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Reprint of the original, first published in 1861.
Nineteenth-century photography is usually thought of in terms of ‘black and white’ images, but intense experimentation with generating and fixing colors pre-dated the public announcement of the daguerreotype in 1839. Introducing readers to the long, frequently overlooked story of the relationship of color to photography, this short anthology of primary sources includes: accounts of the scientific search for color by Elizabeth Fulhame and Sir John Herschel;photographers' views on color; extracts from the photographic press and from manuals on handcoloring; and accounts by critics such as John Ruskin. The volume provides a fresh perspective on the culture, history and theory of early photography, demonstrating why scientists, philosophers, photographers, literary writers and artists were so fascinated by the potential for polychrome in photographs. With an introductory essay arguing that from the earliest days of photography the prospect of color loomed large in the imagination of its creators, users and critics, this reader is an essential resource for students and scholars wanting to gain a full understanding of nineteenth-century photography and its relationship to art history, literature and culture.
"Expanding the canon of photographic history, Capturing Japan in Nineteenth Century New England Photography Collections focuses on six New Englanders, whose travel and photograph collecting influenced the flowering of Japonism in late nineteenth-century Boston. The book also explores the history of Japanese photography and its main themes. The first history of its kind, this study illuminates the ways photographs, seeming conveyors of fact, imprint mental images and suppositions on their viewers"--
Photography, both in the form of contemporary practice and that of historical material, now occupies a significant place in the citadels of Western art culture. It has an institutional network of its own, embedded within the broader art world, with its own specialists including academics, critics, curators, collectors, dealers and conservators. All of this cultural activity consolidates an artistic practice and critical discourse of photography that distinguishes what is increasingly termed 'art photography' from its commercial, scientific and amateur guises. But this long-awaited recognition of photography as high art brings new challenges. How will photography's newly privileged place in the art world affect how the history of creative photography is written? Modernist claims for the medium as having an aesthetic often turned on precedents from painting. Postmodernism challenged a cultural hierarchy organized around painting. Nineteenth-century photographs move between the symbolic spaces of the gallery wall and the archive: de-contextualised for art and re-contextualised for history. But what of the contemporary writings, images, and practices that negotiated an aesthetic status for 'the photographic'? Photography and the Arts revisits practices both celebrated and elided by the modernist and postmodernist grand narratives of art and photographic history in order to open up new critical spaces. Written by leading scholars in the fields of photography, art and literature, the essays examine the metaphorical as well as the material exchanges between photography and the fine, graphic, reproductive and sculptural arts.
Clear instructions and step-by-step photographs teach you how to mix chemicals and apply light-sensitive emulsions by hand, how to create imagery in and out of the darkroom, how to translocate Polaroid photos and magazine and newspaper pictures, and how to alter black-and-white photographs. A color portfolio highlights the work of internationally known artists such as Robert Rauschenberg, Todd Walker, and most recently Doug and Mike Starn, and an invaluable list of supply sources (including e-mail addresses) from throughout North America and Europe is included at the end of the book. Setting aside old distinctions between photographer and nonphotographer, New Dimensions in Photo Processes invites artists in all media to discover nonsilver imaging techniques. Painters, printmakers, fiber artists, sculptors, illustrators and photographers alike will find this a valuable, practical text outlining creative processes that require little or no knowledge of photography and chemistry.
We live in a time in which photographs have become extraordinarily mobile. They can be exchanged and circulated at the swipe of a finger across a screen. The digital photographic image appears and disappears with a mere gesture of the hand. Yet, this book argues that this mobility of the image was merely accelerated by digital media and telecommunications. Photographs, from the moment of their invention, set images loose by making them portable, reproducible, projectable, reduced in size and multiplied. The fact that we do not associate analogue photography with such mobility has much to do with the limitations of existing histories and theories of photography, which have tended to view photographic mobility as either an incidental characteristic or a fault. Photography : The Unfettered Image traces the emergence of these ways of understanding photography, but also presents a differently nuanced and materialist history in which photography is understood as part of a larger development of media technologies. It is situated in much broader cultural contexts: caught up in the European colonial ambition to "grasp the world" and in the development of a new, artificial "second nature" dependent on the large-scale processing of animal and mineral materials. Focussing primarily on Victorian and 1920s–30s practices and theories, it demonstrates how photography was never simply a technology for fixing a fleeting reality.
The long-awaited new edition of this seminal text features clear, reliable, step-by-step instructions on innovative alternative and traditional photographic processes. Over and above a full update and revision of the technical data, there are new sections on digital negative making, electrophotography, and self-publishing. Foremost practioners, including Edward Bateman, Dan Burkholder, Tom Carpenter, Mark Osterman, France Scully Osterman, Jill Skupin Burkholder, Brian Taylor, and Laurie Tümer, have contributed their expertise to this edition. Perfect for practitioners or students of handmade photography, the book covers classic black-and-white film and paper processes, hand-coated processes like Cyanotype, and Platinum/Palladium. Also featured is an enhanced section on gum bichromate, invaluable instruction on workflow, and the integration of digital, promoting the effective union of one’s concepts, materials, and processes. The book showcases work and commentary from more than 150 international artists.