The Colour Fantastic
Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakci, Sarah Street, Joshua Yumibe (red.)
- Titel
- Gabriel Lippmann's Colour Photography
- Subtitel
- Science, Media, Museums
- Redacteur
- Hanin Hannouch
- Prijs
- € 136,00 excl. BTW
- ISBN
- 9789463728553
- Uitvoering
- Hardback
- Aantal pagina's
- 314
- Taal
- Engels
- Publicatiedatum
- 14 - 07 - 2022
- Afmetingen
- 15.6 x 23.4 cm
- Categorieën
- Kunst en Materiële Cultuur
- Interdisciplinaire Wetenschappen
- Mediastudies
- Wetenschap en Technologie
- Discipline
- Film, media en communicatie
- Voorbeeld
- Download introductie
- Ook beschikbaar als
- eBook PDF - € 135,99
Gabriel Lippmann's Colour Photography: A Critical Introduction, by Hanin Hannouch
Part I The Science of Colour Photography and the Colour Photography of Science
1. How Lippmann Froze Light and Passed It around for Others to Taste, by William R. Alschuler
2. Lippmann's Interferential Colour Photography: A Juncture between the Histories of Spectroscopy and Photography, by Klaus Hentschel
3. Colour Under the Microscope: Santiago Ramon y Cajal Does 'Histology' on Lippmann Heliochromes, by Lazaros C. Triarhou and Manuel del Cerro
4. Lost in Description: The Misunderstanding of Frederic Ives (1856–1937) and the Experiments of His Son Herbert (1882–1953) on Lippmann’s Interference Photography, by Susan Gamble
Part II Media History, Aesthetics, and Culture
5. Lippmann Photography and the Problems of Media Historiography, by Jens Schroter
6. Richard Neuhauss’s Stuffed Parrot: Interferential Colour Photography, Taxidermy, and Projection, by Hanin Hannouch
7. Brilliant! Enthusiasm for the Aesthetic Qualities of Lippmann’s Interferential Photography, by Elizabeth Cronin
8. From Maxwell to Mercury: The Cultural History of Gabriel Lippmann's Colour Photography, by Rolf Sachsse
Part III Contemporary Reception and Future Trajectories
9. Materiality, Identification, and Conservation of Lippmann Plates, by Jens Gold
10. Exhibiting Gabriel Lippmann: A Collaborative Challenge, by Pauline Martin and Carole Sandrin
11. Modern Lippmann Photography, by Hans I. Bjelkhagen
12. "It's not just a picture, it's a magical object": Interview with Contemporary Lippmann Photographer Filipe Alves, by Hanin Hannouch
Afterword: Building Bridges over Standing Waves, by Nathalie Boulouch
Index
Part I The Science of Colour Photography and the Colour Photography of Science
1. How Lippmann Froze Light and Passed It around for Others to Taste, by William R. Alschuler
2. Lippmann's Interferential Colour Photography: A Juncture between the Histories of Spectroscopy and Photography, by Klaus Hentschel
3. Colour Under the Microscope: Santiago Ramon y Cajal Does 'Histology' on Lippmann Heliochromes, by Lazaros C. Triarhou and Manuel del Cerro
4. Lost in Description: The Misunderstanding of Frederic Ives (1856–1937) and the Experiments of His Son Herbert (1882–1953) on Lippmann’s Interference Photography, by Susan Gamble
Part II Media History, Aesthetics, and Culture
5. Lippmann Photography and the Problems of Media Historiography, by Jens Schroter
6. Richard Neuhauss’s Stuffed Parrot: Interferential Colour Photography, Taxidermy, and Projection, by Hanin Hannouch
7. Brilliant! Enthusiasm for the Aesthetic Qualities of Lippmann’s Interferential Photography, by Elizabeth Cronin
8. From Maxwell to Mercury: The Cultural History of Gabriel Lippmann's Colour Photography, by Rolf Sachsse
Part III Contemporary Reception and Future Trajectories
9. Materiality, Identification, and Conservation of Lippmann Plates, by Jens Gold
10. Exhibiting Gabriel Lippmann: A Collaborative Challenge, by Pauline Martin and Carole Sandrin
11. Modern Lippmann Photography, by Hans I. Bjelkhagen
12. "It's not just a picture, it's a magical object": Interview with Contemporary Lippmann Photographer Filipe Alves, by Hanin Hannouch
Afterword: Building Bridges over Standing Waves, by Nathalie Boulouch
Index
Recensies en Artikelen
With Over 35 Stunning Full-colour Images
![Hans Lehmann (1875 – 1917). Still life. [no original title].](http://images.ctfassets.net/4wrp2um278k7/BtpWEtXU8uUxToGZRYNZM/5772979a3db6a4d0ac6c1d2a4ed78fd1/Fig_4__resized__without_border.png)
Hans Lehmann (1875 – 1917). Still life. (no original title). Lippmann process aka interferential color photography. 120 mm x 89 mm. Glass plate with wedge prism at 10 degree angle. 1908. Albert Narath Collection. Preus Museum. (Photo: Ana Gonçalves/Preus Museum).
Hanin Hannouch (red.)
Gabriel Lippmann's Colour Photography
Science, Media, Museums
De onderstaande tekst is niet beschikbaar in het Nederlands en wordt in het Engels weergegeven.
Physicist Gabriel Lippmann's (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums.
A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography's ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.
A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography's ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.
Redacteur
Hanin Hannouch
Dr. Hanin Hannouch is Curator for Analog and Digital Media at the Weltmuseum Wien. She has guest-curated the exhibition "Slow Colour Photography" about interferential colour photography at Preus Museum: National Museum of Photography (Norway) and is the guest-editor of the journal PhotoResearcher Nr. 37 "Three-Colour Photography around 1900". She is currently writing her monograph about the history of colour photography in Imperial Germany.
