Pub Date : 2020-11-19DOI: 10.1080/01971360.2020.1748971
Lucy J. Cooper, Susan Costello, K. Eremin, Melissa Moy, K. King, M. Walton, E. Pouyet, A. Shortland, L. Dussubieux
ABSTRACT This paper describes a multi-center collaborative project involving curators, conservators, scientists and artists to investigate the Chinese ceramics known as numbered Jun Ware. This rare group of high-quality stoneware, which probably originates from the early fifteenth century, consists of flower pots and matching basins. They are most often decorated with a thick purple glaze on the exterior and a blue glaze on the interior, but some examples have blue glazes on both surfaces. A scientific investigation of their manufacturing process was performed through two main analytical approaches. First, computed radiography showed that most vessels were either wheel-thrown or mold-made. One group, however, combines both techniques, and were wheel-thrown in one piece before being molded. Second, analytical techniques, namely X-ray fluorescence spectroscopy and laser ablation inductively coupled plasma mass spectrometry were carried out to study the elemental and chemical composition of glazes. The results show a clear separation between traditional and numbered Jun, supporting the argument for a different period of production.
{"title":"Numbered Jun Ware – a technical study","authors":"Lucy J. Cooper, Susan Costello, K. Eremin, Melissa Moy, K. King, M. Walton, E. Pouyet, A. Shortland, L. Dussubieux","doi":"10.1080/01971360.2020.1748971","DOIUrl":"https://doi.org/10.1080/01971360.2020.1748971","url":null,"abstract":"ABSTRACT This paper describes a multi-center collaborative project involving curators, conservators, scientists and artists to investigate the Chinese ceramics known as numbered Jun Ware. This rare group of high-quality stoneware, which probably originates from the early fifteenth century, consists of flower pots and matching basins. They are most often decorated with a thick purple glaze on the exterior and a blue glaze on the interior, but some examples have blue glazes on both surfaces. A scientific investigation of their manufacturing process was performed through two main analytical approaches. First, computed radiography showed that most vessels were either wheel-thrown or mold-made. One group, however, combines both techniques, and were wheel-thrown in one piece before being molded. Second, analytical techniques, namely X-ray fluorescence spectroscopy and laser ablation inductively coupled plasma mass spectrometry were carried out to study the elemental and chemical composition of glazes. The results show a clear separation between traditional and numbered Jun, supporting the argument for a different period of production.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"255 - 268"},"PeriodicalIF":0.5,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1748971","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46326194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2019.1656446
D. Kirby, A. Manick, R. Newman
ABSTRACT This study investigates the efficacy of a sampling technique to acquire sufficient sample for peptide mass fingerprinting analysis (PMF) with minimal alteration to photograph surfaces. The technique, which is potentially useful for sampling surface coatings in a wide variety of situations, uses very fine polishing film (1–30 μm particles, 14,000–600 grit) to abrade and remove small amounts of surface material consistent with PMF sample requirements. Several variations of sampling devices were evaluated using coated salt print mock-ups and study collection photographs. This paper discusses those evaluations, proposes an optimized system for sampling thin, proteinaceous coatings for PMF analysis, and cites criteria for deciding whether using the sampling technique is warranted and/or advisable in certain cases.
{"title":"Minimally Invasive Sampling of Surface Coatings for Protein Identification by Peptide Mass Fingerprinting: A Case Study with Photographs","authors":"D. Kirby, A. Manick, R. Newman","doi":"10.1080/01971360.2019.1656446","DOIUrl":"https://doi.org/10.1080/01971360.2019.1656446","url":null,"abstract":"ABSTRACT This study investigates the efficacy of a sampling technique to acquire sufficient sample for peptide mass fingerprinting analysis (PMF) with minimal alteration to photograph surfaces. The technique, which is potentially useful for sampling surface coatings in a wide variety of situations, uses very fine polishing film (1–30 μm particles, 14,000–600 grit) to abrade and remove small amounts of surface material consistent with PMF sample requirements. Several variations of sampling devices were evaluated using coated salt print mock-ups and study collection photographs. This paper discusses those evaluations, proposes an optimized system for sampling thin, proteinaceous coatings for PMF analysis, and cites criteria for deciding whether using the sampling technique is warranted and/or advisable in certain cases.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"235 - 245"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2019.1656446","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42615351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2019.1643527
J. Chen, Theresa J. Smith
ABSTRACT A modified digital camera can be used for photographic techniques that utilize not only the visible light spectrum but longwave ultraviolet and near-infrared radiation. Seven techniques were used to document salted paper prints: visible light photography with normal, raking, and specular illumination, UVA-induced visible fluorescence, reflected UVA, reflected near-IR, and visible-induced infrared luminescence. The last four techniques, in particular, can reveal or accentuate subtle differences in materials or condition issues of salted paper prints that may otherwise be hard to discern in visible light. In order to achieve consistency, a standardized workflow was created taking into consideration several important factors, such as light and radiation sources, setup, lens choice, use of filters, and incorporating target references for color rendering, exposure control, and image processing procedures. An exposure sequence is suggested to safeguard the prints and to increase efficiency. Total exposure was monitored to ensure that light and UVA exposure during documentation did not induce detectable change.
{"title":"Documentation of Salted Paper Prints with a Modified Digital Camera","authors":"J. Chen, Theresa J. Smith","doi":"10.1080/01971360.2019.1643527","DOIUrl":"https://doi.org/10.1080/01971360.2019.1643527","url":null,"abstract":"ABSTRACT A modified digital camera can be used for photographic techniques that utilize not only the visible light spectrum but longwave ultraviolet and near-infrared radiation. Seven techniques were used to document salted paper prints: visible light photography with normal, raking, and specular illumination, UVA-induced visible fluorescence, reflected UVA, reflected near-IR, and visible-induced infrared luminescence. The last four techniques, in particular, can reveal or accentuate subtle differences in materials or condition issues of salted paper prints that may otherwise be hard to discern in visible light. In order to achieve consistency, a standardized workflow was created taking into consideration several important factors, such as light and radiation sources, setup, lens choice, use of filters, and incorporating target references for color rendering, exposure control, and image processing procedures. An exposure sequence is suggested to safeguard the prints and to increase efficiency. Total exposure was monitored to ensure that light and UVA exposure during documentation did not induce detectable change.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"271 - 285"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2019.1643527","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46343041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2019.1651567
Sarah K. Freeman, Stacey Rain Strickler
ABSTRACT Documentation of ultra light-sensitive photographic materials is difficult to achieve without exposure and added handling of prints in a typical imaging workflow. These prints are often physically fragile and can be chemically unstable. Permanent changes to the image can occur rapidly when exposed to light. The Paper Conservation and Imaging Services Departments at the Getty Museum established safe parameters for documentation of its most vulnerable photographs. Imaging under safelight conditions, which in essence converts the studio into a photographic darkroom, reduces ultraviolet (UV) and infrared (IR) radiation as well as visible light exposure during handling, but still allows for publication worthy image capture. True-to-life digital imaging makes these photographs accessible through the Museum's active digital platforms. An illustrated step-by-step summary of the workflow is provided.
{"title":"Imaging the J. Paul Getty Museum’s Collection of Ultra Light-sensitive Photographs under Safelight","authors":"Sarah K. Freeman, Stacey Rain Strickler","doi":"10.1080/01971360.2019.1651567","DOIUrl":"https://doi.org/10.1080/01971360.2019.1651567","url":null,"abstract":"ABSTRACT Documentation of ultra light-sensitive photographic materials is difficult to achieve without exposure and added handling of prints in a typical imaging workflow. These prints are often physically fragile and can be chemically unstable. Permanent changes to the image can occur rapidly when exposed to light. The Paper Conservation and Imaging Services Departments at the Getty Museum established safe parameters for documentation of its most vulnerable photographs. Imaging under safelight conditions, which in essence converts the studio into a photographic darkroom, reduces ultraviolet (UV) and infrared (IR) radiation as well as visible light exposure during handling, but still allows for publication worthy image capture. True-to-life digital imaging makes these photographs accessible through the Museum's active digital platforms. An illustrated step-by-step summary of the workflow is provided.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"262 - 270"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2019.1651567","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49037847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2020.1832404
H. Mayo, Erin L. Murphy, David F. Remington
ABSTRACT The Harrison D. Horblit Collection of Early Photography comprises more than 7000 items from the 1830s to 1900. Of special interest are approximately 1000 salt prints, 50 photogenic drawings, and 300 paper negatives from the earliest decades of photography by many key photographers. Formed by Harrison D. Horblit (1912–1988), the collection was given to Harvard University in 1995. Horblit bought widely and without applying aesthetic judgements that tend to shape fine art collections, resulting in a collection containing unique material for the social history of photography and examples of the range of photographic processes used in the nineteenth century. In 2016, Houghton Library, Harvard University’s principal rare book and special collections library, began to update catalog records and digitize the holdings in the Horblit Collection in order to improve access. This paper describes the strategies for safe handling during cataloging, imaging and exhibition of photogenic drawings and early salted paper prints. Harvard Library Imaging Services and Weissman Preservation Center devised a procedure for imaging the many light sensitive and early experimental photographs. These practical procedures, including studio and exhibition space modification and the special handling workflow will be outlined.
{"title":"The Harrison D. Horblit Collection of Early Photography: A Strategy for Research, Cataloging, Imaging, and Exhibition","authors":"H. Mayo, Erin L. Murphy, David F. Remington","doi":"10.1080/01971360.2020.1832404","DOIUrl":"https://doi.org/10.1080/01971360.2020.1832404","url":null,"abstract":"ABSTRACT The Harrison D. Horblit Collection of Early Photography comprises more than 7000 items from the 1830s to 1900. Of special interest are approximately 1000 salt prints, 50 photogenic drawings, and 300 paper negatives from the earliest decades of photography by many key photographers. Formed by Harrison D. Horblit (1912–1988), the collection was given to Harvard University in 1995. Horblit bought widely and without applying aesthetic judgements that tend to shape fine art collections, resulting in a collection containing unique material for the social history of photography and examples of the range of photographic processes used in the nineteenth century. In 2016, Houghton Library, Harvard University’s principal rare book and special collections library, began to update catalog records and digitize the holdings in the Horblit Collection in order to improve access. This paper describes the strategies for safe handling during cataloging, imaging and exhibition of photogenic drawings and early salted paper prints. Harvard Library Imaging Services and Weissman Preservation Center devised a procedure for imaging the many light sensitive and early experimental photographs. These practical procedures, including studio and exhibition space modification and the special handling workflow will be outlined.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"286 - 302"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1832404","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44354762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2020.1834957
Laura Panadero, K. Eremin, Elena Bulat
ABSTRACT The Harrison D. Horblit Collection of Early Photography at Houghton Library, Harvard University contains 370 paper negatives, presenting an opportunity to study this nineteenth century technique in depth. In a pilot study on the composition and light stability of paper negatives by the French artist Frédéric Flachéron (1813–1883), nine paper negatives were analyzed with X-ray fluorescence analysis and three with microfade testing to ascertain if there was a correlation between the presence of halides and the light stability of the negatives. Technical analysis identified iodine and bromine in the negatives and indicated variability in Flachéron’s stabilization and fixing methods not previously documented.
{"title":"X-ray Fluorescence Analysis of Frédéric Flachéron’s Paper Negatives, 1848–1852","authors":"Laura Panadero, K. Eremin, Elena Bulat","doi":"10.1080/01971360.2020.1834957","DOIUrl":"https://doi.org/10.1080/01971360.2020.1834957","url":null,"abstract":"ABSTRACT The Harrison D. Horblit Collection of Early Photography at Houghton Library, Harvard University contains 370 paper negatives, presenting an opportunity to study this nineteenth century technique in depth. In a pilot study on the composition and light stability of paper negatives by the French artist Frédéric Flachéron (1813–1883), nine paper negatives were analyzed with X-ray fluorescence analysis and three with microfade testing to ascertain if there was a correlation between the presence of halides and the light stability of the negatives. Technical analysis identified iodine and bromine in the negatives and indicated variability in Flachéron’s stabilization and fixing methods not previously documented.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"186 - 193"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1834957","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42167055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2019.1612724
Joan M. Walker, Ronel Namde
ABSTRACT A wealth of period literature from as early as 1856 through the 1920s promoted the toning of salted paper prints with platinum to achieve certain aesthetic effects and improve silver image permanence. A variety of toning bath compositions were proposed to achieve a range of image tones. Additionally, other platinum and matte silver photographic processes, such as kallitypes, silver-platinum prints (e.g., “Satista”), and silver-intensified platinum prints, were popular during the salted paper print revival and may have similar characteristics. However, few examples of prints containing both silver and platinum have been identified in museum collections. To investigate their chemical natures and range of appearances, the authors fabricated prints according to historic recipes. These simulacra were analyzed by XRF spectroscopy and color measurement and artificially aged to provide data relating to metal content, appearance, and longevity. High-resolution electron microscopy of the salted paper print samples revealed the chemical influence of the toning method on the metallic nanostructures that comprise the image. Ultimately, the analytical results are tied to visual observations to elucidate toning methods used by early photographers, contribute to process identification, and draw conclusions about the conservation of these materials.
{"title":"The History and Chemistry of Platinum-toned Salted Paper Prints","authors":"Joan M. Walker, Ronel Namde","doi":"10.1080/01971360.2019.1612724","DOIUrl":"https://doi.org/10.1080/01971360.2019.1612724","url":null,"abstract":"ABSTRACT A wealth of period literature from as early as 1856 through the 1920s promoted the toning of salted paper prints with platinum to achieve certain aesthetic effects and improve silver image permanence. A variety of toning bath compositions were proposed to achieve a range of image tones. Additionally, other platinum and matte silver photographic processes, such as kallitypes, silver-platinum prints (e.g., “Satista”), and silver-intensified platinum prints, were popular during the salted paper print revival and may have similar characteristics. However, few examples of prints containing both silver and platinum have been identified in museum collections. To investigate their chemical natures and range of appearances, the authors fabricated prints according to historic recipes. These simulacra were analyzed by XRF spectroscopy and color measurement and artificially aged to provide data relating to metal content, appearance, and longevity. High-resolution electron microscopy of the salted paper print samples revealed the chemical influence of the toning method on the metallic nanostructures that comprise the image. Ultimately, the analytical results are tied to visual observations to elucidate toning methods used by early photographers, contribute to process identification, and draw conclusions about the conservation of these materials.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"194 - 210"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2019.1612724","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43086937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2020.1843709
Erin L. Murphy, L. Daffner
{"title":"Introduction to our Special Issue on Salted Paper Prints","authors":"Erin L. Murphy, L. Daffner","doi":"10.1080/01971360.2020.1843709","DOIUrl":"https://doi.org/10.1080/01971360.2020.1843709","url":null,"abstract":"","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"139 - 140"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1843709","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44911017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2020.1774725
Rosina Herrera Garrido, Suzan de Groot, Tom Callewaert-Dore
ABSTRACT The Rijksmuseum holds four valuable albums with 187 photographs made by Eduard Isaac Asser (1809–1894), one of the first figures in photography in the Netherlands. Based on visual examination, most of these prints have been identified as salted paper prints with a coating, but they can be hard to distinguish from matte or glossy albumen prints, especially where the coating is thick. In order to be more accurate in our descriptions and to better understand Asser’s technique, a technical study of his work was conducted. Fourier transform infrared spectroscopy (FTIR) helped us to identify, to a certain extent, the nature of the coatings. Before the analysis, the prints had been described either as “shellac coated” or as “waxed,” based on their varying degree of sheen. FTIR identified a larger number of substances in the coatings: gum, protein, natural resin, and possibly starch. Optical coherence tomography (OCT) was also used to study the coatings. Because OCT has limitations when dealing with very thin layers, it was not always suitable for distinguishing coated salted paper prints from coated albumen prints. However, it did turn out to be a useful tool to explore the topography and structure of the paper supports and the coatings.
{"title":"The Coated Salted Paper Prints from the Eduard Isaac Asser Collection at the Rijksmuseum: FTIR and OCT Identification and Characterization","authors":"Rosina Herrera Garrido, Suzan de Groot, Tom Callewaert-Dore","doi":"10.1080/01971360.2020.1774725","DOIUrl":"https://doi.org/10.1080/01971360.2020.1774725","url":null,"abstract":"ABSTRACT The Rijksmuseum holds four valuable albums with 187 photographs made by Eduard Isaac Asser (1809–1894), one of the first figures in photography in the Netherlands. Based on visual examination, most of these prints have been identified as salted paper prints with a coating, but they can be hard to distinguish from matte or glossy albumen prints, especially where the coating is thick. In order to be more accurate in our descriptions and to better understand Asser’s technique, a technical study of his work was conducted. Fourier transform infrared spectroscopy (FTIR) helped us to identify, to a certain extent, the nature of the coatings. Before the analysis, the prints had been described either as “shellac coated” or as “waxed,” based on their varying degree of sheen. FTIR identified a larger number of substances in the coatings: gum, protein, natural resin, and possibly starch. Optical coherence tomography (OCT) was also used to study the coatings. Because OCT has limitations when dealing with very thin layers, it was not always suitable for distinguishing coated salted paper prints from coated albumen prints. However, it did turn out to be a useful tool to explore the topography and structure of the paper supports and the coatings.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"246 - 261"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1774725","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46660333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/01971360.2020.1810487
Tania Passafiume, M. Languille, Chantal Garnier
ABSTRACT Hippolyte Bayard is celebrated for his invention of the direct positive process of 1840. A direct positive process captures an image without a negative. In Bayard’s process, a sensitized sheet of paper is placed into the back of a camera, where the typical negative would have been placed. Direct positives are unique images, however they cannot be easily reproduced. One-hundred-and-eighty years have gone by since Bayard shared his first photographic process, yet, his system remains a mystery. The only extant notes are a series of published letters to the Académie des sciences and to editors in photographic journals. This study explores the scant surviving evidence by re-creating his recipes. Characterization was carried out with densitometry, colorimetry, X-ray fluorescence spectroscopy, X-ray diffraction and scanning electron microscopy.
{"title":"Hippolyte Bayard’s Direct Positive Process: History, Re-creation, and Characterization","authors":"Tania Passafiume, M. Languille, Chantal Garnier","doi":"10.1080/01971360.2020.1810487","DOIUrl":"https://doi.org/10.1080/01971360.2020.1810487","url":null,"abstract":"ABSTRACT Hippolyte Bayard is celebrated for his invention of the direct positive process of 1840. A direct positive process captures an image without a negative. In Bayard’s process, a sensitized sheet of paper is placed into the back of a camera, where the typical negative would have been placed. Direct positives are unique images, however they cannot be easily reproduced. One-hundred-and-eighty years have gone by since Bayard shared his first photographic process, yet, his system remains a mystery. The only extant notes are a series of published letters to the Académie des sciences and to editors in photographic journals. This study explores the scant surviving evidence by re-creating his recipes. Characterization was carried out with densitometry, colorimetry, X-ray fluorescence spectroscopy, X-ray diffraction and scanning electron microscopy.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"59 1","pages":"159 - 170"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1810487","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46487141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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