|
|
|
|
|
|
 |
 |
 |
 |
 |
|
|
|
Rundbrief Fotografie
|
||
The Stability of Digital Print Media: Materials, Testing
Procedures, Sources of Deterioration, Storage
The rapid development of digital input technology has been
accompanied by the rapid evolution of digital output techniques,
which are no longer based only on photography and chemical
processing, but instead on a variety of printing processes. Next
to traditional photography, three processes are available for
printing pictures in photographic quality at present: inkjet, dye
sublimation, and electrophotography. The colourants and paper
supports that these prints consist of and their aging
characteristics are described.
Digitale Druckverfahren - Farbmittel und Druckmedien -
Tintenstrahlmaterialien für fotografische Innenanwendungen -
Faktoren der Bildalterung - Testverfahren zur Haltbarkeit -
Haltbarkeit - Regeln zur Aufbewahrung - Anmerkungen
Transsubstantiations: From Photography to Print in the
Encyclopedia Illustrations of the Propyläen Publishing
House
Photography was invented as a means for semi-automated
reproduction on a scientific basis and used for the modernization
of drawing and printing techniques based on handcraft. The oldest
photograph is not the well-known view from Niépce's window
in Le Gras, but rather the 1816 heliogravure of a copperplate
engraving depicting Cardinal d'Amboise. This type of conversion
still resonates when photographs published in books or newspapers
are naively called 'photographs'. In this split process, be it
based on conventional photography or on the transfer of digital
images to printing matrices, pre-press manipulation of images
plays an important role. The following article discusses this type
of retouching and the equally profound and profane
transsubstantiation of paintings to reproductions to
illustrations.
The Past and the Present: The Spiegel Picture Archive
The Spiegel Publishing House turned over its analogue picture
archive to the Deichtorhallen Hamburg in May 2005. This article
describes the archive and the conclusion of the working procedures
that were the rule there for more than 50 years. The grounds and
the conditions for the Spiegel's separation from the collection
are then given. The experiences gathered with the digitization of
individual parts of the collection before the transfer are briefly
outlined. The description of the materiality of the photographs
ultimately leads to the question of the value of the picture
archive, which bears witness from a position within the history of
time and media. This article does not describe the future of the
pictures within the Deichtorhallen, nor exhibitions, symposia or
conservation issues. The director of the Deichtorhallen, Robert
Fleck, will write on this subject in this journal at a later
time.
Die nahe Vergangenheit - Systematik und Recherchen - Die
Übergabe des Archivs - Einschub - Die Materialität der
Bilder - Der Wert der Sammlung - Adressen
|
|
|
|
|
