Photographic representation techniques (2D)
In the 19th and early 20th centuries, a variety of techniques and processes for reproduction were developed in the Photography and the Printing technology developed. They formed the basis for today's printing techniques and imaging processes. These methods continue to be used today by artists and artist photographers and, in contrast to the processes used industrially, as Fine printing process Designated. Originally the term referred to Fine printing only those Positive procedure on paper.
Heliography or asphalt processes
The Heliography Or Heliography (artificial word, formed from greek λιος, Helios = sun, γράφω, grápho = draw/describe), is that of Joseph Nicephore Niépce or Niepce developed a process that was the first in the history of photography to produce permanent images. Niepce's experiments in this regard had already begun in 1811, and in 1822 he produced the first light-resistant heliographic copy of a graphic sheet. The experiment of 1822 is considered the actual birth of photography because Niepce succeeded for the first time in creating permanent photographic images using the camera. In asphalt processes, photographic use is based on the light sensitivity of Asphalt- which hardens under the influence of light. An image is created by brushing or removing the unexposed areas with oil. The first organic gold still preserved today dates from 1826. Niepce worked with Louis Daguerre from 1829. The official year of photography's birth is 1839 with the public presentation of the daguerreotype.
Technique of heliography
Niepce held in 1822 with a Camera obscura and one with Asphaltcoated, 21×16 cm polished tin plate takes a look out the window of his study. The exposure time was approximately eight hours. The asphalt was hardened under the influence of light, so that during the subsequent „development“ with lavender oil and petroleum, only the less exposed asphalt areas were removed. This meant that the image was both „fixed“ and light-resistant. Niepce's actual goal was to then etch these plates in order to obtain prints from them using the printing process, which he only succeeded in doing from contact copies of line templates (engravings, etchings). He also used lithographic stones, glass plates, tin, zinc, copper and silver-plated plates. In later experiments he vaporized the developed plates with iodine to blacken the shadow areasThe remaining asphalt layer was then dissolved with alcohol and thus obtained more contrasting direct positives. Although heliography was not ready for use during JN Niepce's lifetime, it was later further developed by his nephew Abel Niepce de St. Victor. He succeeded in etching the heliographies and producing prints of them in 1855, with the help of the engraver Lemaître, which laid the foundation for the later heliogravure processes.
Daguerreotype
Daguerreotype Camera
As Daguerreotype or else Daguerrotype is a photographic process of the 19. Centuriesreferred to by the French Painter Louis Jacques Mande Daguerre was developed between 1835 and 1839 and named after him. It is the first sophisticated photographic process to be published. Purchased by the French government, it was opened on the 14th. Opened for general use in August 1839. Daguerre had been with us since 1829 Nicephore Niepce, the inventor of the Heliography, worked together in partnership. However, his process was an independent development based on completely different foundations. The daguerreotype is based on the photosensitivity of silver halides. It delivered well-nuanced, very finely structured images that showed even the smallest details when viewed even with a magnifying glass. The image tone, originally gray to blue-gray, could be gold-colored, purple to sepia-colored after the introduction of gold toning. Weaknesses of the process were the low light sensitivity and the reversed image. In addition, each daguerreotype was unique and could not be easily reproduced, although this increased their appreciation. There was also a restriction when viewing the image. Depending on whether light or darkness was reflected in the bare shadow areasthe daguerreotype was seen negatively or positively. This inconvenience was a major reason for the rapid success of later, improved procedures. As early as around 1860, daguerreotypes quickly disappeared from the range of photographers' studios. They were primarily framed using unique pieces and similar frames Ambrotypes on the one hand and the inexpensive ones Business card portraits on the other hand, replaced.
Daguerreotype technique
Silver-plated, polished ones were used to produce a daguerreotype Copper plates, the one with Iodine– and later too Bromine steamingwere made light sensitive. Light-sensitive material formed on the surface Silver iodideOr. Silver bromide. The plate had to be kept in the dark before the photo was taken. To ExposureThey were placed at the back of one Photocamerasdem through that Lens the Camera invading ones Light out of. Because of the low light sensitivity of iodine silver, exposure to the sun initially took 8-10 minutes, but later only a few seconds due to improvements in the process and lenses. The silver halide became metallic at the exposed image areas Silver reduced. Subsequently, with the help of Mercury vapors develops, with metallic mercury attaching to the very weak silver image. After the Evolution And Fixationin a sea salt, „hyposulfite“ (thiosulfate) or cyanide solution, a positive, light-resistant image of gray mercury was created, which, however, is reversed and can only be optimally seen under certain conditions. The mercury layer on the copper plate was extremely sensitive to contact. Therefore, the daguerreotype was finally mounted behind a glass plate and glued to it in an airtight manner to protect against corrosion before it was placed in a box or framed.
Hand-colored daguerreotype from 1850 by J. Garnier
Albumin prints
Albumin paper was the most commonly used copy paper between 1855 and 1890. It was invented by Louis Blanquart-Evrard (18ß2 – 1872) and consists of a support made of high quality paper with a low basis weight, which is provided with a thin coating of egg albumin as an imaging layer. The egg whites increased the brightness of the paper backing and improved the reproduction of the lights, and the albumin coating of historical photographs is generally brittle with a craquele of fine cracks.
Ambrotype
Ambrotype from the 19th century
Portrait of a soldier from the Civil War (1860 – 1865)
The Ambrotype (Melanotype, Amphitypia or short Ambro, from the Greek word „ambrotos“, „immortal“) is a photographic one Direct positive procedure, the the in wet collodion process is manufactured and was used between 1852 and 1890; it was primarily used as an inexpensive replacement for the Daguerreotype utilised. It was introduced in 1851/1852 by Frederic Scott Archer and Peter Fry.
Ambrotype technique
The image effect of ambrotype is based on a scarcely exposed and developed iodine and bromosilver containing Collodion layer on glass. Delicate collodion negatives were bleached, this whitish glassnegatives is backed with black paper or velvet and thus receives its positive image effect (Pseudo-positive); the negative appears because of the Darkfield principle against a dark background as Positively. So one is used Unique piece.
The ambrotypes soon replaced the daguerreotypes because they were cheaper and could be viewed from all directions. They were leading processes until the introduction of the dry plate around 1870.
Bromine silver paper
The bromosilver paper is the most common type of black and white photographic paper. The paper base is coated with a bromosilver emulsion. The image tone is neutral black.
Chlorobromine silver paper
This black and white photo paper is coated with a mixture of chlorine silver and bromine silver. This makes the image tone warm black to brown.
Chromium gelatin process (bromine oil printing)
Josef Jindoich Šechtl:
Lake Jordan in Tábor, around 1920 bromine oil printing
Bromine oil pressure, too Bromo oil pressure, is as Fine printing process not a printing process in the true sense, but a photographic one Positive copying process. It was founded in 1902 by Welborne Piper invented and in common use from 1907.
The basis is a bromine silver positive, which is based on unhardened and therefore swellable Bromine silver paper was exposed. After fixation and watering, the silver image is bleached with a chromate bleach bath obtained from a solution of Copper sulfate, Potassium bromide And Potassium dichromate– or Ammonium dichromate solution passes.
This chemical process causes partial hardening (Tanning) of the gelatin layer of the paper, which thereby becomes insoluble in water. This tanning is proportional to the existing silver image. This one Gelatin relief is watered to apply a paint. The non-hardened areas (bright image tones) absorb a lot of hardened image areas and correspondingly less water. The water is removed from the paper on the surface and then used various brushes or rollers to remove an oil-containing one Printing inkblotted on. This only sticks to the hardened and therefore water-free areas. This creates a positive dye image. The shade is determined by the choice of oil color. Reprinting on paper creates bromine oil reprinting. This procedure can be carried out several times and images of independent appeal are created.
This process was also used to produce color photographs with very natural coloring before the invention of color film: 3 precisely fitting black and white images of a subject were produced by color decomposition with filters (blue, green, red) and the gelatin matrices were colored with yellow on the blue, red on the green and blue on the red filter image and then printed one on top of the other in multiple printing processes.
Chromogenic pressure
Chromogenic printing is a photo printing process that does not work with halftones but with grids in a substractive principle. The recording film is a three-pack process and is structured as follows when viewed from top to bottom:
Blue-sensitive layer
Yellow filter
Green-sensitive layer
Red filter
Red-sensitive layer
This process, in which the color is built up = chromogenic, was developed in 1897 by Louis Ducos du Hauron. He is also the inventor of pigment printing and heliochromism around 1877. Independently of him, Charles Cros also invented the basics of this process, which are still used today. The principle of color photography is that with development not only silver but also a dye is formed. The AgBr grain (silver bromine) is coated with a dye.
Chromogenic printing technique
This process works with complementary color pairs, i.e
Blue – Yellow Yellow, Yellow = minus Blue
Green – Purple Purple, Magenta = minus Green
Red – teal teal, cyan = minus red
In 1907, Homolka and developers such as Indoxyl and Thioindoxyl succeeded in achieving a reaction to produce colored substances, i.e. producing real color developers.
In 1909, Hans Siegrist Rudolf Fischer managed to develop a monopack of chromogenic development, which still forms the basis of all color processes today.
In 1935 the technical implementation was carried out by the Kodakchrome company. For a long time there was color distortion due to the diffusion of substances. This could only be eliminated when the color couplers could be incorporated into the carrier layers in a diffusion-resistant manner before processing.
For a color reversal film, i.e. a slide film, the development process is as follows:
- Exposure of the reversal film
- Initial development
- Post-exposure of the film carrier
- Color development
- Bleaching fixation
- Finished image = slide
In 1936, G. Willmanns and w. Schneider developed a new process for Agfa, called Agfacolor, in which the color couplers were already installed in the film. This resulted in great advantages in the processing of the film material.
Kodak then developed the ectachrome principle, in which the color couplers were also installed.
Ferrotype
Example of a ferrotype around 1870
The Ferrotype (Tintype, melanotype or sheet metal photography) is a photographic Direct positive procedure, the between 1855 and the 1930s was used. The ferrotype was 1856 of Hamilton L. smith invented. Towards the end of the 19th century. Century the manual procedure was implemented Vending machines superseded. The first such mechanically operated machine was constructed Conrad Bernitt in Hamburg in the year 1894. The Bosco Automaton was used worldwide for decades and is considered a forerunner of today's Passport photo machines. The inexpensive ferrotypes were pasted into an album or sent by post; they quickly became popular and appeared primarily as Quick photography and as Fairground attraction in appearance.
Ferrotype technique
The ferrotype is based on a scarcely exposed and developed iodine and bromosilver containing Collodion layer–, which were painted on a –usually darkened with asphalt Sheet iron is located. The negative appears because of the Darkfield principle against the dark background as Positively. Ferrotypes are Unique pieces – they are exposed directly.
Heliogravure, also called photoengraving
Dancer with tambourine in Egypt, heliogravure by Jean-Leon Gerome (1824–1904)
Sword Dancers in Egypt, heliogravure by Jean-Leon Gereme (1824–1904)
The Heliogravure (from Greek helios = sun), also Heliogravure Photogravure Photogravure Photogravure Photogravure Photogravure Klicotype Or Solar pressure called, refers to a photographic Fine printing process, the 1879 of Karl Klietsch (= Karel Klíč) was invented.
Heliogravure is the forerunner technique of modern Gravure printing, with which photos and illustrations can be reproduced using a photomechanical printing process and with which real Semitones have it represented. It is a further development of the Aquatint-procedure. The pressure plate required for this is similar to that for the aquatintEtching fabricated.
Heliogravure procedure
A distinction is made between direct copying and pigment paper copying.
Direct copy
A copper plate is included Rosin– or Asphalt powder Dusted and this by heating as GridMelted. There will be one about that Gelatin layer upset by bathing in one Potassium dichromate- solution is sensitized (made light-sensitive9 and exposed by a full-size halftone slide. Development then takes place in warm water.
The chromium gelatin hardens through exposure, while the unexposed parts remain washable, creating a gelatin relief. Depending on the relief thickness, the acid can penetrate the gelatin. A thin layer allows rapid penetration, which means that the copper is etched for a longer period of time and thus receives deeper grid cells (= darker clay). With a thick layer, the acid cannot penetrate the plate or can only penetrate it late, which means that it is hardly or not etched at all. Since etching creates depressions of different depths, a gravure printing process is created. The etchings in the metal can absorb different amounts of color and allow differentiated halftone reproductions when printed.
Pigment paper copy
When copying pigment paper, the templates are made from the original size using the contact process Diapositive onto a light-sensitive chrome gelatin paper that „Pigment paper“, exposed. After exposure, the paper is softened in cold water for a few minutes and placed on a copper or steel plate that is in the Aquatint process was prepared, high-fived.
To develop, the paper and the unexposed areas of the gelatin layer are removed in warm water and removed, leaving a delicate gelatin relief on the plate. The photographer can control and, if necessary, manipulate the subsequent etching in the ferric chloride bath. The etching process is often repeated with several different concentrated iron chloride solutions because the iron chloride attacks the gelatin layer differently depending on the concentration and etches the copper plate at different speeds. Due to the different etching times controlled in this way and the rasterization by the aquatint grain, the plate can print halftones like with etching.
Today, heliogravure is no longer in use in industrial printing, but lives on in artistic intaglio printing, but it is used in a craft sense to preserve old graphics through reprints.
Calotype, also called talbotype
Calotype is an early photographic process (from around 1835) developed by the English physicist and photographer William Henry Fox Talbot. A paper sheet was treated with silver nitrate and iodine potassium to achieve photosensitivity. The paper could now be exposed, developed and fixed. A negative was created, the paper negative was dipped in wax to make it transparent. A contact copy was then made on the same paper, which resulted in a positive paper image. The first negative/positive process was patented in 1841 and was in use in this form until around 1855, before it was significantly improved by the invention of albumen paper on the one hand and collodion wet plate on the other. It only caught on very slowly,since the daguerreotype was generally recognized as more precise and detailed even though it could only produce unique pieces.
Calotype process
The calotype is a Negative processie, at the Photography First, a Negative. Because the calotype offered the possibility of generating any number of prints for the first time, this was one Key technology. The contact print of a calotype can also be made on modern photo paper. Talbot iodized silver paper used for the recording: Silver nitrate And Potassium iodide were painted on a thin paper and made a Silver iodide compound.
He put in small cameras (Mouse Traps [=mouse traps]) Pieces of paper coated with light-sensitive silver iodide, which resulted in a negative image after exposure. He had discovered that he was a latent Negative could make it visible on heavily exposed paper when using a developer solution Gallic acid and treated silver nitrate. The process was accelerated by heating. With Potassium bromide Or Sodium thiosulfate the negative was then fixed.
To get a page-by-page correct one from the paper negative PositivelyIt had to be more transparent to be able to create a print, which he achieved by pouring hot water on it Wax. Now we could go with you Contact prints any number of positives can be produced on additional talbotype sheets. In the contemporary competition process, the Daguerreotypé, however, were always photographic images Unique pieces. After this idea became standard in most glass plate-based processes, it also took effect George Eastman they and developed today's basic technology from them Negative films.
Calotype
Due to the use of paper as the basis of the negative, talbotypes were always quite coarse-grained. The paper structure of the negative was transferred to the positive when copied. This was a key disadvantage compared to the daguerreotype. However, the characteristics of the prints won were perceived by supporters as „picturesque“, especially since they appeared in changing colors that were never exactly predictable. In fact, very early on David Octavius Hill and his partner Robert adamsonartistically very impressive portraits and other results are achieved. Talbot already used the advantages of the negative process to illustrate books with original prints.
Kollodium-Nassplatte
scanned glass negative from the „Library of Congress Prints and Photographs Division Washington“, title: „Hon. Townsend Harris“ recorded 1855 – 1865
scanned glass negative from the „Library of Congress Prints and Photographs Division Washington“, title: „Red Cloud and Indians“ created in 1865 – 1880
The Collodion wet plate is an 1850/1851 by Frederick scott archer And Gustave Le Gray developed photographic plate, which is through a Negative process creates a photographic image.
The associated process is called a wet collodion process and requires timely processing to produce the photograph, for example a mobile one had to be used Travel photographer in the Early period the Photography always a Darkroom tent carry with you.
The size of the negative was not standardized in the early days; middle of the 19. Centuries formats up to 40×50 cm were used, such as Frith's recordings Egypt from the years between 1856 and 1860. However, internationally standardized ones were later formed Recording formats out.
The „wet plate“ quickly replaced the calotype due to its higher sensitivity and quality.
Technique the Collodion Wet Plate
To make a collodion wet plate, clean it Glass plates very carefully and pour one over them Solution of collodion wool And Iodine– and Bromine salts in Alcohol And Ether. The coating dries into a gelatinous mass and is immediately dissolved in a solution in the dark Silver nitrate brought. Here the iodine salts are converted into Silver iodideAnd Silver bromide um, and these remain finely distributed in the collodion layer.
The plate prepared in this way is removed from the silver bath and placed in a light-tight box while it is still wet with attached silver solution (Cassette) into the Camera Brought, exposed to the effects of light here and then in the darkroom with one Ferrous sulfate solution Poured over. This immediately turns the silver nitrate solution hanging on the plate into metallic Silver As a dark powder, and this hangs more strongly in the exposed areas of the plate the more intense the light has acted. After this evocation, the image is further enhanced by pouring a mixture of iron sulfate and citric acidSilver solution causes a second precipitate of silver particles, which are stored in the first precipitated ones, so that the image is now sufficiently opaque in the densest places to prevent the light from passing through during the copying process.
The negative is now fixed, which means that the silver iodide silver bromide still contained is dissolved by a solution of Sodium thiosulfateDissolved, finally washed and coated with alcohol varnish. In the glass negative thus obtained, the light parts of the original appear dark and the dark parts of the original appear light (in view). Against a dark background, it appears as a positive image in that the black background becomes visible in the transparent areas and against this the gray silver powder that lies on the dense areas of the negative appears as white.
This positive effect was most noticeable when the shot was slightly underexposed. This is how positive ones were made by applying the collodion to dark leather or black wax canvas (Pannotypes(on black painted Sheet iron(Ferrotypes) as a carrier material.
Pigment printing process
The Pigment printing process, (also Coal process Or Coal printing called) is one of the Fine printing process. It is based on that Gelatin(if you add them with a chromic acid salt (Potassium dichromate Or Ammonium dichromate( exposed to light, becomes insoluble in water. Is it a dye (Pigment) mixed in, the insolubilized areas mechanically retain it. Because coal dust was often used as a pigment, this process is also the name Coal printing in common use.
Pigment printing process
If you cover paper with a mixture of gelatin bathed in chromate and expose it through a negative, you can get an image by washing the paper with hot water. However, since the effect of the light begins on the surface and extends more or less deeply through the thickness of the light-sensitive layer, individual gelatin particles lying directly on the paper will remain soluble under the areas that have become insoluble in the light, which dissolve in hot water and the ones above „half tones“ rob their hold.
To avoid this, one lifts off the initially invisible image lying on the surface of the exposed layer, for which purpose one presses a piece of paper coated with tanned gelatin onto the so-called transfer paper, which then sticks to the surface. If you now treat the compressed papers with hot water, all areas not hit by the light are dissolved; The first paper, which only served as a carrier for the light-sensitive gelatin layer, comes off and the image areas, which consist of colored gelatin that has become insoluble, adhere to the transfer paper.
If the transfer paper is rubbed with a fine resin layer, the adhesion is only loose. If you then press on a second piece of gelatin paper, the image adheres more strongly to the second surface than to the first and can therefore be transferred for the second time. The „pigment image“ obtained during the first transfer is inverted, that is, it appears as a mirror image of the object. The image transmitted twice, on the other hand, is correct to the page.
You can also transfer these pigment images to glass and get beautiful transparent window images because the images are made of lightfast pigment, they don't bleach out like the silver images, but they are easily mechanically vulnerable.
From 1903 to 1911, the Neue Photografie Gesellschaft Berlin-Steglitz brought the further developed to produce supervisory or transparent images NPG pigment process to the market.
Business card portrait
As Business card portrait (also Business card photo, Visit Or Carte-de-visite, abbreviation CDV) is called photos and Portrait photographs, which from the middle of the 19. Centuries were mounted on cardboard in a standardized format of 5.5 × 9 cm – they were therefore about the size of today's Business card. These were often exchanged between friends and family members and in special Albums collected.
The procedure was initiated in 1854 by Andre Adolphe-Eugene Disderi patented and then barely lasted until the 20th century. With the Germans Student associations the images were still given away as memorabilia until the early 1920s.
The first note about the introduction of the visit portrait (Carte de Visite) can be found in the French magazine La Lumiere dated October 28, 1854 where it says: „E. Dellesert and Count Aguado had an original idea regarding the use of small portraits. Until now, the business cards bore the names, addresses and sometimes titles of the people they introduced. Why shouldn't you be able to replace the name with the portrait?“
According to another version, the Duke of Parma are considered the inventors of the Carte de Visite. In 1857 he had the idea of sticking a photo on his business card.
Business card photography was given a boost by the Parisian photographer and „inventor“ of business card portraits Andre Adolphe-Eugene Disderi, the 1854 to this application of the Collodion process in France A Patenthad logged in:
Business card portrait technique
The business card portraits were on Carton mounted paper copies of Collodion wet plates–Negatives, which were exposed with special cameras. There were no small negatives Enlarged, the problem was rather that it was a correspondingly small one Recording format to reach; to 1850 Plate sizes ranged from 16.5 × 21.6 cm (6 1/2 × 8 1/2 Customs duty, whole plate) and 5,1 × 6,4 cm (2 × 2 1/2 Customs duty, ninth plate).
Division of a collodion wet plate for business card portraits around 1860
Andre Adolphe-Eugene Disderis Special camera therefore had four Lenses and a sliding disk cassette. With the help of multiple optics, four exposures could be recorded on each half of the glass plate; then the plate was moved using the cassette and the next four exposures could be captured on the second half.
Afterwards they were up Albumin paper Negative format prints of about 8 × 10 Customs duty Made that were cut into the business card format. The individual mini-portraits were then about 5.5 × 9 cm in size and were mounted on boxes with dimensions of about 6.3 × 10 cm.
The secret of tissue cards
Since photography could only produce black – white images, but consumers loved the colored images more, the stereoscopies were very quickly hand-colored.
In 1858 the tissue image was developed in France. The photos here were photographed on thin, transparent paper embedded between light cardboard frames, it was usually colored on the back on a 2nd sheet. To achieve better lighting effects, parts of the paper on the back were cut out or holes were pricked into the photo with a needle, for example to better show off the candle flames in the chandeliers. These stereo recordings were very popular in France, Italy and, a little later, in the USA. Its heyday was from 1858 to around 1880. Occasionally tissue images can be found as early as 1900.
In the front view in normal light from the front you can see the black – white photo. But in order to get the much more interesting colored impression, the image has to be illuminated from behind or you have to look at it facing daylight.
Further photo printing processes (for more information, see Wikipedia on the Internet):
Rubber printing (Gum bichromate process– 1858
Höchheim rubber print, published before 1914 by Alfred Höchheimer
Pigment printing = Coal printing Also Rubber pigment printing – 1864
Rubber engraving, from Heinrich Kühn Process invented in 1911 that combines heliogravure and rubber printing... galvanic in CopperMolded and in this way transferred to a printing block
Aniline printing process – 1878
Glue printing with Fish glue As Colloid, 1915 by Heinrich Kühn Evolves
... is coloured with grease paint after exposure and washing out. It is also freshly colored as a color carrier for one Transfer printing(transfer procedure) used
Brom oil pressure – 1902
as transfer procedure: Bromo oil pressure – 1902
Oil pressure = Oil pigment printing
as a transfer method: oil transfer pressure = Bromine oil transfer printing – 1866
Transfer procedure: Light pressure = Phototype – 1870
Transfer procedure: Carbrodruck – 1873
... forms the acid protection of the plate during the etching process in the copperEtching for the Gravure printing
Photogalvanography – 1854 = as Dalla type since 1873
Pigment Engraving
... is pressed into place by pressing into Blei Molded and in this way transferred to a printing block
Woodbury type = Photoglyptia – 1864
Photolithography (a high-tech industrial development, but also used artistically)
Photochromic printing – a high quality Flat printing process, in which a photographic template is placed on one treated with asphalt Lithostone is transmitted
Halogen silver processes with Bromine-, Iodine-, Chlorine– or Fluorine- connections were established in the middle of the 19th century. Century developed. They are still used in photographic papers today. Silver bromide papers are the most common photo papers for black and white photos. The silver compounds used are the silver halides: Silver bromide, Silver iodide, Silver chromide And Silver fluoride.
The halogen silver layer is itself a layer of color due to embedded Pigments or coloring substances
Argyrotype – 1841
The argyrotype applies in the Photography as the oldest Negative–Positively-procedure. It is a further development of the Calotype.
Fluorotype – 1844
Ozotype – 1899
Ozobromine process – 1905
Photo-xylography (similar to albumen printing)
Salt pressure = Calotype, Photogenic drawing, Pencil of Nature
Steinheil process (Chlorosilver process) – 1839
Talbotype = Waxed paper negative – 1841
Dry plate
... will be used as a color carrier for one Transfer printing Uses
Erwinotype Also Erwin procedure – 1910
Pinatype (Color process, further developed into Dye Transfer And Technicolor)
Cyanotype = Iron blue print – 1842 of John Herschel developed, used Ammonium iron (III) citrate And Potassium ferricyanide
The cyanotype was initially used for photographic purposes, but the shade of blue was not particularly popular for photography.
Pellet Process – 1878 cyanotype process improved by H. Pellet Potassium ferrocyanide
Elmar Ratzkowsky: Bread and wine, callitypy around 2005
Studio recording, digitally recorded, printed out as a negative using computer technology and exposed as a callitypy on Fabriano watercolor paper.
Callitypy = Brown printing, Sepia print, Vandyke Procedure, Argentotype, Van Dyke Brown – 1889
This is a cyanotype process that can be done through experiments John Herschel's has been improved
Catalyzotype – 1844
(heavy) metal process
These processes are the most noble of the fine printing processes. The tints of the images and semitones are as elegant as the material.
Catatype – 1901
Chrysotype – 1842
Ziatype
Suction method
Autochrome plate – 1904
Chromotype – 1843, the actual three - or four-color printing
Diazotype – 1880, also called the blueprint process
Joly Process – 1894/95
Lippmann process see Gabriel Lippmann
Hydrotypia (dye transfer process)– 1889