It’s an next episode, I continue the travel through the old techniques finding myself in the opportunities that are given to me. Last time I saw Talbot’s works which inspired me a lot for things that I’ve already started to create. For now it will be a private project but, who knows – maybe it will be worth showing later on.
The collodion process is an early photographic process, said to have been invented, almost simultaneously, by Frederick Scott Archer and Gustave Le Gray in about 1851. During the subsequent decades of its popularity, many photographers and experimenters refined or varied the process. By the end of the 1850s it had almost entirely replaced the first practical photographic process, the daguerreotype.
The albumen print, also called albumen silver print, was published in January 1847 by Louis Désiré Blanquart-Evrard, and was the first commercially exploitable method of producing a photographic print on a paper base from a negative. It used the albumen found in egg whites to bind the photographic chemicals to the paper and became the dominant form of photographic positives from 1855 to the turn of the 20th century, with a peak in the 1860-90 period. During the mid-19th century, the carte de visite became one of the more popular uses of the albumen method. In the 19th century, E. & H. T. Anthony & Company were the largest makers and distributors of the Albumen photographic prints and paper in the United States.
The oil print process is a photographic print making process that relies on variation in a hardness of a gelatin emulsion to accept an oil-based paint. When gelatin is mixed with a dichromate, it becomes light sensitive, causing some areas to accept an oil paint. In turn, other areas become hard and don’t accept paint. The oil print process requires contact exposing with a negative the size of the print, because the medium isn’t sensitive enough to light to make use of a projector.