Carlos Relvas’s Stereoscopic Photography: The Digital Reunion of Negatives and Prints

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2020-10-01 DOI:10.1080/03087298.2021.1963569
V. Flores
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Abstract

European stereoscopic photography owes a significant part of its cultural specificity to amateur photographers who resorted to the wet collodion process to document nature with reduced exposure times and to perfect their photographic art with crisper and more detailed images. The Portuguese Carlos Relvas (1838–94) was one of these renowned collodion practitioners. Until recently, most of his stereoscopic collections remained undigitised and unstudied, and the contribution of stereoscopy to the launch of his international career was little known. The building of an online catalogue raisonné dedicated to Relvas’s stereoscopic photography has been an opportunity to undertake a combined study of his stereoscopic negatives and prints, making it possible to retrieve new information about the extent, importance and evolution of his stereoscopic work. While designed to make these collections digitally available, the catalogue offers a new perspective on the specific value of stereoscopic negatives and cross-referenced ‘image families’ for a new understanding of photographic practice. By re-examining the opportunities offered by digital collections, this article sheds light on their potential to remodel the memory and historic value of a nineteenth-century photographer and, in particular, to properly showcase stereoscopic photography.
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卡洛斯·雷瓦斯的立体摄影:底片与版画的数字重聚
欧洲立体摄影的文化特色很大程度上归功于业余摄影师,他们采用湿火棉胶工艺来记录自然,减少曝光时间,并用更清晰、更详细的图像来完善他们的摄影艺术。葡萄牙人卡洛斯·雷尔瓦斯(1838-1994)就是这些著名的火棉胶从业者之一。直到最近,他的大多数立体藏品都没有被数字化和研究,立体复制对他国际职业生涯的贡献也鲜为人知。建立一个专门用于Relvas立体摄影的在线目录raisonné,为对他的立体底片和版画进行综合研究提供了机会,从而有可能检索到关于他立体作品的范围、重要性和演变的新信息。虽然该目录旨在使这些藏品数字化,但它为立体底片的具体价值提供了一个新的视角,并为对摄影实践的新理解提供了交叉引用的“图像家族”。通过重新审视数字藏品提供的机会,本文揭示了它们重塑19世纪摄影师记忆和历史价值的潜力,尤其是正确展示立体摄影的潜力。
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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