Daguerreotype portraits were made by the model posing (often with head fixed in place with a clamp to keep it still the few minutes required) before an exposed light-sensitive silvered copper plate, which was then developed by mercury fumes and fixed with salts. This fixing however was far from permanent – like the people they captured the images too were subject to change and decay. They were extremely sensitive to scratches, dust, hair, etc, and particularly the rubbing of the glass cover if the glue holding it in place deteriorated. As well as rubbing, the glass itself can also deteriorate and bubbles of solvent explode upon the image.
posted by Horace Rumpole
on Jan 8, 2013 -
is the new photojournalism blog of The New York Times, presenting visual and multimedia reporting — photographs, videos and slide shows. A showcase for Times photographers, it will draw on The Times' own pictorial archive, numbering in the millions of images and going back to the early 20th century. Features in their first week include: Essay: Slow Photography in an Instantaneous Age
, about what it means to shoot on large-format film in the digital age; Showcase: A Prom Divided
, a multimedia feature about a segregated prom in 2009 south-central Georgia.
posted by netbros
on May 22, 2009 -
"is the Noah's Ark for the Internet era - the world's centralised digital library of films, photographs and associated recordings of species, accessible to all via the world wide web."
posted by tbc
on Aug 14, 2003 -
Life Is A Magazine, Chum...
Come to the Magazine! A lot of us grew up with Life Magazine
and there's a certain nostalgic/narcissistic pleasure in looking at the cover of the week
you (if you're over 30, that is) or your parents were born in. Their wacky
covers are also worth checking out, even though there are some inevitable repeats. Oh - and never forgetting their astonishing classic photographs
, of course.
posted by MiguelCardoso
on Aug 9, 2002 -
The Polaroid photographic archive is under threat
The archivists are trying to sell the collection together, but as always seems to happen in these cases, it looks like it might be separated. If buildings can be listed, why can't collections like this, which documents six decades of social and artistic history, be protected as well?
posted by feelinglistless
on Jan 4, 2002 -