Heenan employs a mixture of media including digital and alternative process photography, video, performance, and installation.
|
|
Exploring materials—lead, marble, limestone, alt process photography, gold frames, re-energizing the darkroom, pine cones burned on silver gelatin paper, finding the 8×10 camera in the equipment room.
|
|
Advertise on Hyperallergic with Nectar Ads Known for her nude portraits that explore gender identity through sexually ambiguous models, Rowan Renee has developed a singular creative approach that combines alternative process photography with raw subject matter as a source of self-expression.
|
|
Examining artistic process, photography is also used to illustrate the construction of Yves Klein's 1960 Leap into the Void—a performance made for the photographic medium—and Anthropometries of the Blue Period, for which the artist had body-painted women pressing themselves to canvas.
|
|
AGFA commercialised the formulation under the trade name Rodinal. Rodinal was still in use more than a century after its invention. In 1892. he turned his attention to dry plate (gelatin process) photography.
|
|
Shooting took place at UFA in Babelsberg and around Berlin between 18 November 1940 and mid-February 1941. As in Ritter's previous film, Über alles in der Welt, miniatures and process photography were by Gerhard Huttula.Giesen, pp. 78-79, 222.
|
|
In 1862 Ueno and Horie co-wrote a textbook titled that comprised translated extracts from ten Dutch science manuals and which included an appendix titled [The Technique of Photography] that described techniques of collodion process photography as well as Nicéphore Niépce's asphalt printing method.
|
|
Rear projection (also known as process photography) is part of many in-camera effects cinematic techniques in film production for combining foreground performances with pre-filmed backgrounds. It was widely used for many years in driving scenes, or to show other forms of "distant" background motion.
|
|
A Celor lens (also known as a symmetric dialyte) is a highly corrected lens of the Dialyt type, designed for process photography, involving reproduction at or near 1:1 scale. It was developed in 1898 by Emil von Hoegh, an optical designer working for the German company Goerz.
|
|
The Landmaster is a unique 12-wheeled amphibious articulated vehicle constructed by Dean Jeffries at Jeffries Automotive in Universal City, California, for the 1977 science fiction film Damnation Alley. Despite the appearance of two Landmasters in the film (achieved with process photography and models), only one was built, at a cost of $350,000 in 1976.
|
|
Accessed on March 17, 2012. Other prestigious clients included Mark Twain, and Annie Oakley. In some ways Eisenmann can be considered a kind of Annie Leibovitz of the Victorian Bowery district. His career suffered a downturn with the introduction of Gelatin silver process photography which made photographs more inexpensive and available for mass consumption.
|
|
He stated that several of the artists were contacted on the day of judging to determine whether their expected entries would be turned in. Some artists had asked for extensions. He also said it didn't make a difference whether the sculptures were entered in plaster or of another material. It was also controversial that throughout the judging process photography of the potential artworks were banned.
|
|
Pompe van Meerdervoort was hardly more successful; one result of his experiments was described by Matsumoto Jun as "a meagre black shadow" (Himeno, 21–22). Nevertheless, in turn they taught wet-collodion process photography to Keisai Yoshio,Keisai was an uncle and teacher of the photographer Uchida Kuichi (Himeno, 24–25). Furukawa Shumpei, Kawano Teizō, Maeda Genzō, Ueno Hikoma, and Horie Kuwajirō, among others.Himeno, 21–22.
|
|
Ray Binger (November 16, 1888 - September 29, 1970) was an American cinematographer. He started working in Hollywood in 1924, mastering the art of process photography. By 1934 he had gravitated towards special effects work. He was one of the many technicians involved in bringing authenticity to The Hurricane in 1937, and was instrumental in the plane crash sequence in Alfred Hitchcock’s Foreign Correspondent in 1940.
|
|
There was a community darkroom catering to black and white, alternative and historic process photography. During each summer the venue ran the 'August Forest Fringe', a theatre and alternative arts programme as an alternative complement to the mainstream Edinburgh Festival. In 2004, the Forest Café became one of only four internet cafés in the United Kingdom to have won a highly recommended citation in the Yahoo! Mail Internet Café Awards.
|
|
2001 also used rear projection to produce computer screen effects. As front projection and bluescreen effects became more widespread and less costly, rear projection has been rendered largely obsolete. Quentin Tarantino used the process for the taxi ride sequence of Pulp Fiction, and James Cameron used rear projection for several special effects shots within Aliens, including the crash of the dropship as well as for several important sequences in Terminator 2: Judgment Day such as the car escape from the mental hospital and the T-1000 hijacking the Police helicopter; he has been described as one of the few people in Hollywood still able to understand and use process photography as an effective technique.Terminator 2: Judgement Day Ultimate Edition DVD special features, interview with James Cameron on 'Process Photography' Also, the Austin Powers film series frequently used rear projection to help give it the feel of old spy movies; Natural Born Killers used the technique extensively throughout to emphasize characters' subconscious motivations.
|
|
It was only after his contact with Swiss photographer Pierre Rossier (1829 – ca. 1890) that Ueno decided to pursue a career as a photographer. Rossier had been commissioned by the firm Negretti and Zambra to photograph in Asia and he worked in Japan from 1859 to 1860. He was only in Nagasaki for a short time, but while there he taught wet-collodion process photography to Ueno, Horie Kuwajirō (1831-1866), Maeda Genzō (1831-1906) and others.
|
|
In front of this disc was a second disc pierced with a slit. Pressing the trigger of the gun began a mechanism to rotate the discs. The disc carrying the 12 frames rotated 1/12 of a revolution while the disc carrying the shutter slit revolved once, so that each of the 12 openings appeared in turn behind the lens and was exposed through the slit. [3] When printed, it gave the same effect as his layering process.“Photography, History of.” Britannica.
|
|
In 1979, he was one of a team of artists to win a special Oscar for visual effects in Superman. In addition to the Oscar, Deny's was also awarded a Bafta (the Michael Balcon award) for his work on Superman (as Creative Director of Process Photography). He was also awarded the Bert Easey award by the British Society of Cinematographers. He was nominated for the Best Cinematography (B&W;) Bafta in 1964 for "Billy Liar", in 1965 for "King and Country", and in 1967 for "Bunny Lake is Missing".
|
|
When Swiss photographer Pierre Rossier arrived in Japan in 1858 on a commission from Negretti and Zambra, he taught wet-collodion process photography to Horie and others, including his friend Ueno Hikoma (1838 - 1904) and Maeda Genzō (1831 - 1906). It is possible that Horie accompanied Rossier around Nagasaki while the latter took photographs of priests, beggars, the audience of a sumo match, the foreign settlement, and a group portrait of Philipp Franz von Siebold's son Alexander and several samurai. In 1860 or 1861 Horie bought a wet-plate camera. The purchase, which included photographic chemicals, was funded by the daimyō of the Tsu Domain, Tōdō Takayuki, and the price was 150 ryō.
|
|
William Henry Fox Talbot's paper negative process, which was used to create his work "The Pencil of Nature", used a negative created on paper treated with silver salts, which was exposed in a camera obscura to create the negative and then contact printed on a similar paper to produce a positive image. When Talbot created this process it was intended to be a way to reproduce nature as accurately as possible (hence the name of his work, "The Pencil of Nature"). Through the years afterwards, however, better and more accurate ways of producing exact replicas of nature were developed, and these processes relegated the paper negative process to obsolescence. The process of the paper negative is still relevant, though, in the realm of alternative-process photography.
|
|