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Rundbrief Fotografie
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‘The pictures should be good for several years
[...]’: Measures of Preservation of the Photograph
Holdings in the Historical Archive Krupp
The Historical Archive Krupp (HAK) in Essen, founded in 1905
and now owned by the charitable Alfried Krupp von Bohlen und
Halbach Foundation, holds a unique and extensive collection of
historic photographs that goes back to the late 1840s. As part of
a comprehensive conservation project that was initiated by the
Alfried Krupp von Bohlen und Halbach Foundation in 2002, the
conditions for the long-term archiving of the photographs could be
improved. Initially, the focus was placed on the conservation
treatment of outstanding individual items; in the second phase a
package of measures was developed and implemented for the
preservation and treatment of the more extensive photograph
holdings. The accompanying digitisation of the main holdings has
also considerably improved research possibilities, so that image
research can now in part be carried out without having to access
the original.
Alfred Krupp und die Fotografie - Fotografische Sammlung im HAK -
Bestandserhaltung im Archiv - Bisherige Situation - Frühe
Porträtaufnahmen - Großformatige Glasnegative -
Panoramen - Konservierung und Restaurierung von zentralen
Werksaufnahmen - Verpackung - Frühe Kleinbild-Dias - Neues
Fotomagazin - Digitalisierung - Formate und Datenspeicherung -
Datennutzung, -austausch und -archivierung - Fazit -
Anmerkungen
Architectural Photographs as Collecting Items: On the
Usefulness of a Change of Perspective
This article advocates a broadening of our perspective when
dealing with architectural photographs in collections. With the
exception of museums, which collect photographs as art, for many
institutions it is still customary to evaluate photographs only by
their image content. While their value as historical source
material has by now been recognized, the concept of
‘collecting motifs’ is still common. However,
photographs should be considered collection items in their own
right. In addition to an appropriate conservation approach, a more
extensive documentation practice would be logically consistent.
The more original material and information beyond the mere
intrinsic image that is obtained and recorded, the better
researchers may later be able to evaluate the photographs as
historic objects and visual sources.
Was ist interessant an Architekturfotografie? - Das Motiv als
Sammlungsobjekt - Das Foto als Sammlungsobjekt
The Invisible Colours of the ‘Ridged Film’: On the
History, Tradition and Reconstruction of the Colours of the
Lenticular Process in Germany
The cinematographic and photographic lenticular colour screen
processes belong to the family of early additive colour processes
that were displaced by subtractive multilayered materials in the
mid 1930s. In contrast to the granulated screens (Autochrome
Lumière, Cinécolor) and the linear screens
(Spicer-Dufay, Dufaycolor), the lenticular process holds a special
position among the screen processes in that it worked without
dyes, the colours instead being recorded as grey tones by means of
a special surface embossment. In addition to a description of the
cinematographic application of this process specifically in
Germany, this article draws attention to the scarcity of
historical information on the process and examines the
possibilities of colour reconstruction and the preservation of
these materials.
Technik des Linsenrasterverfahrens und Versuche zur
Einführung in die Kinoindustrie - Verbreitung als Schmalfilm:
„Kodacolor“ ab 1928, „Agfacolor“ ab 1932 -
Weiterentwicklung in Deutschland:
„Siemens-Berthon/Opticolor“ - Die
Überlieferungslage in Deutschland - Verluste: Das
Fallbeispiel Siemens-Berthon-Kopie „Tag der deutschen Kunst,
München 1937“ - Möglichkeiten der
Farbrekonstruktion von Linsenrasterfilmen - Danksagung -
Anmerkungen - Weiterführende Literatur
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