Materials and Techniques (Photography) 24-2-2004
Slide 1: Camera Obscura, 1671 (in use since Renaissance)
Slide 2: Portable Camera Obscura, late 18 C. (popular accessory to sketching)
Slide 3: Louis-Jacques Mand� Daguerre, The Louvre from the Left Bank, Paris, 1939. (Daguerreotype: One off positive on metal plate, in a glass and leather case) (Ambrotype,Tintype; in 20 C: Polaroid).
Slide 4: William Henry Fox Talbot, Nelson Column under construction, London, 1843. (Calotype: negative-positive, on paper, also described as ‘salt’ prints).
Slide 5: Jabez Hogg making a portrait in Richard Beard’s studio, Daguerreotype, 1843
Slide 6: Rev. Calvert Jones, Porta della Ripetta, Rome, 1840. Calotype.
Slide 7: Hippolite Bayard, Self-portrait as a Drowned Man, 1840. (One-off direct positive on paper, never patented or used much).
Slide 8: Robert Howlett, Kingdom Brunel, 1857. Collodion on glass (wet) plate, albumen paper print, (available since c1851).
Slide 9: Stereoscopic card (albumen prints from stereoscopic camera wet plates)
Slide 10: Stereoscopic viewer (1 850s – 70s)
Slide 11: Eugene Disd�ri, uncut sheet of cartes-de-visite, c. 1858
Slide 12: Disderi’s portrait studio in Paris, 1865.
Slide 13: Album page of cartes-de-visite (6x 11cm) of Prince of Wales and Princess Alexandra, 1 860s.
Slide 14: Albumen prints collage, Filmer Album, 1860’s.
Slide 15: Julia Margaret Cameron, The Little Angel, wet collodion, albumen print, 1872
Slide 16: Camille Silvy, River Scene, 1858, gold toned albumen combination print from 2 negatives
Slide 17: Gelatine prints from gelatine bromide (1871) stripping (1886) / celluloid film (1889) taken with Kodak camera, Queen Alexandra, 1889-91
Slide 18: Advert for Eastman Kodak, 1888
Slide 19: Edward Steichen, untrimmed gum bichromate print, 1904. (Also carbon prints, and mixed e.g. bichromate over platinum: Pictorialism. Ink based prints, hand-made look)
Slide 20: Jacob Rees, Italian Mother and Her Child, New York 1889, taken using flash. (search Google for image)
Slide 21: The Daily Mirror Russian Revolution, 1917, halftone photomechanical process (1880) (search Google for image)
Slide 22: P.G. Goldshtein, Lenin addressing the troops outside the Bolshoi Theatre, Moscow, May 5,
Slide 23: 1920, as published in The Daily Mirror Russian Revolution, 1917, halftone photomechanical process (1880) (search Google for image)
Slide 24: Robert Capa, Death in Spain (of a Loyalist Soldier), Life, 1937, from 35 mm negative (uses cinema film, Leica 1914)
Slide 25: Eugene Smith, two double-page-spreads from ‘Country Doctor’, kif 1948.
Slide 26: Ansel Adams; Mount Williamson, Sierra Nevada, 1944. B&W silver print from medium format silver gelatine film (Straight Photography, FM group, Zone system to obtain art prints.)
Slide 27: Gisele Freund, Walter Benjamin, Paris 1936, colour print. (Colour: 1907 Autochromes, 1912 Agfa, positive-positive or as negative-positive methods, based on separation of three colours – primary: red, blue, green; or secondary: cyan, blue and magenta). (search Google for image)
Slide 28: Jo Spence, Included, 1989 C-type print (from colour negative, 1955). (search Google for image)
Slide 29: Richard Billingham, untitled from Ray’s a Laugh, 1990s, R-type print (from positive transparency, 1955). (search Google for image)
Slide 30: Nan Goldin, Jimmy and Paulette, 1991, Dye-destruction print (Cybachrome 1958)
Slide 31: Mariko Mori, Empty Dream, 1995, display film and light box.
Slide 32: Aziz + Coucher, from Faith, Honour and Beauty, 1992, digitised Ektacolour prints. (search Google for image)
Slide 33: Deborah Bright, Dream Girls, 1989-90
Slide 34: Photocopies, Helen Chadwick, The Oval Court, ICA 1986. (Installation view detail)
Slide 35: Anna Atkins, plate from British Algae, 1843-9, cyanotype contact print (blueprint).