2021 – Page 6 – Stereo Immersive Media 2021

The study of mountings, housings and preservation of daguerreotype originals: the specificities of stereo daguerreotypes [EN]

Paulo Dornford de Sande

In the context of the study of historical daguerreotypes present in Portuguese collections, a literature review focused on the Daguerrean technique, the original mounting, and the conservation of these historical objects is presented. After the advent of the daguerreotype in Paris in 1839, this type of photography quickly became practiced in other places. In parallel, the technology of stereoscopy was developed by Wheatstone and Brewster, in diferent observation systems, which in 1851 was publicly disclosed and soon adapted to daguerreotypy. Considered luxury objects, stereoscopic daguerreotypes present unique technical and aesthetic aspects both in the image and in the montages. The knowledge of the technology used, regarding its physical and chemical structure of these objects is crucial for understanding specific alteration phenomena. Based on the consulted literature, a gap was detected in the systematic study of assemblies and approaches to their preservation. Aiming to contribute to fill this, a systematic gathering and critical review of information regarding specific assemblies of stereoscopic daguerreotypes associated with authors / studios and geographical locations was carried out. This work presents this working methodology carried out during the literature review. Additionally, relationships between type of mountings and authorship and local production context are proposed. In the future, it is aimed to intersect the results proposed with pathologies, changes and degradation patterns associated with this type of daguerreotype. The proposal for authorial and geographic attribution assumes an exploratory and innovative character that supports conservation studies.

Online Resources for Historical Photographic Processes: A Preliminary Discussion of User Experience [EN]

Mariana Hartenthal e Cintia Eitelwein

The Graphics Atlas, created by the Rochester Institute of Technology’s Image Permanence Institute, and the Printed Picture, maintained by Yale University, are important web-based resources about historical photographic technology, each with distinctive features in terms of content, focus, and presentation. Based on the experiences of researchers of Brazil’s photographic history who often use these platforms, we will take the two examples as departing points to discuss online tools maintained by American, British, and French organizations. What are the advantages and shortcomings of each case? Drawing from user experience (UX) practices and guidelines, this preliminary examination of online resources will center on the platforms’ usability – accounting for factors such as intuitive design, ease of learning, efficiency of use, and memorability – as well as content presentation to understand how users can find the information they need. We will also consider which photographic processes are privileged and neglected, and how taxonomies of image-making processes inform the website architecture in obvious or nonobvious ways. As scholars from a peripheral country, we will also discuss how online tools created by central countries can help or hinder the comprehension of specific aspects of the multiple ‘histories’ of photographic technology. By comparing different examples and suggesting possible improvements, this paper seeks to contribute to a better understanding of the use of digital tools in heritage education in general and in the history of photography in particular, especially considering the global reach of web-based research instruments.

Tactile Photography in Art and Accessibility [EN]

Andreas Reichinger

This contribution on Tactile Photography, a novel discipline based on the use of stereoscopy to create 3D-printed reliefs is co-authored between an art historian and a computer vision researcher. We first introduced the concept at a conference on Materiality and Immateriality in Photography in Vienna in 2012 and the following proceedings published in the magazine PhotoResearcher. Since then, we have amplified our research in the field of cultural heritage, accessibility, collaborate art practice and participatory research. This article begins with a short introduction on the rise of multisensorial art practices and projects in the field of tactile interpretation. Thereafter, we focus on our main field of research, the use of stereoscopy to create 3D-printed reliefs: its premises, technical description, its cultural and artistic impact, and finally, its potentials in the field of education, of inclusivity and in exhibition design. Implementations in artistic workshops in Europe and Northern Africa have shown the validity of the proposed methodology, which will be amplified in an 8 week program to be held in Japan in 2022.