|
|
Art Terms Glossary
Abstraction
The traditional definition of abstraction is where an artwork has no recognisable subject. You could argue that this perhaps seems in conflict with the very nature of photography and the role it fundamentally plays; to record and document. Photographers that have explored the ideas of the abstract through the photographic process include Richard Caldicott, Robert Davies, Garry Fabian Miller, Daro Montag, Roderick Packe and Neil Reddy.
Acid-free
The Buynewart prints are produced from wood-free papers (often referred to as 100% rag cotton papers) and papers that do not have acid in the pulp. Acidity in paper can cause the molecular structure of the paper to break down, discolour and weaken. Acid free papers have a pH of 7.0. Acid free Papers can be made from any fibre but generally speaking are not made using wood pulp due to its high acid content.
Advertising Photography
Advertising and photography have always been very closely connected. During the period between World War I and World War II photographers begun actively working in highly commercial ways promoting new products that had begun to add to the West’s obsession with consuming ever new products. Photographers understood that if they were involved in the rapidly evolving culture of consuming then it would be a good opportunity for them to make money that would then supplement their other less commercial photographic work.
Aerial Photography
Nadar (1820 – 1910) a French photographer, caricaturist, journalist, novelist and balloonist, was one of the early pioneers of aerial photography. Nadar photographed from his balloon over Paris in 1858. James Wallace Black did likewise over Boston two years later. Edward Steichen took aerial reconnaissance photographs during World War I. Aerial photography, especially since the perfection of infrared film in 1935 has been very useful for scientific purposes; archaeological surveys, map making, military reconnaissance, the search for water or oil, the study of forestation patterns.
Album
In 1851 Louis Desire Blanquart Evrard issued the first photographic album. It was a collection of architectural and landscape prints carefully mounted on high quality paper. The photography historian William Welling divided nineteeth-century albums into three categories: Albums for private use; Special alums commemorating particular events; and Official albums, published by official or private patrons.
Albumen Print
A process invented in 1850 by Louis-Desiré Blanquart Evrard in which a contact print is made on a paper treated with a solution of egg white (albumen) and salt. The paper is then sensitized with silver nitrate and exposed to sunlight. Albumen prints are printed through the direct action of sunlight on sensitised paper without the need for chemical processing. Albumen prints were very easy to produce and allowed the maker to capture fine detail. This made the process very popular in the nineteenth century. By the 1890s, albumen prints were superseded by other process such as Silver Gelatin Prints.
Anonymous Photography
As photography became increasingly accessible it has led to the production and circulation of images by unknown makers. This particularly applies in reference to amateur photography. Interestingly laws introduced in the early part of the nineteenth century prohibiting pornographic photography also helped cultivate the idea of the anonymous photograph. Artists such as Robert Rauschenberg, James Rosenquist and Andy Warhol have all used anonymous photographs by amateurs as well as from advertisements in their artwork.
Appropriation
The word appropriation is used when referring to an image that has been removed from its original context and put to a different use. In photography, appropriation was first explored to produce collages and photomontages out of pre-existing images. I wide array of artists have used the idea of appropriation including John Baldessari, Victor Burgin, Alain Fleischer, Joan Fontcuberta, Gilbert and Geroge, Jeff Koons, Barbara Kruger, Sherrie Levine, Richard Prince, Robert Rauschenberg, James Rosenquist, David Salle, Charlie Samuels and of course Any Warhol.
Archival properties
The prints that you see on the Buynewart Website are printed using papers produced by the German paper manufacture Hahnemühle www.hahnemuhle.com. Buynewart is confident that the prints you see here will last at least a lifetime. For further information see Acid Free section.
Artist's Proof
An Artist Proof is a numbered print which is not part of the limited edition. You can tell if a print is an artist’s proof because it will be marked usually “Artist Proof” or abbreviated as “AP”. The generally accepted edition size of an artist’s proof is it should not exceed ten percent of the regular limited edition size. (Example an edition of 150 would have 15 artist proofs.) With modern printing such as the Giclée Process, artist’s proofs are not better quality prints than the regular edition, however they are sometimes perceived as more desirable by many serious collectors because there are fewer signed in this way.
Autochrome
Autochrome was the first popular colour photographic process. Autochrome was invented and patented in 1904 by Louis Lumiere. It became commercially available three years later. An Autodhrome is a unique transparent image made on a glass plate. Photographers that have worked with the Autochrome process include James Craig Annan, Alvin Langdon Coburn, Baron Adolph de Meyer, George Bernard Shaw and Karl Struss.
Bauhaus
The Bauhaus was an art school founded by the architect Walter Gropius. Practitioners of all kinds; painter, sculptors, architects, weavers and many other disciplines were encouraged to collaborate on projects conceived with the idea of possible future mass production.
Blurring
A blur is defined as a lack of sharpness in an image potentially resulting from incorrect focus. A blur can be an accident often caused by camera shake. This is where the photographer sets the camera on a long expose and does not use a tripod. Often many artists have used this technique deliberately.
Camera
A camera consists of a light proof box; a lens capable of controlling the amount of light that passes through it; and a viewfinder.
Camera Obscura / Camera Lucida
The Camera obscura was the optical model for the modern camera. Its basic principle had been known since antiquity, but it was given new currency in the Renaissance by the Italian scientist Giovanni Battista della Porta, who designed a portable version. The camera lucida is one of an array of ‘drawing machines’ that prior to the invention of photography in 1839, allowed painters to trace the contours of a subject. An Englishman William Hyde Wollaston perfected it in the early nineteenth century.
Carbon Process
In 1855 Adolpe-Louis Poitevin patented the carbon process, the first photographic process to yield prints that remained stable over time.
Carte-de-Visite
In 1854 Andre Adolphe Eugene Disderi patented the carte-de-visite. This was a portrait glued to a piece of cardboard the size of a traditional visiting card approximately 11.5cm x 6.5cm. The model’s name and address were often printed on the back of the card.
Chloro-bromide Print
Chloro-bromide prints are a slightly different process to that of the gelatin silver print process. First introduced around 1883, they are printed on chloro-bromide paper with an emulsion containing both silver chloride and silver bromide. The method produces a unique black-toned image of accurate clarity and definition.
Chromogenic Print
A print made from a color negative, involving three emulsion layers of silver salts sensitized to one of three colors—red, green, or blue. Unlike a dye-destruction print (please see cibachrome), the dyes are not contained within each layer prior to exposure, but are made during the developing process by adding dye couplers which join the silver particles to produce the colors. The result is a color image formed by the three emulsion layers against a white background. Chromogenic prints are also known as Ektacolor prints, color coupler color prints, or Type-C prints.
Cibachrome / Ilfochrome Classic
Ilfochrome Classic print (formerly known as Cibachrome) refers to process used to print directly from transparencies. It is also referred to as R-type colour paper and printing process. The process gives strong colour saturation creating a long-lasting print with exceptionally vivid colours. Printing from a positive image (transparency) results in exactly the same colour dispersion as the original but with far greater control over the contrast. The Cibachrome Print is also known as dye-destruction and dye-bleach prints. These prints are noted for their vibrant colour, brilliant clarity, and ability to resist fading, this positive-to-positive (transparency to print) process involves the use of enlarging paper that contains all of the dyes that compose the finished color print in three layers. During processing, using a conventional black-and-white developer, an acid bleach bath, and a fixer, dye elements in the colors not contained in the original transparency are removed, resulting in a full color image formed by the remaining dyes. Cibachrome (now Ilfochrome) is the trade name originally given to this printing process by Ilford/Ciba-Geigy in the 1950s.
CMYK
CMYK is an industry standard abbreviation for cyan, magenta, yellow and black. These are the colours used in standard four colour printing as in inkjet (Giclée) and Iris printers.
C-Print
For further information please see Chromogenic Print.
C-type printing
C-type printing involves printing colour paper enlargements from small, colour negatives. This is the most common type of colour printing found in high street photographic labs.
Colour Coupler Print
For further information please see Chromogenic Print.
Contact Print
A contact print is when a negative (a large glass plate negative or smaller 35mm negative strips) are placed directly onto light sensitive paper and exposed to light.
Collage
The word collage comes from the French word coller meaning to glue. Collage is when various materials often paper, fabric, photographers are attached to a single support, most commonly a sheet of paper or canvas.
Collections
Photographers have been collected since the early experiments with the photographic image. The earliest public collections were established in France, the first being the Societe Heliogrphique. The Bibliotheque National in Paris required printmakers to submit at least two copies of each of their prints (known as depot legal) and starting in 1851 photographers were asked to do the same. In 1853 the Royal Photographic Society of London was founded and begun by collecting photographic albums. Three years after this the Victoria and Albert Museum was established in London and begun developing its own photographic collection. In all of these cases photography was collected as a document not as a work of art.
Private collectors have been the most active in forming large photographic collections ever since the beginning of the nineteenth century. The duc d’Aumale and Prince Roland Bonaparte established large private collections around 1860. The idea of the private collector has grown and expanded and has now become an internationally recognised and celebrated activity.
Digital color coupler
Color coupler prints, or chromogene prints, are very similar to standard C-type prints, but the silver salts 'couple' with colored dyes, rather than being replaced by them. The end result is very similar to standard C-type prints. Color coupler prints have the benefit of using the same extremely light-sensitive silver salts as found in silver gelatin prints, but they form high-resolution color images rather than black and white ones.
Digital C-Print
Digital C-prints are photographic prints made by exposing a sheet of Type-C photographic paper (e.g. Fuji Crystal Archive) to light inside of a digital printer instead of to light projected by an enlarger. The digital C-print is then processed in a color processor just as a traditional C-print would be. While "digital C-print" is the common term for the process, both digital and traditional (optical) C-prints are properly termed "chromogenic prints."
Digital Inkjet
Digital printing that produces images directly to the material (can be canvas or special paper surfaces) from a digital file through a stream of very fine dye drops controlled by the computer system. This process is offered referred to as Giclée and is a process becoming increasingly popular amongst contemporary fine art photographers and digital print makers. The technology has reached such an advanced stage in its evolution that the quality delivered by this process is unparallel and the longevity unequalled. Artist and photographers have identified this process as giving them the freedom to experiment and work though ideas quickly due to the speed and effectiveness of the print technology. The artist can take a photograph and within a very short space of time see the image printed out. This allows photographers to see the results of their work and make critical decisions as to if it is working or not.
Digital Interneg
An Interneg produced by digital means, rather than traditional photographic methods. Digital internegs are made by scanning an original negative or its positive image, then laserwriting the digital negative.
Dye-based inks
Dye, unlike pigment, dissolves completely in solution (pigment-based inks leave tiny particles floating in the solution). This means that dye-based inks are entirely absorbed into the paper that they are printed on - the image is in fact a highly controlled stain. The resulting images can thus appear very slick and even, with a vast range of subtle colours and extremely fine detail. However, dye-based inks are more susceptible to the harmful effects of UV light than pigment-based inks, and should be kept out of direct sunlight. And since they are soluble they should also be kept away from water, which would cause them to run. Images printed with archival dye-based inks onto archival paper will last for at least 70 years when stored in the proper conditions.
Fiber-based paper
Paper or material-based paper type used in printing black and white images from negatives (C-type). Available in all surface finishes, this thicker paper has a quality feel, gives an excellent finish, and adds 'depth' to the image through the faint weave of the paper/fibre.
Fuji color crystal archive
A C-type color resin-based paper made by Fuji. It offers excellent color reproductions and has superior archival properties (over 70 years if kept in controlled conditions).
Fujiflex
A C-type color paper made by Fuji which offers an extreme gloss finish.
Giclée
Giclee - The French word "giclée" is a feminine noun that means a spray or a spurt of liquid. The word may have been derived from the French verb "gicler" meaning "to squirt".
The term "giclee print" connotes an elevation in printmaking technology. Images are generated from high resolution digital scans and printed with archival quality inks onto various substrates including canvas, fine art, and photo-base paper. The giclee printing process provides better color accuracy than other means of reproduction.
Giclee prints are created typically using professional 8-Color to 12-Color ink-jet printers. Among the manufacturers of these printers are vanguards such as Epson, MacDermid Colorspan, & Hewlett-Packard. These modern technology printers are capable of producing incredibly detailed prints for both the fine art and photographic markets. Giclee prints are sometimes mistakenly referred to as Iris prints, which are 4-Color ink-jet prints from a printer pioneered in the late 1970s by Iris Graphics.
Giclee prints are advantageous to artists who do not find it feasible to mass produce their work, but want to reproduce their art as needed, or on-demand. Once an image is digitally archived, additional reproductions can be made with minimal effort and reasonable cost. The prohibitive up-front cost of mass production for an edition is eliminated. Archived files will not deteriorate in quality as negatives and film inherently do. Another tremendous advantage of giclee printing is that digital images can be reproduced to almost any size and onto various media, giving the artist the ability to customize prints for a specific client.
The quality of the giclee print rivals traditional silver-halide and gelatin printing processes and is commonly found in museums, art galleries, and photographic galleries.
Numerous examples of giclee prints can be found in New York City at the Metropolitan Museum, the Museum of Modern Art, and the Chelsea Galleries.
Gelatin-Silver Print
The most widely used black-and-white printing process, introduced in the late 1880s, employs papers coated with a gelatin emulsion of light-sensitive silver halide. The print is produced by exposing a negative onto the paper, either by contact-printing or through an enlarger. The print is then chemically processed, fixed, and dried. Gelatin silver prints may be toned using a variety of compounds or minerals to create a wide range of subtle hues.
Gloss surface Lambda print
Please see Lambda definition.
High reflection print
A C-type print produced on resin-based paper with a supergloss finish – please see Fujiflex definition.
Ilfochrome
Known correctly as Ilfochrome. For further information please see Cibachrome definition.
Inkjet
A broad term for four color (CMYK) printing in which liquid inks are sprayed onto the receiving material in very fine droplets not visible to the naked eye. Inkjet printers can print onto a variety of materials.
Interneg
A negative produced to replace an original negative. If an original negative is lost, damaged or too valuable to use, then a new negative can be made by photographing a transparency or print of the original.
Iris
A type of digital inkjet printer that allows photographic quality images to be printed onto a wide range of materials (such as canvas and fine art papers). This can produce a richness and depth of color not possible on traditional photographic papers.
Iris Print
A digital process in which the original photographic negative or print is scanned into a computer, then printed to an Iris inkjet printer. Also called "Giclée," from a French term meaning "spraying of ink," the prints can be produced on a variety of artist's papers. The paper is wrapped around the printer's drum, which rotates at a high speed while a set of nozzles distributes inks of the four process colors—cyan, magenta, yellow, and black. Iris technology was first developed as a proofing process by commercial offset printers. The high quality of the process was noticed in the early 1980s by two pioneers of Iris printing: Graham Nash, of Nash Editions, and Jon Cone, of Cone Editions, who then developed inks that expanded the color range and archival quality of Iris prints.
Lambda
Uses three lasers (Red, Green & Blue) to print digitised images onto traditional photographic paper. This allows consistent reproduction of large run editions with the same quality as traditional print techniques. This process typically uses C-type paper.
Lambda on crystal archive
For further information please see Lambda and Fuji color crystal archive.
Lambda on Gloss Fuji Archive
For further information please see Lambda and Fuji color crystal archive.
Landscape Photography
Landscape photography performed a documentary function before it began to be accepted in as fine art at the early part of the 20th century.
Limited Edition
A limited edition is one whose size is determined in advance by the publisher and the photographer/artist. As in traditional printmaking processes, the photographs are signed and numbered (for example: 1/100, or one of one hundred prints). Artist's proofs, which are produced in order to ensure the consistent quality of the edition, are not included in the edition size, but are numbered separately (for example: AP 1/10, or one of ten prints). The number of artist's proofs is generally limited to ten percent of the size of the edition.
Linocut on paper
Linocut on paper is a type of relief printing. A plate of linoleum (soft metal) is cut into to produce an image. Everything but the image is cut away so the image stands in relief. The plate is then inked and printed.
Lithograph
The design of the image is drawn on a flat stone, often Limestone, or metal plate with a greasy, water repellent substance. Water is then spread over the surface and the application of ink follows. After the ink is applied the areas within the image retains the ink. Paper is placed onto the plate and the image is absorbed. Only one color ink can be applied at a time, which makes the process time-consuming.
Mat/Mount
A mat is a piece of high-quality board with an opening cut to expose the photograph, which is attached to the mount, or backing board. Both serve to display and protect the photograph. Collectable prints are mounted and matted using museum-quality board with high rag content to prevent deterioration of the photograph, this is often known as archival standard.
Negative
A sheet of transparent film coated with silver salts which react when exposed to light (usually in a camera). In black and white negatives, one layer of salts reacts to white light (the full spectrum of light). The result is a reversal of normal vision: the shadows are light, the highlights dark. In color negatives there are normally three layers, each reacting to either the, red, green or blue light.
NTSC VHS
VHS video format used in North America and Japan.
PAL VHS
VHS video format used in Australia and Europe (excluding France).
PFT
P.F.T.s, or Print Film Transparencies, are positive color reproductions from original negatives, produced as transparencies.
Palladium Print
For further information please see Platinum Print definition.
Photogram
A photogram is a photograph made without a lens or camera: objects are placed directly on top of a sheet of photographic paper which is then exposed to light. Where the objects obstruct the light, the paper remains unexposed (light in tone), while the rest darkens through exposure.
Photographic collage
A single image built up from several photographic prints.
Photogravure
A highly refined photo-mechanical process based on the etching, or intaglio, process. A copper or zinc plate dusted with fine granular resin is heated, covered with a sheet of bichromate gelatin tissue and contact-printed with a positive transparency to produce an image. After the gelatin tissue is washed away, the plate is then etched in an acid bath. Due to the interaction of the gelatin with the plate, highlights are resisted by the acid, while shadow areas become deeply etched. When the plate is inked and printed in an etching press, the tonality and details of the original positive are transferred onto paper.
Photogravure also known as heliogravure, photogravure is arguably the finest photomechanical means of reproducing a photograph in large editions.
Pigment-based inks
Pigment, unlike dye, is a powder made up of tiny granules that will not dissolve completely in solution. This means that pigment-based inks leave particles of pure color bonded to the surface of the paper that they are printed on. The resulting images can thus appear very rich and physical, densely saturated in color - although extremely fine detail may be compromised. Pigment-based inks are much more resistant to UV light than dye-based inks and will tend to keep their original colors longer. They are also less likely to run if they come into contact with water. Images printed with archival pigment-based inks onto archival paper will last for at least 150 years if stored in the proper conditions.
Palladium Prints
A contact print made through a process in which a paper is sensitized with a solution of platinum and iron salts and developed in potassium oxalate. This process, first developed in 1873, was appreciated for its broad scale of middle tones, luminous whites, and high degree of permanency.
Platinum print
Similar to silver gelatin prints, but using iron and platinum instead of silver salts. Platinum prints are valued aesthetically for their range of tonal variations (typically silvery greys) and have excellent archival properties, although the price of platinum makes them expensive to produce. The platinum process survived in commercial form until 1941 when the high cost of this rare metal caused manufacturers to cease production. However the process enjoyed a renaissance during the 1960s when photographers, who appreciated its broad tonal scale, detail, and permanence, as well as the un-manipulated contact print, began hand-coating papers. The advantages of hand coating include the ability to mix platinum and palladium salts and to use different types of paper, both of which enable the printer to control the tonality of the prints. Palladium is a more economical metal that can be used interchangeably or in combination with platinum in this process. Used alone, it produces prints with warm black to reddish-brown tones.
Polaroid
A manufacturer/trademark of a photographic system which gives 'instant' prints, by which film, paper and developing solution are combined in one unit. As soon as the film/paper is exposed the image begins to develop, developing fully within a maximum of 5 minutes.
Polaroid
Polacolor 2
A type of Polaroid print.
Polaroid Polacolor ER
A type of Polaroid print.
Polaroid Polacolor Type 108
A type of Polaroid print.
Positive
A positive is, obviously, the opposite of a negative. It is an image which is not reversed. Positive images are made through a double negative: silver salts react to light producing a negative which, when projected onto photographic paper (more silver salts), produces a positive.
Prestige print RA4 Ilford
A prestige print is a handmade print. RA4 is the paper process used in printing color prints from color negatives.
Resin-based paper
Plastic based paper type. The most common paper type for printing color images as it gives greater gloss potential than fiber-based papers (e.g. supergloss on Fujiflex).
R-type paper
R-type papers work in the opposite way to traditional papers. A transparency (positive) is projected onto reversal paper which thus develops a positive image.
R-type printing
R (or Reversal) type printing is a more expensive process than C-type, printing from a positive slide or transparency onto R-type paper to give exactly the same color saturation as the original image. This method can potentially heighten contrast by reducing shadows.
Scientific Photography
The scientist Francois Arago first announced the invention of photography to the public in Paris in 1839. The announcement forged the relationship between science and photography.
Screen printing
A stencil is made up for each color of the image and put over a fine fabric mesh that is stretched over a metal frame. The colored ink is spread over the mesh and stencil and the ink falls through the stencil to the underlying material (usually an art paper) to produce the image. The surplus ink is washed away. Once the ink has dried the next stencil (i.e. the next color) is placed and the process begins again.
Selenium gelatin photogram
Please see photogram and selenium toning definitions.
Selenium toned gelatin print
Please see silver gelatin print and selenium toning definitions.
Selenium toned photogram
Please see photogram and selenium toning definitions.
Selenium toning
A type of toning using the metal selenium to replace silver salts. Done both for the aesthetic benefits of a slightly warmer tone and greatly improved archival properties.
Self Portrait
The artist or photographer can easily use themselves as a model. Many photographers have explored and investigated the idea of the self portrait by setting up different scenes or scenarios using complex and lighting techniques and sets. Artists such as Gilbert and George have repeatedly photographed themselves in staged situations and then used these images in larger scale works often incorporating screen-printing and photomontage.
Serial Photography
Many contemporary photographers choose to produce their work in a series. This means that the photographer has decided to work with a single subject but organise the images that have been taken of that subject into a series.
Silk screen
A printing process in which ink or paint is brushed through a screen made of silk, on which areas have been 'masked off' to produce the image.
Silver bromide Print
Silver bromides share the features of all silver gelatin prints, giving deep rich blacks and crisp whites on a high gloss paper, as well as having good archival properties. Compared with silver chlorides or chloro-bromides, they have a neutral, deep black tone.
Silver chloride print
Silver chlorides share the features of all silver gelatin prints, giving deep rich blacks and crisp whites on a high gloss paper, as well as having good archival properties. Compared with silver bromides or chloro-bromides, they have a cooler, bluish-black tone.
Silver gelatin print
Silver gelatin prints typically give deep rich blacks and crisp whites on a high gloss paper. They have extremely good archival properties, lasting over 100 years without visible fading if kept carefully. There are three key types of black and white gelatin prints: silver bromide, silver chloride and chloro-bromide.
Silver salts
Silver salts are light sensitive chemical compounds. When exposed to light - either in a camera (in the case of film and negatives) or in the dark room (photographic papers) - the silver salts react by darkening in proportion to the amount of light reflected from the subject.
Surface finishes
Matt, gloss, supergloss, satin and pearl are all finishes available on different paper types. Satin and pearl are different names for the same finish - somewhere between gloss and matt).
Snapshot, Instantaneous and spontaneous
Snapshots were made possible by a series of advances most notably the invention of the reliable shutter or rapid-shutter technology which played a major role in reducing the time someone would have to pose for a photograph and the development of increasingly light-sensitive and faster film. Kodak was one of the first companies to introduce an easy-to-use camera in the United States in 1888. These made photography accessible to a wide and varied number of people across the globe. Many professional photographers have adopted this direct and spontaneous approach to making images and it has become an accepted process in Fine art Photography. The American photographer Nan Golding is a good example of this.
Solarization
Solarization also referred to as the ‘Sabattier Effect’ occurs when the development of a negative or paper print is briefly interrupted by the momentary re-exposure to light. This interruption results in a partial reversal of positive and negative values in the final image. The process is unpredictable and has therefore bee adopted by Surrealist photographers such as Man Ray.
Staged Photography
Is when a photographer constructs, fabricates or manipulates the subject in front of the camera in order to achieve a particular result The photographer uses the camera in a control and purposeful manner often photographing objects, situation or scenarios that have be planned, setup or contrived. Staged photography is the opposite idea of the snapshot or photograph made in an instantaneous or spontaneous manner. A contemporary photographer that has played a pivotal role in merging photography and contemporary art is Jeff Wall. Jeff Wall’s work explores the relationship between the fictive and the real producing large scale transparencies displayed in beautifully crafted light boxes.
Tinting or tinted prints
A process similar to toning, but involving the addition of a single color over the whole print. The effect is most visible in the image's highlights and mid-tones. Done purely for aesthetic reasons, tinting does not affect a print's archival properties.
Toning
Toning changes the overall color and stability of a photograph. Gold toning, which usually increases contrast, image stability, and permanence, originated during the era of the daguerreotype. It was commonly used with albumen prints in order to impart a rich purplish-brown color. Selenium is currently the most commonly used toner. It slightly increases the tonal range and density of a print, giving it a deeper, richer tone. Like gold, selenium coats the silver in the emulsion, producing a more stable print. Selenium toning can also produce a "split-tone" photograph on certain papers, creating an image with silvery highlights and rich burgundy shadows. Toning a gelatin silver print changes the chemical composition by depositing sulfur, copper, gold, iron, mercury, palladium, platinum, selenium, or vanadium compounds on the surface. This results in a variety of color effects, ranging from brown, green, and blue to purple, red, and yellow hues.
Transparency
A positive photographic image on a transparent or translucent support, such as glass or film. Autochrome, the first commercially viable glass plate transparency, was introduced by the Lumière brothers in 1907, and remained in use until it was supplanted by Kodachrome, introduced by Kodak in 1935.
Vintage Print
An image printed around the same time that the negative was created. Most photography specialists limit the time span to ten years.
Previous: Art Framing Guidelines
|
|
Shopping Basket
