El Retouching Scientific Photography – The Glass Plate Negatives Collection at the Natural History and Science Museum – University of Porto

DOI: https://doi.org/10.37558/gec.v12i0.540
Palabras clave: photography, glass plate negatives,, retouching, masks, collection, anthropology, history, science

Resumen

his work presents a part of a research project on retouching gelatin glass plate photographic negatives, its intentions, impact of the practice on the image and object and its current state of conservation. This is a case study on the use of retouching techniques on a scientific collection belonging to the former Dr. Mendes Correia Anthropology Institute, of the Natural History and Science Museum - University of Porto (MHNC-UP). In scientific photography there is a need for a rigorous record and true representation, which sets apart this type of photographic collection from others. Any alterations, such as retouching, should therefore have little or none aesthetic intentions. Retouched negatives were identified in this scientific and academic collection, and allowed to ascertain the purpose of their use and support the need for its preservation.

Descargas

La descarga de datos todavía no está disponible.

Biografía del autor/a

Catarina Luísa Cortes Pereira, School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal

Presently a Researcher and PhD student at the School of Arts, CITAR, Catholic University of Porto. Has a Master in Science in Conservation by Nova of Lisbon in 2013 and a degree in Art - Conservation and Restoration of Paintings by School of Arts, UCP in 2007. Fellow in Conservation and Restoration at the Laboratory HERCULES, University of Évora from 2013 to 2015. In Spain, 2009, she obtained training and internship at the Conservation and Restoration Institute of Valencia in the Documents department.
http://orcid.org/0000-0003-0926-1154

Carolina Barata, School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal

Degree in Conservation and Restoration, and post-graduation in Art Expertise, Master's degree in Applied Chemistry and a PhD in Geosciences. She started her professional activity in 1996 having joined several working teams in the field of Easel Painting, wooden Sculpture and Photography collections Conservation. Since 2005 lecturer and a researcher at the School of Arts of the Portuguese Catholic University (EA/UCP). Since 2016 coordinator of the Master's Degree in Conservation and Restoration in the same School.  Member of the Research Center for Science and Technology of the Arts (CITAR) at EA/UCP and of the Research Center of Geobiosciences, Geotechnologies and Geoengineering (GeoBioTec) of the University of Aveiro.

Rita Gaspar, Natural History and Science Museum of the University of Porto

Degree in History - Archeology from the Faculty of Arts of the University of Lisbon in 2002, holds a Master degree in Geoarchaeology from the Faculty of Science of University of Lisbon in 2008. Coordinator of several archaeological interventions, one of mention, the coordination of the Study of the Pre-History at the Vale do Sabor. Since 2015 is responsible for the Archeology, Ethnography and Physics Anthropology departments of the Natural History and Science Museum of the University of Porto.

Laura Castro, School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal

Director of the School of Arts of the Portuguese Catholic University where she also theaches. Researcher at the Research Center for Science and Technology of the Arts (CITAR) in the same School. Has a PhD from the Faculty of Fine Arts of the University of Porto in 2010 and Master in Art History from the Faculty of Social Sciences and Humanities of the Nova of Lisbon in 1993 and a degree in the same area by the Faculty of Arts of the University of Porto in 1985. Member of the Portuguese Association of Art Historians and of the International Association of Art Critics.

Citas

CARVALHO, A. (1940).“Comemoração do Centenário da Fotografia”. Sep. Memórias da Academia das Ciências de Lisboa, classe Ciências. Lisboa: Academia das Ciências de Lisboa.

CORREIA, A. A. M. (1916). “Sobre alguns objectos protoistóricos e lusitano-romanos especialmente de Alpiarça e Silvã”. Lisboa. O Archeologo Português XXI: 331-337.

CORREIA, A. A. M. (1940). “Nota sobre a fotografia aplicada à Antropologia em Portugal”. In Comemoração do Centenário da Fotografia. Sep. Memórias da Academia das Ciências de Lisboa, classe Ciências, Carvalho, A. (coord.). Lisboa: Academia das Ciências de Lisboa, 123-125.

COSTA, F. M; JARDIM, M. E. (coord.). (2014). 100 anos de fotografia científica em Portugal (1839-1939). Imagens e instrumentos. Lisboa: Edições 70.

FRIZOT, M. (dir.) (1995). Nouvelle Histoire de la Photographie. Paris: Ed. Bordas - Adam Biro.
HANNAVY, J. (Ed.). (2007). Encyclopedia of Nineteenth-Century Photography. New York: Routledge.

HERRERA GARRIDO, R. (2011).“Técnicas de retoque de negativos fotográficos historia y conservación”. Pátina, 16: 125-136.http://revista-patina.escrbc.com/numero/16. [Accessed: 03/05/2016].

MATOS, P. (2012). “Mendes Correia e a Escola de Antropologia do Porto: Contribuição para o estudo das relações entre antropologia, nacionalismo e colonialismo (de finais do século XIX aos finais da década de 50 do século XX)”. Thesis. Lisbon: Instituto de Ciências Sociais da Universidade de Lisboa.http://hdl.handle.net/10451/7831. [Accessed 02-11-2016].

MATOS, P. F. (2014). “A fotografia na obra de Mendes Correia (1 888-19ó0): Modos de representar, diferenciar e classificar da Antropologia Colonial”. In O Império da Visão – Fotografia no contexto colonial Português (1860-1960). Vicente, F. L. (org.).Lisboa: Edições 70, 45-66.

NUNES, M. F. (2005). “Arqueologia de uma prática científica em Portugal – uma história da fotografia”. História. III - 6: 169-183. http://ler.letras.up.pt/uploads/ficheiros/3382.pdf. [Accessed 02-11-2016].

PEDERSEN, K. B.; Kejser, U. B.; Christensen, M. C. (2005). Coatings on Black-and-white Glass Plates and Films. In C. McCabe, Coatings on Photographs: Materials, Techniques, and Conservation (pp. 108-131). American Institute for Conservation of Histooric and Artistic Works.

PEREIRA, C. (2010). “O retoque do negativo fotográfico: estudo de uma colecção do Arquivo Fotográfico da Câmara Municipal de Lisboa”. Estudos de Conservação e Restauro, 2: 38-57. http://revistas.rcaap.pt/ecr/article/view/3153/2542. [Accessed: 03/5/2016].

PEREIRA, C. (2016). “Materials and techniques for retouching glass plate photographic negatives in the beginning of the 20th century”. In III International Meeting on Retouching of Cultural Heritage: RECH3. Porto. Escola Artística e Profissional Árvore, 65-72 https://issuu.com/ineditar/docs/postprints_rech3 [Accessed: 03/5/2016].

PERES, I. V. (2013). “Fotografia científica em Portugal, das origens ao séc. XX: investigação e ensino em química e instrumentação”, thesis. Lisbon: Faculdade de Belas Artes da Universidade de Lisboa. http://hdl.handle.net/10451/8692. [Accessed: 03/10/2016].

SCHRIEVER, J. B. (1909). Complete self-instructing library of practical photography Vol. 1-10 Scranton: American School of Art and Photography. https://archive.org/details/completeselfinst10schriala. [Accessed: 10/6/2016]

SILVA, A. S. (1997).“O Porto em busca da Renascença (1880-1911)”. Penélope: Género, discurso e guerra, 17: 51-69.

VOGEL, H. W. (1870). Lehrbuch der Photographie - Theorie, Praxis und Kunst der Photographie. Berlin: Louis Gerschel Verlagsbuchhandlung. https://archive.org/details/lehrbuchderphoto00voge. [Accessed: 03/05/2016].
Publicado
2017-12-16
Cómo citar
Cortes Pereira, C. L., Barata, C., Gaspar, R., & Castro, L. (2017). El Retouching Scientific Photography – The Glass Plate Negatives Collection at the Natural History and Science Museum – University of Porto. Ge-Conservacion, 12, 101-110. https://doi.org/10.37558/gec.v12i0.540
Número
Vol. 12 (2017): Ge-conservación Nº 12
Sección
Suplemento
  1. Los autores conservan los derechos de autor y propiedad intelectual, y garantizan a la revista Ge-Conservación y al GEIIC el Copyright© de los derechos de edición y publicación por cualquier medio y soporte. Las obras de dichos autores además se pueden publicar bajo una Creative Commons Attribution License que autoriza ser distribuido gratuitamente, copiado y exhibido por terceros si se muestra en los créditos la autoría y procedencia original en esta revista, y no se puede obtener ningún beneficio comercial por parte de terceros, ni tampoco se pueden realizar obras derivadas.
  2. Los artículos podrán ser utilizados para fines científicos y formativos, pero nunca con fines comerciales, expresamente sancionado por la Ley.
  3. La información contenida en los artículos es responsabilidad exclusiva de los autores.
  4. La revista Ge-Conservación y los autores pueden establecer por separado acuerdos adicionales para la distribución no exclusiva de la versión de la obra publicada en la revista (por ejemplo, situarlo en un repositorio institucional o publicarlo en un libro), con un reconocimiento de su publicación inicial en esta revista.
  5. Se permite y se anima a los autores a difundir sus trabajos electrónicamente (por ejemplo, en repositorios institucionales o en su propio sitio web) después de su publicación en la revista Ge-Conservación, ya que puede dar lugar a intercambios productivos, así como a una citación más temprana y mayor de los trabajos publicados por el autor.
  6. Los datos personales suministrados por los autores únicamente serán utilizados para los fines de la revista y no serán proporcionados a terceros.