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Rundbrief Fotografie
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Formaldhyde-The Toxic Rescuer: Its Application as Disinfection
and Hardening Agent
Whenever photographs must be disinfected or chemically restored
after microbiological damage, one of the first treatment steps is
hardening the gelatin layer with formaldehyde. Especially if a
photograph was attacked by mold, any contact with water could have
a desastrous effect on the gelatin. It goes without saying that
the detailed explanation of the function as well as of the riscs
of formaldehyde in photo conservation is directed towards
professionals with the relevant knowledge and with access to
suitable laboratory equipment. But even laymen will learn a lot
about the properties of a chemical compound which is omnipresent,
often makes people feel insecure and still can hardly be replaced.
In its original form, this article was part of the author's
diploma thesis at the Cologne University of Applied Sciences,
Department of Conservation.
Allgemeine Eigenschaften - Toxikologie - Vorkommen in
Holzprodukten - Verwendung als Biozid - Einsatz als
Härtungsmittel (Chemismus der Härtung - Messungen zur
Bestimmung der Effektivität der Härtung) - Fazit -
Anmerkungen
The Technology of Cameras and Photography in Journalistic
Applications: World War II (Part IV)
Already before the war, press photographers were being prepared
for their role as ´soldiers of the camera´ for their
upcoming assignments and in the use of their equipment. By the
beginning of the war in 1939, approximately 140 propaganda
companies (PK) photo journalists were serving the 13 PK of the
army, the navy and the air force; with the escalating course of
the war, their number rose to approximately 400 by 1942. Added to
these were at least 66 photographers of the war press coverage
platoons of the Waffen-SS, established in 1940. Commercially
available equipment was predominantly procured for the PK
equipment of the press photographers. The Leica was considered
"the only suitable weapon for shooting"; the Contax, however, was
also used. Between 1939 and 1942, both camera systems underwent
technical additions and improvements that not rarely primarily
suited military requirements. Further innovations were mostly
limited to medium format cameras and accessories, for example
exposure meters, which enabled better handling of color film
material. Color images made up only a fraction of the
approximately 1.2 million photographs taken by PK journalists
until 1943, however, and were predominantly published in the
illustrated propaganda periodical ´Signal´. Prior to
publication, the PK photographs had to traverse a censorship
system that was inter-coordinated between the Ministry of
Propaganda and the armed forces; only then were they given to the
local and foreign press through select picture agencies.
Einbindung von Fotoreportern in Propagandaaktionen - Soldatische
und fachliche Ausbildung von Fotoreportern - Propagandakompanien
bei Heer, Luftwaffe, Marine und Waffen-SS - Ausbau und Reduzierung
der Propagandakompanien - Geräteausstattung der
Kriegsbildberichter - Neuerungen der Fototechnik - Farbfotografie
- Kamera- und Aufnahmetechnik in den Waffengattungen -
Bildproduktion, Zensur und Bildvertrieb - "Bildberichter -
Soldaten der Kamera" - Anmerkungen
Producing and Processing Pictures: A Philosophical
Contemplation on Media
The constitutive role of technology within the reality of media
is often ignored when one contemplates photography. Only by this
means can one succeed in seeing photography as what it is: rather
than an intermediate between humans and the world, thrust between
subject and object, it is instead a reality machine. On the basis
of and leading up to this approach, this contribution discusses
developments in the history (and theory) of photography as the
production of artificial worlds in which one may operate
(construct a building, fabricate a machine ...).
Alpine Photographs on the Internet: The Development of a
Trans-national Internet Database
The collections of the German Alpine Association (Munich), the
Austrian Alpine Association (Innsbruck) and the Alpine Association
South Tyrol (Bozen) hold approximately 200,000 photographs. Since
the establishment of these mountain climber associations in the
years 1862 and 1869, much material has come together: numerous
private photo albums, expedition documents and photographs by
renowned high mountain photographers, who have strikingly
documented the transforming interest in the mountains over the
past 150 years and revealed changes in the alpine landscape.
Photographs of many types and formats may be found: albumen,
collodion, even modern RC prints, glass transparencies and
negatives on glass and film. In the context of the project
"Historic Alpine Archives", these extensive photograph holdings as
well as other components of the collections such as documents and
art objects will be professionally relocated and inventoried. The
most important holdings will then be published by means of a joint
database on the internet.
Who Owns the Images? Legal Questions in Digital Photography
Since the early nineties at the latest, a disturbing gap has
become apparent between the rapid technical development of digital
media and their economic use and the legal protection of artistic,
scientific and technical accomplishments in these new forms of
use, which have, until now, been regulated by traditional
copyright legislation. The German legislative did not create new
laws for the needs of the information society; instead,
substantial parts of the existing legislation were amended to meet
international and European Union standards by the year 2003 in a
drawn-out adjustment process. In the following, the problems and
legal questions applicable to digital photography are explained on
the basis of the revised wording of the law and applied to
everyday situations in museums and archives.
Praxis der Archive und Museen - Rechtsfragen - Inhalte des
Urheberrechtsgesetzes - Schutz von Datenbankwerken - Digitale
Arbeitsprozesse und Verwertungsrechte - Das Vortrags-,
Aufführungs- und Vorführungsrecht an Infoterminals und
Bildschirmwiedergabegeräten - Bildbearbeitung und
Bildmanipulation - Kennzeichnung und Schutz von Fotografien -
Digitale Bildverschlüsselungssysteme - Neue Nutzungsarten und
angemessene Vergütung - Anmerkungen
Dream and Reality: A Response to Holger Simon's Article
This contribution is an attempt to take up the political
cultural debate proposed by the so-called Open-Access movement
from the perspective of cultural institutions. Proponents of this
movement advocate that all public museums, libraries and archives
permit visitors to photograph objects from their collections at no
expense, or deliver reproductions of these free of charge, if
possible, or for minor service fees. The customer should then to
be able to use these photographs for all purposes at no further
charge. This use is deliberately not limited to the areas of
information and science; even commercial use should be free. This
proposition is justified by arguing that the citizen has already
paid for these services through taxes and dues. Cultural
institutions should limit themselves to their core tasks and forgo
sharing in proceeds from commercial uses of their collections.
Sufficient funding of the cultural facilities by the public
authorities is taken for granted.
Gemeinsame Interessen - Unterschiedliche Interessen -
Lösungsansätze - Anmerkungen
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