Safety and Disposal Guidelines for the Use of Photographic Chemicals
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Imaging Diamond with X-Rays
Home Search Collections Journals About Contact us My IOPscience Imaging diamond with x-rays This article has been downloaded from IOPscience. Please scroll down to see the full text article. 2009 J. Phys.: Condens. Matter 21 364217 (http://iopscience.iop.org/0953-8984/21/36/364217) View the table of contents for this issue, or go to the journal homepage for more Download details: IP Address: 129.49.56.80 The article was downloaded on 30/06/2010 at 16:59 Please note that terms and conditions apply. IOP PUBLISHING JOURNAL OF PHYSICS: CONDENSED MATTER J. Phys.: Condens. Matter 21 (2009) 364217 (15pp) doi:10.1088/0953-8984/21/36/364217 Imaging diamond with x-rays Moreton Moore Department of Physics, Royal Holloway University of London, Egham, Surrey TW20 0EX, UK E-mail: [email protected] Received 5 April 2009 Published 19 August 2009 Online at stacks.iop.org/JPhysCM/21/364217 Abstract The various techniques for imaging diamonds with x-rays are discussed: x-radiography, x-ray phase-contrast imaging, x-ray topography, x-ray reciprocal-space mapping, x-ray microscopy; together with the characterization of the crystal defects which these techniques reveal. 1. Introduction may also be sharp characteristic peaks superimposed upon the continuous spectrum, characteristic of the target material. X-rays may be used to image whole diamonds, or selected These come from the brief promotion of electrons dislodged regions, by radiography or by using various techniques from target atoms to discrete higher energies. These (or other) employing a Bragg reflection for x-ray diffraction contrast. -
COURSE TITLE Cyanotypes Blue Prints COURSE CODE
COURSE TITLE Cyanotypes Blue Prints COURSE CODE WC1801PR89 TUTOR Melanie King DATES 10th & 11th November 2018 DAY & TIME Saturday & Sunday, 10:00 am - 5:00 pm LEVEL This class is suitable for those aged 18 or over. All levels welcome COST £165 LOCATION Mermaid Court, click here for a map Daily breakdown Days Topic/skills covered Preparing the chemistry. Coating paper with the photosensitive solution. Sat Making photograms using UV from the atmosphere. Colour tinting prints. Preparing digital negatives on a computer. Making contact prints using an Sun industrial UV exposure machine. The Cyanotype method is an incredibly versatile, simple and fun process to learn. The Cyanotype was invented by Sir John Henry Herschel in1841. This early photographic process produces distinctive and striking Prussian blue images which can also be toned in various other colours. Simple and economic, it remained in use well into the twentieth century as a means of reproducing architectural and engineering drawings as Blueprints. In more recent times, the Cyanotype has been rediscovered by contemporary artists. Also sometimes known as sun printing, the Cyanophyte process is one you can easily learn to do in a weekend. It offers a perfect introduction to alternative and traditional photographic processes and to the use of computers to produce photographic negatives for such processes. The course takes place in the Print Studio and also utilises the Digital Suite at the Art Academy. Both facilities offer a much wider programme of evening, weekend and daytime courses throughout the year. Please refer to our website for full terms and conditions: Mermaid Court, 165A Borough High Street, London SE1 1HR www.artacademy.org.uk/terms-conditions/ 020 7701 2880 The cyanotype process is simple, non-toxic and can be adapted and incorporated into a range of other printmaking techniques such as photo-etching and mono-printing. -
All That Is Solid: a Celluloid Exploration of Brutalist Architecture
ALL THAT IS SOLID: A CELLULOID EXPLORATION OF BRUTALIST ARCHITECTURE EVA KOLCZE A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO MAY, 2014 © Eva Kolcze, 2014 Abstract All That Is Solid is an experimental film that investigates Brutalist architecture through the decayed surface of black and white celluloid. The film features three locations: Robarts Library, The University of Toronto Scarborough campus (UTSC) and the Ross building at York University. All are prominent examples of Brutalist architecture on university campuses. Footage of the buildings has been degraded using photochemical processes that result in unique patterns of decay. The decay processes are used to draw material and aesthetic connections between concrete and celluloid. By distressing and dissolving images of massive buildings, the film explores how time breaks down all materials, even solid concrete. The film also explores the shifting reactions and responses to the buildings, from their initial praise by the architectural community as cutting edge and futuristic, to the intense public backlash that followed shortly after they were built. ii TABLE OF CONTENTS Abstract .................................................................................................................. ii Table of Contents……………………………………………………………………….iii Evolution Of The Project ....................................................................................... -
UK Photography Activity Badge
making a start in photography Jessops is proud to support The Scout Association and sponsor the Scout Photographer Badge know your camera! welcome to the Single use cameras SLRs Digital cameras Single use cameras offer an inexpensive and ‘Single lens reflex’ cameras, often called SLRs, Digital cameras come in both compact and SLR exciting world of risk-free way to take great photos. They are built come in two main types - manual and auto-focus. formats. Rather than saving an image to film, complete with a film inside and once this is used SLRs give you greater artistic control as they can digital cameras save images onto memory cards. photography! up, the whole camera is sent for processing. They be combined with a vast range of interchangeable They have tiny sensors which convert an image are perfect for taking to places where you may lenses and accessories (such as lens filters). You electronically into ‘pixels’ (short for picture To successfully complete the Photographer Badge, be worried about losing or damaging expensive can also adjust almost every setting on the camera elements) which are put together to make up the you will need to learn the basic functions of a equipment (Scout camp for example) and you can yourself - aiding your photographic knowledge complete image. camera, how to use accessories, and how to care even get models suitable for underwater use - and the creative possibilities! for your equipment. You will also need to Capturing images this way means that as soon as perfect for taking to the beach! understand composition, exposure and depth of With manual SLRs, the photographer is in complete the picture is taken, you can view it on the LCD field, film types, how to produce prints and control - and responsible for deciding all the screen featured on most digital cameras. -
Price List NEW.Pmd
Price List November 2014 The essential guide to the very best photographic equipment and materials Telephone: 01636-823922 Fax: 01636-821719 Email: [email protected] wwwwww.mor.morcoco.uk.com.uk.com We supply all these top brands... Agfa Hahnemühle Manfrotto Quantum Ansmann Harman Marrutt Reflecta Apple Heliopan Marumi Richards B+W Hensel Medalight Rodenstock Beattie Herma Metz Rosco Benbo Hewes Morco Rotatrim Benro Hitech NEC Samyang Billingham Holga Nissin Sandisk Bowens Hot Press Nova Savage Braun Hoya Omega Sekonic Camlink HP OpTech Sigma Canon Ilford Orchard Silvestri Canson Just Oregon Slik Cokin Kaiser Osram Snapshut Colorama Kenko Panasonic Sony Creativity Kenro Pantone Sunpak Delkin Kentmere Paterson Tamrac Douglas Kodak Peli Tamron Eclipse LaCie PermaJet Tetenal Elinchrom Lastolite Philips Toyo Energizer Lee Photolux Velbon Epson Lensbaby PhotoTherm Visible Dust Falcon Lexar Pinnacle Wein Fotospeed Light Craft Pocket Wizard Westcott Fuji Linhof Polaris X-Rite GePe Lowepro Polaroid Zeiss Gossen Lyson Morco Limited College Farmhouse, Cromwell, Newark, Nottinghamshire, NG23 6JE England Telephone: +44 (0)1636-823922 Fax: +44 (0)1636-821719 Email: [email protected] www.morco.uk.com Introduction Contents Welcome to The MORCO Price List. Page Inkjet Paper and Digital Consumables Since 1987 Morco has been a supplier of a wide range of Ilford Paper.................................................. 1 top quality products to the professional and amateur Fotospeed Paper......................................... 2 photographic and allied markets. Permajet Paper........................................... 2 - 6 Pinnacle Paper............................................ 7 We are the UK distributor for BEATTIE, PHOTOTHERM Hahnemühle Paper...................................... 8 - 9 and WEIN products, we also manufacture/produce MORCO Harman Paper............................................. 10 PHOTOGRAPHIC products. These products are available SnapShut Folio Covers............................... -
How to Handle Cryogenic Liquids
Photographic Processing Hazards, by Michael McCann, Ph.D., CIH • Black-and-White Photographic Processing o Mixing Photochemicals o Developing Baths o Stop Baths and Fixers o Intensifiers and Reducers o Toners o Other Hazards • Color Processing o Developing Baths o Bleaching, Fixing, and Other Steps Black-and-White Photographic Processing A wide variety of chemicals are used in black and white photographic processing. Film developing is usually done in closed canisters. Print processing uses tray processing, with successive developing baths, stop baths, fixing baths, and rinse steps. Other treatments include use of hardeners, intensifiers, reducers, toners, and hypo eliminators. Mixing Photochemicals Photochemicals can be bought in liquid form, which only need diluting, or powder form, which need dissolving and diluting. Hazards 1. Developer solutions and powders are often highly alkaline, and glacial acetic acid, used in making the stop bath, is also corrosive by skin contact, inhalation and ingestion. 2. Developer powders are highly toxic by inhalation, and moderately toxic by skin contact, due to the alkali and developers themselves (see Developing Baths below). Precautions 1. Use liquid chemistry whenever possible, rather than mixing developing powders. Pregnant women, in particular, should not be exposed to powdered developer. 2. When mixing powdered developers, use a glove box (a cardboard box with glass or plexiglas top, and two holes in the sides for hands and arms), local exhaust ventilation, or wear a NIOSH-approved toxic dust respirator. 3. Wear gloves, goggles and protective apron when mixing concentrated photochemicals. Always add any acid to water, never the reverse. 4. In case of skin contact, rinse with lots of water. -
Photographic Facts and Formulas
B o o ks o n Pho tography ti cs for P oto r a ers Hans Harti n Ph. D . r ansl ated O p h g ph , by g, T by F M . F. P . S . 2 2 a es. Clot n Fra ri e S . r a k R. p , , R 3 p g h, s i lli am li nt. nd i t emi str fo r P oto r a er W . F 2 ed i on. Ch y h g ph , by R 18 a es. Cl ot 2 p g h , i t ri al C om osi ti on i n P oto r a rt ur Hammond . 2 P c o p h g phy, by A h 34 a es i ll ustrati ons. Cl ot p g , 49 h, - P oto En r avi n P ri mer Ste en H . Hor an. Clot h g g , by ph g h, . E i te r ank Fr a ri S M f amer a d d F . e . F C as r om Y our C . h by R p , , R r P . 8 . P ape , Pi ctori al L and sca e P oto r a the P oto Pi cto ri ali sts of B uf p h g phy, by h i l str ti ns. Cl ot f alo . 2 2 a es l u a o 5 p g , 5 5 h, P oto r a i c A musements W alter E . Wood u r . -
Photography: a Basic Course for Art Students
Rochester Institute of Technology RIT Scholar Works Theses 1-10-1968 Photography: A Basic Course for Art Students Donald Dickinson Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Dickinson, Donald, "Photography: A Basic Course for Art Students" (1968). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. in c a; =3 4-> </> ti a* o CO as C3 >- X < U o O X a. I wish to express my thanks to my advisor Professor Hans J. Barschel, and to Professors Charles A. Arnold and Stuart Ross who acted as technical advisors Thanks are also extended to The George Eastman House of Photography for the use of the Research Center and material made available. 111 Thank you A. M., for your presence. iv if what one makes is not created with a sense of sacredness, a sense of wonder; if it is not a form of love making; if it is not created with the same passion as the first kiss, it has no right to be called a work of art, ALFRED STIEGLITZ Table of Contents ACKNOWLEDGEMENTS i i i DEDICATION iv Statement' by Alfred Stieglitz v LIST OF ILLUSTRATIONS vii INTRODUCTION viii THESIS PROPOSAL 1 PROCEDURES 4 PHOTOGRAPHY - A BASIC COURSE FOR ART STUDENTS 9 ILLUSTRATIONS 62 CONCLUSION 77 mnmnmnimimnmniTnnmiimTinmnmnninmnmnmnmnmnmnmnninmnninm OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO nmnmnmnmnmnmnmnmnninmnmnmnmnmnninmnmnmnTnnmnmnmnmn VI List of Illustrations A SHORT STATEMENT PRECEEDS EACH ILLUSTRATION Presensitized metal plate 62 Silver image reduction 64 Photomechanical paper 68 Autoscreen film 71 Sensitizing agent 73 vn The project undertaken by this candidate proved extremely interesting with the newly acquired knowledge discovered and generated during the five months, January to May. -
Holographic Works in the Collection of the National Gallery of Australia Andrea Wise
7th AICCM Book, Paper and Photographic Materials Symposium, 2012 More than meets the eye: Holographic works in the collection of the National Gallery of Australia Andrea Wise The National Gallery of Australia (NGA) holds a varied collection of new media, which includes intriguing virtual art such as holograms. Whether the term ‘new’ can still be applied to holography is debatable; the theory was announced in 1948, with the realisation in images occurring after the invention of lasers in the 1960s. Famously, Salvador Dali claimed to be the first artist to have worked with holography with his 1972 New York exhibition. This, however, was not strictly true as there had been two previous dedicated hologram exhibitions in the US in 1968 and 1970, highlighting the enthusiasm with which the medium was taken up by artists. Over the years hologram materials and techniques have evolved, becoming more sophisticated and, reflecting similar trends to those in photography, incorporating digital technology with applications in art, science, industry and medicine. Holograms are part of everyday life, and extraordinary developments in colour holography have led to artists working exclusively in the medium, producing entire exhibitions created in holographic images. This paper considers some of the implications of these works for the conservator and provides a brief summary of the history and manufacture of holograms, together with an overview of the materials and techniques of a small selection of holographic images in the NGA collection by Paula Dawson and Margaret Benyon. Both artists have been creative with the technical process, collaborating with a wide range of scientists and technicians over the course of their careers, incorporating different holographic methods as these evolved. -
United States Patent (19) 11 Patent Number: 4,965,177 Mclaen (45) Date of Patent: Oct
United States Patent (19) 11 Patent Number: 4,965,177 McLaen (45) Date of Patent: Oct. 23, 1990 (54) ACTIVATORSOLUTION WITH COLD IMAGE TONE-PROVIDING AGENT OTHER PUBLICATIONS G. Haist, Modern Photographic Processing, vol. 1, 75 Inventor: Donald F. McLaen, Rochester, N.Y. 1979, pp. 260-262, John Wiley and Sons, N.Y. 73) Assignee: Eastman Kodak Company, B/W Print Processing with the Kodak Royalprint Rochester, N.Y. Processor, 1980. 21 Appl. No.: 388,412 Operating the Kodak Royalprint Processor Model 417, Nov., 1984. 22 Filed: Aug. 2, 1989 Maintaining the Kodak Royalprint Processor Model 51 Int. Cl. ................................................ CO3C 5/29 4.17, Nov., 1984. 52 U.S. C. .................................... 430/405; 430/448; Primary Examiner-Paul R. Michi 430/486; 430/.490 Assistant Examiner-Janet C. Baxter 58) Field of Search ............... 430/405, 448, 486, 490, 430/965 Attorney, Agent, or Firm-Robert A. Linn 57 ABSTRACT (56) References Cited Potassium iodide (or a related iodide) when incorpo U.S. PATENT DOCUMENTS rated in an alkaline activator for use in a rapid access 2,607,686 8/1952 Current ............................... 430/370 processor using developer-incorporated, resin-coated 3,55,555 6/1970 Fassbender ......................... 430/370 paper, (i) produces a cold image tone in black-and-white 3,619,186 11/1971 Parsons ............................... 430/232 photographic prints, and (ii) maintains the image tone of 4,124,390 1 1/1978 Kohn ................................... 430/390 a large number of prints within a narrow image tone 4,436,805 3/1984 Iguchi et al. ........................ 430/248 range over a (one week or one thousand 8X 10 inch FOREIGN PATENT DOCUMENTS print) design life of the activator solution. -
The Progression of Photographic Image Manipulation in Communication: an Argument Against the "Revolution" of Technological Change
UNLV Retrospective Theses & Dissertations 1-1-1992 The progression of photographic image manipulation in communication: An argument against the "revolution" of technological change Cynthia Lynn Wood University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Wood, Cynthia Lynn, "The progression of photographic image manipulation in communication: An argument against the "revolution" of technological change" (1992). UNLV Retrospective Theses & Dissertations. 250. http://dx.doi.org/10.25669/bqu5-khy0 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. -
Holographic Photochemistry, a Summary
Holographic photochemistry, a summary MAS 450/854 Introduction In holography class, we use “silver halide” plates exclusively as our photosensitive medium. “Silver halide” (sometimes referred to as AgH) is a term that includes silver chloride (AgCl) and, most commonly and also for our plates, silver bromide (AgBr). These plates are coated with an emulsion of gelatin (animal renderings, just like Jelloª) in which is suspended grains of silver halide crystals. These silver halide grains are sensitive to light. When a plate is exposed to light, a photons from the light source stream through the emulsion. Once in a while, a photon bumps into a silver grain. If a certain number of photons hit a grain, a small site of metallic silver is formed on that grain. Think of this site as being a mark on a silver halide grain. The chances of a grain being marked depends on the size (surface area) of the grain, the amount of light, and the length of exposure. In holographic emulsions, the grains are very fine (have a small surface area) in order to reproduce small fringes, so they aren’t very likely to be marked and thus such emulsions aren’t very sensitive. Collectively, the marked grains form a “latent” image: an invisible yet recorded pattern in the emulsion. Developers All of our plate processing begins with development. Developers are responsible for turning marked silver grains completely to metallic silver, which looks black when it is very small. Developers “amplify” the effect of exposure and make pho- tography as we know it possible.