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The print was sold at auction by Sotheby's Holdings Inc. This is a record for a Stieglitz work. Although Stieglitz began printing this series of portraits in platinum in [e]he was soon obliged to turn to palladium and silver papers.
Platinum had been declared a strategic material during World War I and commercial platinotype paper then became unavailable. One could speculate how far these extraordinary prices for photographic prints might be attributable to the use of platinum metals in their preparation.
However, this question is not easily answered because the perceived value of such objects has several contributory factors. Gift of the photographer. It was, from its description, made by a somewhat different process: the basis was the same — a platinotype — but after this had been completely egyetlen ünnep hegyek, Steichen recoated the print with a cyanotype also known as ferroprussiate or blueprint process sensitiser and reprinted the accurately re-registered negative.
Enriching the Platinum Tonality
This had the result of laying down an image in Prussian blue on top of the platinum image, to modify its colour and density. Enriching the Platinum Tonality The process of photographic printing in platinum and palladium has been outlined recently in Platinum Metals Review [f].
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It is clear that this specialist medium demands more hand crafting skills than the usual procedures of silver-gelatin photography [g]. Also, the product can be regarded as an art object and as archivally permanent, thanks to the inertness of platinum.
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Platinum images provide a vast range of grey monochrome tonality, but this did not satisfy Steichen artistically. In the gum bichromate process, an aqueous solution of gum arabic gum acacia is used as a viscous binder for the chosen artists' pigments.
It is mixed with a soluble dichromate before brushing onto the paper. On exposure to light through the re-registered negative, the chromium VI is photochemically reduced to chromium IIIwhich hardens the gum by crosslinking its macromolecular structure, so making it insoluble and trapping pigment proportionally in those regions where the light falls.
Excess pigmented gum is removed by washing elite dating site review water. The whole negative-working process may then be repeated with a different pigment.
The platinum tonality is thus enriched by the addition of elite dating site review and luminosity. However, even given the specialist skills demanded, most of the value so conspicuously attached to them must derive from the status of the artists themselves.
Both men, through their exhibitions, fostered an appreciation of the avant-garde, and were seminal figures in art in the U. As there elite dating site review three examples of the Steichen print, it cannot be uniqueness that has raised the price.
These factors surely include the size of the image. To achieve this a same-sized negative is required, taken either by a gigantic camera, or by enlargement in the darkroom. By contrast, the Stieglitz prints of the time are of more usual dimensions, about 7.
In this print we have an impressionistic, dark landscape at a village on Long Island, New York of a tree-lined reflective pool illuminated by the moon rising between the branches — an evocative example of the romantic pictorial symbolism typical of the modernist genre, and so well suited to the favourite medium of the day — platinotype.
This is a colour photograph of part of a s Marlboro cigarette advertisement, and has provoked a deal of post-modernist debate. Ware, Platinum Metals Rev. In the early twentieth century, commercially made platinum printing paper could still be purchased from William Willis's Platinotype Company.
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Lenman, Oxford University Press, Oxford,and references cited therein. The Author Michael J. Ware is a chemist with a D. He exhibits his photographic work, runs workshops, and publishes papers and books, for instance, on Talbot's photogenic drawing process and Herschel's cyanotype process His books on Herschel's chrysotype — photography in gold — are due out soon.