By Henry Wilhelm, Carol Brower
В книге рассказывается об основных правилах и приемах
фотографирования произведений искусства (архитектуры, живописи, скульптуры) для целей их изучения и популяризации.
Read Online or Download The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures PDF
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Additional info for The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures
30 a 30 b 355% 1982 1968 and 1971 by Max Brown 355% 30 Chapter 1 The upper print, made in 1971 with Ektacolor RC paper, faded much more than the lower print, made in 1968 with fiber-base Ektacolor Professional Paper, even though the fiber-base print had been displayed for 3 years longer than the RC print when this picture of the two choir photographs was taken in 1980. Both prints were framed under glass and had been on display next to each other in a church under similar lighting conditions.
Chapter 1 tography would have been considered something of a curiosity, perhaps desirable only for certain scientific or artistic applications. The principal achievement of photography has always been to record events, people, and scenes; color is almost always an important part of this reality. When portrait and wedding photographers made the virtually total shift from black-and-white to color photography during the 10 years from 1965 to 1975, there was very little realization on their part that in abandoning blackand-white photography, they were also giving up the longterm stability of the metallic silver images that they had come to take almost for granted.
All Kodachrome process prints have very good dark storage stability — their dark stability is much better, in fact, than that of any current Kodak color negative or reversal paper. Kodachrome grew out of the research of Leopold D. , who were professional musicians and avid amateur photographers. Interested in the work of the two inventors, Kodak coated a number of experimental plates for Mannes and Godowsky beginning about 1922, and in 1930 Mannes and Godowsky accepted an invitation to join the staff of the Kodak Research Laboratories and work with other Kodak personnel in perfecting their new process.