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.

Zenit

   

Branibor Debeljković (1916-2003)

serbian master of photography..

  

also nice video of children visiting at NLS.

The Child in the National Library of Serbia;-))))

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

The Wet Plate Collodion Process  

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.

http://www.loc.gov/index.html

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

 

An Explanation of the Color Rendering Process, “Digichromatography”

	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.
	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
	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.
	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.
	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.
	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.
	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 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: http://www.loc.gov/exhibits/empire/making.html

reciklaža štamparskog papira za pravljenje komposta u bašti

 

Before & After /// Smederevac family///Zemun (~1920.)

 

 

   

milica.nikolic.micikitis(at)gmail.com

Before & After

Ovaj naziv je takođe i album ovde Before & After, ali ovde ću malo detaljnije objasniti o materijalu, o tome kako su  dospele do mene, i šta sam uradila ovim novim ,,pacijentima" ;-)

S obzirom da sam u julu ove godine našla ovaj materijal, to je ujedno i najsvežiji. Komadiće iscepkanih fotografija sam našla u bakinom stanu, savijene u nekom lekarskom uputu.
Sve sam ih pokupila i donela na posao, i pauzama sklapala kao puzzle. Samo emotivne. I dalje neznamo ko ih je iscepao.
Fotografije datiraju iz raznih godina XX veka, s tim da je najstarija iz 1953.godine. Sve su na sjajnom crno-belom ili kolor fotopapiru, različitih formata: ,,kabinet" i ,,vizit karta" formata. Sve su rađene privatnim fotoaparatom, nismo saznali kojim tačno.
U pitanju su čista mehanička oštećenja nastala ljudskom rukom, i dosta ih je teško vratiti u prvobitno stanje, ili dosta skromno, mada kasniji način čuvanja može poboljšati estetski izgled ovako oštećenih fotografija.

a bunch of nicked family photos, restored in the archives of Serbia during the breaks;-) grandfather grandmother uncle and mom..

 

Nakon slaganja delova na polietilenskoj foliji, tankom četkicom i mrvom librokola (nije najsrećniji izbor) su spajane pocepane ivice, vodeći računa da librokol Nikako ne prelazi ivicu sa kartonske osnove na fotoemulziju. Uporedo s tim, se nežim pokretima falcbajnom preko nasvesta, utiskuje lepak i spajaju delovi lekom.

Ako se desi da su ivice i dalje iskidane, tankom vatom i blagim rastvorom vode i alkohola se utrljavaju ivice da bi smekšale, i ponovio se postupak kao kod lepljenja. Ovo često treba da ponaviti jer je potrebno lepku duže vreme da se zalepi, pa se desi da se negde ne uhvati dobro. Ove tehnike se moraju izvesti jako pažljivo nikako bez stručnjaka ,,na svoju ruku". Takođe u nedostatku prethodnih analitičkih studija, odgovarajućih materijala emulzija, izvodjene su najminimalnije tehnike konzervacije, jer za klasičnu restauraciju fotografije nije bilo uslova. Dakle, samo ,,hitno zbrinjavanje pacijenta".

 

grandfather & grandmother @ Athens

Nakon uspešnog spajnja sledi sušenje, zatim kaširanje pozadine na japanski papir, kao i retuš po potrebi (u principu izbegavati ako se ne zna tačan hemijski sastav). Blago presovanje da se ne ošteti površina sa emulzijom, i čuvanje u fotoalbumu, po principu jedna fotka-jedan uložak u albumu. Naknadnom digitalizacijom i scanom, nisam mogla odoleti nego restaurirati ih u PS-u ;-) 

grandfather & grandmother <3

Dalje čuvanje i arhiviranje u kućnim uslovima pronađite ovde.