dye transfer print

Posts Tagged ‘dye transfer print

Sep

Exhibition: ‘True Stories: American Photography from the Sammlung Moderne Kunst’ at Pinakothek der Moderne, Munich

Exhibition dates: 2nd March – 20th September 2012

You can’t get much better than this to start a posting: Baltz, Friedlander, Winogrand, Nixon, Baldessari, Eggleston and Shore. I recall seeing my first vintage Stephen Shore at the American Dreams exhibition at the Bendigo Art Gallery last year. What a revelation. At the time I said,

“Two Stephen Shore chromogenic colour prints from 1976 where the colours are still true and have not faded. This was incredible – seeing vintage prints from one of the early masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues.”

You can get an idea of those colours in the image posted here. Like an early Panavision or Technicolor feature film.
Perhaps there is something to this analogue photography that digital will never be able to capture, let alone reproduce…

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Many thankx to Pinakothek der Moderne for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Lewis Baltz (*1945)
Greenbrae
1968
from the series The Prototype Works
Vintage gelatin silver print
13.1 x 21.4 cm
Sammlung Moderne Kunst in the Pinakothek der Moderne Munich, Acquired in 2011 by PIN. Freunde der Pinakothek der Moderne e.V.
© Lewis Baltz

Lee Friedlander (*1934)
Route 9W, New York
1969
Gelatin silver print, Baryt paper (card)
20.4 x 30.5 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Lee Friedlander

Garry Winogrand (1928-1984)
Los Angeles, California
1969
Gelatin silver print (pre 1984)
21.8 x 32.8 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Estate of Garry Winogrand

Nicholas Nixon (*1947)
View of State Street, Boston
1976
from the series Boston Views 1974 – 1976
Gelatin silver print, Baryt paper (card)
20.3 x 25.2 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Nicholas Nixon

John Baldessari (*1931)
Man Running/Men Carrying Box
1988 – 1990
Gelatin silver prints, vinyl paint and shading in oil
Part 1: 121.3 x 118.6 cm; Part 2: 121.3 x 146.6 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© John Baldessari

William Eggleston (*1939)
Untitled
1980
The first of 15 works from the portfolio Troubled Waters
Dye transfer print
29.0 x 44.0 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Eggleston Artistic Trust

Stephen Shore (*1947)
La Brea Avenue & Beverly Boulevard, Los Angeles, California
1975
Chromogenic print, Kodak professional paper (1998)
20.4 x 25.5 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Stephen Shore

“American photography forms an extensive and simultaneously top-quality focal point in the collection, of which a selected overview is now being exhibited for the first time. The main interest of young photographers, who have been examining changes in political, social and ecological aspects of everyday American life since the late 1960s, has been the American social landscape. They have developed new pictorial styles that define stylistic devices perceived as genuinely American while at the same time being internationally recognised. Whereas Lee Friedlander, Garry Winogrand, Robert Adams, Lewis Baltz and Larry Clark, who are now considered classical modern photographers, have remained true to black-and-white photography, William Eggleston and Stephen Shore in particular have established colour photography as an artistically independent form of expression. The exhibition brings together around 100 works that, thanks to the Siemens Photography Collection and through acquisitions, bequests and donations, are now part of the museum’s holdings. True stories covers a spectrum from the street photography of the late 1960s to New Topographics and pictures by the New York photographer Zoe Leonard, taken just a few years ago.

“A new generation of photographers has directed the documentary approach toward more personal ends. Their work betrays a sympathy for the imperfection and frailties of society. Their aim has been not to reform life but to know it.” With the exhibition New Documents in spring 1967, John Szarkowski, the influential curator of photography at the Museum of Modern Art in New York, rang in a new era in American photography. Those photographers represented, including Lee Friedlander and Garry Winogrand in addition to Diane Arbus, stood for a change in attitude within documentary photography that was conditioned exclusively by the subjective viewpoint of an individual’s reality. The object of photographic interest lay in the American social landscape and its conditions. It was less concerned with the natural landscape and its increasingly cultural reshaping than with the urban or urbanised space and how people move within it. In so doing, the New Documentarians rejected any obviously explanatory impetus, turning instead to the everyday and commonplace.

The exhibition New Topographics: Photographs of a Man-Altered Landscape that was staged in the mid 1970s at the International Museum of Photography in Rochester, represented a countermovement to this subjective form of expression. Their protagonists, including Robert Adams, Lewis Baltz, Nicholas Nixon and Stephen Shore, also pleaded for a documentary approach and were influenced by figures such as Walker Evans und Robert Frank, but considered themselves rooted in the tradition of 19th-century topographical photography in particular. The prime initiator of this working method, that was expressly not governed by style, is the Los Angeles-based artist Ed Ruscha. Their central aim is a distanced and seemingly analytical depicition, free of judgement; their topic, the landscape altered by mankind. It is the image of the American West in particular, so much conditioned by myths and dreams but long since brought back to reality as a result of commercial and ecological exploitation, that is visible in their works.

The decisive quantum leap to establishing the position of colour photography was made by the Southerner William Eggleston in his exhibition in 1976, also held at the Museum of Modern Art in New York, and the publication of the William Eggleston’s Guide. The harsh public criticism of his pictures was not to do with his use of colour but the fact that Eggleston photographed things and everyday situations – on the spur of the moment and in a seemingly careless manner – that, until then, had not been considered worthy of being photographed turning them into exquisite prints using the expensive and complicated dye-transfer process. In Eggleston’s cosmos of images that is strongly influenced by motifs and the light of the Mississippi Delta, colour constitutes the picture. The “rush of colour” championed by this exhibition led to the comprehensive implementation of colour photography in the field of artistic photography in the years that followed, starting in the USA and then in Europe – and especially in Germany.

An artistic attitude became established at the end of the 1970s that, with recourse to existing picture material from art, film, advertising and the mass media, formulated new pictorial concepts and, in the same breath, opened up traditional artistic and art-historical categories such as authorship, originality, uniqueness, intellectual property and authenticity to discussion. Appropriation Art owes its decisive influences to the artist John Baldessari, who lives and teaches in California. One of its most famous representatives is Richard Prince, who became famous in particular as a result of his artistic adaptation of advertising images. Concept art in the 1960s and ’70s similarly makes use of photography, both as part of an artistic practice using the most varied of materials and as a unique medium for documenting campaigns, happenings and performances. As works by Dan Graham and Zoe Leonard clearly show, the previously precisely delineated boundaries between photography that alludes to its own intrinsically, media-related history and the use of photography as an artistic strategy, have become more fluid.”

Press release from the Pinakothek der Moderne website

Dan Graham (*1942)
View Interior, New Highway Restaurant, Jersey City, N.J., (detail)
1967 (printed 1996)
C-prints
Each 50.6 x 76.2 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Dan Graham

William Eggleston (*1939)
from Southern Suite (10-part series)
1981
Dye transfer print
25.0 x 38.2 cm
Sammlung Moderne Kunst in the Pinakothek der Moderne Munich. Acquired in 2006 through PIN. Freunde der Pinakothek der Moderne e.V.
© Eggleston Artistic Trust

Larry Clark (*1943)
Tulsa
1972
Gelatin silver print
20.3 x 25.4 cm (sheet)
Sammlung Moderne Kunst in the Pinakothek der Moderne Munich. Acquired in 2003 by PIN. Freunde der Pinakothek der Moderne
© Larry Clark

Judith Joy Ross (*1946)
Untitled
1984
from the series Portraits at the Vietnam Veterans Memorial, Washington, D.C. 1983-1984
Gelatin silver print on daylight printing-out paper, shading in gold (print 1996)
25.2 x 20.2 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Judith Joy Ross

John Gossage (*1946)
EL NEGRITO
1997
from the series There and Gone
Gelatin silver print, Baryt paper, screen print on photo mount card
55.4 x 45.0 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© John Gossage

Pinakothek Der Moderne
Barer Strasse 40
Munich

Opening hours:
Daily except Monday 10am – 6pm
Thursday 10am – 8pm

Pinakothek der Moderne website

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Feb

Exhibition: ‘Color Correction’ by Ernst Haas at Christophe Guye Galerie, Zurich

By Dr Marcus Bunyan Leave a Comment

Exhibition dates: 20th January – 25th February 2012

Many thankx to Christophe Guye Galerie, Zurich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Ernst Haas (1921 – 1986)
 New York
1980
C-print, later print
76.2 x 101.6 (30 x 40 in.)
Edition of 15
Courtesy of Ernst Haas and Christophe Guye Galerie

Ernst Haas (1921–1986)
 New Orleans
1957
C-print, later print
76.2 x 101.6 (30 x 40 in.)
Edition of 15
Courtesy of Ernst Haas and Christophe Guye Galerie

Ernst Haas (1921–1986)
Western Skies Motel
1978
C-Print, later print
76.2 x 101.6 (30 x 40 in.)
Edition of 15
Courtesy of Ernst Haas and Christophe Guye Galerie

“Bored with obvious reality, I find my fascination in transforming it into a subjective point of view. Without touching my subject I want to come to the moment when, through pure concentration of seeing, the composed picture becomes more made than taken. Without a descriptive caption to justify its existence, it will speak for itself – less descriptive, more creative; less informative, more suggestive – less prose, more poetry.”

Ernst Haas from ‘About Color Photography’, in DU, 1961

Christophe Guye Galerie is proud to present Color Correction: by one of the most important and influential artists in the development of colour photography and the history of the medium on a whole, this exhibition spotlights a body of work that poignantly describes the complex ways in which an artist’s ‘career’ took form. Ernst Haas belonged to the best known, most productive and widely published photographers of the twentieth century. Most commonly associated with vibrant colour photography, Haas was famed for his commercial work. It is undoubtedly however his other, private work that really illuminates the power of his sensibility and his true mastery. Unfortunately this side of his creative output has been kept private and thus escaped posthumous appreciation. It is only now, with the efforts and belief in Haas’ ability of a few, such as William Ewing, former Director of the Musée de l’Elysée in Lausanne, that this body of work is finally revealed and justly let’s this artist’s aptitude shine. The exhibition Color Correction, and Ewing’s corresponding book published by Steidl, uncovers, with an exciting and novel view, the “other” side of Ernst Haas’ visionary.

Color Correction is the first exhibition in Switzerland to present the to-date little known, non-commission work by the late Austrian-born photographer. Uncovering a new side to a much celebrated body of work, the show will include fifteen new and mostly never before seen large format works, alongside a handpicked selection of rare, vintage dye-transfer prints from the 1950s and ’60s. These astoundingly complex and ultimately enveloping pieces form a group exhibited under the title Colour Correction to coincide with the recent Steidl publication Color Correction, by William Ewing. ”These images are of great sophistication, and rival (and sometimes surpass) the best of his colleagues”, says Ewing, revealing works “far more edgy, loose, enigmatic, and ambiguous than his celebrated work.”

“Color correction” is a term used in printing, through which the inked proofs are brought into as close equivalence as possible with the original photograph. Ewing has chosen to use the term metaphorically, to suggest “we owe it to Ernst Haas and our understanding of the history of colour photography, to reevaluate his importance in light of this marvellous imagery, kept under wraps for so many years.” It was in 1962 that the first ever colour photography exhibition, Ernst Haas Color Photography, was held at the prestigious MoMA in New York, and not until fourteen years later would colour photography be given another show at the museum with Color Photography by William Eggleston. Though introducing Haas’ work to a large audience and a major milestone in the history of the medium it would not come to have the same effect on the development of the artist’s career. On the contrary: an exhibition planned by Edward Steichen, renowned photographer and curator of MoMA at the time, it was in the end his predecessor John Szakowski who would actually see it realised. With this shift in curatorial visionary, Szakowski would enforce a different taste. Having the duty to complete Steichen’s idea, but keen to champion his own and dissimilar ideas, Szakowski’s enthusiasm regarding the artist and the exhibition Ernst Haas Color Photography was meek, the praise in his accompanying texts all but faint. Steichen, once in favour of pictorialism, thus a subjective photography, valued Haas’ profound use of the camera, while Szakowski on the other hand chose to favour a less embellished sentiment; a more hardedge modernist inspired American approach. It was this disregard and clashing of personal agendas that would ultimately and erroneously see Haas excluded from the canon of colour photography; his indisputable talent became the victim of the cyclical debate of what art photography should be.

Making his first colour photographs in 1949, Haas was a member of the prestigious Magnum agency. Known mainly for his commissioned work, whereby he created influential imagery such as iconic Marlboro Man advertisements long before other artists were commissioned to do so, Haas’ work would come to have great influence on later artists, such as Richard Prince, Marc Quinn or Robert Longo. Using colour also for his personal work, with a pictorial language recalling at times the works by painter Edward Hopper, Haas has been described as a poet photographer. By no means the first to use the medium in colour, he was said to be “the first to do it masterfully.” Visionary, Haas early on cropped and abstracted, photographing against the light and out of focus, using reflections, close-up to mystify the visible, abstraction of colour and texture. Interested in the everyday, his photographs remind of the likes of Lee Friedlander or Stephan Shore, but rather than documents his works are “vignettes of personal experience.” The works on display in Color Correction reveal this more abstract side of the artist’s oeuvre.

Haas’ work never received the recognition it deserved. The works presented at Christophe Guye Galerie are based upon this dispute, attempting to reveal the true ability of Haas’ work and restore his rightful place in the medium’s canon.

Haas’ formal language echoes decades past while being extremely contemporary at once. Often shooting inches away from the subject at acute and unexpected angles, Haas work was visionary. Lyrical, evocative, and expressive, while at the same time exact, the artist moved away from obvious reality, finding fascination in transforming it into a subjective point of view. The works on view are to be understood not as informative but as creative; description gives way to suggestion. Color Correction - the exhibition as well as the book – show works that are rich, vibrant, and intelligent alike. With this new view on the body of work of one of the medium’s most important advocates, Color Correction hopes to evoke the excitement Steichen expressed when he first came across Haas imaginarium of seeing: “In my estimation we have experienced an epoch in photography. Here is a free spirit, untrammelled by tradition and theory, who has gone out and found beauty unparalleled in photography.”

Press release from the Christophe Guye Galerie website

Ernst Haas (1921–1986)
Bronco Rider, California
1957
C-print, later print
101,6 x 76,2 cm (40 x 30 in.)
Edition of 15
Courtesy of Ernst Haas and Christophe Guye Galerie

Ernst Haas (1921 – 1986)
California, USA
1976
C-print, later print
101,6 x 76,2 cm (40 x 30 in.)
Courtesy of Ernst Haas and Christophe Guye Galerie

Christophe Guye Galerie
Dufourstrasse 31
8008 Zurich, Switzerland
T: +41 44 252 01 11

Opening hours:
Monday to Friday 10 a.m. – 6 p.m.
Saturday 11 a.m. – 4 p.m.

Christophe Guye Galerie website

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May

Exhibition: ‘William Eggleston: Democratic Camera, Photographs and Video, 1961-2008′ at The Art Institute of Chicago

By Dr Marcus Bunyan 5 Comments

Exhibition dates: 27th February – 23rd May 2010

THE classic William Eggleston, the one and only. Feel the heat of sun on body. Look at the construction of the image plane, all angles and fractures. The slight movement of the woman’s hand as she sits on a cracked yellow wall. The distance between her body and the metal pole with wrapped chain and padlock, that ice/fire tension as Minor White would say. Man with gun vs melancholy monochromatic self portrait, the reverie of the lone thinker. Colour and light as emotional sounding board, “color as a means of discovery and expression, and as a way to highlight aspects of life hidden in plain sight.” This is what Eggleston points his democratic camera at – life hidden in plain sight, revealed in all its intricacies, in all its mundanity and glory.

Many thankx to Chai Lee and The Art Institute of Chicago for allowing to me reproduce the photographs in this posting. Please click on the photographs for a larger version of the image.

William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 17 3/4 x 12 in. (45.1 x 30.5 cm.)
Private collection.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 17 ¾ x 12 inches (45.1 x 30.5 cm.)
Private collection.
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York.

William Eggleston
Memphis
c. 1969-71
from William Eggleston’s Guide, 1976, c. 1969-71.
Dye transfer print, 24 x 20 in (61 x 50.8 cm.)
Collection of John Cheim.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Morton, Mississippi
c. 1969-70
from William Eggleston’s Guide, 1976, c. 1969-70.
Dye transfer print, 13 3/8 x 8 11/16 in (34 x 22 cm.)
Cheim & Read, New York.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Huntsville, Alabama
1971
from William Eggleston’s Guide, 1976, 1971.
Dye transfer print, 20 x 15 7/8 in (50.8 x 40.3 cm.)
University of Mississippi Museum and Historic Houses, Oxford.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 17 ¾ x 12 in (45.1 x 30.5 cm.)
Private collection.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

“The unconventional beauty and artistry of works by photographer William Eggleston will be showcased in a major exhibition opening at the Art Institute of Chicago this winter. William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 – on view from February 27 through May 23, 2010, in the Modern Wing’s Abbott Galleries (G182, G184) and Carolyn S. and Matthew Bucksbaum Gallery (G188) – is the most comprehensive retrospective to date of the Memphis-based contemporary photographer. The exhibition brings together more than 150 extraordinary images of familiar, everyday subjects with lesser-known, early black-and-white prints and provocative video recordings, all produced over a five-decade period.

Born in 1939 in Memphis, Tennessee, and raised on his family’s cotton plantation in Mississippi, William Eggleston held a casual interest in photography until 1959, when he came across photo books by Henri Cartier-Bresson and Walker Evans. Among his earliest pictures, made during stints at universities in Tennessee and Mississippi, were black-and-white scenes found in his native South, as well as portraits of friends and family members.

By the 1960s and early 1970s he had begun experimenting with color film, and he eventually produced rich, vivid prints through the dye transfer process – prints that are created through the alignment of three separate matrices (cyan, magenta, and yellow) generated from three separate negatives (red, green, and blue filters). The resulting prints are known for the vividness and permanence of their colors. Hence, Eggleston is often credited for single-handedly ushering in the era of color art photography.

Eager to show his work to a broader audience, Eggleston traveled to New York with a suitcase of slides and prints to meet with Museum of Modern Art (MoMA) curator John Szarkowski. This visit eventually yielded a controversial but revolutionary exhibition in 1976 – MoMA’s first solo show to feature color photographs – and a classic accompanying book, William Eggleston’s Guide. At this point in his career, Eggleston had already distinguished himself by treating color as a means of discovery and expression, and as a way to highlight aspects of life hidden in plain sight.

William Eggleston: Democratic Camera, Photographs and Video, 1961–2008 demonstrates Eggleston’s “democratic” approach to his photographic subjects in both color and black-and-white. Everything that happens in front of the camera is worthy of becoming a picture for the artist – no matter how seemingly circumstantial or trivial. Eggleston finds his motifs in everyday life, resulting in telling portrayals of American culture. His iconic images such as Elvis’s Graceland, a supermarket clerk corralling grocery carts in the afternoon sunlight, and a freezer stuffed with food proves that the photographer points his “democratic camera” at everything. Eggleston’s quiet, thoughtful pictures have profoundly impacted subsequent generations of photographers, filmmakers, and scholars.

The exhibition also includes Eggleston’s cult video work, Stranded in Canton. In the 1960s, Eggleston used film to document Fred McDowell, a well-known Delta blues musician, but ultimately abandoned the film project. Eggleston later acquired a video camera and began using video to shoot in bars and in people’s homes; sometimes he shot monologues friends delivered for his video camera, most often at night. The result, Stranded in Canton, recently restored and re-edited, is a portrait of a woozy subculture that adds dimension and texture to the world of Eggleston’s color photographs.

Internationally acclaimed, Eggleston has spent the past four decades photographing around the world, responding intuitively to fleeting configurations of cultural signs and specific expressions of local color. By not censoring, rarely editing, and always photographing even the seemingly banal, Eggleston convinces us completely of the idea of the democratic camera.”

Press release from the Art Institute of Chicago website

William Eggleston
Untitled (Memphis, Tennessee)
1971
from 14 Pictures, 1974, 1971.
Dye transfer print, 15 7/8 x 19 15/16 in (40.3 x 50.6 cm.)
Collection of Adam Bartos.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Untitled
1970
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 16 x 20 in. (40.6 x 50.8 cm.)
Whitney Museum of American Art, New York; purchased with funds from the Photography Committee 2009.79.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Untitled
1975
Dye transfer print, 16 x 20 in (40.6 x 50.8 cm.)
Cheim & Read, New York
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Untitled
c. 1971-73
from Troubled Waters, 1980, c. 1971-73.
Dye transfer print, 15 7/8 x 19 15/16 in (40.3 x 50.6 cm.)
Collection Marcia Dunn and Jonathan Sobel.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 12 x 17 ¾ inches (30.5 x 45.1 cm.)
Private collection
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York.

William Eggleston
Untitled
n.d.
from Las Alamos, 1965-68 and 1972-74 (published in 2003.) 1965-68 and 1972-74.
Dye transfer print, 12 x 17 ¾ inches (30.5 x 45.1 cm.)
Private collection
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York.

William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 12 x 17 3/4 in. (30.5 x 45.1 cm.)
Private collection
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

The Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
(312) 443-3600

Opening hours:
Monday–Wednesday, 10:30–5:00
Thursday, 10:30–8:00 (Free Admission 5:00–8:00, member-only access to Matisse)
Friday, 10:30–8:00
Saturday–Sunday, 10:00–5:00
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

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Feb

Exhibition: ‘In the Darkroom: Photographic Processes before the Digital Age’ at the National Gallery of Art, Washington, D.C.

By Dr Marcus Bunyan 3 Comments

Categories: American, american photographers, black and white photography, colour photography, documentary photography, English artist, exhibition, gallery website, landscape, light, photographic series, photography, portrait and works on paper
Tags: Albert Sands Southworth and Josiah Johnson Hawes The Letter, albumen silver print from glass negative, ambrotype, Anna Atkins, Anna Atkins Ferns Specimen of Cyanotype, Clarence White, Clarence White Mrs. White - In the Studio, cyanotype, daguerreotype, dye imbibition print, dye transfer print, early photographic processes, gelatin silver print, Ghost Rock Colorado Springs, Gustave Le Gray, Gustave Le Gray 'Cavalry Maneuvers behind barrier Camp de Châlons' 1857, Gustave Le Gray Cavalry Maneuvers, Harry Callahan 'Providence' 1977, In the Darkroom: Photographic Processes before the Digital Age, Laura Gilpin, Laura Gilpin Ghost Rock Colorado Springs, László Moholy-Nagy, László Moholy-Nagy Untitled (Positive), Mrs. White - In the Studio, photogram, platinum print, Platt D. Babbitt, Platt D. Babbitt Niagara Falls c. 1860, Robert Adams, Robert Adams Summer Nights #2 (Longmont Colorado) 1979, Roger Fenton, Roger Fenton The Cloisters Tintern Abbey 1854, salted paper print from a collodion negative, Sid Grossman San Gennaro Festival New York City, Summer Nights #2 (Longmont Colorado), The Cloisters Tintern Abbey, The Letter c.1850, Untitled (Car in Parking Lot), washington d c, William Eggleston Untitled (Car in Parking Lot) 1973

Exhibition dates: 25th October, 2009 – 14th March, 2010

Many thankx to Kate Afanasyeva and the National Gallery of Art for allowing me to reproduce the photographs from the exhibition below.

A comment from a viewer of this post, Mark Starr, asking for help in regards to Collodion negatives is below. Perhaps someone can help?

“I have aquired an old charred and beaten wooden ammo box I think it dates back to the 1850’s as it is filled with literally 100+ glass negatives, possibly made by the “dry collodion” method. Can anyone PLEASE let me know who to contact for info on how to go about any method I could use to possibly verify the original Photographer, or to produce prints from these EXTREMELY delicate plates using today’s technics. As soon as I have ascertained some semblance of authenticity the entire collection will be made available to all persons sharing interest in these flawless remnants of over a century ago.
Any assistance in steering me in the next direction will be GREATLY appreciated.”

With Sincere Thanks,
Mr. Mark Starr
(925)565-9293
starrman4696@sbcglobal.net

Laura Gilpin
Ghost Rock, Colorado Springs
1919
platinum print
National Gallery of Art, Washington Marvin Breckinridge Patterson Fund
© 1979 Amon Carter Museum, Fort Worth, Texas

Clarence White
Mrs. White – In the Studio
1907
platinum print
National Gallery of Art, Washington Horace W. Goldsmith Foundation through Robert and Joyce Menschel and R.K. Mellon Family Foundation Fund

Sid Grossman
San Gennaro Festival, New York City
1948
gelatin silver print
National Gallery of Art, Washington Anonymous Gift

Albert Sands Southworth and Josiah Johnson Hawes
The Letter
c. 1850
daguerreotype
National Gallery of Art, Washington Patrons’ Permanent Fund

László Moholy-Nagy
Untitled (Positive)
c. 1922-1924
gelatin silver print
National Gallery of Art, Washington Gift of The Circle of the National Gallery of Art

László Moholy-Nagy
Untitled
c. 1922-1924
gelatin silver print
National Gallery of Art, Washington New Century Fund

Anna Atkins
Ferns, Specimen of Cyanotype
1840s
cyanotype
National Gallery of Art, Washington R.K. Mellon Family Foundation Fund

“The extraordinary range and complexity of the photographic process is explored, from the origins of the medium in the 1840s up to the advent of digital photography at the end of the 20th century, in a comprehensive exhibition and its accompanying guidebook at the National Gallery of Art, Washington. On view in the West Building, from October 25, 2009 through March 14, 2010, ‘In the Darkroom: Photographic Processes Before the Digital Age’ chronicles the major technological developments in the 170-year history of photography and presents the virtuosity of the medium’s practitioners. Drawn from the Gallery’s permanent collection are some 90 photographs – ranging from William Henry Fox Talbot’s images of the 1840s to Andy Warhol’s Polaroid prints of the 1980s.

“In the Darkroom and the accompanying guidebook provide a valuable overview of the medium as well as an introduction to the most commonly used photographic processes from its earliest days,” said Earl A. Powell III, director, National Gallery of Art.

In the Darkroom

Organized chronologically, the exhibition opens with Lace (1839–1844), a photogenic drawing by William Henry Fox Talbot. Made without the aid of a camera, the image was produced by placing a swath of lace onto a sheet of sensitized paper and then exposing it to light to yield a tonally reversed image.

Talbot’s greatest achievement – the invention of the first negative-positive photographic process – is also celebrated in this section with paper negatives by Charles Nègre and Baron Louis-Adolphe Humbert de Molard as well as salted paper prints made from paper negatives by Nègre, partners David Octavius Hill and Robert Adamson, and others.

The daguerreotype, the first publicly introduced photographic process and the most popular form of photography during the medium’s first decade, is represented by a selection of British and American works, including an exquisite large-plate work by the American photographers Albert Sands Southworth and Josiah Johnson Hawes [see photograph above]. By the mid-1850s, the daguerreotype’s popularity was eclipsed by two new processes, the ambrotype and the tintype. These portable photographs on glass or metal were relatively inexpensive to produce and were especially popular for portraiture.

The year 1851 marked a turning point in photographic history with the introduction of the collodion negative on glass and the albumen print process. Most often paired together, this negative-print combination yielded lustrous prints with a subtle gradation of tones from dark to light and became the most common form of photography in the 19th century, seen here in works by Julia Margaret Cameron, Roger Fenton, and Gustave Le Gray.

Near the turn of the 20th century, a number of new, complex print processes emerged, such as platinum and palladium, gum dichromate, and bromoil. Often requiring significant manipulation by the hand of the artist, these processes were favored by photographers such as Gertrude Käsebier, Alfred Stieglitz, and Edward Weston.

One of the most significant developments of the late 19th century was the introduction of gelatin into photographic processes, which led to the invention of the film negative and the gelatin silver print. These became the standard for 20th-century black-and-white photography. A chronological selection of gelatin silver prints, including a contact print made by André Kertész in 1912; a grainy, blurred image of Little Italy’s San Gennaro festival at night by Sid Grossman from 1948 [see photograph above]; and a coolly precise industrial landscape by Frank Gohlke from 1975, reveals how the introduction of the film negative and changes in the gelatin silver print process profoundly shaped the direction of modern photography. This section also explores the development of ink-based, photomechanical processes such as photogravure, Woodburytype, and halftone that enabled the large-scale, high-quality reproduction of photographs in books and magazines.

The final section of the exhibition explores the rise of color photography in the 20th century. Although the introduction of chromogenic color processes made color photography commercially viable by the 1930s, it was not widely employed by artists until the 1970s. The exhibition celebrates the pioneers of color photography, including Harry Callahan and William Eggleston, who made exceptional work using the complicated dye transfer process. The exhibition also explores the range of processes developed by the Polaroid Corporation that provided instant gratification to the user, from Andy Warhol’s small SX-70 prints to the large-scale Polaroid prints represented by the work of contemporary photographer David Levinthal.”

Press release from the National Gallery of Art website

Harry Callahan
‘Providence’
1977
dye transfer print

William Eggleston
Untitled (Car in Parking Lot)
1973
dye imbibition print
National Gallery of Art, Washington Anonymous Gift

Platt D. Babbitt
Niagara Falls
c. 1860
ambrotype
National Gallery of Art, Washington Vital Projects Fund

Gustave Le Gray
‘Cavalry Maneuvers behind barrier, Camp de Châlons’
1857
albumen silver print from glass negative

Roger Fenton
The Cloisters, Tintern Abbey
1854
salted paper print from a collodion negative
National Gallery of Art, Washington Horace W. Goldsmith Foundation through Robert and Joyce Menschel

Robert Adams
Summer Nights #2 (Longmont, Colorado)
1979
gelatin silver print
National Gallery of Art, Washington Gift of Mary and David Robinson

The National Gallery of Art, Washington, DC

The National Gallery of Art, located on the National Mall between 3rd and 7th Streets at Constitution Avenue NW, is open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m.

National Gallery of Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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Posts Tagged ‘dye transfer print

Exhibition: ‘True Stories: American Photography from the Sammlung Moderne Kunst’ at Pinakothek der Moderne, Munich

Exhibition dates: 2nd March – 20th September 2012

Exhibition: ‘Color Correction’ by Ernst Haas at Christophe Guye Galerie, Zurich

Exhibition dates: 20th January – 25th February 2012

Exhibition: ‘William Eggleston: Democratic Camera, Photographs and Video, 1961-2008′ at The Art Institute of Chicago

Exhibition dates: 27th February – 23rd May 2010

Exhibition: ‘In the Darkroom: Photographic Processes before the Digital Age’ at the National Gallery of Art, Washington, D.C.

Exhibition dates: 25th October, 2009 – 14th March, 2010

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