All of my recent photography activities have not been exclusively film-oriented, despite the implication of the last post. Something that I have been exploring lately is still-life photography in my makeshift studio in my home’s attic. Still-life photography takes two primary forms – the found still-life and the created or constructed still-life. The found still-life consists of a scene or tableau as it exists in … Continue reading Still-Life Photography
There has been a lot of movement in my photography pursuits over the past several months; I hesitate to call it progress too quickly where it may be just manifestations of G.A.S. (gear acquisition syndrome). Nonetheless, I have made several acquisitions in support of furthering my wet darkroom capabilities, expanding my digital scanning capabilities, and may have fallen down the analog rangefinder rabbit hole. This … Continue reading Do Analog Photographers Dream of Celluloid Sheep?
Many of us involved today in the art of photography cannot remember a time when photography was not primarily a digital experience, with images taken on digital cameras, recorded on digital memory media, imported to a computer, and then processed with a favored suite of software. For many the ultimate output from this endeavor is an image viewed primarily, if not solely, on an electronic … Continue reading The Wet Darkroom Revisited
The additive screen color photography techniques, as theorized by Maxwell, and as realized in the practical sense through the Dufaycolor and Autochrome processes discussed in the previous installment of this series, failed to gain broad and lasting acceptance due to some fundamental shortcomings. Additive techniques required color filters to be somehow maintained in register both for the initial image exposure and then to view the final product. These filters introduced image-degrading artifacts in the forms of lines, crosshatches, or grain patterns. The filters also screened out a significant percentage of the light hitting the film emulsion, effectively lowering their sensitivity and use in lower light situations.
Beginning in 1869 with the published papers accompanying his patents on the subject, Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive color theory in color photography. The subtractive process removes certain colors from white light while allowing other colors. The three subtractive primary colors (cyan, magenta, yellow) are the complementary colors of the three additive primary colors (red, green, blue), and in combined use as filters can generate almost any color. Continue reading “A Brief History of Photography: Part 8 – Kodachrome & Color Film”
While the advancement of photography steadily progressed from daguerreotypes, through calotypes, wet plate collodion, dry gelatin plate, on to celluloid film, one aspect of this progress was a constant – the images obtained were monochromatic or gray scale, exhibiting a tonal response from white through gray to black. All of these methods failed to address a key limitation posed by the silver-based emulsions they all shared. They did not capture the natural world as the human eye perceived it – in color.