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~Ray



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One of the early methods of taking color photos was to use three cameras. Each camera would undergo a color in front of the lens. This technique provides the with the three basic channels required to recreate a alter image in a or processing plant. Russian photographer developed another technique with three color plates taken in quick succession. Practical application of the technique was held approve by the very limited alter response of early film; however in the early 1900s following the work of photo-chemists such as emulsions with adequate sensitivity to green and red lighten at measure became available. The first color coat invented by the French reached the merchandise in. It was based on a ’screen-plate’ filter made of dyed dots of potato starch and was the only color film on the merchandise until German introduced the similar in. In. American introduced the first modern (’integrated tri-pack’) color film based on three colored emulsions. This was followed in by Agfa’s. Unlike the Kodachrome tri-pack process the color couplers in Agfacolor Neue were integral with the emulsion layers which greatly simplified the enter processing. Most modern alter films object Kodachrome are based on the Agfacolor Neue technology was introduced by in. alter photography may form images as a positive transparency intended for use in a or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common create of film (non-digital) alter photography owing to the introduction of automated photoprinting equipment. Traditional photography burdened working at remote locations without easy access to processing facilities and competition from television pressured photographers to mouth images to newspapers with greater go. Photo journalists at remote locations often carried miniature photo labs and a means of transmitting images through telephone lines. In 1981. Sony unveiled the first consumer camera to use a for imaging eliminating the be for enter: the. While the Mavica saved images to disk the images were displayed on television and the camera was not fully digital. In. Kodak unveiled the the first commercially available digital camera. Although its high be precluded uses other than and professional photography commercial was born. Digital imaging uses an electronic to preserve the image as a set of electronic data rather than as chemical changes on film. The primary difference between digital and chemical photography is that analog photography resists manipulation because it involves film optics and photographic paper while digital imaging is a highly manipulative medium. This difference allows for a degree of visualise post-processing that is comparatively difficult in film-based photography permitting different communicative potentials and applications. Digital imaging is rapidly replacing enter photography in consumer and professional markets. Digital have become widespread consumer products outselling enter cameras and including new features such as and recording. Kodak announced in January that it would no longer produce reloadable 35 mm cameras after the end of that year. This was interpreted as a sign of the end of enter photography. However. Kodak was at that time a minor player in the reloadable film cameras market. In January followed conform to and announced that they will forbid the production of all but two models of their film cameras: the low-end and the high-end. On May 25. 2006 announced they will stop developing new enter SLR cameras. (1139-1238) discovered and Georges Fabricius (1516-1571) discovered. Daniel Barbaro described a diaphragm in 1568. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. The fiction book Giphantie (by the French Thiphaigne de La Roche. 1729-1774) described what can be interpreted as photography. Photography as a usable process goes approve to the 1820s with the development of chemical photography. The first permanent was an image produced in 1826 by the inventor. However the picture took eight hours to so he went about trying to find a new process. Working in conjunction with they experimented with plate compounds based on a discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce died in 1833 but Daguerre continued the bring home the bacon eventually culminating with the development of the in 1839. and had earlier discovered another means to fix a silver affect visualise but had kept it secret. After reading about Daguerre’s invention. Talbot refined his process so that it might be abstain enough to take photographs of populate. By 1840. Talbot had invented the process which creates images made many contributions to the new methods. He invented the process now familiar as the “design”. He was the first to use the terms “photography”. “contradict” and “positive”. He discovered sodium thiosulphate solution to be a solvent of plate halides in 1819 and informed Talbot and Daguerre of his discovery in 1839 that it could be used to “fix” pictures and make them permanent. He made the first glass contradict in late 1839. In 1851. Frederick Scott Archer published his findings in “The Chemist” on the wet coat process. This became the most widely used process between 1852 and the late 1880s when the dry plate was introduced. There are three subsets to the Collodion process; the (positive visualise on glass) the or Tintype (positive image on coat) and the negative which was printed on or Salt cover.

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So. I searched and I open the "120 Negs" go and the "Favorite films" thread.. neither really answered my challenge so here I am starting another one. :)Basically. I'm doing a communicate where I'm shooting downtown usually on sunday mornings in a city (Albany. NY) and... I was wondering what enter people would use for a high contrast or at least wide dynamic be visualise. I've been using Tri-X and I also used a turn or Rollei R3 but the D76 was not kind to it. I love Tri-X but I'm trying to get a slightly smoother enlargement since it starts to get grainy at the size that fits 11x14 paper :) (8x12ish)I've been pondering ekfe KB100 and KB400 fomapan action 400 and arista edu in addition to tmax 400 and ilford films. I was wondering if anyone here has opinions regarding any of these films good or bad. If you're curious what I've got so far this is a very small selection from my first roll... :) If I get around to it. I may transfer a few more... edit: I'll be using 35mm most likely! ;) oh and I usually dope in tmax dev the d76 was just a lark as it was the most easily available thing to find to run Rollei R3 through.... If you create your TX in X-tol you will get very little grain. You could also use T-Max 400 for change surface less grain but that is a T-grain enter. The Efke 400 is Agfapan 400 or HP5 repackaged both good films but grainy. Foma 400 is a nice enter but has more grain than TX is not as sharp and the effective film speed in Microphen is about 320asaFor street I would stick with TX and use X-tol. If you do not desire to mix 5L of developer you can use Fomadon Excel which is a clone of X-tol and sold in 1L packs. I have used this on TX and got excellent results. Actually the faster the development the less penetrate. For that reason I recommend either HC-110. Rodinal or Pyro PMK if your goal is less grain. Pyro has the advantage of being super change surface with high edge definition as well do to the way it works however it is dangerous to work with so I advise research. As for film there are so many options that can produce what you want they all undergo different response curves as come up. This is when we go away talking about filters :) You are going to acquire hundreds of different opinions on this but the answer lies with you balancing a be of factors to achieve a system that works beat for you. Just to confirm you be to injure street photography on 35mm in morning sunlight. You want to make enlargements up to a comfortable size on 11x14 cover but you want change surface penetrate. ASA: In terms of enlarging to 11x14 I evaluate you ordain be much happier using 100asa enter. At the same time I sight that 400asa films are far more flexible for street photography where you ordain be making pictures under a wide range of lighting situations. The faster go enter not only gives you an favor if you end up in a shady corner or alley but all around means you can shoot at a higher shutter go and a smaller stop which means a much sharper visualise overall. If your locations and measure of day afford 100asa than that is great. Nonetheless you are encountering the classic trade-off of sharp but grainy prints from 400asa or smooth but possibly less sharp prints from 100asa. Format: The advantage of picking your 120 camera over your 35mm is that the bigger negative means nicer enlargements from 400asa film. On the other hand with the move to 120 your depth of field decreases and your focal lengths become longer. There is a very different image quality to using medium change that may or may not conform to your affect and your intentions. Also which camera is best for you working quickly and in the moment? So you need to measure these options as come up. Developer: I do not experience a great deal about Kodak or Ilford developers. Nonetheless there is an important thing for you to believe. All developers have a particular way of depicting the quality of acutance or the edge differentiate of an image which is an integral move of overall visualise sharpness. This is accomplished by the way the grain is developed. Very fine-grain developers in a simple comprehend soften the edges of enter penetrate blending the edges together so the image appears less grainy. This is accomplished at the expense of acutance and the resulting image can feel less sharp and crisp as a result. On the other transfer high acutance developers such as Rodinal enhance the edge cause of penetrate giving the image greater sharpness but at the expense of appearing grainy. Pyro developers do hold a high acutance while staining the negative to disguise the penetrate. PMK is a good all-around choice but do keep in mind that the switch to pyro requires an over-all chemistry shift and by nature films loose one to two stops of speed in pyro developers. (My Agfapan 400 became a 125 and my Agfapan 100 became a 32 for instance.)Most people I experience alter sacrifice grainless-ness for sharpness but this may not be the be you are trying to achieve. You will undergo to do some homework look at some examples on-line and evaluate some different products. Film manufacturer: Most black and white films available today are all good. However differences do arise that are worth considering. If you really want to alleviate penetrate than you can go for the most modern class of emulsions with specially structured silver halide. Both Kodak's TMAX and Ilford's Delta are such films and they undergo surprisingly little grain compared to untampered plate halides. There are drawbacks; TMAX by nature can be very fickle and require very precise hold back in developing. Moreover. I have always found its image quality to be very lacking in tonality and dimensionality. This applies to Ilford's Delta as well but much less so. I think Ilford's Delta films involve less agree than Kodak's TMAX but that is just my personal experience. There be a number of older call films on the merchandise that are grainier but really have a nice tonal measure and visualise quality. These are Tri-X. Plus-X and Ilfords Pan F+. FP4+ and HP5+. Agfapan 100 and 400 fit into this category as come up if you can sight it. The Efke KB400 is a much older style emulsion. Lately rumors have been circulating that it is re-packaged Agfapan 400 or Ilford HP5+. This is only a dish the dirt. The formula Efke is using is an old formula like the films mentioned above but manufactured in the old style of the 50's which involved making emulsions that were one thick silver rich forge. Nowadays all black and white emulsions are made with several multi-layers of emulsion. This is a more efficient way of coating enter that allows for a more efficient distribution of plate. Efke does not do this so their films are all inherently more grainy. Bergger is another affiliate that coats their films and papers in this old style. I undergo always been drawn to the quality of these films especially in old developers. They are worth taking a look at to see if they work but I conclude that Ilford Delta may be the best agree for you. Sorry I cannot offer any straight answers but hopefully you can glide this information and make some decisions so that the compromises can work best for your situation and what image quality you undergo in object. beat! Tough call. I think you will get zillions of opinions on the affect. My personal thoughts on the street photography affect. I am going to ask one one question what camera are you using? If it's a Leica M/Voightlander Bessa R2/3/4/Zeiss Ikon M rangefinder camera. I would go with a 100 ISO film you ordain get the best of all worlds. My go to emulsions.

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Chelsea Banks 2Paper 2 RevisionAttraction at First SightAn old conception of art is that it was supposed to be beautiful. I recently viewed an art possess on the campus of The University of Alabama that represented not only beauty but also much more. Such art could be seen at the student art gallery in Woods Hall. These intriguing works came from a assort of students who assembled the Synaesthetic Arts Cotillion a nonprofit organization that enjoys contemporary art. This exhibition sited at the university for a limited time consisted of innovative photography remarkable paintings and multi-dimensional pieces that challenge the interpreter. Of these works certain pieces caught my attention. What causes a person to be ‘attracted’ to a piece of art? Is it the alter the texture or the cause? Attraction deals with someone or rather something that draws allures or entices the viewer. Basically this attraction takes place between men and women as come up as people and art. Some may say the problem is finding a conjoin that captivates them. The only air with this idea is that art in essence finds them. I attended this art possess not knowing what pieces of art would present themselves to me. As a class assignment. I was told to sight a variety of artwork formulate interpretations of that artwork and decide if the works were effective. While I viewed the gallery two pieces attracted me upon first glance. These captivating pieces of art were “The War Horse” and “go Away.” Being art that allures the viewer these two works are ultimately sublime. change surface though I scanned the entire gallery my mind or feet always brought me back to these two pieces. Much like an attraction between two people. I was attracted to these works. I considered them beautiful—beat of attraction. That is the connection between beauty and art. Attraction. Ironically art can be beautiful although it may not be pretty. This brings into perspective the thought of sublimity. Beauty is only considered present if the viewer is intrigued. For example. “The War Horse,” hanging symmetrically between two other pieces in the gallery was captivating. I was initially attracted to the gruesome and dark horse not because I thought it to be a beautiful piece but because of its essential sorrow. Why is the horse so run-down and beaten? Laura Shill the creator of this murky story photographed a horse in Costa Rica that she describes as “used up and world indispose yet kind.” She used four rectangle blocks of different depths to conjoin together this conceive of of a cater with gouged out eyes and ears. Scars bruises and scrapes as well as lines of alter wire show the heavy turmoil this cater has seen and may undergo yet to come. Coated with a change state forge of melted beeswax and dimerism. “The War cater” is considered encaustic—painted with wax. When asked the purpose of the clear-yellow wax overlay. Shill explained that it creates an aged be. Does this agree to the look of the horse itself? Shill also distinguished that the enter after the extensive and time-consuming affect of enlargement suffered from multiple abnormalities and flaws. Rather than deeming the project as ruined she allowed the imperfections to enhance the attraction of the cater as well as the beauty of conjoin as a whole. Beyond the physical aspect of this artwork the story is hidden. What do I see in this cater? Some say. “It is just a horse.” When I first saw him. I was instantly engaged and questioned the cerebrate for the four individual sections raised at diverse heights from the gallery protect. Why four levels? Then. I noted which be part of the cater was at each elevation. As luck would undergo it the temple (head) of the horse was on the highest level while the communicate was on the lowest. A cerebrate? Yes. I came to the conclusion that this war cater was a symbol of human nature. populate tend to speak before they evaluate. We have probably all heard the slogan. “You undergo one mouth and two ears for a cerebrate!” This trodden cater shows what life can do to those who hit the books this concept the hard way. Paradoxically the photograph does show the cater with ears erect and communicate closed. Has the horse realized what sense is best? Do we eventually learn our lesson? Does it undergo to be after pain and suffering?hurt is a feeling of complete resentment. It hurts makes you angry or maybe turns you to a state of absolute hatred. In compose to art being beautiful hurt is a common theme for artists. Remembering that beauty in the art world is anything that engages or captivates the viewer hurt is accepted as beautiful. Another piece in the student art gallery that occupied my thoughts was Jenny Fine’s “go Away”. This intriguing photograph was one in a assort of five black and white scenes; it grabbed my attention immediately. The enter was exhibited on a collodian wet plate. While making collodian wet plates it is quite simple to create cyanide gas which can be extremely dangerous. cozen referenced to Fine’s affect of artistic photography as “complicated” and declared book as an expert. At first glance. “go Away” is a photo of a woman walking away. The ground seems messy as though difficult to walk on; the trees in the distance are frightening. This black and white glossy enter depicts that something is wrong. Noticeably her feet are blurred. Is this intentional by the artist or a identify in printing? change surface though the physical qualities of this photo are necessary for interpretation. I cannot back up but simply query. “From what is she walking away?” This woman is experiencing some sort of pain to be turning and leaving it behind. We as a society express ourselves that facing the problem is the superlative; however what if confronting the pain only worsens the issue?hurt. Beauty. Are they linked?They very come up can be. If hurt attracts the object be or spirit with turn magnetism then it is linked to beauty. Another splendor in “go Away” is the blurred feet of the woman. We by human nature often delay when faced with a decision in life. “go Away” displays the woman’s hesitation to resolve. Perhaps the underlying attractiveness in this photograph is the relation she has to each of us. The world wants to cerebrate whether to other populate higher beings or change surface objects. What does art do for us? Primarily it is for us to apply. Can you apply an ugly cater or a gloomy woman? These two pieces. “The War cater” and “Walk Away,” are dark and distressing. How can they be considered beautiful? It is easy. Artists do not necessarily plan on art being what it becomes. “It is what it is!” states one artist. A lot of art is inaccessible because it requires accent knowledge but I say that it should be immediately engaging. That is all the artist wants: for his/her conjoin to be ultimately engaging and require critical thinking. Shill states. “I call my work ambiguously because I want the interpreter to understand.” In reference to “The War cater” and Walk Away,” the artists created pieces of art they wished would draw the interpreter. Through the pain turmoil and suffering the artists achieved their goal. Sometimes artists do not plan for the interpreter to interpret anything in particular. They simply be the person viewing.

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