PrepTest 69, Section 4, Question 14
When Jayne Hinds Bidaut saw her first tintype, she was so struck by its rich creamy tones that she could hardly believe this photographic process had been abandoned. She set out to revive it. Bidaut had been searching for a way to photograph insects from her entomological collection, but paper prints simply seemed too flat to her. The tintype, an image captured on a thin, coated piece of iron (there is no tin in it), provided the detail and dimensionality she wanted. The image-containing emulsion can often create a raised surface on the plate.
For the photographer Dan Estabrook, old albumen prints and tintypes inspired a fantasy. He imagines planting the ones he makes in flea markets and antique shops, to be discovered as "originals" from a bygone time that never existed.
On the verge of a filmless, digital revolution, photography is moving forward into its past. In addition to reviving the tintype process, photographers are polishing daguerreotype plates, coating paper with egg whites, making pinhole cameras, and mixing emulsions from nineteenth-century recipes in order to coax new expressive effects from old photographic techniques. So diverse are the artists returning to photography's roots that the movement is more like a groundswell.
The old techniques are heavily hands-on and idiosyncratic. That is the source of their appeal. It is also the prime reason for their eclipse. Most became obsolete in a few decades, replaced by others that were simpler, cheaper, faster, and more consistent in their results. Only the tintype lasted as a curiosity into the twentieth century. Today's artists quickly discover that to exploit the past is to court the very uncertainty that early innovators sought to banish. Such unpredictability attracted Estabrook to old processes. His work embraces accident and idiosyncrasy in order to foster the illusion of antiquity. In his view, time leaches meaning from every photograph and renders it a lost object, enabling us to project onto it our sentiments and associations. So while the stains and imperfections of prints made from gum bichromate or albumen coatings would probably have been cropped out by a nineteenth-century photographer, Estabrook retains them to heighten the sense of nostalgia.
This preoccupation with contingency offers a clue to the deeper motivations of many of the antiquarian avant-gardists. The widely variable outcome of old techniques virtually guarantees that each production is one of a kind and bears, on some level, the indelible mark of the artist's encounter with a particular set of circumstances. At the same time, old methods offer the possibility of recovering an intimacy with photographic communication that mass media have all but overwhelmed.
When Jayne Hinds Bidaut saw her first tintype, she was so struck by its rich creamy tones that she could hardly believe this photographic process had been abandoned. She set out to revive it. Bidaut had been searching for a way to photograph insects from her entomological collection, but paper prints simply seemed too flat to her. The tintype, an image captured on a thin, coated piece of iron (there is no tin in it), provided the detail and dimensionality she wanted. The image-containing emulsion can often create a raised surface on the plate.
For the photographer Dan Estabrook, old albumen prints and tintypes inspired a fantasy. He imagines planting the ones he makes in flea markets and antique shops, to be discovered as "originals" from a bygone time that never existed.
On the verge of a filmless, digital revolution, photography is moving forward into its past. In addition to reviving the tintype process, photographers are polishing daguerreotype plates, coating paper with egg whites, making pinhole cameras, and mixing emulsions from nineteenth-century recipes in order to coax new expressive effects from old photographic techniques. So diverse are the artists returning to photography's roots that the movement is more like a groundswell.
The old techniques are heavily hands-on and idiosyncratic. That is the source of their appeal. It is also the prime reason for their eclipse. Most became obsolete in a few decades, replaced by others that were simpler, cheaper, faster, and more consistent in their results. Only the tintype lasted as a curiosity into the twentieth century. Today's artists quickly discover that to exploit the past is to court the very uncertainty that early innovators sought to banish. Such unpredictability attracted Estabrook to old processes. His work embraces accident and idiosyncrasy in order to foster the illusion of antiquity. In his view, time leaches meaning from every photograph and renders it a lost object, enabling us to project onto it our sentiments and associations. So while the stains and imperfections of prints made from gum bichromate or albumen coatings would probably have been cropped out by a nineteenth-century photographer, Estabrook retains them to heighten the sense of nostalgia.
This preoccupation with contingency offers a clue to the deeper motivations of many of the antiquarian avant-gardists. The widely variable outcome of old techniques virtually guarantees that each production is one of a kind and bears, on some level, the indelible mark of the artist's encounter with a particular set of circumstances. At the same time, old methods offer the possibility of recovering an intimacy with photographic communication that mass media have all but overwhelmed.
When Jayne Hinds Bidaut saw her first tintype, she was so struck by its rich creamy tones that she could hardly believe this photographic process had been abandoned. She set out to revive it. Bidaut had been searching for a way to photograph insects from her entomological collection, but paper prints simply seemed too flat to her. The tintype, an image captured on a thin, coated piece of iron (there is no tin in it), provided the detail and dimensionality she wanted. The image-containing emulsion can often create a raised surface on the plate.
For the photographer Dan Estabrook, old albumen prints and tintypes inspired a fantasy. He imagines planting the ones he makes in flea markets and antique shops, to be discovered as "originals" from a bygone time that never existed.
On the verge of a filmless, digital revolution, photography is moving forward into its past. In addition to reviving the tintype process, photographers are polishing daguerreotype plates, coating paper with egg whites, making pinhole cameras, and mixing emulsions from nineteenth-century recipes in order to coax new expressive effects from old photographic techniques. So diverse are the artists returning to photography's roots that the movement is more like a groundswell.
The old techniques are heavily hands-on and idiosyncratic. That is the source of their appeal. It is also the prime reason for their eclipse. Most became obsolete in a few decades, replaced by others that were simpler, cheaper, faster, and more consistent in their results. Only the tintype lasted as a curiosity into the twentieth century. Today's artists quickly discover that to exploit the past is to court the very uncertainty that early innovators sought to banish. Such unpredictability attracted Estabrook to old processes. His work embraces accident and idiosyncrasy in order to foster the illusion of antiquity. In his view, time leaches meaning from every photograph and renders it a lost object, enabling us to project onto it our sentiments and associations. So while the stains and imperfections of prints made from gum bichromate or albumen coatings would probably have been cropped out by a nineteenth-century photographer, Estabrook retains them to heighten the sense of nostalgia.
This preoccupation with contingency offers a clue to the deeper motivations of many of the antiquarian avant-gardists. The widely variable outcome of old techniques virtually guarantees that each production is one of a kind and bears, on some level, the indelible mark of the artist's encounter with a particular set of circumstances. At the same time, old methods offer the possibility of recovering an intimacy with photographic communication that mass media have all but overwhelmed.
When Jayne Hinds Bidaut saw her first tintype, she was so struck by its rich creamy tones that she could hardly believe this photographic process had been abandoned. She set out to revive it. Bidaut had been searching for a way to photograph insects from her entomological collection, but paper prints simply seemed too flat to her. The tintype, an image captured on a thin, coated piece of iron (there is no tin in it), provided the detail and dimensionality she wanted. The image-containing emulsion can often create a raised surface on the plate.
For the photographer Dan Estabrook, old albumen prints and tintypes inspired a fantasy. He imagines planting the ones he makes in flea markets and antique shops, to be discovered as "originals" from a bygone time that never existed.
On the verge of a filmless, digital revolution, photography is moving forward into its past. In addition to reviving the tintype process, photographers are polishing daguerreotype plates, coating paper with egg whites, making pinhole cameras, and mixing emulsions from nineteenth-century recipes in order to coax new expressive effects from old photographic techniques. So diverse are the artists returning to photography's roots that the movement is more like a groundswell.
The old techniques are heavily hands-on and idiosyncratic. That is the source of their appeal. It is also the prime reason for their eclipse. Most became obsolete in a few decades, replaced by others that were simpler, cheaper, faster, and more consistent in their results. Only the tintype lasted as a curiosity into the twentieth century. Today's artists quickly discover that to exploit the past is to court the very uncertainty that early innovators sought to banish. Such unpredictability attracted Estabrook to old processes. His work embraces accident and idiosyncrasy in order to foster the illusion of antiquity. In his view, time leaches meaning from every photograph and renders it a lost object, enabling us to project onto it our sentiments and associations. So while the stains and imperfections of prints made from gum bichromate or albumen coatings would probably have been cropped out by a nineteenth-century photographer, Estabrook retains them to heighten the sense of nostalgia.
This preoccupation with contingency offers a clue to the deeper motivations of many of the antiquarian avant-gardists. The widely variable outcome of old techniques virtually guarantees that each production is one of a kind and bears, on some level, the indelible mark of the artist's encounter with a particular set of circumstances. At the same time, old methods offer the possibility of recovering an intimacy with photographic communication that mass media have all but overwhelmed.
The reasoning by which, according to the passage, Estabrook justifies his choice of certain strategies in photographic processing would be most strengthened if which one of the following were true?
When advanced modern photographic techniques are used to intentionally produce prints with imperfections resembling those in nineteenth-century prints, the resulting prints invariably betray the artifice involved.
The various feelings evoked by a work of art are independent of the techniques used to produce the work and irrelevant to its artistic value.
Most people who use photographs as a way of remembering or learning about the past value them almost exclusively for their ability to record their subjects accurately.
People who are interested in artistic photography seldom see much artistic value in photographs that appear antique but are not really so.
The latest photographic techniques can produce photographs that are almost completely free of blemishes and highly resistant to deterioration over time.
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