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| the adjustable opening in a lens, which is one determinant of the amount of light that will pass through. expressed as f. # which represents the focal length of the lens divided by the diamiter of the aperture |
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| forerunner of the photographic camera. Origionally a darkened room in which observers could view images of outside subjects projected upside down through a pinpoint light source inito a facing wall. Later this evolved into a portable box with an aperture, lens, mirror, and viewing screen. |
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| any photographic image in which the tones are reversed of those in the origional subject. Also the film, plate or paper exposed to light in a camera and processed to make the nagative image. |
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| a photographic image on any support or materail in which the tonalities and colours accord with those of the subject portrayed. At times used interchangably with "prints" |
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| contact print. paper coated with iron salts and potasium ferricyanide then exposed to light. the image is usually white on a blue ground. |
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| first practical process. image formed on copper plates coated with highly polished silver that has been sensitized by fumes of iodine creating light-sensitive silver iodide. processing achieved through exposure to mercury vapor. |
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| wet plate process. negative made by coating a glass plate with a light-sensitive emulsion of collodian. |
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| negative made by exposing a glass plate coated with silver halides suspended in gelatin. called dry plate to distinguish it from wet collodian. the plate is exposed in the field and developed at a later time. |
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| first successful negative/positive process. presented in 1842 by Henry Talbot |
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| uses a coated metal or glass plate resulting in a negative - positive process that allows the picture to be coppied |
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| a category of artistic composition characterized by similarities in form, style, and subject matter. |
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| beautiful, appealing beauty, in relation to a set of visual and/or artistic principles |
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| an artful rendition, a simulation or artificial creation, inventive, mystical, etc. |
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| any picture made to represent out-of-doors |
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| pictures that depict nature for its own sake |
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| eggwhite. Used on glass as a medium for light sensitive emulsions to make finely detailed negatives. |
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| paper coated with an emulsion of gelatin silver salts. either silver bromide or silver chloride or a mixture of both called chlor-bromide. |
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| a realistic approach to art, based on contemporary science, not art theory. The artist should translate exactly how the eye sees. |
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| of such excellence, grandeur, and beauty as to inspire admiration and awe or terror. |
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| style or movement in painting. 1860's France. Concerned with depicting the visual impression of a moment. Focus on light and colour |
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| 19th - 20th C. Characterized by difuzed lighting, soft focus lens, abstract backgrounds to make the photo look more like a painting. |
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| formed by exposing a negative in contact with paper sensitized with iron salts and a platinum compound then developed with potasium iodide. |
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| plain prints made from plain negatives |
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| a New York based group organized by Stieglitz to compel the serious recognition of photography as an addional medium for pictoral expression. |
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| the Americans version of New Objectivity |
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| San Francisco based group that promoted procisionism through its advocacy of the large format camera, small lens aperture, and printing by contact rather than enlargement. |
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