Conservation (Continued)
disrespect for photographs, 315
emulsion, 316
environmental problems, 317
exposure to light, 316
film based negatives, 318
further reading, 319, 320
handling, 317
heat and moisture, 316, 317
housekeeping, 317
invention of cellulose nitrate film base, 318
layers of photographs, 316
light levels in museum settings, 316
memory cards, 319
most overlooked aspect of preservation, 317
mounts and albums, 319
new image carrying devices, 319
nitrate film stock, 318, 319
overlooked methods of preserving images, 315
photographic materials, 315
pHoton, 317
physical and chemical structures, 315
physical damage, 317
plastic coated prints, 316
polyester film and rainbow effect, 318
polyester, 317
prevention of deterioration, 315, 317
problems, 316
relative humidity, 316, 318
removal of surface dirt, 319
restoration services, 316
retouching of vintage prints, 319
safety film, 319
Silversafe, 317
storage, 317, 318
storing negatives, 318
strain of emulsion, 317
sunlight, 316
vinegar syndrome, 318
wet cleaning processes, 319
Constructed reality, 320–324
The Accident, 322
ambiguous imagery, 321
challenge to photographic realism, 321
conversion of actual into photographic, 323
Dadaists, 321
decisive moment, 320
devised fauna and flora, 322
directorial photography, 320
dismantling of constructions, 324
Excavations, 322
fabricated imagery, 320
Fading Away, 320
female stereotypes from B-movies, 322
Fox Games, 322
further reading, 324
historical precedents, 320
importance of fabricated pieces, 323
Julia Margaret Cameron, 320
Man Ray, 321
manipulation of photographic elements, 323
mockumentary, 322
notion about nuclear energy, 322
Notman studios, 320
Oscar Gustave Rejlander, 320, 323
photograms, 321
photographic truth, 321
photographic use within scientific circles, 322
photomontage, 320
picture perfect images, 322
preconceived idea of final image, 320
Rayographs, 321
representational codes, 323
Russian Constructivist, 321
setin situ, 323
set-up photography, 320
social concerns, 321
staged photography, 320, 321
tableaux photography, 320, 322
Tourismseries, 322
types of, 320
Untangling, 322
Constructivism, 73, 74
Constructivist preoccupation, photogram processes and, 7
Constructivists, 43
Consumer-level cameras, first, 215
Contact printing, 324–326
advantages of proof sheets, 325
alternative processes, 326
burning-in, 326
common uses, 325, 326
cropping, 326
dodging, 326
drawback with paper-negative, 326
Emmet Gowin, 325
emulsion-to-emulsion contact, 324
experimentation with loss of detail, 325
f/64 group, 325
final photographic prints, 325
fixing of test strip, 325
further reading, 326
generations, 324
gum bichromate prints, 326
handling of paper, 324
limitations, 326
manipulation of photograph, 325
negative-and-paper stack, 324
negative-holding sheets, 325
Ortho-on-Ortho, 326
paper negatives, 324, 325
positive print, 325
printing frame easel, 324
printing frames, 324
Sally Mann, 325
test strips, 324, 325
Contax camera, 239
Contrast, 327–328
changing of filters, 327
darkroom techniques, 327
density range of negative, 327
enlarger light source, 327
film speed, 327
finding style, 328
negative, 327
photographic print paper, 327
positive versus negative space, 327
presence or absence of, 328
print, 327
range, 327
salvage procedures, 327INDEXI27