|
|
|
|
|
|
 |
 |
 |
 |
 |
|
|
|
Rundbrief Fotografie
|
||
Delaminated Autochrome Plates - Development of a Consolidation
Technique for a Group of Autochromes in the Photograph Collection
of the Albertina, Vienna
The collection of 2,135 autochromes belonging to the Albertina,
Vienna (formerly part of the Collection Eder at the Höhere
Graphische Bundes-Lehr- und Versuchsanstalt (GLV), Vienna) was
surveyed. The most severe damage was identified as delamination of
the photo emulsion from its glass support. A method for readhering
the emulsion was developed. It involved the local application of
xylenes on the glass support which softened the emulsion and
allowed it to re-adhere to the glass. The image quality was not
impaired by this treatment, and the physical stability of the
photographs was significantly enhanced. The treatment was tested
on original photographs, and a concept was developed for the
treatment of the rest of the collection.
Das Autochromverfahren - Die Sammlung - Zustandserfassung -
Schäden an den Autochromplatten -
Restauratorisch-konservatorische Problemstellung - Konsolidierung
mit Lösemittel - Arbeitsmethodik - Konservierungskonzept -
Zusammenfassung - Danksagung - Anmerkungen
The Technology of Cameras and Photography in Journalistic
Applications - 1933-1939 (Part III)
In terms of press photographers' equipment, the 1930's brought
about a clear improvement in the readiness to shoot by means of a
faster operability of the cameras and by more sensitive films.
Although 35mm format cameras united all of the technical
advantages, like a coupled rangefinder, the union of shutter
discharge and film transport, attachable exposure meters, and
changeable and fast lenses, the question of the correct format for
press photography remained in dispute. This changed when the
Ministry for Propaganda linked the official authorization for the
practice of the profession with the use of small cameras in 1937,
resulting in an increasing preference for cameras such as Makina,
Rolleiflex, Leica, and Contax. The printers' and editors'
reservations could soon be largely eliminated by the frequently
improving processing techniques for 35mm film; in addition, the
onset of color photography, the first modern color slide films of
which were only available in 35mm format, served as a further
reason to increasingly use 35mm cameras for photojournalism.
Fototechnische Vorgaben der NS-"Pressebildnerei" - Schnellere
Kamerabedienung - Bevorzugte Kameras der Presse - Schlüssel
zum Kleinformat: verbessertes Filmmaterial - Unzufriedenheit mit
den Kameramodellen - Unendliche Format-Frage - Kleinbild
unzulänglich für die Presse - Oktroi des
Propagandaministeriums - Kleinbild in Farbe - Erhöhung der
Aufnahmegeschwindigkeit - Anmerkungen
Celluloid - Artistic Experimentation with the Film Material
This article discusses the base material of nitrate film:
celluloid, and, above all, its use in 20th century art. Starting
from the 1960's, film artists examined the specific technical
circumstances of allegedly immaterial media images within
so-called "material films"; their goal was to position handmade
alternatives against the commercial Hollywood system by way of
discourse about the production conditions. Various strategies may
be found. Joseph Beuys left galvanized film rolls in the art
systems; others, such as Peter Kubelka, investigated the tension
between the material image carrier and the projection of the image
by light. Nam June Paik looked at the use and abuse of film strips
by means of "mechanofacture"; Carolee Schneeman, on the other
hand, applied paint to celluloid in order to evoke physical
processes of the body. Even in the digital age celluloid has not
become obsolete as a material: Rebecca Horn uses it as a fragile
memory of past stories in an installation, for example.
Materialkultur - Materialfilme - Mechanofaktur - Musealisierung -
Anmerkungen
Fundamental Issues of Digital Archiving - Approaches to New
Solutions for Long-Term Preservation
Photographs are cultural heritage, artistic medium, historic
document and visual documentation medium of the 19th and 20th
century. One of the main problems is their slow deterioration. Due
to a relatively low material stability, some form of damage is
practically always present after 70 years of age. Fading of the
dyes in color photographs may already cause visible changes after
only 30 years. A further problem is the sheer quantity of
photographs that are present. Digitization of image collections is
therefore an attractive solution for a whole number of problems
that museums and archives face. This article treats two main
aspects: the longevity of digital data and issues to be considered
during digitization.
Digitale Speicher: maximal zehn Jahre Lebensdauer? - Digitale
Speicher: unbegrenzte Lebensdauer? - Digitale Langzeitarchivierung
(Allgemeine Bemerkung - Prozedurale Kriterien - Redundanz -
Migration - Medienqualität - Risiken durch Handling) -
Technische Kriterien (Ordnungsdaten/administrative Metadaten -
Beschreibende Metadaten - Dateiformat - Format der
Datenträger - Medium) - Schlußbemerkungen -
Anmerkungen
Distarnet: www.distarnet.ch
| Freenet: http://freenetproject.org/cgi-bin/twiki/view/Main/WebHome
| Mojo Nation: www.mojonation.net
| Ocean Store: http://oceanstore.cs.berkeley.edu
Media and Science - Art History in the Digital Age
The triumph of digital media for the production, documentation
and storage of images is significant as a paradigm change, due
less to the new quality of rendition than to the fact that, on the
one hand, combinations of media are very diverse, and on the other
hand, new forms of research and diffusion are possible. Wholly new
possibilities of communication (discussion forums in the internet,
mailing lists, e-learning), documentation (databases), and
presentation (digital models, animations) are altering the field
of art history not only in terms of its infrastructure, but also
by influencing the inquiries that art historians pose to their
objects. A critical deliberation of the limitations of the work of
art in relation to its medium should thus be a natural component
of the undertakings of art history. This requires appropriate
skills, both regarding the actual technical procedures and a
methodical reflection of the same. For this reason, as of the
summer semester of 2005, the Institute of Art History of the
Ludwig Maximilians University in Munich is offering a PhD course,
in which possible applications of digital media in the work of art
historians are to be taught, practically tested, and critically
reflected.
Die Medien der Kunst(geschichte) - Das digitale Bild - Die
Datenbank - Multimediale Kommunikation - Digitale Kunstgeschichte:
flexibel strukturierte Forschungsnetze - Anmerkungen
Aufbaustudiengang "Digitale Kunstgeschichte",
Ludwig-Maximilian-Universität München, Institut für
Kunstgeschichte: www.digitale-kunstgeschichte.de
| Handschriftenforum Manuscripta Mediaevalia: www.manuscripta-mediaevalia.de
| Verbunddatenbank Prometheus: www.prometheus-bildarchiv.de
| E-Mail-Liste für Kunstgeschichte im H-Net: www.arthist.net
| The H-Net Network for Museums and Museum Studies: www.h-net.org/~museum
| Enzyklopädie Wikipedia: www.wikipedia.de
Memoriav - Network for the Preservation of the Audiovisual
Heritage of Switzerland
Sylvie Henguely and Peter Pfrunder wrote a detailed report on
the state of the Swiss photography scene in Rundbrief Fotografie
(numbers 37 and 38) in 2003. Following the proposed formation of
closer networks formulated at the congress in Braunschweig, I
would like to extend our viewpoint beyond photography to include
sound documents, films, and videos. I would also like to
illustrate the Swiss effort to improve the situation of the entire
audiovisual heritage of the country.
Aufbau und Organisation - Die Tätigkeiten - Das Problem der
Sichtbarkeit - Kulturgut in Gefahr - Die Mitglieder - Auswirkungen
und Nachhaltigkeit der Projekte - Auswahl und Durchführung
der Projekte - Anmerkungen - Adresse
Memoriav: www.memoriav.ch
|
|
|
|
|
