Die künstlerische Seite der Fotografie in Theorie und Praxis. Und, lernen, dass diese Unterscheidung in Ton handelt es sich um die Qualität der reinen Fotografie, realisiert er thatphotography ist ein ernsthaftes Medium, mit essentialqualities der eigenen, und nicht ein Notbehelf für die whocannot zeichnen. In den zweiten Platz, eine künstlerische Person, die takesup Fotografie (und das sind die sehr Personen onwhom Die Zukunft der Fotografie hängt) ist attractedby die Drucke, die die Zeichenstifte andengravings, die er verwendet wird, ähneln; und, da diese arecalled Fotografien, er ist apt Die truequality des Mediums zu übersehen. In der t

• Bildanbieter: The Reading Room / Alamy Stock Foto
• Bild-ID: 2AM5D2E
• Dateigröße: 7,2 MB (657,5 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 1256 x 1990 px | 21,3 x 33,7 cm | 8,4 x 13,3 inches | 150dpi

Weitere Informationen

Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

The artistic side of photography in theory and practice . and, learning that this distinction in tone isthe quality of pure photography, he realises thatphotography is a serious medium, with essentialqualities of its own, and not a makeshift for those whocannot draw. In the second place, an artistic person who takesup photography (and these are the very persons onwhom the future of photography depends) is attractedby the prints which most resemble the crayons andengravings that he is used to ; and, since these arecalled photographs, he is apt to overlook the truequality of the medium. In the third place, controlled photography wouldtake its proper rank and receive its proper recognition, if it were regarded as a separate craft, and not asphotography that has been interfered with. Besides, the controlled pigment process, whether ingum or oil, is a mixture of photography and manipula-tion, of the action of light and the action of the humanhand; it is of mixed origin, and has no more right tobe called photography than the child of an English- 46. BALLET-GIRLS. By R. Demachys 47 <g$ The Artistic Use of the Medium man and Hindoo has to be called a European. Sincecontrolled pigment is a complicated process, it shouldhave a complicated name; since it is a mixed process, we need not hesitate to mix our languages ; andPhotohomography * is almost as descriptive as Eurasian. VI. If only the term photohomogram wereapplied to a gum- or oil-print, the controlled pigmentprocess would take its place among the lesser forms ofartistic expression, and would become an admirablemethod for the man of leisure. Some time ago an artist invented a new method ofmonochrome, which he called monotype, andwhich had many of the qualities of gum-bichromate, with the exception of the photographic basis. Apolished copper plate was coated with moist pigment;the high lights were rubbed clean and the middle toneslightened, until a picture was formed ; from this asingle impression could be taken on a she

Stockbilder mithilfe von Tags suchen

• bookcentury1900
• bookdecade1910
• booksubjectphotogr
• bookyear1910