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Either the emulsion side or the bare side could be coated: if the bare side was blackened, the thickness of the glass added a sense of depth to the image. In either case, another plate of glass was put over the fragile emulsion side to protect it, and the whole was mounted in a metal frame and kept in a protective case. In some instances the ...
AGFA photographic plates, 1880 Mimosa Panchroma-Studio-Antihalo Panchromatic glass plates, 9 x 12cm, Mimosa A.-G. Dresden Negative plate. Photographic plates preceded photographic film as a capture medium in photography. The light-sensitive emulsion of silver salts was coated on a glass plate, typically thinner than common window glass. They ...
Cliché verre, also known as the glass print technique, is a type of "semiphotographic" printmaking. [1] An image is created by various means on a transparent surface, such as glass, thin paper or film, and then placed on light sensitive paper in a photographic darkroom, before exposing it to light.
The magic lantern, also known by its Latin name lanterna magica, was an early type of image projector that used pictures—paintings, prints, or photographs—on transparent plates (usually made of glass), one or more lenses, and a light source.
This projects the scene on the ground glass upside down. The photographer focuses and composes using this projected image, sometimes with the aid of a magnifying glass (or loupe). In order to see the image better, a dark cloth is used to block out light, whence came the image of the old-time photographer with his head stuck under a large black ...
To make the image, a daguerreotypist polished a sheet of silver-plated copper to a mirror finish; treated it with fumes that made its surface light-sensitive; exposed it in a camera for as long as was judged to be necessary, which could be as little as a few seconds for brightly sunlit subjects or much longer with less intense lighting; made ...
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