Photographic CANADIANA Journal of the Photographic Historical Society of Canada

Total Page:16

File Type:pdf, Size:1020Kb

Photographic CANADIANA Journal of the Photographic Historical Society of Canada photographic CANADIANA Journal of the Photographic Historical Society of Canada Volume 46 • Number 5 February • March • April • 2021 SPECIAL 2020 ANNUAL ISSUE $35.00 CDN 107 55 VOLUME 46-3 –cover photographic Trunk Sale Beats Covid – a photo story 56 by Clint Hryhorijiw Geraldine Moodie – Pioneer Female Photographer 58 by Lisandra Cortina de la Noval A Treasure from my Collection 64 John Kantymir’s King’s Own Tropical Camera CANADIANA Largest One–Piece One–Exposure Photo Enlargement Journal of the Photographic Historical Society of Canada in the World – June 1913 66 by Robert Lansdale ISSN 0704-0024 Date of Issue: Volume 46• Number 5 February 2021 Feb. – March – Apr. 2021. What We Found About the Freeland Family by Louise Freyburger Canada Post Canadian Publications Mail Sales Product Agreement No. 40050299 Postage Paid at Toronto 70 Brodie Macpherson: Early Photo Printer 70 by Samantha Shields IN THIS SPECIAL ISSUE 31 VOLUME 46-2 –cover, Special Show N’ Tell issue The Macpherson Bottle Collection at Ryerson U Library 76 by Robert Lansdale Wellington Bogart of Newmarket 32 by Marcel Safier of Queensland, Australia Hi and Si Have Some Fun at the Photographer’s The President’s Message 77 The Indianapolis Journal, September 13, 1903 3 Finger Print Cameras 33 by George Dunbar of Scarborough, Ontario Considering Various Processes What You Have Missed Already 78 by Robert Lansdale 4 A Chair With A Different Mystery 34 by Clint Hryhorijiw of Etobicoke, Ontario VOlume 46-1 cover VOLUME 46-4 –cover 5 A Leica Story About a Camera Case 79 Toronto Notes – January and February 2020 meetings 36 by Robert Carter of Etobicoke, Ontario A Treasure from my Collection by Robert Carter 80 Ralph London’s Gundlach Optical Company Korona IIA 6 What to do With the Parts of an Old Camera A Hidden History of Early Colour Photography in Britain: 37 by Ed Warner of Oshawa, Ontario Clint’s Curio Corner The Photographs of Agnes B. Warburg (1872-1953) 82 by Clint Hryhorijiw 8 by Hana Kaluznick, Master of Arts, Part Two The Chromotype Print by James Inglis 38 by Robert Lansdale of Etobicoke, Ontario The 1870 Mystery Photograph– with a great story to tell A Treasure from my Collection 83 by Robert Lansdale A 30cm Voigtlander Heliar Lens 20 John Kantymir’s Velocigraphe Cameras The Families of the Dump 39 by Steve Shohet of San Francisco, California by Gerry Yaum John Linsky’s Private Collection 92 22 by John Linsky A Maritime Photograph of the Royal Tour in 1939 A Treasure from my Collection 40 by Jeff Ward of Halifax, Nova Scotia Bob Lansdale’s Zeiss Ikon Miroflex Camera A Mystery from John Krug: Where was this picture taken? The camera that would be two W.D. Wally West’s Story of the Royal Tour 98 24 by Robert Lansdale 41 by W.D. Wally West of Vancouver, British Columbia The Other Side of Stan White Ryerson Awards for the Best Picture Book My Second Swan Song The Building of a Modern Old Wooden Camera 100 by Stan J. White 25 by Ashley Cook 42 by Ed Warner of Oshawa, Ontario Oxybenzylmethylenglycolanhydride From our Exchange Member in Rochester A Tease Ambrotype on eBay but I Finally Went For It When Kodak and Graflex Were One 102 by Mary Goldie 44 by Cindy Motzenbecker of Royal Oak, Michigan 26 by Bruce Tyo A Regula Beauty in Shining Gold VOLUME 46-5 –cover The Crayon Process – Enlarged Portrait Prints 45 by Les Jones of Toronto East, Ontario 103 28 by Robert Lansdale A Beautiful English Tailboard Camera The Annual General Meeting and Zoom and Tell by Robert Carter 46 by Ralph London of Portland, Oregon 104 A Treasure from my Collection My Quarantine Acquisition 106 Robert Lansdale’s Standa Daylight Processing Tank 47 by David J. Kenny of Toronto, Ontario George Buchanan Sproule – Peterborough Photographer Living Proof That Cycling Had No Boundaries 108 by Gina Martin assisted by Diane Robnik 48 by Lorne Shields of Thornhill, Ontario The Walker Pocket Camera Collecting Only Kodak Products is a Dedicated Hobby an Early Miniature Camera 1881 50 by Doug Beaton of Nepean, Ontario 112 by Matthew Isenburg A Story from The Edmonton Photo Historical Society Canadian Photographer Edward Burtynskya by Ken McGregor of Edmoton, Alberta Gifts Archive to the Ryerson Image Centre 51 114 by Ryerson Image Centre A Camera Bought Over 30 Years Ago Across Canada By Canoe 52 by Harold Staats of Toronto, Ontario by Paul Paquin and Dick Lesage by Jeff Ward An Unusual Painted Backdrop You Often Miss 118 53 by Irwin Reichstein of Ottawa, Ontario 120 PHSC Membership Form A Camera With Lots of Innovation for $5.00 54 by Robert Lansdale of Etobicoke, Ontario 2 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 55 VOLUME 46-3 –cover Trunk Sale Beats Covid – a photo story 56 by Clint Hryhorijiw CLINT HRYHORijiw Geraldine Moodie – Pioneer Female Photographer 58 by Lisandra Cortina de la Noval PRESIDENT’S A Treasure from my Collection 64 John Kantymir’s King’s Own Tropical Camera Message Largest One–Piece One–Exposure Photo Enlargement portrait Robert Lansdale by in the World – June 1913 66 by Robert Lansdale What We Found About the Freeland Family 70 by Louise Freyburger Brodie Macpherson: Early Photo Printer FEBRUARY GREETINGS 70 by Samantha Shields …well, let’s try anyway… The Macpherson Bottle Collection at Ryerson U Library We hope that space under the tree will soon be filled with 76 by Robert Lansdale useful presents: lens cleaning wip Hi and Si Have Some Fun at the Photographer’s 77 The Indianapolis Journal, September 13, 1903 Considering Various Processes 78 by Robert Lansdale 79 VOLUME 46-4 –cover A Treasure from my Collection 80 Ralph London’s Gundlach Optical Company Korona IIA PRESIDENT Clint’s Curio Corner 82 by Clint Hryhorijiw MESSAGE TO The 1870 Mystery Photograph– with a great story to tell 83 by Robert Lansdale The Families of the Dump 92 by Gerry Yaum COME A Treasure from my Collection Bob Lansdale’s Zeiss Ikon Miroflex Camera 98 The camera that would be two The Other Side of Stan White My Second Swan Song 100 by Stan J. White Oxybenzylmethylenglycolanhydride 102 by Mary Goldie 103 VOLUME 46-5 –cover The Annual General Meeting and Zoom and Tell 104 by Robert Carter A Treasure from my Collection 106 Robert Lansdale’s Standa Daylight Processing Tank George Buchanan Sproule – Peterborough Photographer 108 by Gina Martin assisted by Diane Robnik CLINT HRYHORIJIW, PRESIDENT phone: 416.622.9494 e-mail:1956canada@ The Walker Pocket Camera gmail.com an Early Miniature Camera 1881 112 by Matthew Isenburg Canadian Photographer Edward Burtynskya Gifts Archive to the Ryerson Image Centre 114 by Ryerson Image Centre Across Canada By Canoe by Paul Paquin and Dick Lesage 118 by Jeff Ward 120 PHSC Membership Form PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 3 LOOK WHAT YOU ARE MISSING WITH THE COVID PANDEMIC CLOSING DOWN OUR EVENTS WE’VE CREATED MORE PUBLISHED COMMUNICATIONS FOR OUR MEMBERS DURING THEIR QUARANTINE. WE TAKE THE SUMMER OFF BUT BECAUSE OF COVID WE HAVE INCREASED OUR PUBLICATIONS. WE DON’T HAVE AN EMAIL ADDRESS FROM YOU SO CAN’T SEND YOU ANYTHING. PLEASE – ASK A NEIGHBOUR, RELATIVE OR THE LOCAL LIBRARY IF THEY WILL ASSIST WITH A EMAIL ADDRESS. RECEIVE ALL OUR PUBLICATIONS: 80 PAGES OF THE PHSC NEWS; 106 PAGES OF ARTICLES IN PHOTOGRAPHIC CANADIANA – WITH A SPECIAL “SHOW ‘N TELL” ISSUE; 114 PAGES OF THE SEVEN-PART “ALL ABOUT LANTERNS, FLASH, EN- LARGERS, POSING CHAIRS AND SHUTTERS – THESE ARE SPECIAL REPRO IS- SUES; 139 PAGES OF THE NEW “AMALGAMATED NEWSLETTERS” – NEWS FROM OTHER PHOTO HISTORICAL SOCIETIES..... MORE EACH MONTH! THIS “ANNUAL” PHOTO CANADIANA WAS SPECIALLY PRINTED SO YOU COULD RECEIVE ALL PC JOURNALS FOR 2020. BUT DO GET AN EMAIL ADDRESS. FOR THE MERE COST OF $35.00 CDN YOU ENJOY 106 PAGES OF OUR PHSC JOURNAL – BUT WITH AN EMAIL ADDRESS, ENJOY MUCH MORE.......... what you missed 4 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 photographic CANADIANA Journal of the Photographic Historical Society of Canada Volume 46 • Number 1 May • June 2020 Photograph courtesy of Lorne Shields Photograph $15.00 CDN Toronto Notes JANUARY and FEBRUARY 2020 MEETINGS Reported by Bob Carter Chris Luckhardt has travelled the world photographing Explorers like Chris try to visit all the abandoned spots in ruins and posting to social media. Chris began to photograph the world. He has explored in 18 countries, every US state, his travels some eighteen years ago using a digital camcorder. and every Canadian province. He hasn’t explored Chernobyl From the recorder, he moved on to a digital camera. yet but is hoping to visit the legendary site later this year. In October, Chris and three photography partners planned a visit to China and its abandoned theme parks, cities, and parts of the Great Wall. One abandoned theme park they visited was massive, but it was built on unapproved land and so was forced to close. Chris showed one image outside a Chinese abandoned mall with city buildings in the background. While its design was not especially significant, it was an important place to visit because of its sheer size! obert Lansdale Closing his talk, Chris showed images he took in Russia. R Chris and a partner visited the abandoned Soviet Space shuttles there. They hiked 75km over rough desert terrain at Photograph by by Photograph night carrying heavy supplies for a multi-night stay. There’s a 50/50 chance of being caught by Russian military patrols armed with AK-47s. The Soviets built three shuttles, basically as a carbon copy of the NASA program with added outboard booster rockets.
Recommended publications
  • Alternative Processes a Few Essentials Introduction
    Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z.
    [Show full text]
  • CHAPTER 18 the GUM BICHROMATE PROCESS Fig: 18 -1 Here, Christopher James, Alicia in Gum #2, 2012 (Gum) OVERVIEW & EXPECTATIO
    CHAPTER 18 THE GUM BICHROMATE PROCESS Fig: 18 -1 here, Christopher James, Alicia in Gum #2, 2012 (gum) OVERVIEW & EXPECTATIONS Here’s the truth… in the gum bichromate process there are very few absolutely correct ways to do anything. Here’s another nugget of dependable veracity… 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 performing the process. I can just imagine so many of my friends reading that last sentence and saying, "I just know he’s talking about me!" © Christopher James, The Book of Alternative Photographic Processes: 3rd Edition, 2015 When the gum bichromate process is broken down into its three component steps, and explained in the most elementary way possible, it appears to be amazingly uncomplicated. However, to nearly every one of my students who has been taken with the process, and for those artists who are dedicated to it for life, gum bichromate slowly reveals itself to be one of the most complex in the alternative process genre. The gum bichromate process is ridiculously seductive. This is primarily due to its very limited chemistry, oh-so-simple water development, unlimited color palette using the watercolors of the artist’s choice, and very flexible ability to be coupled with a wide range of other alternative and graphic arts techniques such as platinum / palladium, cyanotype, all forms of printmaking and artist’s books. I think of gum as the photographic ambassador to the 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 I refer to as gesture - gesture being the evidence of the artist’s hand in the creation of an expressive and graphic mark.
    [Show full text]
  • The Chiba System 千葉方式 : a Non Toxic Alternative to the Dichromate
    The Chiba System 千葉方式 A Non Toxic Alternative to the Dichromate Processes January 2007 Halvor Bjoerngaard Graduate School of Science and Technology CHIBA UNIVERSITY (千葉大学学位申請論文) The Chiba System 千葉方式 : A Non Toxic Alternative to the Dichromate Processes or The Production of Photographic Prints in Permanent Pigments by Utilising the Sensitivity of the Ferric Salt to the Spectre and Employing the Polymerization of Colloids. 2007年1月 千葉大学大学院自然科学研究科 情報科学専攻画像科学 Halvor Bjørngård Abstract This study has the main purpose of presenting a non-toxic, or an alternative, printing system for the dichromate based pigment processes. The two methods presented in depth are modelled on first Carbon printing then Gum Printing. Achieving non-toxicity for these systems means replacing the dichromate sensitizer and secondly to avoid the practise of hardening the substrate. An alternative sensitizer is presented and hardening is avoided by using modified working methods. The chemistry utilised for this purpose is iron based, red-ox induced, free radical polymerization. The sensitizer is ammonium ferric citrate, using either hydrogen peroxide or ammonium persulphate as developer. For Carbon Printing a solution to both the need for hardeners and the problem of oxygen inhibition, which is usual for this kind of polymerisation, is achieved. This is done by using a covering layer of agar-agar that blocks oxygen and changes the transfer system, obsolescing the use of hardeners. For Gum Printing two methods are presented. One is based on gelatine, which allows the use of a hydrogen peroxide bath for development. The second method is with gum arabicum, which necessitates inclusion of ammonium persulphate in the coating as a developing agent.
    [Show full text]
  • The Hybrid Photography Issue
    The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 6, BUILD 2 The hybrid photography Issue WWW.MAGNACHROM.COM NancyScans and NancyScans DFM NancyScans NancyScans DFM 3 Custom Tango Drum Scans Your Own On-Line Store Front KRIST’L Fine Art Archival Prints Sell Prints, License Stock Res80 Transparency Output 6HDPOHVV)XO¿OOPHQW 'LVWULEXWLRQ MC MC MC MC MC MC MC MC MAGNAchrom v1.6 MC Volume 1, Issue 6 ©2007 MAGNAchrom LLC. All rights reserved. The Alternative Journal of Medium and Large Format Photography Contents of this issue: HOT MODS: In The Pink 4-SQUARE: Edoardo Pasero MEDIA: Tri-Transparency Prints VISION Pinhole + Alternate Process BEYOND LF: Room-size pinhole photography TRAVELS: Enviro-Industrio Panoramas VOLUME 1, ISSUE 6, BUILD 1 BUILD 6, ISSUE 1, VOLUME CENTERFOLD: Klaus Esser EQUIPMENT: Going Ultra: with a 14x17 Lotus View www.nancyscans.com TECHNIQUE: DIY inkjet print onto aluminum www.nancyscans.net INTERVIEW: Denise Ross 800.604.1199 PORTFOLIO: Roger Aguirre Smith NEW STUFF: Mamiya ZD The hybrid photography Issue VIEWPOINT: Gum Printing, Then & Now WWW.MAGNACHROM.COM ADVICE: Hybrid Technique Cover Photo: Squish ©2007 Christina Anderson MAGNACHROM VOL 1, ISSUE 6 WWW.MAGNACHROM.COM About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the 8QOLNHWKH¿UVWWKUHHLVVXHVRI0$*1$ 4published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”.
    [Show full text]
  • THE PHOTOGRAPHIC EYE Learning to See with a Camera
    REVISED EDITION THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael F. O'Brien & Norman Sibley THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael E O'Brien & Norman Sibley Davis Publications, Inc., Worcester, Massachusetts Copyright 1995 Davis Publications, Inc. Worcester, Massachusetts U.S.A. To the photography students of Seoul American High School, past, present and future. No part of this work may be repro- duced or transmitted in any form or by any means, electronic or mechan- ical, including photocopying and re- cording, or by any information storage or retrieval system without the prior written permission of the copyright owner, unless such copy- ing is expressly permitted by federal copyright law. Davis is not autho- rized to grant permission for further uses of copyrighted selections or im- ages reprinted in this text without the permission of their owners. Permis- sion must be obtained from the indi- vidual copyright owners as identified herein. Address requests for permis- sion to make copies of Davis mate- rial to Permissions, Davis Publi- cations, Inc., 50 Portland Street, Worcester, MA 01608. Editor: Claire Mowbray Golding Design: Greta D. Sibley Printed in the United States of America Library of Congress Catalog Card Student photograph by Gregory Conrad. Number: 93-74644 ISBN: 0-87192-283-5 1098 765 Cover: Student photograph by Leah Gendler. 4 The Photographic Eye Contents 7 Introduction Part 1 Getting Started 11 Chapter 1 From Blurs to Big Business History • Photographic Careers Part 2 Elements of Composition 35 Chapter 2 Tools Manual or Automatic? • The Camera, Inside & Out • Exercises: Testing the Shutter & Aperture • Loading Film 51 Chapter 3 What is Composition? Snapshots vs.
    [Show full text]
  • Gum Bichromate Pigment Printing V.1.03 Preface/Introduction
    Page 1 of 82 Norman Breslow 1977 [email protected] http://shmedling.com Gum Bichromate Pigment Printing v.1.03 By Norman Breslow, B.F.A Copyright © 1977 by Norman Breslow You are welcome to share this ebook with others. This ebook may be reproduced, copied and distributed for noncommercial purposes, provided the ebook remains in its complete original form. Preface/Introduction (What’s the difference between a preface, an introduction, a prologue and a forward?) The material which follows was written in longhand between 1972-1976, and typed in 1977 by me, Norman Breslow *, and discovered by me 40 years later in 2017, in a box of "stuff" I had long forgotten about. I retyped the material in January 2017 using a word processor. I haven’t made changes to the original material, but I have added some of the handwritten notes I had made on the original typed pages. And I have corrected some misspellings and some typos, but I've probably introduced others that didn't exist in the original text. Additionally, I have found that the passage of 40 years has made parts of this "how to" guide obsolete, but I haven't changed those parts for two reasons: First, I see this guide as having historical importance, and second, some of the seemingly obsolete parts still have practical value. Be on notice: Some of this material may be well beyond the ability of today's digital photographers, who never developed a roll of film, to understand. The * refers to my name both with and without my middle initial, which is K.
    [Show full text]
  • Gum Article Proof V1.Indd
    BIOGRAPHY Writer / Peter J. Blackburn Photography / Peter J. Blackburn Peter J. Blackburn is a freelance photographer working in the Dallas, Texas area. He spends many hours An Introduction a week working with both gum and casein bichromate printing. He says, to the Gum Bichromate Process “while browsing through a basic darkroom handbook early in my Always be careful when handling chemicals. Read the health and safety photography training, I came across instructions. a section outlining just a few of the many alternative processes. Gum and Expressive, delicate, and inspiring—many are the casein printing were among them. I complementary adjectives showered in praise of was fl oored! It was love at fi rst sight!” the gum bichromate print. Those experienced in the making of gum prints, however, might tend —that was back in 1988. For it’s to add temperamental, tedious, and elusive to the intimate beauty and for the option to descriptive repertoire. From Fox Talbot to Robert print either in monochrome or three Demachy, from the Lumière brothers to Heinrich and four-color, Peter chose to work Kühn, the bichromate process has a long and exclusively with the bichromate varied history spanning well over a century. Each process right from the start. He uses artist persevered through their own series of trials the ubiquitous Texas sun to expose and failures. Eventually they overcame, in varying his negatives and credits imaging degrees, the myriad of pitfalls encountered on the technology and advances in modern road to creating wonderful prints. The beginner gum bichromate printer would do well to study the sizing for helping to streamline his works of those early masters.
    [Show full text]
  • The FOCAL ENCYCLOPEDIA of Photography, 4Th Edition
    HISTORY AND EVOLUTION OF PHOTOGRAPHY MARK OSTERMAN George Eastman House International Museum of Photography and Film GRANT B. ROMER George Eastman House International Museum of Photography and Film SSECTION-Ia.inddECTION-Ia.indd 2233 11/16/07/16/07 112:55:202:55:20 PPMM SSECTION-Ia.inddECTION-Ia.indd 2244 11/16/07/16/07 112:55:232:55:23 PPMM 25 Contemporary Thoughts on the History of Photography GRANT B. ROMER George Eastman House and International Museum of Photography and Film All photographers work today with historical perspective. Th ey know that the technology they use has an origin in the distant past. Th ey know photography has progressed and transformed over time, and they believe the current system of photography must be superior to that of the past. Th ey are sure they will witness further progress in photography. Th ese are the lessons of history understood by all, and none need inquire any further in order to photograph. Yet photography has a very rich and complex history, which has hidden within it the answers to the fundamentally difficult questions: “What is photography?” and “What is a photo- graph?” All true photographers should be able to answer these questions for themselves and for others. To do so, they must make deep inquiry into the history of photography. Recognition of the importance of history to the under- standing of photography is evidenced in the title and content of the very first manual of photography published in 1839, Th e History and Description of the Process of the Daguerreotype and Diorama.
    [Show full text]
  • Gum Printing
    GUM PRINTING René Smets January 2015 GUM PRINTING This description is focusing on the practical gum printing aspects; the history of the technology and other theoretical developments , which can be found easily on Google, will therefore not be dealt with . 1. The paper The most appropriate ones are the thicker, 100 % rag, acid-free papers such as a.o. Arches or Hahnemühle, weighing 300 gsm (gr/sq.meter) or more. Following papers have proved to be excellent for the process: Fabriano #5, Fabriano Artistico, Canson Montval, BFK Rives, Whatman Watercolour, Arches Platine, Hahnemühle etching paper. During the process, the paper is soaked/dried several times, and this usually causes some shrinkage. The negative needing to be printed precisely in the intended position, it is essential to evaluate accurately this shrinkage. As the paper also has the tendency to shrink more in one direction than in the other, we therefore have to determine first the shrinkage direction of the paper. Here is how: Draw two arrows in the same direction on the sheet (see sketch S1a). Now cut two equal straps paper, one along the direction of the arrow, a second in the other direction ( see sketch S1a). We moisten the front side of these straps and let them dry on a flat surface. After a while, we see that the straps curve in one direction. (see picture P2). This indicates the fiber orientation of the paper which gives the most shrinkage. Using the arrows, we can now cut from our large sheet of paper the pieces that we need, making sure that the shrinkage direction follows their short side.
    [Show full text]
  • Variants of the Gum Dichromate Process Author(S): Art Kaplan and Dusan Stulik Topics in Photographic Preservation, Volume 15
    Article: Pushing the Limits of the Identification of Photographs: Variants of the Gum Dichromate Process Author(s): Art Kaplan and Dusan Stulik Topics in Photographic Preservation, Volume 15. Pages: 190-206 Compiler: Jessica Keister © 2013, 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. 15, 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. Pushing the Limits of the Identification of Photographs: Variants of the Gum Dichromate Process Art Kaplan and Dusan Stulik Presented at the 2013 AIC & ICOM-CC Photographs Conservation Joint Meeting in Wellington, New Zealand Abstract: Advanced methods of non-destructive chemical analysis of photographs have been developed and tested for identification of all major photographic processes used during the era of so called “chemical photography”.
    [Show full text]
  • San José State University Department of Art & Art History Photo 113 (22785), Alternative Photo Media, 01, Spring, 2021
    San José State University Department of Art & Art History Photo 113 (22785), Alternative Photo Media, 01, Spring, 2021 Course and Contact Information Instructor: Dan Herrera Office Location: DH 401D (Online via Canvas / Zoom) Email: [email protected] Note: Please title the subject of your email: YourLastName_Photo113 Office Hours: Wed. 11am-12noon Class Days/Time: Mon. & Wed. 12noon - 2:50pm Classroom: ONLINE via Canvas Prerequisites: Photo 40 & Photo 110 Department Office: ART 116 Department Contact: Website: www.sjsu.edu/art Email: [email protected] Course Format Technology Requirements This class makes extensive use of imaging software like the latest version of Adobe Photoshop CC or Adobe Lightroom. You will need a computer capable of running Photoshop CC (or Lightroom) and a high speed internet connection to access online class content. All assignments, readings, handouts, and relevant class info will be located on the CANVAS Portal. You are responsible for accessing these materials when made available (and printing them out if you choose). Due to our efforts to make the School of Art and Design a “paperless” environment hard copies will NOT be handed out in class. Course Description “Alternative Processes – Explores historical, handmade photographic printing processes which open avenues of expression unavailable through contemporary photographic processes. Cyanotype, gum bichromate, and wet plate collodion techniques are covered, as well as creating both traditional and digital negatives for contact printing.” Course Objective In an age of megapixels, camera phones, and a perpetual stream of digital images – this class requires the photographer to slow down, and to experience making a photograph using the same historical processes practiced when photography was still in its infancy.
    [Show full text]
  • The Praxis of Platinum-Palladium Printing
    ROGER KOCKAERTS THE PRAXIS OF PLATINUM-PALLADIUM PRINTING pH7 publishing - Brussels 2005 ROGER KOCKAERTS THE PRAXISKOCKAERTS KOCKAERTSOF PLATINUM-PALLADIUM PRINTING pH7 KOCKAERTS Publishing Brussels 2005 This document contains the notes of the course "Conservation & Restoration in Photography" given by Roger Kockaerts at the Royal Academy of Fine Arts in Antwerp. Roger Kockaerts passed away in september 2019. One of Picto Benelux's essential tasks is to perpetuate the underlying know-how necessary for the understanding and practice of historical photographic techniques, by making it accessible to the widest possible audience. We would like to thank Nathalie, Roger Kockaerts' daughter, for giving us permission to distribute this text via Picto Benelux. The author : Roger Kockaerts (1931) was a photographer, gallery owner, teacher and expert in restoration and preservation- conservation of photographic documents. He has been practicing photography since 1956, with a predilection for nature and mineral or vegetal textures; he was also interested in structures generated by computer programs and developing in random patterns. He has practiced many historical processes, especially cyanotypy and platinum-palladium printing. Around 1968 he became interested in orotone, a very old and practically forgotten process, to end up with a modernized version of his own which he called orotypy. His recent works are more inspired by photographic intention, and less by the purely aesthetic aspects. In 1989 he created Permadocument-pH7, a specialized structure for the conservation and restoration of photographic documents. Many institutions (including the Getty Conservation Institute in Los Angeles), museums, galleries, and artists resorted to his expertise. Artists photographers from around the world using alternative photographic processes have exhibited in his gallery "Atelier pH7".
    [Show full text]