333
with photographic conservation and preservation like
the Getty Conservation Institute.
Johan Swinnen
See Also: Darkroom and Developing Chamber;
Photomechanical: Minor Processes; and Positives:
Minor Processes.
Further Reading
Arentz, Dick, Platinum & Palladium Printing, (Boston: Focal
Press, 2000).
Arnow, Jan, Handbook of Alternative Photographic Processes,
(New York: Van Nostrand Reinholt Co., 1982).
Barnier, John (ed.), Coming into Focus, (San Francisco: Chronicle
Books, 2000).
Bunnell, Peter C. (ed.), Nonsilver Printing Processes, (New York:
Arno Press, 1973).
Christopher James, The Book of Alternative Photographic Pro-
cesses, (New York: Delmar, 2002).
Coe Brian, and Mark Hawoth-Booth, A Guide to Early Photograph-
ic Processes. Victoria & Albert Museum, London, 1983.
Conservation of Photographs, Eastman Kodak Co., Rochester,
1985.
Crawford, William, The Keepers of Light, (New York: Morgan
& Morgan, 1979).
Farber, Richard, Historic Photographic Processes, Allworth
Press, New York, 1998.
Gascoigne, Bamber, How to Identity Prints, Thames and Hud-
son, 1986.
Hendriks, Klaus B., e.a., Fundamentals of Photograph Conser-
vation, a study guide. National Archives of Canada/ Lugus
Productions Ltd, Toronto, 1991.
Hewitt, Barbara, Blueprints on Fabric, (Colorado:Interweave
Press, 1995).
Hirsch Robert and John Valentino, Photographic Possibilities,
(Boston: Focal Press, 2001).
Keeve, Laurence E., and Dennis Inch, The Life of a Photograph.
Focal Press, Boston/London, 1990.
Knodt, Robert, Klaus Pollmeier, Verfahren der Fotografi e. Mu-
seum Folkwang, Essen, 1989.
Kockaerts, Roger, Techniques d’archivage pour les émulsions
argentiques N&B modernes. PH7, Bruxelles, 1985.
Kockaerts, Roger, Techniques d’archivage et stabilité des émul-
sions couleur. PH7, Bruxelles, 1987.
Lavédrine, Bertrand, La Conservations des Photographies.
Presses du CNRS, Paris, 1990.
Lavédrine, Bertrand, Jean-Paul Gandolfo, Sibylle Monod, Sharon
Grevet (Translator), A Guide to the Preventive Conservation
of Photograph Collections, Getty Conservation Institute,
2003.
Nadeau, Luis, Encyclopedia of Printing, Photographic and
Photomechanical Processes. (New Brunswick: Atelier Luis
Nadeau, 1989).
Nadeau, Luis, Gum Dichromate, (New Brunswick: Atelier Luis
Nadeau, 1987).
Nadeau, Luis,. History and Practice of Platinum Printing, (New
Brunswick: Atelier Luis Nadeau, 1994).
Nadeau, Luis, Modern Carbon Printing, (New Brunswick: Atelier
Luis Nadeau, 1986).
Preservation of Photographs. Eastman Kodak Co., Rochester,
1974.
Reilly, James M., Care and identifi cation of nineteenth-Century
Photographic Prints. Kodak Publication No.G-2S. Eastman
Kodak Co., Rochester, 1986.
Reilly, James M., The Albumen and Salted Paper Book, (New
York: Light Impressions, 1980).
Ritzenhaler, M.L., G.S. Munoff, and M.S. Long, Administration
of Photographic Collections. Basic Manual Series. Society
of American Archivists, Chicago, 1984.
Schaefer, John P., The Ansel Adams Guide: Basic Techniques of
Photography, Book 2, (Boston: Little Brown and Company,
1998).
Scopick, David, The Gum Bichromate Book, (Boston: Focal
Press, 1991).
Stevens, Dick, Making Kallitypes - A Defi nitive Guide, (Boston:
Focal Press,1993).
Storing, Handling and Preserving Polaroid Photographs. Lon-
don, Focal Press, 1983.
Ware, Mike, Mechanisms of Image Deterioration in Early Pho-
tographs - the sensitivity to light of WHF Talbot’s halide-fi xed
images 1834-1844,’ (London: Science Museum and National
Museum of Photography, Film & Television, 1994).
Ware, Mike, Cyanotype: the History, Science and Art of Photo-
graphic Printing in Prussian Blue, (London: Science Museum
and National Museum of Photography, Film & Television,
1999).
Ware, Mike, Gold in Photography: The History and Art of
Chrysotype, (Brighton: ffotoffi lm publishing, 2006).
Webb, Randall and Martin Reed, Spirits of Salts, (London:
Argentum, 1999).
Wilhelm, Henry, The Permanence and Care of Color Photo-
graphs. Preservation Publishing Company, Grinwell, Iowa,
USA, 1993.CONSTABLE, WILLIAM (1783–1861)
William Constable, a man of many talents who opened
one of the fi rst provincial daguerreotype studios in
England. Constable was born in Horley, Surrey, the
son of a fl our miller. After a brief formal education,
he began working life with a draper, Henry Browne,
who encouraged Constable’s artistic and scientific
interests. Following a tour of North America with
his brother (1806–1808), he returned to Horley Mill,
which he helped restore and operate. By 1816 when
he married he was an established surveyor and Civil
Engineer. He embarked on further visits to America in
1837, returning in 1839 when he became interested in
the ‘New Art’ of photography. Now based in Brighton,
he began negotiations with Richard Beard who owned
the English patent rights to practise daguerreotype
photography. Constable’s `Photographic Institution,’
opened on the 8th November 1841, was one of the fi rst
daguerreotype studios outside of London. Constable’s
reputation was fi rmly established following a visit from
Queen Victoria’s consort, Prince Albert, in March 1842.
Members of the court and aristocracy fl ocked to his
studio. In all, he worked as a photographer for twenty
years. Constable died in Brighton and was buried in
Horley, the place of his birth.
John WardSee Also: Beard, Richard; and Daguerreotype.