Ostroff, Curator of Photographic Frenchman named Louis Jacques Mande Daguerre, the daguerreotype captured History for the Smithsonian's National Museum of History and Technology. images on a silver-coated copper plate. Although the daguerreotype' possessed an' Neither words nor art work can work like a photograph to make a scene of eighty or exceptional visual beauty, the process required lengthy and meticulous care so a hundred years ago seem as real and immediate as today and this is the miracle. that at best an indoor exposure might take fifteen to twenty seconds; at worst, it This power to bring the past to life makes photographs ideal documents to use could take up to twenty minutes! And the images - visible only when held at in the school classroom with students of all ages and levels. -
Earliest Techniques Expert Group: Daguerrotypes, Salt Prints, Albumen Prints
Earliest Techniques Expert Group: Daguerrotypes, Salt Prints, Albumen Prints Daguerreotypes are sharply defined, highly reflective, one-of-a-kind photographs on silver-coated copper plates, packaged behind glass and kept in protective cases. Introduced in 1839 by Louis-Jacques-Mandé Daguerre, the daguerreotype process was the first commercially successful photographic process, and is distinguished by a remarkable clarity of pictorial detail. Daguerreotypes were popular through the 1840s and into the 1850s, especially for portrait photography. Salt prints are the earliest photographic prints on paper. They are often distinguished by their lack of precise image details and matte surface. Salted paper print images are embedded in the fibers of the paper, instead of being suspended on the surface of the paper, as in the later albumen prints and gelatin silver prints. Salted paper prints were "printed-out" in contact with paper negatives; the image was formed solely by the action of light on metal salts, without chemical developers. Albumen prints are the most common type of photographs from the 19th century. The process involves coating a sheet of paper with albumen (egg white), which gives the paper a glossy, smooth surface. The albumenized paper is sensitized with a solution of silver nitrate, then exposed in contact with a negative. Albumen prints are "printed-out," meaning that the image is created by the action of light alone on light-sensitive paper, without the use of chemical developers. One-of-a-kind Images Expert Group: Tintypes, Ambrotypes, Collodian Negatives A tintype is a non-reflective, one-of-a-kind photograph on a sheet of iron coated with a dark enamel. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Forget Me Not : Photography and Remembrance / Geoffrey Batchen
FORGET ME NOT FORGET ME NOT PHOTOGRAPHY & REMEMBRANCE Geoffrey Batchen Van Gogh Museum, Amsterdam Princeton Architectural Press, New York Published by Princeton Architectural Press 37 East Seventh Street New York, New York 10003 Van Gogh Museum Paulus Potterstraat 7 1071 CX Amsterdam The Netherlands For a free catalog of books, call 1.800.722.6657. Visit our web site at www.papress.com. © 2004 Princeton Architectural Press All rights reserved Printed in China 07 06 05 04 5 4 3 2 1 First edition © 2004 Van Gogh Museum No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Frontispiece: [12] Photographer unknown, Unidentified couple, woman holding a daguerreotype, c. 1850 Van Gogh Museum Publications Manager: Suzanne Bogman Editing: Nancy Levinson Design: Jan Haux Special thanks to: Nettie Aljian, Ann Alter, Nicola Bednarek, Janet Behning, Megan Carey, Penny (Yuen Pik) Chu, Russell Fernandez, Clare Jacobson, Mark Lamster, Nancy Eklund Later, Linda Lee, Katharine Myers, Jane Sheinman, Scott Tennent, Jennifer Thompson, Joe Weston, and Deb Wood of Princeton Architectural Press.—Kevin C. Lippert, publisher Library of Congress Cataloging-in-Publication Data: Batchen, Geoffrey. Forget me not : photography and remembrance / Geoffrey Batchen. p. cm. ISBN 1-56898-450-2 (pbk. : alk. paper) 1. Photography, Artistic—Exhibitions. I. Title. TR646.N4 A47 2004 770—dc22 2003016522 CONTENTS FOREWORD 6 FORGET ME NOT Geoffrey Batchen 8 NOTES 100 EXHIBITION LIST 108 ACKNOWLEDGMENTS 127 ILLUSTRATION CREDITS 128 FOREWORD Vincent van Gogh, although visionary in many respects, deeply mistrusted the medium of photography.