Photographic printing in the context of Photographic processing


Photographic printing in the context of Photographic processing

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⭐ Core Definition: Photographic printing

Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency (or slide), or a digital image file projected using an enlarger or digital exposure unit such as a LightJet or Minilab printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print. Digital photographs are commonly printed on plain paper, for example by a color printer, but this is not considered "photographic printing".

Following exposure, the paper is processed to reveal and make permanent the latent image.

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Photographic printing in the context of Reversal film

In photography, reversal film, or slide film, is a type of photographic film that produces a positive image on a transparent base. Instead of negatives and prints, reversal film is processed to produce transparencies, or diapositives (abbreviated as "diafilm" or "dia" in some languages like German, Romanian or Hungarian). Reversal film is produced in various sizes, from 35 mm to roll film to 8×10 inch sheet film.

A slide is a specially mounted individual transparency intended for projection onto a screen using a slide projector. This allows the photograph to be viewed by a large audience at once. The most common form is the 35 mm slide, with the image framed in a 2×2 inch cardboard or plastic mount. Some specialized labs produce photographic slides from digital camera images in formats such as JPEG, from computer-generated presentation graphics, and from a wide variety of physical source material such as fingerprints, microscopic sections, paper documents, astronomical images, etc.

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Photographic printing in the context of LightJet

LightJet is a brand of hardware used for photographic printing of digital images to photographic paper and film. LightJet printers are no longer manufactured but are however remanufactured and resold; and their lasers are still manufactured; and there are all parts at service company in Israel.LightJet produces significantly higher-quality results than most common inkjet printers available today. However, performing the task is not as convenient or easy as with inkjet. LightJet requires a developing machine with chemical materials and densitometry equipmentLightJet is a trademark of Océ Display Graphics Systems, a division of Océ N.V. (the company that acquired Cymbolic Sciences, Inc.) In 2010 Océ was acquired by Canon of Japan. The term "LightJet" is often used to generically describe a digitally made chromogenic print. Competing manufactures of equipment include ZBE Chromira and Durst Lambda. They may be used in Minilabs.

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Photographic printing in the context of Sepia tone

In photography, toning is a method of altering the color of black-and-white photographs. In analog photography, it is a chemical process carried out on metal salt-based prints, such as silver prints, iron-based prints (cyanotype or Van Dyke brown), or platinum or palladium prints. This darkroom process cannot be performed with a color photograph. The effects of this process can be emulated with software in digital photography. Sepia is considered a form of black-and-white or monochrome photography.

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Photographic printing in the context of Platinotype

A platinum print or platinotype is a photographic print made by a printing process which leaves platinum metal on the surface of the paper. Platinum prints are noted for their large tonal range and for being highly stable.

Unlike the gelatin silver process, in which silver is held in a gelatin emulsion that coats the paper, platinum metal is left directly on the paper's surface or absorbed into the media. As a result, a platinum image is absolutely matte.

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Photographic printing in the context of Henry Wilhelm

Henry G. Wilhelm is an American researcher and author known for his studies of the archival properties of photographic printing processes. In 1981, he received a Guggenheim Fellowship in Photographic Studies to continue his work studying photographic processes.

He is the co-author, along with Carol Brower Wilhelm, of the 1993 book The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. They are the founders of company Wilhelm Imaging Research.

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Photographic printing in the context of Durst

Durst is an Italian manufacturer of photographic printing equipment.

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Photographic printing in the context of Bird's eye view

A bird's-eye view is an elevated view of an object or location from a very steep viewing angle, creating a perspective as if the observer were a bird in flight looking downward. Bird's-eye views can be an aerial photograph, but also a drawing, and are often used in the making of blueprints, floor plans and maps.

Before crewed flight was common, the term bird's eye was used to distinguish views drawn from direct observation at high vantage locations (e.g. a mountain or tower), from those constructed from an imagined bird's perspectives. Bird's eye views as a genre have existed since classical times. They were significantly popular in the mid-to-late 19th century in the United States and Europe as photographic prints.

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Photographic printing in the context of Darkroom

A darkroom is used to process photographic film, make prints and carry out other associated tasks. It is a room that can be made completely dark to allow the processing of light-sensitive photographic materials, including film and photographic paper. Various equipment is used in the darkroom, including an enlarger, baths containing chemicals, and running water.

Darkrooms have been used since the inception of photography in the early 19th century. Darkrooms have many various manifestations, from the elaborate space used by Ansel Adams to a retooled ambulance wagon used by Timothy H. O'Sullivan. From the initial development of the film to the creation of prints, the darkroom process allows complete control over the medium.

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Photographic printing in the context of Ansel Adams

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed a system of image-making called the Zone System, a method of achieving a desired final print through a technical understanding of how the tonal range of an image is the result of choices made in exposure, negative development, and printing.

Adams was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 14, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club. He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980.

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