AIC’s Photographic Materials Group is excited to host the 2025 PMG Winter Meeting. The program is below and will be updated with pre-session events, like tours and other options. Browse therates and make sure you register before they go up!
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In May 1839, Mungo Ponton, a Scotsman, reported on the light sensitivity of dichromate salts and described a photographic method based on dichromate salts, stating that the process offered a cheap substitution for silver. There are very few examples of his process that exist. There was almost no discussion of Ponton’s process, until Alphonse Poitevan and others began using dichromates in carbon printing and photomechanical printing. Indeed some histories erroneously cite Ponton as the an inventor of photomechanical printing. This paper is a discussion of Ponton’s process with an example of his process from 1840 and a discussion of why examples are rare. It includes analysis of photogenic drawings made using Ponton’s method, as well as a consideration of what might appear as fading is actually a transition to stability.
For many years, Barger worked on fundamental problems related to the deterioration of photographic materials. She studied photographic science at Rochester Institute of Technology and received an Interdisciplinary PhD in Materials Science, Chemistry, and History of Technology from... Read More →
Virginia Oldoini (1837-1899), later known as Countess de Castiglione, was born into an aristocratic Florentine family, and quickly became recognized for her beauty and intelligence. After successes in the local court, she was sent to France to aid in a political scheme to unify Italy under the auspices of Napoleon III. Instructed to “succeed by whatever means you wish - but succeed,” the Countess recognized photography as a means to establish a glamorous and mysterious persona. She frequently visited Pierre-Louis Pierson (1822-1913) of the Mayer & Pierson studio, the leading society photographers of Paris, and together they produced over 400 portraits. The Countess took an active role both in staging the photos and altering negatives with the photographer and painter to assert an imaginary reality. Successful images were elaborately colored by hand, to the extent that they could be mistaken for paintings.
An example in The Nelson-Atkins Museum of Art collection (Kansas City, MO) was studied in depth during preparation for the exhibition, Still Performing: Costume, Gesture, and Expression in 19th Century European Photography. Pierre Apraxine and Xavier Demange’s extensive research of the Countess’s life and photographs, published in La Divine Comtesse: Photographs of the Countess de Castiglione (2000), served as a ‘field guide’ in our exploration.
Apraxine describes the multi-step editing procedure employed by Aquilin Schad (ca. 1815-1866), one of Mayer & Pierson’s many painters. The process began with the Countess drawing or writing instructions on a proof print to convey her vision. The painter executed these changes on an enlarged print produced with a solar enlargement device. The edited print was then re-photographed, printed, and finally hand-colored to be presented as the finished work. While many hand-colorists worked for the studio, the examples signed by Schad feature brushwork and a high level of execution similar to that seen on the Nelson-Atkins example, prompting the question: Was this photograph produced by Schad using his elaborate process?
We were able to find a high-quality digital image of an unpainted print from the unaltered, first-stage negative, and comparison of the two images revealed dramatic compositional changes. Detection of silver by XRF analysis in the area of the print beyond the frame of the original negative would suggest the addition was made in the inter-positive stage, then photographically printed for the final version. At the time of this writing, a conclusive result of XRF analysis is pending. Observation under magnification showed the use of stippling, or layering of very fine brush strokes to blend colors, a technique seen in examples signed by Schad. Without studying other signed works, it is not possible to definitively attribute this work to Schad; however, the clues identified during this study are consistent with accounts of his practice and imply the need for future research to reach a definitive attribution.
"From the earliest era of photography, there was a desire to record and receive photographic images instantly. Edwin Land fulfilled this with his significant invention – Polaroid photography.
Edwin Land did extensive experimentation to come up with a successful instant photograph. In 2006 Baker Library at the Harvard Business School received the business archives of the Polaroid Corporation. A highlight of the archives are the research and development records, complete with experimental prints and documentation.
Weissman Preservation Center (WPC) photograph conservators and Baker Library staff have worked collaboratively on the preservation of this important collection. The experimental prints often have unknown compositions and vulnerabilities and there are important ethical considerations for conservation intervention and instrumental analysis. This presentation will provide an overview of some of the lessons learned over almost 20 years of working with this collection and will highlight exhibition planning for the recently opened exhibition, “From Concept to Product: Meroë Morse and Polaroid’s Culture of Art and Innovation, 1945–1969”, on display at the Baker Library through Spring 2025."
Special Collections Conservator, Weissman Preservation Center
Amanda Maloney received Masters degrees from the Winterthur/University of Delaware Program in Art Conservation (2011), and the program for Photographic Preservation and Collections Management at Ryerson University/George Eastman House (2008). She has been a Special Collections Conservator... Read More →