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. ;-)

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 

kao razlikovati original i fake?

restoration of an old chinese umbrella

Soon in home preservation and C&R methods.. ^^

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

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