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Procedimientos Fotográficos (2100

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Procedimientos Fotográficos (2100 / procedimientos fotográficos curso 2013-2014 Prof. Javi Moreno Facultad BBAA, Altea / UMH 1. Imagen fotográfica / aparición y desarrollo de la imagen fotográfica Facultad BBAA Altea / UMH / prof. javi moreno 1.1. Orígenes del medio fotográfico y desarrollo de la imagen fotográfica Antecedentes y aparición del medio fotográfico en el siglo XIX Facultad BBAA Altea / UMH / prof. javi moreno Camera Obscura Los primeros datos que poseemos acerca de un cono- cimiento sobre la tecnología de la cámara datan de la ÉPOCA RENACENTISTA. > Camera obscura: 1er ensayo conocido en la historia para reproducir y pro- yectar imágenes del entorno. Facultad BBAA Altea / UMH / prof. javi moreno idea de MÍMESIS (imitación de la Naturaleza) Ilustración del texto La Práctica de la Perspectiva Facultad BBAA Altea / UMH / prof. javi moreno Camera Obscura > Sistema de la camera obscura: 1. Se forma sobre la pared opuesta una imagen invertida de lo que hay en su interior. 2. La luz penetra por un pequeño agujero desde la pared de una habitación oscura Facultad BBAA Altea / UMH / prof. javi moreno Escuela de Atenas, 1512. Rafael Escuela de Atenas, 1512. RAFAEL Camera Obscura > PERSPECTIVA LINEAL Utilizado para recrear la profundidad. Líneas que convergen en un punto de fuga Desarrollada por: Leon Battista Alberti Filippi Brunelleschi Donato Bramante Facultad BBAA Altea / UMH / prof. javi moreno La ciudad ideal, 1475. Piero della Francesca Ilustración de Universal Magazin, 1752. John Hinton Camera Obscura En un principio, la camera obscura consistía en una habi- tación a oscuras que fuera tan grande como para alber- gar al propio artista. Facultad BBAA Altea / UMH / prof. javi moreno Camera Obscura El desarrollo de una cámara obscura “portátil” no fue hasta el siglo XVII y XVIII, trasladando el mismo princi- pio a una caja. Facultad BBAA Altea / UMH / prof. javi moreno Traité élémentaire de physi- que, París, 1855. A. GANOT Camera Obscura Construcción manual de cámara obscura: http://thales.cica.es/rd/Recursos/rd99/ed99-0273-01/ camara_oscura_1.htm http://thales.cica.es/rd/Recursos/rd99/ed99-0273-01/ camaraosc_2_1.html Facultad BBAA Altea / UMH / prof. javi moreno Camara Obscura > DISPOSITIVO DE LA CÁMARA LÚCIDA Se dispone papel sobre una superficie plana. Sobre ésta se extiende un brazo de bronce que sujeta en su extre- mo un prisma de vidrio. Mirando a través de un orificio en el borde del prisma, se puede ver al mismo tiempo el referente u objeto a dibujar y el papel. Facultad BBAA Altea / UMH / prof. javi moreno > Indicaciones para construir una cámara lúcida y ejemplo actual de cámara lúcida “En los primeros días del mes de octubre de 1833 [recordaría más tarde] me entretenía en las adorables orillas del lago de Como, en Italia, hacien- do bocetos con la camera lucida de Wollaston, o mejor, como decirlo, in- tentando realizarlos, pero con el menor éxito posible… Tras varios intentos infructuosos dejé de lado el instrumento y llegué a la conclusión de que su uso requería un conocimiento previo del dibujo, que lamentablemente yo no poseía. Pensé entonces en probar de nuevo un método que había intentado muchos años antes. Este método era utilizar una cámara obscu- ra y proyectar la imagen de los objetos sobre una hoja de papel colocada en su foco: imágenes mágicas, creaciones de un momento, destinadas a esfumarse rápidamente. Fue durante estas reflexiones que se me ocurrió la idea: qué hermoso sería si se hiciera posible que tales imágenes natu- rales fueran impresas en forma duradera y quedaran fijas sobre el papel” WILLIAM HENRY FOX TALBOT Heliografía Heliografía o el uso de materiales fotosensibles > SISTEMA DE LA HELIOGRAFÍA 1. Se extiende sobre papel, piedra o de cobre una mez- cla de betún de judea (fotosensible) y aceite de lavanda. 2. La placa untada se expone a la luz de la cámara oscu- ra. 3. Posteriormente la placa se baña en un disolvente de aceite de lavanda y aceite de petróleo. 4. Lavarlo con agua templada y aparecerá la imagen. Facultad BBAA Altea / UMH / prof. javi moreno Heliografía Heliografía o el uso de materiales fotosensibles >PROBLEMA: > SISTEMA DE LA HELIOGRAFÍA La imagen no quedaban fijadas totalmente e iban desapareciendo. 1. Se extiende sobre papel, piedra o de cobre una mez- cla de betún de judea (fotosensible) y aceite de lavanda. 2. La placa untada se expone a la luz de la cámara oscu- ra. 3. Posteriormente la placa se baña en un disolvente de aceite de lavanda y aceite de petróleo. 4. Lavarlo con agua templada y aparecerá la imagen. Facultad BBAA Altea / UMH / prof. javi moreno Vista desde su ventana en Le Gras, 1827. Heliografía. JOSEPH-NICÉPHORE NIEPCE Mesa puesta, alrededor de 1927. Heliografía. JOSEPH-NICÉPHORE NIEPCE Regalada por la familia Niepce en 1890 a la Société Française de Photographie. A la izquierda grabado de Isaac Briot (1650) y a la derecha copia del gradado realizado por Niepce a través de su técnica heliográfica. Daguerrotipo LOUIS-JACQUES-MANDÉ DAGUERRE (1787-1851) Pintor, decorador teatral e inventor > DIORAMA: Sistema de representación tridimensional teatral. Se utilizan fondos curvos y se completa con la inclusión de escenografías e iluminación. Facultad BBAA Altea / UMH / prof. javi moreno Daguerrotipo NIÉPCE/ DAGUERRE (1787-1851) > 1829: Forman un equipo de trabajo. Funcionan sobre- todo por correspondencia. Se reconocía a Niépce como inventor, pero tras su muer- te y las negociaciones con su hijo, Daguerre constará como único inventor. > Daguerre introduce el YODURO DE PLATA (material fotosensible). Facultad BBAA Altea / UMH / prof. javi moreno Daguerrotipo Primera fotografía en 1837 donde plasma un fragmento de su estudio realizada sobre una hoja de cobre y recu- bierta de plata. Dicha plata se colocaba sobre una caja con partículas de yodo. Después a través de mercurio calentado hacía visible la imagen. > Nace el DAGUERROTIPO Facultad BBAA Altea / UMH / prof. javi moreno 1837 Primer daguerrotipo, 1837. DAGUERRE Daguerrotipo WILLIAM HENRY FOX Fotógrafo, inventor, arqueólogo, botánico, filósofo, ma- temático y político > 1834: DIBUJOS FOTOGÉNICOS (negativos) Rayogramas MAN RAY Fofogramas MOHOLY NAGY Facultad BBAA Altea / UMH / prof. javi moreno Dibujo fotogénico de Henry Fox Talbot Calotipo 1. Papel sensibilizado con sales de plata y ácido gálico. 2. Fijación con hiposulfito sódico. 3. Se cubría el negativo con cera, se colocaba sobre el papel sensibilizado y se positivaba a través de un foco de luz. > Se utilizó hasta 1860. Fue el método más utilizado antes de la albúmina. Facultad BBAA Altea / UMH / prof. javi moreno Cianotipo, 1854.ATKINS ANNA Avances técnicos en la fotografía del siglo XIX POSITIVO FOTOGRAFÍA NEGATIVO Términos acuñados por el astrónomo y matemático JOHN HERSCHEL Facultad BBAA Altea / UMH / prof. javi moreno Avances técnicos en la fotografía del siglo XIXt > Publicaciones de los descubrimientos de: TALBOT DAGUERRE: A través de un manual de instrucciones para crear uno mismo la cámara de daguerrotipos. Facultad BBAA Altea / UMH / prof. javi moreno El Propileo en Atenas, 1841. PIERRE-GUSTAVE JOLY DE LOTBINIERE. Grabado al aguatinta sobre daguerrotipo de 1839 Calotipo de MAXIME DU CAMP en sus viajes por Egipto (1850) La calle Montgomery, San Francisco, FREDERICK COOMBS, daguerrotipo, 1850. El pajar, 1843. WILLIAM HENRY FOX TALBOT. Copia en papel salado sobre negativo de calotipo Maria Sabatier-Blot y su nieta, 1843. JEAN- BAPTISTE SABATIER-BLOT. Daguerrotipo. Fotografía de Joel Peter Witkin Avances técnicos en la fotografía del siglo XIX > 1847: PLACAS DE ALBÚMINA CLAUDE-FÉLIX-ABEL NIEPCE DE SAINT-VICTOR > 1851: Uso del colodión (fotosensible) FREDERICK SCOTT ARCHER Sensibilización de las placas de vidrio con sales de plata Facultad BBAA Altea / UMH / prof. javi moreno Avances técnicos en la fotografía del siglo XIX > FOTOGRAFÍA A LA ALBÚMINA La albúmina reemplazó al daguerrotipo y al calotipo / Posibilidad de INSTANTÁNEA / Coste inferior al daguerrotipo / Posibilidad de multiplicación (negativo) Facultad BBAA Altea / UMH / prof. javi moreno La Gran Ola, 1857. GUSTAVE LE GRAY. Positivado combinado a la albúmina Las dos sendas de la vida, 1857. OSCAR GUSTAVE REJLANDER, positivado combinado a la albúmina “Hasta ahora la fotografía se ha contentado principal- mente con presentar a la Verdad. ¿No puede ampliarse su horizonte? ¿Y no puede aspirar también a delinear la Belleza?” Artículo en On Art-Photography, 1861 Momentos difíciles, 1860. OSCAR GUSTAVE REJLAN- DER, positivado combinado a la albúmina Avances técnicos en la fotografía del siglo XIX RETOQUE FOTOGRÁFICO FOTOMONTAJE DOBLE EXPOSICIÓN (SANDWICH) VANGUARDIAS ARTÍSTICAS Facultad BBAA Altea / UMH / prof. javi moreno FOTOGRAFÍA LITERATURA Facultad BBAA Altea / UMH / prof. javi moreno Xie Kitchin, 1872. LEWIS CARROL, albúmina. PINTURA FOTOGRAFÍA Facultad BBAA Altea / UMH / prof. javi moreno Paseando, 1887. HENRY PEACH ROBINSON. Postitivado a la albúmina y boceto previo para su producción. Mujer desnuda. JEAN LOUIS MARIE EUGENE DURIEU Odalisque.1857. EUGENE DELA- CROIX, óleo sobre lienzo Desapareciendo. HENRY PEACH ROBIN- SON. Positivado com- binado a la albúmina. FOTOGRAFÍA = ARTE FOTOGRAFÍA = REGISTRO Facultad BBAA Altea / UMH / prof. javi moreno Elisabeth de Gramont, 1887. NADAR, albúmina Cathedral Rock. 1866. CAR- LETON E. WATKINS. Albú- mina Reunión de vías, Promontory Point, Utah, 1869. ANDREW J. RUSSELL, albúmina The Snake Priest, Hopi. 1901. ADAM CLARK WROMAN Adam Clark Vroman, 1895. ADAM CLARK WROMAN Samoan lady, Samoa, 1890. Geisers en la Reserva yellows- tone. WILLIAM HENRY JACK- SON, Dibujos sobre fotografías
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