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CP210 History of Photography

by: Mahongany Barlow

CP210 History of Photography CP210

Mahongany Barlow

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About this Document

Chapter 2
History of Photography
Alison A. Smith
Class Notes
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This 3 page Class Notes was uploaded by Mahongany Barlow on Friday September 9, 2016. The Class Notes belongs to CP210 at Southern Illinois University Carbondale taught by Alison A. Smith in Fall 2016. Since its upload, it has received 2 views. For similar materials see History of Photography in Photography at Southern Illinois University Carbondale.


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Date Created: 09/09/16
Week3 Charles Nerge   Open to testing the medium attempts to adapt tenants of academic painting “infusing the  photograph with the discerning. Optical Vignette ­ technical flaw or creative aesthetic? Samuel F. B Morse “Father of Photography American Scientist, Inventor, and Artist  He went to Paris, in an exchange to see how the telegraph worked, Daguerre showed him  his process.  30 years earlier he had attempted to fix an image from a camera obscura  Collection of portraits only 3 ¼ by 4 ¼ inches total; each indiv. Image is a 1/2inch  square. Robert Cornelius American (1791­1871) World first selfie! th  The popularity of the Daguerreotype in the middle of the 19  century was due in large  part to the demand for inexpensive portraiture  The style of these early works reflected the technical challenges associated white 30  second exposure.  Josef Petzval, Austrian in May 1840 created a much faster lens by combining higher  grade Daguerreotype Studio:  1  licensed public studio open by Richard Beard (1802­1885) in London  Jean­ Francois­ open 2  in London by 1851, grew into what Claudet began calling “The  temple of photography” The Stereoscope: Method: Two pictures were taken of essentially the same subject to reproduce binocular vision. Popular Photography: Photography­ Neutal vision­ a way to democratize knowledge; yet philosophical concern: idea  that knowledge is truth. Unease: British critioc John Ruskin at first called Daguerreotype a “blessing” than later recanted  as he found it a matter of serious concern. British portrait photographer C. Jabez Hughes (1819­1884) suggested that photography shouldbe divided into three classes Week3 Mechaical Photography: literal/exact Art photography: maker can modify subject to appear more appropriate. High art photography: utilizing theme/ideas from poetry, painting,etc. Photography Studio: Demand for training in the art & craft of photography  One on one  Royal Institution­ Demons through the 1840  King’s College (est.1829) at the University of London 1   major institution to offer photography as an academic discipline in 1856. Women professional: women were not banned but discouraged from major academies & few  women had the resources to their own full time studios:  Worked with husband  Worked with color or prepared papers Cliché Vere­ Invented in 1839 by British engravers, revamped by French experimenters & image makers Technique­ Drawing or Painting w/ part photographic technique. Neo­classism ­ art of classical antiquity antithesis of Modern art  Romanticism­ anti­ classical; yet subject matter derived from history, the bible, historical  literature. Realism­ “first” truly modern artist refused to paint historic mythological or religious subject  matter Advancements to Chemical Process  Collodin Process: a wet plate process developed in 1851 by Fredrick Scott Archer (1818­ 1857) Died six years later never earned a penny from his invention Result: an artist cross between the accuracy of the Daguerreotype and the reproducible nature of  the Calotype Process­ used glass instead of paper to support light sensitive material negative could then:  contact print onto Albumen paper, make a direct – positive Ambrotype make a direct positive  tintype Week3 Blanquart Evard­ perfected the Calotype; created Albumen paper, 100% cotton drawing paper  coated with Albumen (egg white) and (silver chloride­ table salt) dried, then dipped ina solution  of silver nitrate and water.  


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