Lo-fi photography : art from do-it-yourself chemistry and physics / John Beaver.

Format:

Book

Author/Creator:

Beaver, John, 1855-1928, author.

Language:

English

Subjects (All):

Photography--Technique.

Photography.

Physical Description:

1 online resource (397 pages)

Edition:

First edition.

Place of Publication:

London, England : The Royal Society of Chemistry, [2024]

Summary:

Lo-Fi Photography is both a superb introduction to anyone curious about the science of photography and a first-rate guide to the world of experimental photography for inquisitive photographers.

Contents:

Cover

Copyright

Preface

Acknowledgments

About the Author

Contents

Section I: Preliminary IdeasChapter

Chapter 1 The Art and Science of Lo-Fi Photography

1.1 What is Lo-Fi Photography?

1.2 Print/Capture

Positive/Negative

1.3 Physical Process and Physicality

1.4 Six Examples

Websites

References

Chapter 2 The Physics of Photography

2.1 The Nature of Light

2.1.1 Light and Waves

2.1.2 Light and Particles

2.1.3 Light and Rays

2.2 Images and Lenses

2.3 Light Sources for Photography

2.3.1 Incandescent Lighting

2.3.2 Sunlight

2.3.3 Non-thermal Lighting

2.4 Energy and Exposure

2.5 The Meaning of Color

2.5.1 Color, the Eye, and the Brain

2.5.2 Color and Selective Absorption

2.5.3 The Color Sensitivity of Photographic Processes

Chapter 3 The Chemistry of Photography

3.1 Atoms, Molecules, and Compounds

3.2 Chemical Reactions

3.3 Water, Aqueous Solutions, and pH

3.3.1 Acids, Bases, Salts, and pH

3.4 Light, Dyes, and Pigments

3.4.1 Some Important Plant-based Colors

3.4.2 Color and pH

3.5 Colloids, Resins, Gums, Polymers, and Light

3.6 Light and Iron

3.7 Light and Silver

Chapter 4 Victorian Photography and the Study of Light

4.1 The "Chemical Rays"

4.2 John Herschel and Anthotype

4.3 Mary Somerville and the Discovery of Fluorescence

Chapter 5 Safety and the Environment

5.1 A Taxonomy of Concerns

5.2 Materials Used in Lo-Fi Photography

5.3 The Importance of Process and Habit

Website

Section II: Camera-less Slow Photography

Chapter 6 Prints, Photograms, and Cliché Verre

6.1 Introduction

6.2 The Source of Light

6.3 Photograms

6.3.1 A Printing Frame for Flat Objects

6.3.2 Photograms of Thick Objects

6.4 Contact Prints and Cliché Verre.

References

Chapter 7 Controlling Exposure for Camera-less Photography

7.1 Introduction

7.2 Printing with Sunlight

7.2.1 Angle of Incidence, θI

7.2.2 Zenith Angle, θZ

7.2.3 The Weather

7.3 Printing with Artificial Lights

Chapter 8 Anthotype and Chlorophyll Prints

8.1 Introduction

8.2 The Wavelength Response of Anthotype

8.3 Choosing and Preparing the Dye

8.4 Coating the Paper

8.5 Exposing the Anthotype

8.6 A Fast Turmeric Anthotype

8.7 Chlorophyll Printing

Chapter 9 Cyanotype

9.1 Introduction

9.2 Overview of the Process

9.3 The Sensitizer

9.4 Coating the Paper

9.5 Exposing the Cyanotype

9.6 Processing

9.7 Cyanotype Toning

Chapter 10 New Resinotype

10.1 Introduction

10.2 Historical Antecedents

10.3 The Zones

10.4 Why Does it Work?

10.5 The Choice of Resin

10.6 Pigment and Photopolymer Resin Safety

10.7 The Source of Light

10.8 The FEP Plastic Sheets

10.9 Positive or Negative?

10.10 The Choice of Base

10.11 The Choice of Pigment

10.11.1 Printing with Unconventional Pigments

10.12 Length of Exposure

10.12.1 Two Useful Benchmarks

10.12.2 Pre-flash Exposure

10.12.3 The Image Exposure

10.13 The Procedure Step by Step

10.13.1 Preparing the Base

10.13.2 Applying the Resin and FEP Sheet

10.13.3 The Exposure

10.13.4 Removal of the FEP Sheet

10.13.5 Dusting-on and First Wipe

10.13.6 The "Bake" Exposure

10.13.7 Final Wipe and Finishing Up

10.14 Mess Mitigation

10.15 Tri-color New Resinotype

Chapter 11 Lumen and Accelerated Lumen

11.1 The Lumen Process

11.2 Accelerated Lumen

11.3 The Choice of Enlarging Paper

11.4 Why Does it Work?

11.5 Basic Procedure for Lumen and Accelerated Lumen

11.6 Accelerated Lumen as a Printing Process.

11.7 Using a Laser as the Source of Light

11.8 Transfers, Sprayograms, and Araneitypes

11.9 Color in Lumen and Accelerated Lumen

11.10 To Fix or Not to Fix?

Section III: In-camera Slow Photography

Chapter 12 DIY Cameras: Some Principles

12.1 Slow Photography: No Shutter Needed

12.2 Keeping the Light Out

12.3 Pointing and Focusing the Camera

12.4 The Lens

12.4.1 Working With a Simple Lens

12.4.2 An Accessible Large-format Camera Lens

12.5 Making the Exposure

12.6 Simple VLS Cameras for Simple Lenses

12.7 Cameras for Pinhole Photography and Solargraphy

Chapter 13 Exposure Times for Slow Photography

13.1 The Elements of Exposure

13.2 In-camera Versus Direct Exposure

13.3 Detector Sensitivity in Ordinary Photography

13.4 Camera Settings in Ordinary Photography

13.5 Scene Brightness

13.6 Exposure Time in Ordinary Photography

13.7 The Sensitivity of VLS Detectors

13.8 Exposure Times for VLS Photography

13.9 Exposure Times for Pinhole Photography

13.9.1 Pinhole Photography and Reciprocity Failure

13.10 Exposure Times for Solargraphy

Chapter 14 Cyanonegative Photography

14.1 Introduction

14.2 Overview of the Process

14.3 The Camera and Lens

14.4 Choosing the Subject

14.5 Coating the Paper

14.6 The Exposure

14.7 Digital Positive from the Cyanotype Negative

14.8 Cyanotype Positive from a Cyanotype Negative?

Chapter 15 Ephemeral Process (EP) Photography

15.1 Introduction

15.2 Overview of the Process

15.3 The Camera and Lens

15.4 The Paper and Accelerator

15.5 The Dim Room

15.6 Making the Exposure

15.7 Making the Digital Positive

15.8 Color EP Photography

Chapter 16 Pinhole Photography

16.1 Introduction

16.2 Outline of the Process.

16.3 Making the Camera

16.3.1 The "Shutter"

16.4 Making the Pinhole

16.5 Measuring the Size of the Pinhole

16.5.1 Comparison with a Microscope

16.5.2 Enlargement by Projection

16.5.3 Using Laser Diffraction

16.6 The Exposure

16.7 The Darkroom

16.7.1 The Safelight

16.8 Processing the Paper Negative

16.9 Making a Positive from the In-camera Negative

Chapter 17 Solargraphy

17.1 Introduction

17.2 Predicting the Sun's Path

17.3 Making the Camera

17.3.1 Choice of Perspective

17.3.2 Keeping the Weather Out

17.3.3 Camera in a Can

17.3.4 Fisheye Solargraphy

17.4 The Choice of Photo Paper

17.5 Where to Put the Camera

Section IV: Tools, Recipes, and Resources

Chapter 18 Section IV: Tools, Recipes, and Resources

18.1 Introduction

18.2 1/4-20 T-nut or Hex Nut

18.3 Threaded Hole in a Wood Block

18.4 Quick-release Plate Method

Chapter 19 Recipes and Resources

19.1 Cyanotype Recipes

19.1.1 Traditional Cyanotype (TC)

19.1.2 New Cyanotype (NC)

19.1.3 Citric Acid Clearing Solution for NC

19.2 Silver Gelatin Accelerator Recipes

19.2.1 Vitamin C Accelerator

19.2.2 Sodium Sulfite Accelerator

19.3 DIY Darkroom Chemistry

19.3.1 DIY Darkroom Recipes

19.3.1.1 Caffenol C-M Developer

19.3.1.2 Vinegar Stop Bath

19.3.1.3 Salt Stabilizer Bath

19.4 Digital Scanning, Processing, and Printing

19.4.1 Digital Transparencies for Analog Printing

19.4.2 Scanning and Processing Analog Source Material

19.5 A Brief List of Resources

19.5.1 Books

19.5.2 Websites and Organizations

19.5.3 Sources of Photographic Materials

Chapter 20 A Camera for VLS Slow Photography

20.1 Introduction

20.2 Why Movements?

20.3 The Completed Camera

Subject Index.

Notes:

Description based on publisher supplied metadata and other sources.

Description based on print version record.

Includes bibliographical references.

ISBN:

9781839169304

1839169303

9781839169311

1839169311

OCLC:

1446798630