I was at the Metropolitan Museum here and saw a great exhibit of photos by Steiglitz, Strand and Steichan as well as photos from 1910. In particular I was impressed with the Direct Carbon prints by Steiglitz as well as a separate category of imagery created by the Lumiere brothers from potato starch called Autochromes. The latter images as so light sensitive that they are rarely shown. Even the reproductions "glow." In a few days they will have the originals available to view for only 5 days.
Here are a number of samples of the direct carbon prints.....
Steiglitz had a painting background and what separated him and the masters of photography as Strand and Steichen of their time was their painterly approach with the camera. Today I see to many photographers who look for gimmicks and do not paint with light as these masters did. Rather than reveal all the details as is possible in the digital realm these artists understood how to make choices in their artwork that emphasized and simplified.
Here are samples of the Autochrome process that I downloaded from the Eastman House and National Geographic....
For a short description of the Autochrome process visit the following link
I was unable to find much except total technical step by steps on the direct carbon prints. However I did discover the works of Jose Ortiz Echague, which are incredible. Google him and look at images.
I love using Studio Artist in a painterly way to enhance my photographic images. Especially when I adjust the tonal, saturation and adjust the white balance. These images are fine examples of taking photographic imagery to a painterly level...
You are welcome, Mark.
Organizing this actually inspires me and helps point me in new directions as well.
And I realize what a terrible typist I am when I go back and correct the errors.
This is a fascinating topic, Paul. Old photographs and photographic processes have always intrigued me.
Thank you for pointing out the works of José Ortiz Echagüe. Indeed, his images are amazing and worth exploring for their visual and authentic content. Some are reminiscent of several works of Francisco Zurbarán, a 16th century Spanish painter nicknamed the Spanish Caravaggio for his realistic use of chiaroscuro. Noted for exquisite lighting especially in folds of indumentaria (clothing) as well as in still lifes.
One of many sites found by googling, this one with some explanations, is:
All this also ties in with your earlier post on Benton Thomas Hart.
I am familiar with Zurbarán's paintings. He was a great artist. I copied one of his still lifes in my painting class.
I had never hear of José Ortiz Echagüe. He was secretive about his techniques and died in his late 90s, having left behind a substantial body of work.
You are right. This does relate to my post on Thomas Hart Benton.
So have you set up any brushes yet Paul to replicated the grain and color structure of the potato starch particles?
You got me thinking about ( and twiddling with) noise brushes today and the subtle but tangible difference they make to the virtual feel of the emulated surface.
You are inspiring me to do that. Believe it or not I have not created brushes before in SA. Major mental block. At times I get so scared of technology and have to overcome what seem like tangible fears to move forward. I bought Studio Artist at least half a year or more before I started using it.
Grains certainly are the way to go. I had thought of that. In the past I just "hand craft " my response to each image. The idea is to create multi color grains to emulate the Autochome. I also make major changes in saturation and value to my imagery. Usually each image I work on requires a different response so my solutions are more step by step intuitive. Take a look at my new piece .... Jimmy Gets a Second Chance(it will also be posted on the blog). It was inspired by the Autochromes. Getting the image that had the color saturated, subdued and luminescent was the challenge. I also like using screens in my imagery.
If you have any suggestions, maybe we can collaborate on this. Perhaps it will help me overcome my fear.
I saw your latest piece. You like textures as well. I would suggest using a mask with a feathered edge and not applying the a uniform texture over the entire piece. It flattens the image out too much. In my opinion, the texture should vary. Something needs to jump forward more. (I hope you don't mind my personal suggestion.)
Anyway, I really enjoy your input to this Forum.
Paul some contributions to a themed preset thread would be a pleasure, Are there themed collections yet in the preset forum?
I love this new piece Paul and think this approach suits your work and style wonderfully.
Thanks also for your minder on texture variability and I agree, At the moment I'm sort of peddling fast in the hope of pooling my memoirs of my Studio Artist journey later so to speak. It sure is a lot of fun.
did the chromolith presets ever go public?
I am visiting the Met tomorrow to check out the exhibit first hand. I will throw my 2 cents in after I see the work.
Yes. They are ChromoLith1 and ChromoLith2 as a PAS. I just played around with them to create the following rendition of Jimmy. I do not get a true rendition of a chromolith directly and worked with different layers to get this image. (See below) Later I delve more deeply and revisit the idea of a more refined chromolith.
Thanks, John. I am researching autochromes,and will get back to you on that.