PMG Photographic Processes
| Page Information | |
| Date initiated: | January 2010 |
| Contributors: | Amy Brost, Luisa Casella, Tatiana Cole, Kim R. DuBoise, Lisa Duncan, Monique Fischer, Saori Kawasumi Lewis, Amanda Maloney, Alejandra Mendoza, Elsa Thyss, Laura Wahl, Stephanie Watkins |
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Photographic Process Identification
Many photographic materials look similar, yet the chemistry behind them varies greatly. "Without detailed knowledge and understanding of the photographic processes used in making a given photograph, it is extremely difficult to determine the environmental conditions needed for the photograph’s long-term preservation, as well as the maximum light levels that should not be exceeded during display or exhibition. A detailed knowledge of the process chemistry, the processing and post-processing treatment, and the potential deterioration pathways is also needed when developing conservation and preservation treatments".
[1].
"The identification of photographs and photographic processes based solely on visual and microscopic inspection of photographs can be used to answer more than 75% of identification questions successfully". [1].
Process Identification methodologies
Graphics Atlas
The Graphics Atlas from Image Permanence Institute presents a Photographic Process Identification Methodology and Controlled Vocabulary that analyzes the key identifying features of each photographic process. By observing and identifying the characteristics of each photograph, the unique combination of features leads you to a correct identification.
These key identifying features in this methodology are divided into three groups:
1. Object View
- Primary Support
- Image: Color/Tone, Quality
- Formats/Mounting
- Finishing Techniques
- Deterioration Characteristics
- Information Written or Printed on Object
2. Surface View
- Surface Sheen
- Surface Texture
- Deterioration Characteristics
3. Magnification
- Image Structure
- Layer Structure
- Deterioration Characteristics
The Atlas of Analytical Signatures of Photographic Processes
The Atlas of Analytical Signatures of Photographic Processesby Dusan Stulik and Art Kaplan is intended for professionals that may need to identify more unusual photographs and that may have access to analytical techniques to study them. It provides identification information in terms of:
1. Visual Signatures
- Visual Characteristics
- Microscopic Characteristics
2. Analytical Signatures
- XRF
- FTIR
- Other Analytical Signatures relevant to each process
CAMEO of the Museum of Fine Arts, Boston, contains information and representative images of various photographic materials, including a short reference list.
Gawain Weaver compiled a useful controlled vocabulary of photographic processes that includes a list of synonyms and specific products associated with photographic processes.
Photographic Process Chronologies
Chronology of Flexible Films
Photographic Process Chronology
Photographic Processes List
The list of photographic processes below is modeled after Bertrand Lavédrine's organizational structure, with permission.
The pages linked below aim to offer a baseline knowledge of photographic processes from a Photograph Conservator's perspective, and list links particularly relevant for the preservation and conservation of those materials.
Positives on Metal See also Cased Photographs
Daguerreotype
Heliograph
Tintype
Positives on Glass See also Preservation of Glass in Photographic Materials
Ambrotype: Positive Collodion See also Cased Photographs
Crystoleum
Color Screen Processes
Autochrome
Lantern Slides
Lippmann Process (Interferential Color Process)
Opalines, Opaltypes, Opalotypes
Positives on Plastic
Dye Diffusion Processes
Holograms
Positives on Paper
Albumen
Lightly Albumenized Salt Print
Bromoil, Oil-Pigment
Carbon
Carbro, Ozotype, Anthrakotype, Ozobrome
Chrystotype
Collodion-Chloride Printing-Out Paper (POP)
Crayon Portraits, Solar Enlargements and Painted Photographs see also Treatment of Crayon Portraits
Cyanotype, Blueprint, Pellet Print, Argyrotype
Dye Transfer or Dye Imbibition
Gelatin Printing-Out Paper (POP)
Gum Bi/Dichromate
Photogenic Drawings, Salted Paper Prints, and Calotype Prints
Platinum, Palladium
Silver Gelatin Developing-Out (DOP), Resin Coated (RC), Photostat
Uranium Prints
VanDyke Brown, Kallitype, Brown Print, Sepia Print, Ferro-Gallic, Argentotype, Agyrotype
Mechanically Printed Positives on Paper
Collotype
Letterpress/Half-tone
Photogravure (etching)
Woodburytype See also Carbon
Mechanically Printed Positives on Paper or Plastic
Computer-generated digital-sourced print See also Digital Prints
Negatives on Paper
Albumen Negatives
Salted Paper Negatives
Negatives on Glass See also Preservation of Glass in Photographic Materials
Collodion Negative See also Cased Photographs
Gelatin Dry-plate Negative
Lantern Slides
Negatives on Plastic Film
Black and white negatives on plastic support
Color negatives on plastic support See also Preservation of Traditional Color Photographic Materials
Mechanically Printed Negatives on Paper or Plastic
Computer-generated digital-sourced print See also Digital Prints
Dye Mordanting and Silver Toning Processes
This category is defined in Sylvie Pénichon's book[2], referign to prints or transparencies made with dye mordanting or silver toning processes.
Silver Toning Processes
Polychromide
Triadochrome
Polychrome
Chromatone
Dye Mordanting Processes
Diachrome
Uvatype, Uvachrome, Vitacolor
Curtis Neotone
References
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