A
way of recognition and integration of photography, as major mean of expression
in the fascinating world of the BEAUX ARTS among the turn of the 19th 20th century.
One century later, the recent development of digital
image creates a more romantic revival for processes from the past like
THE
BROMOIL PROCESS :
The
process is properly originated from the oil process, which was suggested in a
patent dated 1855.
Then it was in 1907 that C. WELBOURNE PIPER worked out a formula for the BROMOIL PROCESS, on
a suggestion by E.J. WALL.
BROMOIL is the odd one out in comparison with most
of the other early processes.
The process was very popular in the early part of the
20th century.
The
METHOD briefly , is, that the silver image, contained in gelatin on a bromide print,
is bleached away and at the same time, the gelatin is hardened according to the
amount of silver it contains.
Then it is fixed, washed and dried, after which
it is re-soaked to condition the gelatin, and then all surplus water is removed.
A greasy ink, such as lithographic ink, is then
applied by brush and is accepted where the gelatin has hardened (black areas):
but is rejected where the gelatin has swollen by the water
(the highlights)
Thus, the original conventional bromide print is built
up so, that the silver image the black and white photograph is now an ink
image and PERMANENT like an etch .
By judicious application and partial removing of the
ink, the worker has fine finishingcontrol.
THIS
IS THE STAGE AT WHICH THE PHOTOGRAPHER CROSSES OVER THE BORDER
INTO THE DOMAIN
OF THE ARTIST AND ART PRINTMAKER. Called
PICTORIALISM .
Pictorialism,
between photography and painting, as a means of expression, was understood to
be a reflection of personal values of conduct and experience, based on the
notion of aesthetic significance and tradition.
The first wave of PICTORIAL PHOTOGRAPHY was SYMBOLIST oriented and the end product,
mostly, was impressionist in treatment.
PICTORIAL PHOTOGRAPHY
HAD ACHIEVED RECOGNITION
AS AN INTERNATIONAL FINE ARTS
MOVEMENT.
PICTORIALISM IN SCOTLAND
JAMES CRAIG ANNAN ( 1864 1946 ) , was the son of THOMAS ANNAN , the leading commercial photographer in Scotland
from the 1850s to the 1880s.
By working toward the photogravure print as his final
artistic product , Craig Annan placed himself alongside the Scottish artist
engraver D.
Y. CAMERON , one of his oldest friends.
As a member of the LINKED
RING he assumed the
pseudonym The Selector .
The LINKED RING is a photographic society of members with
pictorial aims , implied in its origin the idea to produce works of poetic
beauty trough photography .
In the whole
of CAMERA WORK magazine ( 1903
1917 ) , Annan featured the most , after STEICHEN and STIEGLITZ .
The special edition
COLOUR PHOTOGRAPHY of
the magazine THE STUDIO ( 1908 ) ,
reproduced AUTOCHROMES by CRAIG ANNAN .
ARCHIBALD COCHRANE ( BIBLIOGRAPHY UNKNOW ) , was settled at
HAUGH of URR
( Dumfries and Galloway ) .
He was member of the
EDINBURGH
PHOTOGRAPHIC SOCIETY and
admitted in the LINKED RING in 1892 .
He regular
participated on exhibitions , home and abroad , with
GUM BICHROMATE prints.
An highly controllable process simular with the BROMOIL process
.
PICTORIALISM
IN BELGIUM:
In the mid 1890s, the Belgian photographer LEONARD
MISONNE (1870-1943), was well known among the avant-garde in art
photography.
With an educated background and strong interest in the
arts, he gave up a career in the mining industry to pursue his chosen vocation
of photography in 1896.
In the following decades his work was exhibited
worldwide. As with HINTON, the
actual subject before the lens was far less important than the effect of light
and atmosphere obtained in the print. He was later referred to as :
THE COROT OF PHOTOGRAPHY.
Fog and early
morning mist were the conditions under which he preferred to photograph. Not
only to obscure the distant view in order in create a sense of intimacy, but
often to serve as an atmospheric vehicle for contrejour-lighting, which
produced a halo around the forms .
.
MISONNEs compatriot and contemporary
GUSTAVE MARISSIAUX (1872-1929), also
applied the impressionist aesthetic to his photographic study of the coal mines
in Li่ge in 1903: for which he received first prize in the photography class at
the Li่ge Universal Exhibition .
Delicate Venetian views, quiet waterways and misty
silhouettes of bell towers.