Srebrowe techniki fotograficzne

• Authors: Gołąb Marta

Title variants

EN

SILVER PHOTOGRAPHIC TECHNIQUES IN THE SECOND HALF OF THE 19th CENTURY

• Languages of publication: PL

Abstracts

EN

In the second half of the 19th century silver photographs were made on various materials. Paper, textile and glass were most freguently used for th a t purpose. Occasionally, other less typical materials such as wood or metal were used. Photographs on these bases are found rathe r in works of amateurs th an in mass production, where paper was a dominating material. Photography of th a t time could exist on its own as a work of a rt or a produce of craftsmanship. On rare occasions it served as a base for paintings or wood-engravings. Some techniques, e.g. ambrotypography, ferrotypography, went with specific bases, while others could be excuted on various materials. In the majority of technique a silver picture was formed on a photographic emulsion or on the surface p re paring the base. In other techniques, e.g. on painting canvass, emulsion was not used; instead, the base was coated w ith a solution of photosensitive salt. Photographic emulsions and solutions for the prepa ra tion of the base were made on th e basis of proteins, colloidon, adhesive, agar-agar. Silver chloride, iodide, bromide and n itra te were employed. A silver picture was toned down in solutions of metal and nonmetal salts. This was necessary in the case of the so-called daylight papers, i.e. albumin, ” Aristo”, celloidine and salted paper. Pictures on these papers did not require chemical developing but due to an u n sa tisfactory colour they had to be toned down. The toning b ath was sometimes combined with fixation. Protos made in big qunatities in photographic shops were as a rule retouched by stippling, taching of spot covering techniques. A ready photo was varnished and put on cardboard.

Keywords

PL

srebrowe techniki fotograficzne; charakterystyka technik srebrowych wykonywanych na różnych materiałach; składniki dziewiętnastowiecznych emulsji fotograficznych; emulsja żelatynowa; rodzaje papierów fotograficznych; techniki fotograficzne na tkaninach; fotografia na płótnie malarskim; technika kolodionowa na szkle; ambrotypia; ferrotypia; fotografia na drewnie (fotoksylografia); pirofotografia na porcelanie i emalii; tonowanie; kąpiele tonujące; retuszowanie pozytywów; werniksy

• Publisher: Narodowy Instytut Dziedzictwa
• Journal: Ochrona Zabytków
• Year: 1982
• Issue: 1-2
• Pages: 45-52

Dates

published

1982

Contributors

author

Gołąb Marta

• mgr, Wydział Konserwacji Dzieł S ztuki ASP w Krakowie

References

• J. H u s n i k, Das Gesammtgebiet des Lichtdrucks nebst einer vollstaendigen, theoretisch-praktischen A n leitung zur Ausuebung der Photolitographie, Emailphotographie, Chemigraphie (Zinkographie) und anderweitigen Vorschriften zur Vervielfaetigung der negativen und positiven Glasbilder, Wien — Pest — Leipzig 1880, s. 133—151.