Search Results (8)

This essay, which reframes elements of my 2015 book, Daguerreotypes: Fugitive Subjects, Contemporary Objects, returns to the lacuna at the heart of Roland Barthes’s reflections on photo-graphy: the so-called “Winter Garden” photograph of his mother as a little girl. An image that is lovingly conjured but forever withheld, this photograph is the fulcrum of a theory of photography that emerged from the conjunction of mourning and desire. For Barthes, and all those working in his wake, the absent photograph is something of photography’s primal scene. With attention to the work of Eve Sussman and Simon Lee, their 2011 three-channel HD video Wintergarden and her 2018 NFT 89 Seconds Atomized in particular, this essay takes readers “back to the garden” to think about the time of early photography. To do so, this essay considers a range of contemporary videos that mine and mime the conventions of photography to produce static, durational encounters with stillness in a medium that is anything but, ultimately, revealing the truths and fictions of photography’s founding moment and fundamental logic. Full article

Preserving and analytically examining daguerreotypes is particularly challenging because of their multi-material and multi-component structure. Various sensors have been exploited to examine mainly the image plates of the daguerreotypes even though the degradation goes beyond this component. Micro-analyses have been the preferred method due to the nanoscale structure of the image particles. In this work, we propose comprehensive multi-modal non-invasive sensing to investigate the corrosion products present in nine daguerreotypes from the Fondazione Alinari per la Fotografia (FAF, Florence, Italy). The methodology proposed includes chemical and morphological analyses: portable X-ray fluorescence spectrometry (pXRF), Raman microspectroscopy (μ-Raman), and micro-Fourier transform infrared spectroscopy in reflection mode (μ-rFTIR) for the chemical identification. For the first time, optical coherence tomography (OCT) was deployed to record the cross-sectional and morphological data of the relevant corrosion formations on daguerreotypes in a contactless way. The results allowed the characterization, in a non-invasive mode at a microscopic level, of a wide range of degradation products produced by the interaction of the different elements present in the structure of the daguerreotypes. The aim was to verify the performance of the proposed methodology and to link the chemical and physical complexity of the entire structure, disclosed by the state-of-art sensors, to the daguerreotype degradation. The results draw attention to the need to monitor not only the image condition but the whole object as a partially closed system in constant interaction internally and with the environment. Full article

In the digital heritage field, the accurate reproduction of hard-to-photograph items, such as daguerreotypes, ambrotypes, and tintypes, is an ongoing challenge. Industrial contactless sensors offer the potential to improve the quality of scanned images, but their capabilities and limitations have not been fully explored. In our research, a dataset of 48 scans was created using the hi-tech industrial contactless sensor CRUSE. Moreover, 3 rare original photographs were scanned in 16 different modes, the most suitable images were determined by specialists in the restoration, and validated through experiments involving eye-tracking, multiple computer vision, and image processing methods. Our study identified the Cruse scanning modes, which can be utilized to achieve the most accurate digital representation of scanned originals. Secondly, we proposed several methods for highlighting the degradation and minor scratches on photographs that otherwise might not be detected by the restorer’s naked eye. Our findings belong to four overlapping areas, i.e., image understanding, digital heritage, information visualization, and industrial sensors research. We publish the entire dataset under the CC BY-NC 4.0 license. The CRUSE sensor shows promise as a tool for improving the quality of scanned images of difficult-to-photograph items. Further research is necessary to fully understand its capabilities and limitations in this context. Full article

The public expected color from the early photographic images, yet, daguerreotypes—the first commercially available photographic process—failed to register the natural colors. Daguerreotypists developed several coloring methods to solve this inconvenience after 1840. Scientific analyses of the hand-colored daguerreotypes are limited, and the primary information sources available are manuals and patents. This study aims to contribute to the knowledge of hand-coloring techniques, which impacts conservation practices, mainly the cleaning procedures and complements technical art history investigations. We studied nine colored daguerreotypes with a non-invasive methodology based on three spectroscopic techniques: X-ray fluorescence (XRF), micro-Raman spectroscopy (μ-Raman), and micro-Fourier-transform infrared spectroscopy in reflection mode (μ-rFTIR). The results revealed the different colorants and some of their mixtures employed by the colorist. It also adds information regarding the photographic production of three studios: Désiré François Millet, active in Paris between 1840 and 1868; Antoine Claudet (1797–1867), active in London; and the James E. McClees and Washington Lafayette Germon studio, operative between 1846 and 1855 in Philadelphia, USA. These technical details constitute a helpful comparison to future studies on Daguerreian studios and colored daguerreotypes. Full article

Naturally occurring and synthetic ancient pigments have a history of use spanning thousands of years. Curiously, some of their newly discovered properties make them excellent candidates for semiconductors, anticounterfeiting agents and so much more. In this paper, we will review their ancient roots in art and modern emergence as 21st century workhorses. You can never judge a pigment by its color alone! Full article

We report a study on the effect of chemical and electrochemical cleaning of tarnished daguerreotypes observed using X-ray fluorescence (XRF) microscopy with a micro-focussed X-ray beam from a synchrotron source. It has been found that, while both techniques result in some success depending on the condition of the plate and the experimental parameters (chemical concentration, voltage, current, etc.) the effect varies, and cleaning is often incomplete. The XRF images using Hg L_α,β at an excitation energy just above the L₃ edge threshold produce fine images, regardless of the treatment. This finding confirms previous observations that if the bulk of the image particles remains intact, the surface tarnish has little effect on the quality of the original daguerreotype image retrievable from XRF. Full article

Materialist accounts of artistic development emphasize the ongoing revolution of media in the progress of history. Amongst the most popular accounts of modernity are Walter Benjamin’s essays on the relationship of photography to traditional art. His account of the loss of aura has been subject to countless reinterpretations since its publication. The present essay addresses the contemporary production of a number of architects and artists whose work provides an interesting challenge to the Benjaminian account of the secularization of artistic ritual. The artists Adam Fuss, Vera Lutter, Alison Rossiter, Sally Mann, and others have recently been exploring photographic methods that contradict the Benjaminian account of the history of photography. They continue to explore techniques that Benjamin placed in the auratic pre-paper-print era, such as Daguerreotypes and photograms, as well as employing other more material/chemically based effects. Such artistic choices are often considered nothing more than a nostalgic reverie trying to stem the tide of materialist history, a flawed search for a lost aura of presence. However, when these works are set against the backdrop of contemporary digitized production and of the Dusseldorf School as well as most other contemporary photographers, these “retro” works stand as a critical counterpoint to our present seamless digital imperium. The soft and hazy effects of these works, what I am calling their misticism, occludes the particularity of digital bits of information in a search to connect to the material and the sensual, something denied by information-saturated technologies. Even within a materialist approach to history, there is room to view these architectural and artistic effects as critically productive rather than merely retrograde. The present essay argues for the timely relevance of contemporary retro-photographic techniques in fostering both a critical attitude and as evidence of attempts to recover a sense of spiritual presence. Full article

The first commercially viable photographic image, the daguerreotype, captured images for a span of approximately 20 years (1839–1860). DeDterioration now disfigures many of these valuable images. One proposed restoration method is an electrochemical process. However, its safety and effectiveness are still under debate within the conservation community as the effects of this treatment, and its physical and chemical impact on the daguerreotype image, have not yet been analyzed in depth. This study used synchrotron-based micro-X-ray fluorescence to map the elemental distribution pre- and post-electrocleaning on 19th century daguerreotypes using both soft and hard incident X-rays. X-ray absorption spectroscopy was used to probe local chemistry before and after cleaning. Two different electro-treatment methods were compared: the original method proposed by Barger and a second put forward by Wei. When used correctly, both processes significantly reduced the S and Cl surface contamination without dulling the surface. However, both electrochemical methods used in this study resulted in a loss of Hg and Au from the surface. In all cases, the Hg distribution tracks with image particle density allowing the retrieval of full portraits from entirely corroded daguerreotypes, suggesting that Hg concentration may be a useful proxy for the original image. Full article