Hx photo Ia Flashcards

1
Q

Forty Etchings Made with the Camera Lucida in N. America in 1827 and 1828

A

An illustrated book by Basil Hall. The etchings were based on camera lucida drawings that documented Hall’s travel. Hall praised the instrument that freed the amateur “from the triple misery of perspective, proportion and form.” [BN.11]

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2
Q

Albumen print

A

Xxx

Albumen: eggwhite. Used on glass as a medium for light-sensitive emulsions to make finely detailed negatives. Also, albumen positive prints are made on paper or other substances coated with eggwhite and salt solution and sensitized with silver nitrate. The print is made by exposing the negative against the paper to sunlight. NR

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3
Q

Alphonse Giroux

A

Daguerre’s brother-in-law, who constructed Daguerreotype cameras and accessories for sale. The cameras were beautifully made of wood and fitted with lenses ground by Chevalier, the Parisian optician who had supplied lenses for Niépce and Daguerre’s early experiments. Every camera was signed by both Daguerre and Giroux. [BN.25]

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4
Q

Ambrotype

A

The name for a glass collodion process patented in 1854 in the United States by James Ambrose Cutting. It produces a glass negative that looks like a positive because of the way the image is develop and backed. (Called collodion positives in Great Britain.) NR

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5
Q

Anastasius Kircher

(1601-18)

A

Designed a portable, tent-like, collapsible version of the camera obscura. The camera was illustrated in Kircher’s 1646 treatise on light as a suitable instrument for drawing the landscape. [NR.192]

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6
Q

Antiquarian avant-garde

A

A movement, starting in the 1970s-80s, of contemporary photographers using photographic processes from the 19th century. For example: photograms by Adam Fuss, daguerreotypes by Jerry Spagnoli and Chuck Close, and collodion prints by Sally Mann.

[BOOK REVIEW] Photography’s antiquarian avant-garde: the new wave in old processes. Harry N. Abrams, May 1, 2002, 159 pages.

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7
Q

August 19, 1839

A

The technical details of Daguerre’s process were described publicly at a joint meeting of the Academy of Sciences and the Academy of Fine Arts. [BN.23]

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8
Q

Basil Hall

(1788-1844)

A

Traveled to the US in 1827 and created a book of etchings from his camera lucida drawings. [NOTES]

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9
Q

Calotype

A

(also called Talbotype): The first successful negative/positive process, patented in 1941 by William Henry Fox Talbot. A negative latent image produced by exposing paper sensitized with potassium iodide and silver nitrate solutions in a camera is then developed in acetic and gallic acids plus silver nitrate. Positives (called salt prints) are subsequently made by contact-printing the paper calotype negatives in daylight onto salted paper (paper that has been treated with silver nitrate and salt). In current usage, calotype refers to the negative. NR

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10
Q

Camera ludica

A

An instrument consisting of a prism supported by a telescoping stand set over drawing paper. Used for copying drawings and tracing views of nature. [NR.glossary]

Invented in 1807 by William Hyde Wollaston, it was another mechanical substitute for artistic skill. [BN.11]

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11
Q

Camera obscura

A

Forerunner of the photographic camera. Originally a darkened room in which observers could view images of outside subjects projected (upside down) through a pinpoint light source onto a facing wall. Later this evolved into a portable box with an aperture, lens, mirror, and viewing screen. [NR.glossary]

By the 18th century, the camera obscura had become standard equipment for artists. [See also BN.9]

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12
Q

Carte-de-visite

A

A 3½ by 2½ inch mounted photographic print popular in the late 19th century, usually a portrait and generally made as one of a number of images on a singe photographic plate. Patented by André Adolphe Eugene Disdére in 1854. NR

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13
Q

Charles Chevalier

A

An optician who provided lenses for Niépce and Daguerre, and who told Daguerre of Niépce. [BN.17]

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14
Q

Claude Niépce de Saint-Victor

(1805-70)

A

In 1847, proposes using as a negative a glass plate coated with albumen and silver halide. [NR.timeline]

Invented, in 1847, a process using egg whites to attach silver salts to glass. These albumen plates gave excellent negatives with fine detail and could be sensitized long in advance of exposure, but their low sensitivity made them very slow. [BN.59]

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15
Q

Daguerreotype

A

The first practical photographic process, in which an image is formed on a copper plate coated with highly polished silver that is sensitized by fumes of iodine to form a light-sensitive coating of silver iodide. Following exposure, the latent image is developed in mercury vapor, resulting in a highly detailed image. It’s a unique work, having no negative for replication.

1937 “Still Life” is the earliest surviving example of a daguerreotype. [BN.18]

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16
Q

Diorama

A

A theatre built for the display of huge paintings on semitransparent theatrical gauze. The gauze was painted on both sides and illuminated by lights that made the images dissolve into one another.

In painting for the diorama, Daguerre used the camera obscura to assure correct perspective. Familiarity with this tool led to his experiments in photography. [BN.15,17]

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17
Q

Excursions Daguerriennes

A

A series of travel images, issued between 1840 and 1844, based on Daguerreotypes taken in Europe, The Middle East and America for the publisher N.M.P. Lerebours. The images were traced and transferred to copper plates. Figures and traffic were added to please the public, who did not prefer the depopulated aspect of the first daguerreotypes. [BN.27]

18
Q

February 20, 1839

A

A second paper on Talbot’s photogenic drawing process was read to the Royal Society. This paper included technical details, specific enough to enable anyone to repeat the results. [BN.20]

19
Q

Francois Arago

(1786-1853)

A

Secretary of the French Academy of Sciences and a member of the Chamber of Deputies of the French government. He proposed the French government purchase “both processes” (heliotypes and Daguerreotypes?) and arranged to a meeting of the Academy for Daguerre to present his discovery. [BN.18]

Arago engineered the purchase by France of the process that Daguerre had perfected on his own after the death of his original partner, Joseph Nicéphore Niépce. Then, on August 19, 1839, with the inventor at his side, Arago presented the invention to a joint meeting of the Academies of Sciences and Fine Arts. [NR.16-17]

20
Q

Gilles Louis Chrétien

(1754-1811)

A

nted the Physionotrace in 1786. [NR.40, BN.11]

Multiple copies of drawings could be made with etchings. [NOTES]

20
Q

Francois Gouraud

A

A Frenchman who came to America and exhibited his high-quality daguerreotypes in New York, Boston, and Providence. He gave demonstrations to packed audiences, offered private instruction, and sold cameras imported from Paris. [BN.33]

21
Q

January 31, 1839

A

Talbot’s paper on his photogenic drawing process was read at the Royal Society (England’s top scientific body). It was a general description of the results he obtained. [BN.20]

22
Q

January 7, 1839

A

Meeting of the French Academy of Sciences, arranged by Francois Arago, to announce Daguerre’s invention. [BN.18-19]

23
Q

John Plumbe

(1811-1857)

A

Was a businessman with Daguerreotype studios and galleries in the US. He sold equipment, supplies, and lessons, and made inexpensive portraits. [NR]

24
Joseph Nicéphore Niépce | (1765-1833)
Invented heliographs, which fixed an image from a camera on metal or glass plates. He used bitumen of judea—which hardened when exposed to light, but remained soluble in oil of lavender where not exposed—first to copy an engraving and later to record an image with a camera obscura. To make the copy, he put an engraving (of a portrait from his collection) on a light-sensitive plate and exposed it to sunlight. The printed lines of the engraving held back the light, while the white paper allowed light to pass through. Most of the bitumen became hard/insoluble from the exposure, but the areas directly beneath the lines of the etching remained soluble and could be removed by lavender oil. The bared metal was then etched to form a printing plate. To create direct positives through this process, Niépce washed the bitumen-coated plate in his solvent and put the plate face down on top of an open box of iodine, which became gaseous at room temperature and darkened the plate in the shadowy areas. Next, Niecephore put a light-sensitive plate in the back of a camera obscura to record an image. (“View from His Window at Le Gras”, 1827) To improve detail in his images, Niépce sought assistance from an optician to make a lens, which in turn led to contact with Daguerre and their 10-year partnership (beginning December 4, 1829).
25
Latticed Window at Lackock Abbey WHF Talbot, English (1800-1877) 1835 or 1839 Depicted: England, Lacock, Wiltshire Photogenic drawing negative 3 1/4 x 4 3/16 in, irregular The Metropolitan Museum of Art, The Rubel Collection, Purchase, Ann Tenenbaum and Thomas H. Lee and Anonymous Gifts, 1997 (1997.382.1)
26
Leonardo da Vinci | (1452-1519)
Described the optics of the camera obscura. [NOTES] Described the camera obscura in his “Codex Atlanticus” and “Manuscript D”. This and other sources from the 16th century document use of device during that time, including use as a drawing aid. [VARIOUS]
28
Louis Jacques Mandé Daguerre | (1787-1851)
Daguerre built on Niépce’s work to invent Daguerreotypes. [BN.18] Basic process: * Put silver on a copper plate (through electroplating) and polish it to be mirror bright and chemically clean. * Sensitize the plate by putting it silver-side down over a box with iodine, the fumes of which react with the silver to form light-sensitive silver iodide. While still in the darkroom, put the plate in a plate holder. * Expose the plate in a camera. * Develop the latent image in mercury vapor. * Wash the plate in a salt solution to render the unexposed silver iodide relatively insensitive to further light action. * Wash and dry the plate. Sold rights to the French government, which in turn paid an annual stipend to Daguerre and Niépce. Daguerre was required to give public talks on his process.
28
N.P. Lerebours | (1807-73)
Published Excursions Daguerriennes (1840-43), a series of travel images based on Daguerreotypes taken in Europe, The Middle East and America. The images were traced and used for engraving/reproduction. It was one of the first extensive works based on Daguerreotypes. [NR.97] Another publication: Treatise on Photography [see BN.31]
30
Photogenic drawing
An early process for producing paper negatives without a camera. After objects were placed on paper sensitized with table salt and silver nitrate, the paper was exposed to light. It darkened in proportion to the amount of light each area received, resulting in a negative image, which was then fixed with a salt solution. NR
31
Physionotrace
A sitter’s profile is traced through a movable sight connected by levers to a stylus that records the image on a reduced scale, in ink on a copper plate. The plate is then engraved. Duplicates can be printed from the engraving [BN.11] Invented in France in 1786 by Gilles Louis Chrétien, the device consisted of a pointer attached by a series of levers to a pencil, by means of which the operator could trace on paper a profile cast onto glass. A pantograph reduced and transferred the image to a copper plate, which, when engraved and inked, would permit the printing of an addition. [NR.40]
32
Romanticism
A Western cultural phenomenon, from about 1750-1850, that gave precedence to feeling and imagination over reason and thought. More narrowly, the art movement that flourished from about 1800 to 1840. [A4A:glossary]
33
Samuel F.B. Morse | (1791-1872)
Morse was one of earliest to use the Dagurerreotype process in America. [BN.28] Morse was in Paris when the new of Daguerre’s process was released. He invited Daguerre to a demonstration of his electric telegraph, and Daguerre reciprocated by showing Morse his Daguerreotypes. [BN.16]
34
Thomas Wedgwood | (1771-1805)
First person to attempt to record a camera image by means of the action of light. Before 1800, he began experiments by sensitizing paper or leather with silver nitrate and then placing flat objects or painted transparencies in contact with the paper/leather and exposing the whole to light. The “sun prints” were not permanent. [BN.13] Photography experiments from 1790-1802. [NOTES] Used camera obscura to make sketches of country houses to decorate plates. [BN.13]
34
Sir John Herschel | (1792-1871)
Discovered, in 1819, that Hyposulfate of soda (sodium thiosulfate) rendered silver salts insensitive to light. In 1829, after hearing of Daguerre’s and Talbot’s discoveries, Herschel used the chemical to fix his photographs. Hypo washed away the silver salts, and stopped the light sensitivity of the paper. [BN.21] Herschel also observed in 1839 that a weak negative, in which the silver deposit is somewhat light in tone and the shadows transparent, will appear as a positive when viewed against a black background. [BN.62]
35
Tintype
A positive image formed by exposing in a camera a thin, varnished sheet of iron coated with black or brown lacquer and sensitized collodion. Used almost exclusively for inexpensive portraiture. (Also called ferrotype and melainotype.) NR
36
Wet plate process or Wet collodion process
Usually, a wet-plate process in which a negative is made by coating a glass plate with a light-sensitive emulsion of collodion (guncotton dissolved in alcohol and ether) to which potassium iodide and potassium bromide have been added. The plate is inserted into the camera, exposed while wet, and developed immediately thereafter. [The dry collodion process allows the plate to be exposed and developed at a later time, but requires a much longer exposure.] NR
38
Étienne de Silhouette | (1609-67)
French author and politician who was the source of the name Silhouette. [OED] Comptroller general of France who levied a land tax on estates. He served \< 1 year and his short tenure as finance chief caused him to become an object of ridicule. His penny-pinching manner led the to the term “a la Shilhouette” to refer to something cheap. [NOTES/WIKI] During this time, an art form of growing popularity was a shadow profile cut from black paper. It provided a simple and inexpensive alternative fore those who could not afford more decorative and expensive forms of portraiture. Those who considered it cheap attached the word silhouette to it. [WIKI} SILHOUETTE: A portrait traced from a cast shadow and inked in, or cut freehand from black paper, and then mounted on a lighter ground. A silhouette shows only the profile. [NR.40] With increasing demand for pictures by the middle class, the silhouette required “merely the ability to trace a shadow’. [BN.11]
39
The oldest surviving camera photograph. A heliograph, taken by Nicéphore Niépce in 1827, that shows parts of the buildings and surrounding countryside at his estate.
40
Southworth and Hawes
In Boston, Albert Sands Southworth and Josiah Johnson Hawes produced portraits far removed from the conventional stiff poses favored by most of their colleagues. [BN.34] Photo firm in Boston, 1843-1862