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Colour Photography and Film: sharing knowledge of analysis, preservation, conservation, migration of analogue and digital materials
March 29-30, 2021
Online Conference
Preliminary Scientific Program
Monday 29, March | ||||
08:40 | OPENING CONFERENCE – Registration | |||
09:40 | WELCOME | |||
10:00 | Laura Covarsí | The Jos-Pe process in the Jacob Merkelbach collection at the Rijksmuseum of Amsterdam | ||
10:20 | Richard Kirk | Truelight and Film Simulation | ||
10:40 | Céline Ruivo | Color transitions in the black and white films, from early cinema to contemporary films | ||
11:00 | Nicolas Le Guern | The long-term development of three-color Kodachrome. An odyssey from the additive to the subtractive method of color reproduction | ||
11:20 | BREAK | |||
11:30 | Paolo Tosini | Two Prizma Color films, a curious finding in the Mexican National Film archive | ||
11:50 | Oleksandra Osadcha | “Making the beautiful even more beautiful: Luriki practice of hand tinting analogue photography in the late Soviet epoch | ||
12:10 | Nadezhda Stanulevich | Prokudin-Gorskii’s technique of colour photography: colour separation, additive projection and pigment printing |
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12:20 | Victor de Seauve, Marie-Angélique Languille and Bertrand Lavédrine |
The origin of the colours of the first colour photograph: an absorption phenomenon |
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12:40 | LUNCH | |||
13:40 | Ella Solomon | The effects of finish coatings on ultraviolet and visible light stability of inkjet prints (master’s thesis) | ||
14:00 | Kayleigh van der Gulik, Magdalena Pilko, Martin Jürgens, Sanneke Stigter and Clara von Waldthausen |
Towards a Standardized Terminology for Photographic Materials in the Netherlands |
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14:20 | Lénia Oliveira Fernandes | Interpreting 35mm chromogenic slide film: the Ed van der Elsken case-study |
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14:40 | Elena Basso, Federica Pozzi, Jessica Keister and Elizabeth Cronin | Preliminary Photographs and Improved Positives: Discovering The New York Public Library’s Arctic Exploration Album | ||
15:00 | BREAK | |||
15:10 | Tess Hamilton and Nora Kennedy | Preserving the Process Knowledge of Dye Transfer Printing | ||
15:30 | Simon Lund | Digitizing Dufay | ||
15:50 | Nayla Maaruf, Maria Kokkori and Sylvie Pénichon | The Flexichrome: visual examination and scientific analysis of an overlooked color process | ||
16:10 | Louisa Trott | The Start of the Rainbow: Possibilities of Color Motion Photography for the Amateur | ||
16:30 | BREAK | |||
16:50 | POSTER Session 1 | |||
17:50 | BREAK | |||
18:00 | Roberta Piantavigna | Observations on Preservation Issues for Contemporary Photography Artworks | ||
18:20 | Isabel Ochoa Gold | The Specters of Marker | ||
18:40 | Henry Wilhelm, Effiba Armah, Ken Boydston, Richard Adams and Charlie Wilhelm | A Long-Term Study of Light-Induced Yellowish Stain Formation That May Develop Over Time in Chromogenic Color Prints and Contemporary Inkjet Prints Exposed to Light on Display Followed by Storage in the Dark | ||
Tuesday 30, March | ||||
10:00 | Analiese Treacy and Asti Sherring | Re-makeable Art and the digitally constructed image: Case study of Geoff Kleem’s wallpaper installation | ||
10:20 | Kanako Nakanishi and Kanako Nakano |
In the face of the Typhoon 19: a report on salvaging the Kawasaki City Museum’s photography and film collection |
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10:40 | Simone Venturini and Serena Bellotti | Digital Battles: from Film Restoration to a Digital Historical-Critical Environment |
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11:00 | Chenfei Fan, Stefano D’Aronco, Giorgio Trumpy and Jan Dirk Wegner | Digital color reconstruction of a historical film format | ||
11:20 | BREAK | |||
11:30 | Daniela Currò and Marco Pagni Fontebuoni | Preserving Color and Preserving Knowledge. Notes on Digitization and Restoration of Color in Film | ||
11:50 | Giorgio Trumpy, Sony George, Jon Yngve Hardeberg and Barbara Flueckiger | Multispectral capture of film colors with LEDs | ||
12:10 | Marcello Picollo, Costanza Cucci, Andrea Casini and Lorenzo Stefani |
Hyperspectral Imaging applied to the study of negative and positive films |
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12:30 | LUNCH | |||
13:45 | POSTER Session 2 | |||
14:50 | BREAK | |||
15:00 | Anna Seweryn | Color on glass – conservation and preservation projects of Crystoleum, Autochromes, Agfa Color Plate and Dufay/Dioptichrome Plate photographs (case studies) | ||
15:20 | Markus Paul Müller and Ute Pd. Dr. Henniges |
spliced, face-mounted inkjet print – one preservation solution for large format photographic artworks |
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15:40 | Viviana Goggi and Martina Trento | BRITTLE MEMORIES. Case study of a broken photographic crystoleum |
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16:00 | BREAK | |||
16:10 | Martina Bagatin | Mixed Archival Collections – Lifetime of Colour Photographs | ||
16:30 | Sara Brancato | Conservation treatments for Autochrome plates: limits and possibilities | ||
16:50 | Debra Norris | I’ve Just Seen A Face: Preserving Photographic Memories and Hope Following a Disaster | ||
17:10 | FINAL REMARKS – END CONFERENCE |
POSTER Session 1 | ||||
Arianna Crespi, Giulia Morabito, Alice Plutino and Alessandro Rizzi | Photographic and Cinematographic Film Repository (FiRe): identification of films for digital restoration | |||
Manuel Goetz | Digitizing Archive Film: Image, Information and History | |||
Maja Kostadinovska | The Autumn Colours of Sound: Reading the records of Old R2R Audio Tapes of the 70’s |
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Emil Henin | Non-destructive analysis of Hand-Colored photographs : A Case study on photographs dating back to the 19th century |
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Majed Chambah | Image Quality Metrics for Digital Film Restoration | |||
Markus Paul Müller and Ute Pd Dr. Henniges | Mounting chromogenic prints – potential solution to prevent yellowing issues on photopaper | |||
Markus Paul Müller and Raffael Pollak | digitization of large-scale artwork with LED technology | |||
Markus Paul Müller | reference scan – an objective way to document colors and surface changes in artworks | |||
Monika Supruniuk and Izabela Zając | Screen processes – general identification methods and deterioration | |||
POSTER Session 2 | ||||
Andrea Mariani and Serena Bellotti | The Digital Witness. Film Reconstruction and the Forensic Imagination in New Media Environments | |||
Francis Mohareb, Mervat Abdallah and Emil Henin | Digitization and Conservation Film Materials : A case Study on a Color Positive Film – Chromogenic reversal films | |||
Anke Reitz and Francesca Vantellini | The Teutloff Collection at the Centre National de L’Audiovisuel (CNA), Luxembourg |
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Markus Paul Müller and Jessica Morhard |
eTDP – extended Technical Documentation of Photography |
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Annamaria Poli | The colour in the images of early cinema | |||
Barbara Cattaneo and Giulia Fraticelli |
Green and greener solvents for the conservation of photographs |
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Sandra Maria Petrillo | “Ceci n’est pas un Polaroid”. The materials and colours of Paolo Gioli’s works. |
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Giovanni Bianchini, Lorenzo Lisi, Barbara Cattaneo and Marcello Picollo |
A novel compact probe for gloss measurements on photographic films. | |||
Anna Giatti | The Lippmann plate at the Fondazione Scienza e Tecnica in Florence |
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Rahul Sharma | Differentiating Chromogenic and Silver Dye Bleach Materials by UV Reflectance Imaging |