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As environmental awareness grows, so do questions about the environmental impact of photography, in particular traditional film development and processing, which includes the use of plastics, gelatine and other environmentally harmful chemicals notwithstanding water usage and waste. Pioneering practice and research into sustainable alternatives to conventional processes has quickly established, supported by organisations such as The Sustainable Darkroom. Students in Higher Education are environmentally aware and prepared to take action to mitigate their impacts where possible. As such, there is a coalescence of perceptions within and beyond the classroom which asks to be addressed in the curriculum. This paper draws upon the research project Under a Green Light: A Darkroom for the Future which investigated how university darkroom practices can pivot toward more environmentally friendly methods. The paper describes the learning environment of the darkroom as a space of slowness, immersion and experimentation and the pedagogic value of this for photography students. The paper argues that incorporating environmental awareness into day‐to‐day teaching through systemic changes to process and practice, rather than through short term curriculum interventions, contributes to transformative learning experiences and promotes positive long‐term change. [ABSTRACT FROM AUTHOR]

Thin‐films patterned with complex motifs are of fundamental interest because of their advanced optical, mechanical and electronic properties, but fabrication of these materials remains challenging. Self‐organization strategies, such as immersion controlled reaction‐diffusion patterning, have shown great potential for production of patterned thin‐films. However, the autonomous nature of such processes limits controllable pattern customizability and complexity. Here, it is demonstrated that photography inspired manipulation processes can overcome this limitation to create highly‐complex tapestries of micropatterned films (MPF's). Inspired by classical photographic processes, MPF's are developed, bleached, exposed, fixed, and contoured into user‐defined shapes and photographic toning reactions are used to convert the chemical composition MPF's, while preserving the original stripe patterns. By applying principles of composite photography, highly complex tapestries composed of multiple MPF layers are designed, where each layer can be individually manipulated into a specific shape and composition. By overcoming fundamental limitations, this synergistic approach broadens the design possibilities of reaction‐diffusion processes, furthering the potential of self‐organization strategies for the development of complex materials. [ABSTRACT FROM AUTHOR]

The story of how the Metropolitan Museum of Art acquired its Southworth & Hawes daguerreotypes demonstrates the surprising role that the subjective opinions of owners and curators have had in the canonization of photography. In the case of the Southworth & Hawes collection, provenance and their role as historical precedent led to the acceptance of these daguerreotypes as canonical examples of the earliest photographic process. Through the history of this particular collection's cultural elevation, this essay addresses provenance itself in terms of the influence that owners have over the social, cultural, and economic evaluation of museum-quality objects. [ABSTRACT FROM AUTHOR]

Graphic communications lab courses are primarily focused on hands-on learning to prepare students for careers in production, marketing, and content creation. With the increasing availability of "autoeverything" digital cameras, photography education has drastically changed from its film and darkroom roots (Macdonald, 2012). Much can be taught with modern automated tools but certain fundamentals like how lighting, camera settings, and chemistry interact have become increasingly more difficult to teach without experiencing the traditional process. This paper looks at cyanotype, an alternative photographic process that can bring back a simple hands-on analog experience while inspiring students to see photography at the intersection of science and art. Cyanotype does not require a film camera or a darkroom. The required chemistry is simple and non-toxic and development and fixing is done in tap water. The learning curve is simple enough for elementary school students to successfully participate yet can provide opportunities for more complex lessons in light, exposure, paper composition, and simple chemistry for older students. [ABSTRACT FROM AUTHOR]

A personal narrative is presented which explores the author's experiences of teaching an upper-level darkroom photography course in Pennsylvania during the coronavirus pandemic.

This article considers the daguerreotype and electricity as the key driving forces in the early histories of photography and photomechanical reproduction. Drawing on three examples – daguerreotype electrotypes, galvanically etched daguerreotypes and the etching process developed by Hippolyte Fizeau – the article aims to demonstrate how closely they were connected and how much interest they raised among scientists and photographers in the early 1840s, particularly in France, Britain and the German-speaking countries. The article shows in what ways the three processes were employed and who developed and used them, which institutions and learned societies were involved in their progress and which theoretical concepts and discussions they gave rise to. Although all three were only short-lived technologies and were largely forgotten by the end of the 1850s, they are more than mere curiosities, as they contribute significantly to our better understanding of the earliest histories of photography and photomechanical reproduction. [ABSTRACT FROM AUTHOR]

This article explores innovations in photographic production and experimentation in Australia, especially Sydney, from 1935 to 1940. While many photographers and photographic societies were still promoting the aesthetics of Pictorialism, others were responding to new demands and opportunities provided by publishing, advertising, international expositions, local exhibitions and architecture. After introducing some of the forces for change, where there was often an easy exchange between photography and design, the article examines four case studies from 1937 to 1940. Three of these were generated by international expositions; all involved different types of photomurals and collaborations across the arts. These collaborations were instrumental in helping to shape Australian modernism and a postwar recovery within the arts. [ABSTRACT FROM AUTHOR]

Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography's relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium's propensity for multiplication, predicated on the dependence of photographs on the function of a negative, which, according to Batchen, seems to be a repressed Other in photographic history. A vehicle that enables reproducibility, a photographic negative is rarely discussed in critical literature and even more rarely reproduced or featured in the exhibition space. Batchen ponders this occlusion of a medium's critical component, suggesting that a negative is linked to photography's operation as capitalist mode of production. By omitting to profile a negative, we naturalize capitalism's operational logic -- a condition that clearly needs to be upset by directing a critical, revelatory, and thus politically engaged spotlight on photography's predilection for image massification. [ABSTRACT FROM AUTHOR]

The article focuses on the visualization of movement. Visualization is important in education as it aids in communication and learning. In a way, visualizing movements is a way of understanding and learning movements. Visualization of movement can be attained through photography. Photography captures the forms of movement providing better knowledge of the movements. There are five photographic techniques for visualizing movements. The five techniques are the following: blurring, patterns of line, darkroom manipulations, stop-action, and multiple images.

Graphical abstract Available information on cocrystals containing Schiff bases coordinated to metal atoms is reviewed, with emphasis given to coordination aspects. Abstract Cocrystals are materials that contain molecules of two or more compounds in a single crystal. They have been receiving applications in many fields, including paper, textile, chemical, photographic and electronic industries. However, their main uses are centered in the pharmaceutical industry, where they have been gaining importance in recent years. In this article, the scientific literature reporting structures and properties of cocrystals containing Schiff bases coordinated to metal atoms is reviewed, with emphasis given to the coordination aspects. Schiff bases are the nitrogen analogues of aldehydes or ketones in which the carbonyl group has been replaced by an imine group. They receive multiple uses, e.g., as pigments and dyes, intermediates in organic synthesis, catalysts and polymer stabilizers, and exhibit a broad range of biological activities. Cocrystallization of Schiff bases with other bioactive molecules, and their coordination with metal atoms (which per se may be relevant in terms of biological functions), then appears as a very promising strategy to produce materials of interest for a wide range of applications in pharmaceutical industry. The present review aims to highlight the available relevant information on this type of materials to those interested to work in this domain and stimulate further investigation in the field. [ABSTRACT FROM AUTHOR]

Focusing on the photographic archive of Julian Carrillo (Mexico), we study and characterize the photographic processes of a set of 13 photographs dated between 1884 and 1925. By using infrared spectroscopic ellipsometry, we classified a selected set of photographs according to its kind of binder. Thus, we recognized for each photograph, the presence of proteins, and therefore, the particular photographic process. Furthermore, we have identified the presence of baryta layer, the use of plasticizer, and the eventual coating utilized to protect the photograph, whose composition was based in natural organic components, mainly shellac, beeswax, or camphor. [ABSTRACT FROM AUTHOR]

Akram Zaatari is one of the founders of the Arab Image Foundation, a nonprofit organization established to collect, preserve, and study photographs from the Middle East, North Africa, and the Arab diaspora. Over the past two decades, Zaatari has used material from this collection as the basis for a larger artistic inquiry on archival practices and the social and material life of photographic images. In this text, Zaatari questions the desires and motivations that underpin the established preservation protocols. As opposed to the impulse to protect photographs from deterioration, he asks what it means to embrace their ephemerality. Zaatari looks for what remains after something inadvertently vanishes in a photographic negative, or what gets reconfigured by environmental and chemical processes over which we have no ultimate control. He tries to learn from these accidents or phenomena and deploys them as tools into the making of what he calls "informed objects," or things that can speak of what they have been through. Here, it is not simply the image that bears historical information but the material on which it is ingrained. [ABSTRACT FROM AUTHOR]

Automation has been central to the development of modern photography and, in the age of digital and smartphone photography, now largely defines everyday experience of the photographic process. In this article, we question the acceptance of automation as the default position for photography, arguing that discussions of automation need to move beyond binary concerns of whether to automate or not and, instead, to consider what is being automated and the degree of automation couched within the particularities of people’s practices. We base this upon findings from ethnographic fieldwork with people engaging manually with film-based photography. While automation liberates people from having to interact with various processes of photography, participants in our study reported a greater sense of control, richer experiences and opportunities for experimentation when they were able to engage manually with photographic processes. [ABSTRACT FROM AUTHOR]

Silver gelatine photographs were the most dominant photographic process of the twentieth century from the 1880s until the 1960s. They are prone to yellowing, mirroring and fading which is largely attributed to the effects of pollutants, relative humidity and residual processing chemicals. Experts in the conservation of photographs claim they can determine the causes of deterioration with the naked eye: the effects of humidity result in a more yellowed appearance, whilst the presence of residual chemicals results in a redder appearance. This work aims to investigate if the same deterioration processes can be diagnosed in photographic prints with a spectrophotometer by addressing two questions: (1) In new and artificially aged silver gelatine photographs is it possible to distinguish between discolouration caused by silver migration and that caused by the presence of residual sulfur? (2) What are the complexities of applying these findings to historic photographs? A set of test photographs, some well processed and some insufficiently washed was developed and artificially aged. These were compared to a small collection of historical photographs of different ages, paper types and image colours. Samples were assessed using visual observation, residual silver and hypo spot tests, colour measurements including L*a*b* and reflectance spectra, Fourier transform infra-red (FTIR) spectroscopy and transmission electron microscopy (TEM). After artificial ageing the well processed test photographs were more yellowed, TEM indicated that this was due to colloidal silver formation. The insufficiently washed test photographs were more red but also darker, TEM showed these samples to have more homogeneous silver filaments, thought to be due to silver sulfide formation. The results for the historical photographs were similar but more subtle. A larger sample set is needed to investigate this more extensively. Further investigation on historical samples, with colour measurements and residual silver and fixer spot tests will take place. [ABSTRACT FROM AUTHOR]

Modifying the colors of an image is a fundamental editing task with a wide range of methods available. Manipulating multiple images to share similar colors is more challenging, with limited tools available. Methods such as color transfer are effective in making an image share similar colors with a target image; however, color transfer is not suitable for modifying multiple images. Approaches for color consistency for photo collections give good results when the photo collection contains similar scene content, but are not applicable for general input images. To address these gaps, we propose an application framework for achieving color consistency for multi-image input. Our framework derives a group color theme from the input images′ individual color palettes and uses this group color theme to recolor the image collection. This group-theme recoloring provides an effective way to ensure color consistency among multiple images and naturally lends itself to the inclusion of an additional external color theme. We detail our group-theme recoloring approach and demonstrate its effectiveness on a number of examples. [ABSTRACT FROM AUTHOR]

At the beginning of the 21st century, digital imaging technology replaced the traditional silver-halide film photography which had implications in Ag contamination. Lake Nahuel Huapi is a popular Patagonia tourist destination impacted by municipal silver (Ag) contamination from photographic processing facilities since 1990's. Silver concentrations in a dated sediment core from the lake bottom showed a 10-fold increase above background levels in the second half of the 20th century, then a decrease. This trend corresponds well with published annual global photography industry demand for Ag, which clearly shows the evolution and replacement of the traditional silver-halide film photography by digital imaging technology. There were significant decreases in Ag concentrations in sediments, mussels and fish across the lake between 1998 and 2011. Lower trophic organisms had variable whole-body Ag concentrations, from 0.2–2.6 μg g −1 dry weight (DW) in plankton to 0.02–3.1 μg g −1 DW in benthic macroinvertebrates. Hepatic Ag concentrations in crayfish, mussels and predatory fish were significantly elevated relative to muscle which often have Ag concentrations below the detection limit (0.01–0.05 μg g −1 DW). Trophodynamic analyses using δ 15 N and whole-body invertebrate and muscle Ag concentrations indicated food web biodilution trends. High sedimentation rates in conjunction with the reduction of silver waste products discharged to the lake, as a result of the change to digital image processing technologies, are resulting in unplanned but welcome remediation of the Ag contamination in Lake Nahuel Huapi. [ABSTRACT FROM AUTHOR]

Examination of photographic processes from the 19th century to the present digital age is an effective means to intellectually engage nonscience majors with science. A laboratory course for nonscience majors exploring these processes is described in this article. Ionic and covalent compounds, oxidation-reduction reactions, precipitation reactions, and complex ion formation are major themes of the course. Other important themes are light and color and the generation of color in photographic images. Of the 11 experiments that comprise the laboratory component, nine involve making photographic prints, and nearly all of them involve hand-coated paper. Nearly all required supplies are found in an ordinary general chemistry laboratory. The experiments keep the chemistry of the processes in the foreground while letting students exercise their creativity. Figures in the article exemplify the quality of images that students can achieve. The course is enriched by the intertwined histories of chemistry and photography and the work of contemporary photographers. Judging from the level of student participation, engagement remains high from the beginning to the end of the course. [ABSTRACT FROM AUTHOR]

This article examines photographic representation as a material and indexical trace caused by photons reflected and/or emitted from the photographed objects. It argues that the contested idea of indexicality remains relevant to the photograph despite the digitalization of the photographic process. It also suggests that the trace works as an affordance which renders ambiguous the photographic representation as re-presentation. The material trace provides an anchorage point for the presence of the photographed objects. However, the very same presence destabilizes the photograph’s function as a representation and renders its status controversial. Therefore, the photograph both is and is not a representation. As a much-celebrated guarantee of photographic truth, the trace works, in fact, as an element of perpetual epistemological controversy and also as an affordance for philosophical, ontological and poetic analysis. [ABSTRACT FROM PUBLISHER]

Potential sources of inhomogeneity in the sunspot measurements published by the Royal Observatory, Greenwich, during the early interval 1874 - 1885 are examined critically. Particular attention is paid to inhomogeneities that might arise because the sunspot measurements were derived from solar photographs taken at various contributing solar observatories, which used different telescopes, experienced different seeing conditions, and employed different photographic processes. The procedures employed in the Solar Department at the Royal Greenwich Observatory (RGO), Herstmonceux, during the final phase of sunspot observations provide a modern benchmark for interpreting the early sunspot measurements. The different observing telescopes used at the contributing solar observatories during the interval 1874 - 1885 are discussed in detail, using information gleaned from the official RGO publications and other relevant historical documents. Likewise, the different photographic processes employed at the different solar observatories are reviewed carefully. The procedures used by RGO staff to measure the positions and areas of sunspot groups on photographs of the Sun having a nominal radius of either four or eight inches are described. It is argued that the learning curve for the use of the Kew photoheliograph at the Royal Observatory, Greenwich, actually commenced in 1858, not 1874. The RGO daily number of sunspot groups is plotted graphically and analysed statistically. Similarly, the changes of metadata at each solar observatory are shown on the graphical plots and analysed statistically. It is concluded that neither the interleaving of data from the different solar observatories nor the changes in metadata invalidates the RGO count of the number of sunspot groups, which behaves as a quasi-homogeneous time series. Furthermore, it is emphasised that the correct treatment of days without photographs is quite crucial to the correct calculation of Group Sunspot Numbers. [ABSTRACT FROM AUTHOR]

This article tells the story of Edward Thomas (Ted) Both, one of Australia?s lesser known inventors, who made pioneering contributions to biomedical engineering. [ABSTRACT FROM PUBLISHER]

The article discusses the process involved in the translation of image to object in photography. Topics covered include the transition into a primarily image-centric medium, the importance of understanding the physical attributes of printing processes and the basis of the photographic negative processes of the 19th and 20th centuries. Also mentioned is the relationship between the printing process, the substrate and the way in which the image is perceived.

The kinetic chromogenic endotoxin assay measures the release of p-nitroaniline from the chromogenic peptide substrate Ac-IEAR-pNA. As part of our project to purify large quantities of human butyrylcholinesterase (HuBChE), we evaluated pure HuBChE for endotoxin levels. We found that HuBChE contributed up to 90% of the yellow p-nitroaniline product in a standard endotoxin assay through the catalytic hydrolysis of Ac-IEAR-pNA with a rate constant of 0.016 min −1 and a K m of 2.9 mM in potassium phosphate buffer pH 7.0 at 24 °C. Thus, endotoxin concentrations for native BChE are artificially high in the kinetic chromogenic assay. Destruction of HuBChE catalytic activity by boiling yields endotoxin concentrations that more accurately reflect the endotoxin concentration in purified HuBChE preparations. [ABSTRACT FROM AUTHOR]

In this paper, the problem of improving the quality of low-resolution passive scalar image sequences is addressed. This situation, known as 'image super-resolution' in computer vision, aroused to our knowledge very few applications in the field of fluid visualization. Yet, in most image acquisition devices, the spatial resolution of the acquired data is limited by the sensor physical properties, while users often require higher-resolution images for further processing and analysis of the system of interest. The originality of the approach presented in this paper is to link the image super-resolution process together with the large eddy simulation framework in order to derive a complete super-resolution technique. We first start by defining two categories of fine-scale components we aim to reconstruct. Then, using a deconvolution procedure as well as data assimilation tools, we show how to partially recover some of these missing components within the low-resolution images while ensuring the temporal consistency of the solution. This method is evaluated using both synthetic and real image data. Finally, we demonstrate how the produced high-resolution images can improve a posteriori analysis such as motion field estimation. [ABSTRACT FROM AUTHOR]

Bubble size is a key factor in froth flotation for oil-water separation. In this paper, the bubble size which impacts on oil removal efficiency for a novel oil-water separation column was researched systematically. The bubble size distribution was researched by using the photographic method and Matlab software. In addition, several operating parameters which impact on the bubble size were investigated, including circulating pressure, aeration rate, and the foaming agent. Based on the results of experimental data and image analysis, the frother consumption and aeration rate has important influence on the bubble size. The bubble size can be controlled by adjusting the operation conditions including the circulating pressure, aeration rate, and the frother consumption. The optimum operating conditions for the oil-water separation column were determined. Furthermore, the mathematical model of oil removal efficiency for the oil-water separation column was established. [ABSTRACT FROM AUTHOR]

Despite being strangers to the photographic field, DuPont entered the motion picture film stock market in the 1920s through a need to create peacetime markets for its wartime facilities. As DuPont transformed into a chemical company, nitrocellulose film stock was one of the products that could be made from the company's guncotton factories. In order to penetrate Hollywood, the chief market for its film, DuPont needed to create a product that could match that of Eastman Kodak, the undisputed industry leader. The threat to its dominance contributed to Kodak's interest in selling panchromatic film, a factor often ignored in light of the conversion to sound. The competition between these companies contributed significantly to the rapid increase in the quality of film stock, as well as to the changing relationship between technological manufacturers and their customers in Hollywood. DuPont and Kodak also serve as contrasting examples of the incursion of corporate research into the motion picture industry, enlightening our understanding of an expanded system that positions the studios as both consumers of technology and sellers of entertainment. [ABSTRACT FROM AUTHOR]

This paper presents an evaluation of flotation column equipped with two vertical rotating blades in the field of ink removal by flotation technology. The experiments were performed in a laboratory flotation column. The bubbles were photographed by both still and video digital camera. The flotation tests were carried out at different feed ink concentrations and different blade rotation speeds. The tested rotation speeds were 44, 60, and 99 rpm. At low feed ink concentrations and rotation speed of 60 rpm, the ink recovery increased by nearly 20% compared to that obtained in the absence of rotation. Furthermore, the photographs showed the effect of rotation speed on the bubbles behavior in the collection zone and helped in interpret the flotation results. [ABSTRACT FROM AUTHOR]

An interview with photographer John Opera is presented. Topics discussed include his revival of older photographic processes including the anthotype and the cyanotype, how his work is informed by the uncertainty principle of physicist Werner Heisenberg, and the relationship between photography and painting. Works including the 2007 photograph "Baraboo" are cited.

In the process of providing close readings of a number of silent comics, this article considers the difference between drawn images and photographic images as vehicles for narrative, traces a number of the ways in which photos are remediated in comics, and suggests various narrative functions for which photographs in wordless comics are used as stand-ins for text. [ABSTRACT FROM AUTHOR]