|
|
|
|
|
|
 |
 |
 |
 |
 |
|
|
|
Rundbrief Fotografie
|
||
The Avant-garde and the Machine: Matisse, Munich, and
‘Bosco‘ Instant Prints
In the autumn of 1910 at least four photographic group
self-portraits of painter Henri Matisse, Hans Purrmann and Albert
Weisgerber were made in the Löwenbräu-Keller in Munich.
The instant print quality of the photographs, for which the
Frenchman and his German companions moved in close together in a
jolly mood, has never been debated. It can be shown now, however,
that these scenes were made on a ‘Bosco Photography
Machine‘. The ‘Apparatus for the Automatic Recording and
Completion of Photographs‘, developed by Conrad Bernitt in
Hamburg in 1890-1894, produced tintypes that were ‘processed
automatically within 3 minutes‘. These unique images had to
be reproduced via inter-negatives in order to make prints; the
original lateral inversion of the image was thereby reversed. In
the case presented here, numerous publications have made these
prints known, while the unique photographs have been
forgotten.
Gelatine Dry Plates: Emulsion Transfer Tests
The overall separation of an emulsion from its glass support,
often followed by its contraction and deformation and accompanied
by the formation of a white haze on the glass surface, is a
phenomenon frequently found on gelatine dry plates. In the context
of a thesis, the question of the materiality and the source of the
white substance was to be resolved. On the basis of these results
and the following conclusions on the stability of the materials, a
method was to be developed that would render the seriously
impaired picture information readable once more and secure it for
the long-term. The Museum of Military History in Dresden made two
gelatine dry plates available for this study and for exemplary
treatment; their condition represented that of a larger collection
of plates with an according need for conservation.
Untersuchungen - Restaurierungsmethoden und ihre Anwendbarkeit -
Testreihen zum Ablösen der Emulsion - Testreihen zum Fixieren
abgelöster Emulsionshäute auf einem neuen Träger -
Hafttest nach ANSI PH1.41-1984 - Die exemplarische Restaurierung
von zwei Gelatinetrockenplatten - Schlußbetrachtung und
Ausblick - Anmerkungen
Josef Maria Eder (1855-1944): A Photo-historical Monograph. A
Research Project at the Albertina, Vienna
This research project focuses on one of the most influential
personalities of the Austrian and even international history of
photography. Josef Maria Eder is still today undisputedly regarded
as a pioneer of photochemical and photo-historical research. The
frequency with which this author is quoted within the contemporary
discourse on the media-related and, in particular, figurative
representation of knowledge, however, appears quite contradictory:
on the one hand he is a schematic figure of an allegedly naive
‘technically expressive‘ and ‘positivistic’
enthusiasm for progress, on the other hand he holds an apparently
completely neutral position of reference for the development of
the use of photographic processes in science and as a function of
mass media. The goal of Maren Gröning's and Ulrike Matzer's
research project is therefore to critically analyse, in detail,
Eder's exemplary work on intellectual and creative relevance and
on the epistemic, historical and political-educational
significance of photography as a prototype of technical pictures
in the context of a modern visual culture. The three-year project
that begins in September 2009 is financed by the FWF Fund for the
promotion of scientific research. The host for this research is
the Albertina in Vienna, which received the historical and
photographic collections of the ‘K.k. Lehr- und
Versuchsanstalt für Photographie und
Reproductionsverfahren’ / ‘Graphische Lehr- und
Versuchsanstalt’ as a permanent loan in 2000. The results
will be published as a book.
Vorüberlegungen - Forschungsstand - Innovative Aspekte -
Methodik und Ziele - Anmerkungen
The ‘Good’ War as a Mean of Promotion: Photographs of
World War II in the Archive of the Federal Association of the
German Red Cross
The Archive of the German Red Cross (DRK) in Berlin holds a
substantial collection of photographs dating from World War II.
These are propaganda photos that illustrate the work of the Red
Cross nurses and medical assistants with the goal of depicting a
positive picture of the War. Immediately after 1933, the German
Red Cross was gradually brought into line with the National
Socialist regime and converted from a multifaceted charity of the
Weimar Republic into a mono-functional organisation for supporting
the medical services of the Armed Forces. Photographs were first
collected and held in the picture archive of the former Red Cross
steering committee in Potsdam-Babelsberg. After World War II the
photographic prints arrived by a roundabout route at the newly
founded Federal Association of the German Red Cross in Bonn, which
then moved to Berlin in 2001. Negatives have not turned up so far.
Over the past years, the photographs have been prepared in such a
way that they can be accessed. In the medium term, the objects
will be described, digitised and made available for research
through a database.
Ein positives Bild erzeugen - Organisation des Bildarchivs -
Unklare Überlieferung - Erst ordnen und nutzen, dann
digitalisieren und erschließen - Anmerkungen -
Bezugsquellen
fotoCH | photoCH - Online Encyclopaedia and Repertory of
Historical Photography in Switzerland
In contrast to its communication, the documentation of
historical photography is still in its early stages. Particularly
in regard to what we know about photographers or the whereabouts
of their work, most countries have neither compendia nor listings.
Since the spring of 2009, an online encyclopaedia and repertory
that promises to fill this gap has been available for Switzerland.
The portal fotoCH
/ photoCH currently offers information on approximately
6,000 Swiss photographers and the photographic holdings of 50
archives, museums and libraries. The encyclopaedia covers
biographies of persons and information on groups, associations and
clubs, combined with bibliographies, exhibition references and
information on prizes and awards. The repertory contains details
on the location and extent of photographic holdings in public
institutions. The number of persons registered in the
encyclopaedia will increase to approximately 15,000 in the next
years. In accordance with the multi-linguistic nature of
Switzerland, the encyclopaedia operates in the three national
languages German, French and Italian, and it will also function in
English for internationally relevant photographers.
Fotobegeisterung vs. Mangel an Dokumentation - fotoBE: ein
Doppelwesen als Pilotprojekt - Wer ist ein Fotograf, was eine
Fotografie? - Wissenschaftliche Standards - Inventar vs.
Repertorium - Geldprobleme vs. Nachhaltigkeit - Von fotoBE zu
fotoCH | photoCH - Anmerkungen
Schweizerisches Institut für Kunstwissenschaft: Sikart.
Lexikon und Datenbank zur Kunst in der Schweiz und im
Fürstentum Liechtenstein: www.sikart.ch
| Historisches Lexikon der Schweiz: www.hls-dhs-dss.ch
| Repertorium der handschriftlichen Nachlässe in der Schweiz:
www.helveticarchives.ch
|
|
|
|
|
