Sunday, 30 December 2012

10 C&R works portfolio issuu

Ovaj portfolijo je nastao pre svega zbog prikupljanja dokumentacije za apliciranje u članstvo u udruženju ULUPUDUS (Association of Applied Artists and Designers of Serbia), u slikarsko-grafičkoj sekciji čiji sam član od 2013. ;-)

Saturday, 24 November 2012

Phase One LIVE - Image Capture Techniques, Technologies & Workflows for the Cultural Heritage Community

Meet imaging professional, Eric Philcox, and industry expert, Peter Siegel via our international online Phase One LIVE event . Phase One LIVE - our streaming service where you can meet and interact with professional photographers from different photographic disciplines.

here is site to pick your online Session:

Phase One LIVE 

Wednesday, 23 May 2012

conservation&restoration of the parchment

  Molba igumana manastira Trebinje, pergament, sredina 18.veka/ Application monk monastery Trebinje, parchment, mid 18th century

stanje pre intervencija//condition before the intervention

intervencije// interventions

Wednesday, 4 April 2012

my favorite docs in National Library of Serbia..

Digital copies of pages of all issues of the journal Zenith, one of the most avant-garde magazine in Yugoslavia. Until 1923. years was published in Zagreb, then in Belgrade. In the period since 1921. to 1926. was released a total of 43 numbers. This digital collection was made on the complete set of journals Zenit legacy of avant-garde artist Ljubomir Micic (1895-1971), located in specific NLS.



Branibor Debeljković (1916-2003)
serbian master of photography..


also nice video of children visiting at NLS.

Monday, 30 January 2012

The Wet Plate Collodion Process

Na ovom videu je na slajiv nacin gluvo nemog filma objasnjen postupak dobijanja fotografija postupkom "mokre" kolodijumske ploče. v v v the link below

Tuesday, 10 January 2012

Digichromatography - Sergei Mikhailovich Prokudin-Gorskii

Ruski fotograf Gorski, je još početkom 20.og veka snimao fotografije na staklenim nosiocima, koristeći tri različita filtera, crveni, plavi i žuti, dobijajući time triptihe sa različitim crno belim tonovima. 
Iste te fotografije-ploče je stavio u takozvani svetlosni fenjer, koji je imao takodje tri filtera, po principu RGB moda, i na taj način je spojio ove tri projekcije u kolor sliku. Na nekima se vide ovi prelazi nalik loše podešenim paserima u štampi. 
Naknadno su stručnjaci skenirali sve negative,digitalno obradili, kropovali precizno, i ,,slepili" svaku u jednu kolor fotografiju u digitalnom formatu.

Making Color Images from Prokudin-Gorskii's Negatives

Sergei Mikhailovich Prokudin-Gorskii (1863-1944)


Zlatoust family in the Ural Mountain region of Russia
evening view of the Shakh-i Zindeh Mosque in Samarkand


Three Negatives - The Emir of Bukhara The Emir of Bukhara Pinkhus Karlinskii. . . Supervisor of Chernigov Floodgate Three Negatives - Pinkhus Karlinskii. . . Supervisor of Chernigov Floodgate

An Explanation of the Color Rendering Process, “Digichromatography”

Image of Camera and Cassette
There is no known replica or illustration of the camera that Prokudin-Gorskii used. It was a view camera of his own design, perhaps similar to a model [left] designed about 1906 by Dr. Adolf Miethe, whom Prokudin-Gorskii had met previously in Germany.

Miethe, Adolf, 1862-1927.
Camera and Casette, ca. 1906.
Illustration from Fotograf-Liubitel 17, no. 12 (December 1906): 5.
General Collections, Library of Congress
We know that Prokudin-Gorskii intended his photographic images to be viewed in color because he developed an ingenious photographic technique in order for these images to be captured in black and white on glass plate negatives, using red, green and blue filters. He then presented these images in color in slide lectures using a light-projection system [right] involving the same three filters.

Lantern Projector
Thomas Cradock Hepworth.
Book of the Lantern.
New York: Edward L. Wilson, 1889.
Image of Lantern Projector
Three Negatives - The Emir of Bukhara

A single, narrow glass plate about 3 inches wide by 9 inches long was placed vertically into the camera by Prokudin-Gorskii . He then photographed the same scene three times in a fairly rapid sequence using a red filter, a green filter and a blue filter.

When viewed through Prokudin-Gorskii’s camera, the scene being photographed would have appeared upside down and reversed from its actual orientation.

Left: Photograph of Glass Plate
Right: Inverted View Through Camera Lens
Three Negatives - Right Side UpThree Negatives - Upside Down
3 Negatives - Right Side Up3 Negatives - Upside Down

For the digital process, the original tri-part glass negative is scanned with an overhead digital camera in grayscale mode. Image-editing software converts the scan of the entire plate from negative to positive form. The scan is inverted to represent the original physical orientation.

The entire plate is then reduced to 8-bit grayscale mode. Under magnification, the quality of each image on the plate is reviewed for contrast, degree of color separation, extent of damage to the emulsion, and any other details that might affect the final color composite.

Image of Three Negatives
Factory Interior Showing Turbines

The scan of
the entire plate
is aligned and
the outside edges
are cropped.

An electronic file is created for each image from the cropped tri-part plate forming three separate “layers” from which the final color composite will be generated. The layers are labeled by color.

Image shwong the tri-part plate
Image showing anchors for scanning

While still in grayscale mode,
the red(R), blue(B), and green(G) layers are aligned forming the “RGB” color composite.

This registration process is
the most difficult step.

The RGB (Red, Green, Blue)
color composite is cropped
to eliminate all but the photographic area shared
in common by
all three layers.

Image showing the cropping of the color composite
Image of Adjusted Color Composite

The cropped color composite
is adjusted overall to create
the proper contrast,
appropriate highlight
and shadow detail,
and optimal color balance.

Final adjustments may be applied to specific, localized areas of the composite color image to minimize defects associated with over or underexposure, development, or aging of the emulsion of Prokudin-Gorskii’s original glass plate.

Montage of image pieces showing color adjustments
Laying Concrete for the Dam's Sluice

The completed color
composite is retouched
to minimize defects
associated with age
and incidental damage.

The glass plate negatives used in this demonstration:

Prokudin-Gorskii, Sergei Mikhailovich,
1863-1944, photographer.
The Bukhara Emir
Prints and Photographs Division
Library of Congress.
Reproduction number: LC-P87-8086A-2
The Emir of Bukhara
Pinkhus Karlinskii. . . Supervisor of Chernigov Floodgate

The glass plate negatives used in this demonstration:

Prokudin-Gorskii, Sergei Mikhailovich,
1863-1944, photographer.
Pinkhus Karlinskii. Eighty-four years [old].
Prints and Photographs Division
Library of Congress.
Reproduction number: LC-P87-5006

taken from: