Dagherrotipia, calotipia, ambrotipia, ferrotipia Daguerreotype, calotype, ambrotypes, tintypes occupy a place of particular interest in the field for collectors of vintage photographs and deserve to be considered separately. All these forms of representation claim in large part due to the favorable attitude of the bourgeoisie on the rise, very open to anything that might be able to ennoble it. The representation of staff, until then a privilege of the nobles and wealthy merchants, it becomes reasonably accessible to all those who are not in position of having to struggle daily for survival. The expensive material and fine manipulation that the daguerreotype process is not required but never really made this technique popular and possession of such property amounted to a portrait of a real gem, almost as valuable as the thumbnail.
The package of daguerreotype is almost always dressed up, it appears, for the most part, like a box of carved wood relief, often covered with leather with showing scrolls and flowers. The door to the left, where it still exists, is lined with velvet, usually red, worked with designs of fantasy. The image is set on the right, enclosed in a little frame di rame a sbalzo; sotto al primo vetro è generalmente presente un'altra lastrina dorata che funge da passe-partout. Ricordiamo che qualsiasi tentativo di apertura dei sigilli di cui sono muniti i vetrini è destinato a provocare la rapida ossidazione della superficie argentea; d'altra parte nessuna pulizia è consigliabile, dato che anche un fiocco di cotone produce rigature vistose pur se usato con cautela. L 'immagine dagherrotipica è costituita da una lastrina di rame perfettamente spianata ed argentata su cui zone di opacità biancastra determinano l'immagine.
Il ritratto, poiché quasi universalmente di questo si tratta, è in genere ritoccato con pochi lievi colori dati a mano. Le dagherrotipie non sono praticamente mai firmate and only rarely did the photographer put an impression in gold on the back of the box. The usual inability to identify the author is common to all the photographic works of this pioneer period. There are also refined
medallions that the ladies' necks and daguerreotypes, these less attractive aesthetically, mounted as a hanging squares. The enormous complexity of the construction, the difficulty of finding suitable materials, the difficult technique required, are the best guarantee of authenticity and makes it virtually impossible to execute false that could not possibly be profitable. The imitations of themselves, at this point would not be unworthy of a collection.
The official year of birth was the daguerreotype in 1839, following the announcement of the discovery by Louis Jacques Mande Daguerre, who was publicly explained by the scientist Arago August 19.
The silver plated copper plate was cleaned and polished with manual procedures and patients sensitized by exposure to iodine vapor, and this treatment was to form a thin layer of matt silver iodide characterized by the property of being sensitive. The plate was prepared in almost complete darkness and observed from time to time, until it assumed a golden color.
Then it was ready to be inserted in the darkroom, that from this moment avvierà a diventare una vera macchina fotografica. L'esposizione veniva valutata ad esperienza e durava un tempo che, anche in giornate di sole e servendosi dei migliori obiettivi allora disponibili, durava comunque alcune decine di secondi. Fu solo con il perfezionamento del processo di Daguerre, con la sensibilizzazione al cloro (Claudet) e l'uso del bromo, che fu possibile eseguire ritratti nitidi e con gli occhi dei soggetti aperti. Una certa immobilità era comunque sempre richiesta e le immagini che ci sono rimaste testimoniano spesso la tensione delle persone che si facevano riprendere. Ricordiamoci pertanto che la ieraticità era una condizione necessaria piuttosto che una scelta deliberata. La dagherrotipia era comunque ben più sopportabile delle interminabili sedute imposte dalla raffigurazione pittorica. Lo sviluppo della lastrina veniva effettuato con l'azione dei vapori di mercurio che producevano una patina chiara nei punti colpiti dalla luce, l'appannamento dello ioduro nelle zone rimaste più in ombra veniva eliminato con un lavaggio in acqua calda salata, presto sostituito dal fissaggio in soluzione di tiosolfato di sodio (iposolfito). L'effettiva visione della figura è possibile solo orientandosi in modo che sulla superficie speculare si rifletta qualcosa di oscuro, in caso contrario si osserva una sorta di negativo. La tecnica ottico-chimica impiegata fa sì che il dagherrotipo sia sempre esemplare unico. In Italia è piuttosto difficile reperire pezzi di origine sicuramente nazionale, dato che gli antiquari trovano più comodo acquistare in Francia o in Inghilterra dove l'offerta è certamente meno limitata.
Per quanto riguarda le possibilità di restauro delle dagherrotipie è bene ribadire che è preferibile astenersi da qualsiasi intervento a meno che la situazione sia talmente compromessa da non consentire alternative.
A questo proposito si ricordi che anche il pennello più morbido può essere usato per togliere impurità soltanto quando la lastra sia immersa in acqua distillata addizionata con un tensioattivo fotografico. È possibile preparare una soluzione a base di tiourea e acido fosforico in grado di togliere l'ossidazione superficiale, trattamento che scioglie un piccolo quantitativo di argento e non può therefore be repeated at will. Before drying is necessary in every case of surfactant wash in fresh solution, rinse well, again in distilled water, and finish by diluting a few drops of ethyl alcohol (not the colored sanitary) or methanol. We conclude by pointing out, for those who have tried to revive this process, the substances used for sensitization and development are particularly toxic and their careless handling can cause damage to health, even as they experienced the first daguerreotypes.
http://www.gri.it/storia/
ambrotypes The spread an alternative to the daguerreotype image in the years before the emergence of the process negative-positive and, consequently, printing on paper. It was
direct images obtained on a glass substrate. The dimensions were generally similar to those of a daguerreotype, and the cost was competitive, since the daguerreotype was made on plates much more expensive than silver-plated copper.
ambrotypes The process produced a negative sort of underexposed. To obtain the apparent reversal of the tones of the image they proceeded to the clearing of the areas exposed in a manner similar to the daguerreotype. The vision was easier, since there was no requirement that a particular viewing angle and angle of the light, but the result was, however, low light and low contrast. The
tones are essentially the vision of grays. To get the shades and tones that blacks, on the back of the plate was spread ambrotypes a black lacquer or you have a cloth or black paper. It so happens that the parties are not exposed, and thus transparent, directly showed the black, while the parts exposed, composed of metallic silver, dark spells were chemically, usually by the action of mercury vapor.
This procedure, cheaper than the daguerreotype, was applied only when you managed to make an emulsion in a position to receive the silver halide (insoluble in water) which also tack on a permanent smooth and non-stick surface such as glass. Fixed issue sensitive material to spread on glass plates, an objective achieved by the album and, later, with other sticky materials of animal origin usually before finally reaching the collodion ... there were no other obstacles to overcome to reach directly to the positive print on paper from a glass plate negatives.
ambrotypes The fact is nothing but a weak negative-plate glass negative that has undergone a process of clearing chemical.
Competition ambrotypes that developed against the daguerreotype was founded not only on convenience, on the appearance of shiny glass and the possible application of manual retouching Paint and anilines on the back of the plate. The technological solution consists dall'ambrotipo allowed assembly and presentation of types similar to those of the daguerreotype, older brother and he had to deal with the most valuable. However, as mentioned, from which the technique was born, he brought with him the very reasons for the decline and rapid disappearance of a photographic type fast but in the realization of questionable results in terms of contrast and visibility.
Soon it was decided to use glass plates albuminates directly adverse to achieve correct and suitable for printing positives on paper. The ambrotypes maintained a certain amount of popular support for about a decade, the years between the ages of the claim process dagherrotipico e i primi anni delle lastre alluminate destinate alla produzione di stampe positive su carta. La loro conservazione nel tempo risultò piuttosto critica, a causa del supporto su cui venivano realizzati. Decenni di vita, con i conseguenti spostamenti e stress meccanici hanno causato la distruzione o la scheggiatura degli esemplari, per cui il reperimento di copie ambrotipiche non è molto frequente.
Gabriele Chiesa
La dagherrotipia venne accolta con favore dalle classi in ascesa che riconobbero nella lastrina di rame argentato un supporto sufficientemente degno per la loro immagine. Allo stesso modo, la confezione elegante dell'ambrotipia non fece rimpiangere la presentazione delle miniature. Bisognava però che anche gli strati sociali più bass were placed in a position to be portrayed as the great democratic revolution of photography would be complete. One of the key priorities of the popular dissemination proved to be the tintypes. This technique was born in America and spread, becoming fast, even in Europe.
The identification process requires some clarification, because that is the technical term would be different. The tintype itself was developed by AA Martin in 1852, he used a plate of blackened metal and covered with wet collodion. The process originates, soon improved by Monckhoven, was also known as melainotipia. Subsequent improvements were made in 1856 by Another American, Hannibal L. Smith, who called his invention tintipia, this is the name in Anglo defines the printing plate of iron. To add to the confusion that must be added to lacquer plate tintypes were also used to dispose of prints on paper, making them dry and compressing against a smooth surface, and these prints were so inappropriately called by some tintypes.
Basically each procedure is reduced to '· ° Apparent inversion of the image directly impressed on the plate and is thus a positive result of a kind, just like I'ambrotipia and the daguerreotype. The sides of the photographs are therefore inverted. 'S insistence showed that several photographers in the search for systems that will yield a positive image is immediately justified by the demands of users.
For customers, the stock runs out (and many still think so) in the act of shooting, the next steps, consider a waste of time, were an obstacle to the target consumer. Because this kind of polaroid nineteenth century employed their own when the iron was known systems are substantially equivalent, who used the card, up from 1839 (H. Bayard)? Psychological factors probably played a not insignificant. In the century of inventions and the triumph of progress, the iron was a symbol of all the benefits of technology while offering assurances of resistance apparently valid. In fact, the plasticity and the oxidizability of this material are sentenced to a rapid destruction of the huge quantity of images that were produced with this process in the forty years since its discovery.
When the blade is curved for any cause that is relatively easy to come loose flakes of lacquer, the collodion is frequently crack and minutely I'aria and excess humidity penetrate triggering dangerous oxidation.
The coating of the back has often proved insufficient to prevent rust. Bubbles, bulges, cracks, I'aspetto are usually rare tintypes that have survived. The
tintypes, thanks to the speed and economy of the process, however, remained, for several decades, the workhorse of many itinerant photographers. They turned from fair to fair setting up their "studio" on street corners and squares: a white sheet behind the subjects and a stuffed chair represents their meager furnishings.
Since the customers were obviously from people passing through, the most important feature that I'immagine had to have was to be immediately available. The quality of light was that the weather conditions made it possible, white backdrop to which we said was used to increase the importance of the image. We are here far from the margins of action enjoyed by the most well-known professionals: workshops in a complex system of curtains allow you to fine tune the light coming through the large windows along the walls and ceiling.
II tintype process was not able to provide pure white, the contrast was therefore rather unsatisfactory, the lack of depth of these occasions was further exacerbated by the absence of those accessories that spectacular I'ambulante had to give up, for obvious reasons weight and overall dimensions. On the other hand, peasants, small traders, artisans and easily satisfied, soddisfatti della sola idea di possedere comunque un ritratto.
Oltre che nei mercati paesani la ferrotipia venne praticata con un certo successo da alcuni professionisti che operavano stagionalmente presso note località di cure termali (soggiornare al mare per prender bagni era ancora prematuro). La rapidità di consegna era anche in questo caso il fattore determinante.
La ferrotipia si presenta prevalentemente con fondale chiaro ma si conoscono anche rari esemplari con sfondo dipinto; in non pochi casi essa è coperta da una coloritura superficiale, applicata per vivacizzare il contrasto e dare più rilievo al ritratto. Sembra che questa tecnica non sia mai stata utilizzata per riprendere panorami anche se eccezionalmente è stata impiegata for informal outdoor portraits (without the usual sheet). Almost all the images taken in tintypes are anonymous, the representation of taste is very popular and people is that there appears dressed in a more crude than they were customers of the photographers of the city (which is sometimes possessed a wardrobe for the hire, weighted in favor lies on the social conditions of the subjects). In many rural areas this was the first application of photography to be known directly.
Gabriel Church next to the daguerreotype
were performed, starting from 1841 (the patent calotype) and for fifteen years, taken with paper negative. This technique is important from the point of view of history because it marks I'inizio of photography as a possibility of proliferation of images from a 'single array. In terms of collecting this radical innovation, however, is an enigma. Forced to consider only the final print, because the negative is usually unavailable, it is not possible for us to identify with reasonable certainty the method of recovery. Therefore, it is often incorrect to speak of calotype, whatever the positive in our hands. It should be clear that there are basically three different techniques with paper negative. The first is the calotype
itself, so named by Talbot reported that the Greek words kalos, beautiful, and typos, printing. Talbot himself makes several changes to the preparation of this rudimentary negative, from the coating of wax to make more transparent the matrix.
II process Blanquart Evrard, employing more complicated because moist, but able to shorten considerably the time of exposure.
II The procedure of Gray, which provided a material less sensitive but more accurate reproduction of details.
The originals of these different systems are not very different between them and, what is more important, there is no practical way to assessing I'autenticità. It is therefore perfectly legitimate to speak of calotype only on two occasions: when I'originale is attached to verify source documents, and when the negative is accompanied by a positive print, mounted on a support so unalterable as (card-stamped the original photographer).
The methods using paper negatives were applied with a certain parsimony. II licensee Daguerre in London, Antoine Cludet, offered its customers calotypes portraits and daguerreotypes, but these were usually to be preferred I'incisione, brightness and preciousness.
prints from paper negative which are more grainy and indeterminate, the effect of cellulose, which were reproduced on the final image. Most successo ottenne Henry Collen che effettuava però rilevanti ritocchi, tanto che in realtà si può parlare di miniature sovrapposte alla fotografia. Fatte perciò le debite eccezioni per pochi pionieri o pittori che se ne servirono per scopi artistici, utilizzando proprio la caratteristica scarsa definizione dell'immagine, la diffusione dei diversi metodi fu sempre limitata, risultando presto soppiantata dal negativo su vetro.
Eppure alcuni positivi d'epoca, in particolare quelli con data antecedente il 1860, possono presentarsi con una granulosità fibrosa del disegno, portare I'impressione di un autore che impiegò la talbotipia... Se eseguiti su carta salata ma anche sulle prime carte albuminate, potrebbero effettivamente provenire da negativi cartacei Tale ipotesi potrebbe essere avvalorata dal fatto che i soggetti raffigurati presentano le palpebre abbassate e la pupilla disegnata a mano, indice di posa molto prolungata, ma si tratterebbe solo di supposizioni. La faciloneria nell'identificazione di riprese calotipiche ha condotto, anche a livello di esperti, a prendere granchi di ragguardevoli dimensioni.
In definitiva però, ciò che veramente conta, non è tanto la tecnica impiegata per la ripresa, quanto ciò di cui siamo effettivamente in possesso.
Lo studio andrà quindi condotto sul positivo esistente valutandone gli aspetti estetici, le informazioni visive, I'origine e la datazione. È quasi impossibile che la stampa montata sia un bidone. I foglietti of paper that were pasted on the cardboard carrying I'immagine using adhesives, especially toughness and durability, any attempt of separation can be accomplished only permanent damage of the support (I'azione prolonged steam or water to dissolve the glue giving a compact cardboard, so it ends with the break up).
not forget to destroy the card means virtually dissolve the evidence of the authenticity of the press and raising questions about the dating. You can forge an image on a display albumin (but you must already be artists) the harder it is to redo the card, using identical raw materials the original and perfectly copying the letters and any typographical photographer's impressions in relief at this point, even if the absurd vintage prints dozens of tickets were evaluated by a thousand, it would be more profitable to imitate get tickets direct to bank .
Gabriel Church
calotype
negative-positive procedure developed by WHFox Talbot in 1839 (the date of a cominucazione the Royal Society soon after the publication of Daguerre's method). Following a patent in 1841. Remain in vogue until the introduction of the wet collodion. For many it was estimated a lower quality of the daguerreotype process because it requires two steps to obtain a positive, because the quality is lower. The preparation of the paper negatives and prints is the same: fine writing paper is brush with a solution of potassium iodide and silver iodide. The silver iodide is dissolved in potassium iodide to form a concentrate, from which reprecipitates silver iodide when the solution is diluted. The paper thus prepared can be dried and later sensitized with a mixture of silver nitrate, gallic acid and acetic acid. The negative requires an exposure of several minutes in broad daylight, and is developed in a solution similar to that used for sensitization. To facilitate printing, the negative is made transparent with wax and printed in a printing frame in contact until see a faint image. This is reinforced, rather than developed, with the solution used for sensitization. The attachment of the negative and positive place in a solution of sodium thiosulfate, as indicated by Herschel. Talbot in 1844 he published the first photographic book in installments, which calotypes original produced in a laboratory specially equipped for their production.
http://www.fotografianegliannitrenta.com/calotipia.htm
The fotoglifia represents a moment in the history of sacred images. Arises from the need to reach to produce stable images that can be used as illustrations. The
fotoglifia strictly born exactly 22 October 1858, by Talbot announced through an article in "The Photographic News. William Henry Fox Talbot is known worldwide as one of the fathers of photography. Calotype and inventor of the technique, in collaboration with Sir John FW Herschel, optical chemical contemporary photography, with the fundamental processes of fixation and treatment of negative-positive.
He had already tried his hand in solving problems related to the production of significant quantities of photographic prints. He had even taken up the publication of illustrated books from 1844 with "The Pencil of Nature. But he had had to employ six workers for more than a month, to be able to print only a thousand copies of the book.
Aspiration was to achieve a technology that would allow a production commercially interesting, even though there are industrial in the broad sense. The technique is based on the property fotoglifica Chrome to become insoluble when exposed to light.
Here in detail the process of the original Talbot. The gelatin-sensitive potassium dichromate was spread on a copper plate. The impression was obtained with a positive photographic transparency placed in contact. After the exposure, and without carrying out the solution of soluble gelatin, gum copal is sprinkled on the plate, in order to obtain a texture with aquatint. The powder is melted copal and adhere to the surface. The plate is then etched with ferric chloride solution. The solution penetrates ferric met in relation to density, resulting in a type of intaglio printing plate, covered with tiny grooves of different depths. This matrix is \u200b\u200bused for printing ink.
The quality of the results of this technique is rather limited and is characterized by an evident lack of uniformity in areas of equivalent brightness. These and other features lead one to suppose that the prints "photoglyphe" in possession of the Museum Ken Dami are not exactly the proper fotoglifie.
fotoglifia The term was often used broadly to refer to all the printing processes in series are not strictly photography that preceded the photoengraving. The photogravure, the collotype and their variations are in many ways similar to fotoglifia and have often been confused with this. The prints of the museum show, however, Ken Damy characteristics of woodburytipia (1864, named after inventor Walter B. Woodbury). This technique does not show it either grain or texture and is strikingly similar to a silver print. The media is transferred to a pigmented gelatin. The tone curve characteristic of gelatine and bichromate provides an accurate translation of the progressive scale of density, so the shadows are deep but transparent and modular. However you do not know woodburytipie larger than 25x35 cm because of the pressure required to get the impression (the normal size is 19.5 x 22, 5). The prints made in woodburytipia appear on a paper thin joint photographic use, mounted on cardboard, cut around the edges (as it was precisely to remove the burrs of the press) and appear to be calendered.
In this case there was a wealth of variations: fotoglifia, fotoplastografia fotoglittica and printing. The term "photoglyphe" was frequently used to escape the payment of special patent rights.
Printing fotoglittica, as well as woodburytipia were more expensive because of the ink used to print photographic gelatine (even if combined with pigments and directly used for features photosensitivity). The first in France to take over the patent of Woodbury was the publisher Goupil, who worked from 1870 to Asnières. He declared, however, as witnessed by the journalist Gaston Tissandier to work in fotoglifia, the same journalist comes to a weekly production of 10,000 prints. The
fotoglifia, although apparently similar to the photograph itself, is a method fotoindustriale limited production and historically prior to the traditional etching.
Gabriel Church
Stereoscopy
The stereoscopic photography consists of a recovery and subsequent return made on the analogy of the human binocular system. This is in pratica di realizzare due diverse immagini da punti di ripresa diversi, ma sul medesimo asse e opportunamente scostati. Così come noi siamo in grado di rilevare la profondità grazie alla contemporanea visione e confronto delle due immagini che ci giungono dagli occhi, così anche la fotografia effettuare due differenti riprese che contengono informazioni solo parzialmente coincidenti (in quanto disallineate). Se poi osserviamo contemporaneamente le due riprese, ma separatamente l'immagine di sinistra con l'occhio di sinistra e l'immagine di destra con l'occhio di destra... saremo in condizione di ripristinare il normale meccanismo di visione e di valutazione delle distanze cui siamo abituati.
Per la stereoscopia italiana si veda l'apposita sezione dedicata alla storia della stereoscopia in Italia.
Esempi di immagini stereoscopiche
in visione bidimensionale
Cliccare su un'immagine per ingrandirla e sfogliare tutta la serie.
Per l'osservazione tridimensionale si veda la sezione degli anaglifi
(per la visione della quale è indispensabile l'impiego degli appositi
occhialini con filtro rosso-verde oppure rosso-azzurro)
L'osservazione delle fotografie stereoscopiche avviene però a distanza ravvicinata, mentre i soggetti rappresentati richiedono una "messa a fuoco" a distanza decisamente maggiore. Ciò richiede l'impiego di lenti appositamente realizzate e in grado di restituirci l'impressione di osservare con l'appropriata messa a fuoco ed angolazione oculare.
La tecnica stereoscopica prevede quindi l'impiego di apposite macchine in grado di effettuare la doppia ripresa corrispondente al punto di vista dei due occhi (o di due riprese in sequenza e disassate orizzontalemente) e di un apposito sistema di visione che fornisca a ciascun occhio la visione individuale e soggettivamente corretta della sola immagine che gli compete.
La percezione tridimensionale complessiva viene elaborata dal cervello, che fonde ed analizza le informazioni seguendo i meccanismi di percezione che gli sono consueti e che l'esperienza ha rafforzato. Ciascun osservatore effettua questi processi di visione attivando i percorsi di rilevazione della realtà che ha personalmente elaborato. The consciousness of observing a nearby object and the tendency to rationalize the actual observation of the image in an artificial environment makes it very difficult for many people watching. It's about developing some adjustments so that your eyes become accustomed to reading the three-dimensional figure.
In any case, the scanning of the various plans is not continuous as in reality. The subjects observed appear as printed on successive levels of depth, almost like figures cut out and placed at different distances.
Scholars of various ages have dealt with the human perception of distances, the first contributions in this regard have been provided even more by Euclid and Leonardo, perhaps the first to be considered scientifically la visione binoculare.
Il fisico inglese Sir Charles Wheatstone è comunque il primo scienziato che sviluppa approfonditi studi specifici sull'argomento, giungendo nel 1832 alla realizzazione di un sistema ottico in grado di rendere la visione tridimensionale. Con un apposito visore è così possibile osservare disegni con l'effetto di rilievo in epoca prefotografica. Le due immagini devono però ancora essere realizzate con estrema perizia a mano e solo con l'invenzione della fotografia si giunge all'applicazione matura della stereoscopia.
L'invenzione ottica di Wheatstone viene perfezionata ed adattata alla nascente fotografia da Sir David Brewster che realizza il primo stereoscopio nel 1849. Le lenti di osservazione si trovano appunto alla medesima distance between the eyes, the shots are made with the same criteria.
The invention was later perfected with the help of various scientists and optical French, reaching the presentation of a stereoscopic daguerreotypes for the Universal Exhibition of 1851.
Stereoscopy was then ripe to be exploited commercially. The London John Benjamin Dancer in 1853 began the production of stereoscopic viewers and collections. The success was just flattering and fashion in stereoscopic quickly spread throughout Europe.
In Paris, several manufacturers produce collections of stereoscopic viewers on issues very diversified and entered all the salons of the nobility and the bourgeoisie. The reproduction of the images could not yet count on the printing ink on paper and photography was still the only way to quickly spread the vision of people and faraway places or unusual. This optical instrument
allowed to have a vivid vision of landscapes, monuments, works of art, architecture, characters ... of which only a privileged few could have direct experience.
stereoscopic production became an industry phenomenon of vast proportions, enhanced from the evolution of photographic technology. The stereoscopic
were carried out essentially by following three types of production: opaque, translucent and transparent.
In the first case of images cameras mounted on cardboard and observe a normal reflection. In the second case, the prints on paper are very light and mounted on cardboard frame, in order to allow light to pass from the back, on the back are colored, so that the observation of scattered light can have a more pleasing color and apparently realistic. Finally, support for stereoscopic lens are made directly on glass plates with a photosensitive emulsion, the latter can also be colored by hand and the observation for transparency reinforces the impression of three dimensions.
Here is reproduced a single image that the stereoscopic appartenengono previous observation is But here for transparency. The back of the thin photographic paper print was painted in watercolor. This particular work was not a product of an artistic nature, as was done in a series of groups of workers at the "Photo Stbailimento. Each worker care for those areas with a few strokes of the same color and then switch to the stereoscopic companion for the continuation of the work.
Another detail of the previous image, which can highlight a particular process to pinpoint. It was getting small holes at the points of light (candle flames, landscaping lights, reflections, etc. ...). The stereoscopic observation of semi-transparency returned feeling particularly brilliant and bright points at the holes, reinforcing the effect of vivid presence of the subject.
In modern times, including three-dimensional images were made on material slides, discs and viewers "View Master" still belong to the experience and memories of old.
Anaglyph
application is made up of the stereoscopic anaglyph particular, a term that finds its origin in the Greek entries "ana" - above - and "glyph" - impression.
This is a stereographic pair returned on the same support. In practice, the image of the left and right but are printed together with additional color inks.
The observation must be done with glasses with tinted lenses and adapted to filter the figure reflected with the appropriate color. If the two images were printed in red and green respectively, the viewing glasses will be of red lens and one green, so that each eye sees the picture that pertains to him, resulting obscured by filtering what should not perceive.
The overall perception of the two figures will be reconstructed by the brain as a single representation in shades of chiaroscuro. Goggles with a couple red-green-blue and red were also used during recent campaigns found or offered as optics, in combination with anaglyph, sometimes with intent collectable. Yes However, this curiosity that are a limited extent only in a select group of amateurs.
Anyone in possession of such glasses is able to view the images presented in the section all'anaglifia on this website.
Insights stereoscopy are available in the section dedicated to the history of stereoscopy in Italy.
Gabriel Church
