<i>National Flowers</i> in Blue: Reinvigorating analog imaging techniques in the era of big data and pixel perfection

Reinhuber, Elke E.

doi:10.14236/ewic/EVA2022.10

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National Flowers in Blue: Reinvigorating analog imaging techniques in the era of big data and pixel perfection

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proceedings-article

Author(s): Elke E. Reinhuber

Publication date (Print): July 2022

Conference name: Proceedings of EVA London 2022 (EVA 2022)

Conference theme: Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs

Conference date: 4–8 July 2022

Keywords: Cyanotype, CCTV, National flower, Photography, Natural History Museum installation, Preservation

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Abstract

The historic cyanotype process is an answer to current challenges of photography. Artists employ an outdated technique to experience the incomprehensible power of the photon and the material qualities of chemical photo-processing. The deficits of immediate availability and inescapable automatisms inherent in the current photographic discourse are answered by recourse to traditional methods of craft. My artistic project for an exhibition on dystopian nature is introduced in the context of the ancient method and its application.

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Elke E. Reinhuber

Conference

Publication date: July 2022

Publication date (Print): July 2022

Pages: 46-50

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[0001]SCM City University of Hong Kong

18 Tat Hong Avenue, Kowloon Tong,

Hong Kong

Article

DOI: 10.14236/ewic/EVA2022.10

SO-VID: 20b3c51e-a422-42ad-8c39-5c2f516b7e14

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2022

Conference acronym: EVA 2022

Conference number:

Conference location: London

Conference date: 4–8 July 2022

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2022.10

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

A. Atkins (1843-53) British Algae: Cyanotype Impressions. privately printed, Kent Halstead. Only a dozen copies are known to exist, see: L.J. Schaaf and H.P. Kraus (1985). Sun Gardens – Victorian photograms by Anna Atkins. Aperture Books, New York City.
C. Duffy (2014) Father Kögel and the ultra-violet examination of manuscripts blogs.bl.uk/collectioncare/2014/03/father-kögeland-the-ultra-violet-examination-ofmanuscripts.html (Jan. 1, 2022)
M. A. Durant (2007) Marco Breuer [originally published in Aperture] https://saint-lucy.com/essays/marco-breuer-the-material-in-question/ (Jan. 1, 2022)
N. M. Elcott; D. L. Norr, ed. (2011) Christian Marclay: Cyanotypes. JRP|Ringier Books, Genève.
F. Flusser (2011) Into the Universe of Technical Images. University of Minnesota Press (Electronic Mediations, Volume 32), Minneapolis
R. Graham (2005) Mariachi Tie. http://www.moma.org/collection/works/175761 (Jan. 1, 2022)
J. F. W. Herschel (1842) On the Action of the Rays of the Solar Spectrum on Vegetable Colours and on Some New Photographic Processes, Philosophical Transactions of the Royal Society, 202 https://royalsocietypublishing.org/doi/pdf/10.1098/rs tl.1842.0013 (Jan. 1, 2022)
B. Kasten (1996) Amphora http://barbarakasten.net/amphora/ (Jan. 1, 2022)
H. Kraemer (2022) Future Memories. Utopia Dystopia Nature. Triton, Barcelona, Hong Kong, Vienna; pp. 148-151.
C. Lachowskyj and N. Mason (2019) X-Ray Vision vs. Invisibility. Interview https://www.lensculture.com/articles/noelle-mason-x-ray-vision-vs-invisibility (Jan. 1, 2022)
M Lobel. Lost and Found: Susan Weil and Robert Rauschenberg’s Blueprints Artforum International (2016) Vol.54 Nº6: 184–196 www.artforum.com/print/201602/lost-and-found-susan-weil-and-robert-rauschenberg-s-blueprints-57461 (Jan. 1, 2022)
K. Lotzof (ⁿ/_a) Anna Atkins’s cyanotypes: the first book of photographs www.nhm.ac.uk/discover/anna-atkins-cyanotypesthe-first-book-of-photographs.html (Jan. 1, 2022)
K. Macnish (2017) The Ethics of Surveillance. An Introduction. Routledge, Abingdon.
H. N. Ridley (June 24, 1893) New or Noteworthy Plants. Vanda Miss Joaquim. The Gardeners’ Chronicle, 8, 740.
J. Shaw; R. Allen (2020) Art Machines. City University of Hong Kong Press, Hong Kong.
V. S. Troiano (2019) The “Bauhaus Idea” in Robert Rauschenberg’s Blueprints https://cloud-cuckoo.net/fileadmin/hefte_de/heft_39/artikel_troia no.pdf (Jan. 1, 2022)
United States Patent and Trademark Office. Serial 71,260,891 OZALID (1929) https://tsdr.uspto.gov/#caseNumber=71260891&ca seType=SERIAL_NO&searchType=statusSearch
M. Ware (2016) Cyanomicon – History, Science and Art of Cyanotype: photographic printing in Prussian blue www.mikeware.co.uk/downloads/Cyanomicon_II.pd f (Jan. 1, 2022)

Comments

Comment on this article

[1] A. Atkins (1843-53) British Algae: Cyanotype Impressions. privately printed, Kent Halstead. Only a dozen copies are known to exist, see: L.J. Schaaf and H.P. Kraus (1985). Sun Gardens – Victorian photograms by Anna Atkins. Aperture Books, New York City.

[2] C. Duffy (2014) Father Kögel and the ultra-violet examination of manuscripts blogs.bl.uk/collectioncare/2014/03/father-kögeland-the-ultra-violet-examination-ofmanuscripts.html (Jan. 1, 2022)

[3] M. A. Durant (2007) Marco Breuer [originally published in Aperture] https://saint-lucy.com/essays/marco-breuer-the-material-in-question/ (Jan. 1, 2022)

[4] N. M. Elcott; D. L. Norr, ed. (2011) Christian Marclay: Cyanotypes. JRP|Ringier Books, Genève.

[5] F. Flusser (2011) Into the Universe of Technical Images. University of Minnesota Press (Electronic Mediations, Volume 32), Minneapolis

[6] R. Graham (2005) Mariachi Tie. http://www.moma.org/collection/works/175761 (Jan. 1, 2022)

[7] J. F. W. Herschel (1842) On the Action of the Rays of the Solar Spectrum on Vegetable Colours and on Some New Photographic Processes, Philosophical Transactions of the Royal Society, 202 https://royalsocietypublishing.org/doi/pdf/10.1098/rs tl.1842.0013 (Jan. 1, 2022)

[8] B. Kasten (1996) Amphora http://barbarakasten.net/amphora/ (Jan. 1, 2022)

[9] H. Kraemer (2022) Future Memories. Utopia Dystopia Nature. Triton, Barcelona, Hong Kong, Vienna; pp. 148-151.

[10] C. Lachowskyj and N. Mason (2019) X-Ray Vision vs. Invisibility. Interview https://www.lensculture.com/articles/noelle-mason-x-ray-vision-vs-invisibility (Jan. 1, 2022)

[11] M Lobel. Lost and Found: Susan Weil and Robert Rauschenberg’s Blueprints Artforum International (2016) Vol.54 Nº6: 184–196 www.artforum.com/print/201602/lost-and-found-susan-weil-and-robert-rauschenberg-s-blueprints-57461 (Jan. 1, 2022)

[12] K. Lotzof (ⁿ/_a) Anna Atkins’s cyanotypes: the first book of photographs www.nhm.ac.uk/discover/anna-atkins-cyanotypesthe-first-book-of-photographs.html (Jan. 1, 2022)

[13] K. Macnish (2017) The Ethics of Surveillance. An Introduction. Routledge, Abingdon.

[14] H. N. Ridley (June 24, 1893) New or Noteworthy Plants. Vanda Miss Joaquim. The Gardeners’ Chronicle, 8, 740.

[15] J. Shaw; R. Allen (2020) Art Machines. City University of Hong Kong Press, Hong Kong.

[16] V. S. Troiano (2019) The “Bauhaus Idea” in Robert Rauschenberg’s Blueprints https://cloud-cuckoo.net/fileadmin/hefte_de/heft_39/artikel_troia no.pdf (Jan. 1, 2022)

[17] United States Patent and Trademark Office. Serial 71,260,891 OZALID (1929) https://tsdr.uspto.gov/#caseNumber=71260891&ca seType=SERIAL_NO&searchType=statusSearch

[18] M. Ware (2016) Cyanomicon – History, Science and Art of Cyanotype: photographic printing in Prussian blue www.mikeware.co.uk/downloads/Cyanomicon_II.pd f (Jan. 1, 2022)