Sepia is a reddish-brown color, named after the rich brown pigment derived from the ink sac of the common cuttlefish Sepia. The word sepia is the Latinized form of the Ancient Greek word σηπία (sēpía), meaning cuttlefish.
Sepia is a reddish-brown color, named after the rich brown pigment derived from the ink sac of the common cuttlefish Sepia. The word sepia is the Latinized form of the Ancient Greek word σηπία (sēpía), meaning cuttlefish.
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Monochrome photography is photography where each position on an image can record and show a different amount of light (value), but not a different color (hue). The majority of monochrome photographs produced today are black-and-white, either from a gelatin silver process, or as digital photography. Other hues besides grey can be used to create monochrome photography, but brown and sepia tones are the result of older processes like the albumen print, and cyan tones are the product of cyanotype prints.
As monochrome photography provides an inherently less complete reproduction than color photography, it is mostly used for artistic purposes and certain technical imaging applications.
Cephalopod ink is a dark-coloured or luminous ink released into water by most species of cephalopod, usually as an escape mechanism. All cephalopods, with the exception of the Nautilidae and the Cirrina (deep-sea octopuses), are able to release ink to confuse predators.
The ink is released from the ink sacs (located between the gills) and is dispersed more widely when its release is accompanied by a jet of water from the siphon. Its dark colour is caused by its main constituent, melanin. Each species of cephalopod produces slightly differently coloured inks; generally, octopuses produce black ink, squid ink is blue-black, and cuttlefish ink is a shade of brown.
The Shroud of Turin (Italian: Sindone di Torino), also known as the Holy Shroud (Italian: Sacra Sindone), is a length of linen cloth that bears a faint image of the front and back of a naked man. Because details of the image are consistent with traditional depictions of Jesus of Nazareth after his death by crucifixion, the shroud has been venerated for centuries, especially by members of the Catholic Church, as Jesus's shroud upon which his image was miraculously imprinted. The human image on the shroud can be discerned more clearly in a black-and-white photographic negative than in its natural sepia colour, an effect discovered in 1898 by Secondo Pia, who produced the first photographs of the shroud. This negative image is associated with a popular Catholic devotion to the Holy Face of Jesus.
The documented history of the shroud dates back to 1354, when it began to be exhibited in the new collegiate church of Lirey, a village in north-central France. The shroud was denounced as a forgery by the bishop of Troyes, Pierre d'Arcis, in 1389. It was acquired by the House of Savoy in 1453 and later deposited in a chapel in Chambéry, where it was damaged by fire in 1532. In 1578, the Savoys moved the shroud to their new capital in Turin, where it has remained ever since. Since 1683, it has been kept in the Chapel of the Holy Shroud, which was designed for that purpose by the architect Guarino Guarini and which is connected to both the royal palace and the Turin Cathedral. Ownership of the shroud passed from the House of Savoy to the Catholic Church after the death of the former king Umberto II of Italy in 1983.