ermany and the USA, 1895-1946), Untitled (Positive), c. 1922-1924, gelatin silver print from photogram negative, .237 x .178 m (9 5/16 x 7 inches), National Gallery of Art, Washington D.C. See Bauhaus, German art, Hungarian art, and positive.
László Moholy-Nagy, Hand Photogram, c. 1925, gelatin silver print photogram, 9 3/8 x 7 inches (23.81 x 17.78 cm), Los Angeles County Museum of Art.
Adam Füss (British, 1961-), Now!, 1988, gelatin silver print, 169.5 x 129.5 cm (66 3/4 x 51 inches), Metropolitan Museum of Art, NY.
Also see positive and rayograph.
photograph and photo - See photography.
photographic - Having to do with photography. Often referring to an image's resemblence to a photograph — similar to the way it's subject would appear in a photograph, with great accuracy and fidelity of detail.
photogravure - A photomechanical printmaking process invented in 1879. A photographic image is transfered to a copper plate which is chemically etched. The plate is hand-inked for each print.
Alfred Stieglitz (American, 1864-1946), The Steerage, 1907, photogravure, published in 1915 as a special supplement to No. 7-8 of Camera Work; 13 1/8 x 10 3/8 inches (33.3 x 26.4 cm), Minneapolis Institute of Art. See Photo-Secession.
Karl Blossfeldt (German, 1865-1932), Delphinium, from the album "Urformen der Kunst," 1928, photogravure, 10 x 7 1/2 inches (25.4 x 19.05 cm), Los Angeles County Museum of Art.
Edward Sheriff Curtis (American, 1868-1954), A Hopi Man, 1921, photogravure on vellum paper, 15 1/8 x 11 3/8 inches (38.42 x 28.89 cm), Los Angeles County Museum of Art.
Also see photography and positive.
photomechanical graphic - Photographic (and analog) processes used in preparing to print images with the printing plates. Color separation is one of the functions of photomechanical processes — making a separate printing plate for each of the color components in a color picture. Usually there are four: one plate for yellow, one for blue (cyan), one for red (magenta), and one for black. Images printed by offset lithography — the printing process by which the majority of periodicals are printed for example — have invariably been photomechanical graphics until computer graphic processes have gotten to take over some of this territory. A computer generated image is more likely to be called a computer graphic or digital graphic.
Also see moiré.
photomontage - A montage of photographs.
Yves Klein (French, 1928-1962), Leap into the Void, 1960, photomontage, silver gelatin print, 350 x 270 mm. This photograph shows Klein falling from a wall toward the pavement of a Parisian street. Producing the picture at the time of the first human travels beyond earth's atmosphere, Klein was alluding to the human bodys' altered relationship to the cosmos. See void.
David Hockney (English, lives and works in USA, 1937-), Portrait of the Artist's Mother, c. 1985?, photocollage. This is called a photocollage rather than a photomontage, because it is more three-dimensional than a montage tends to be. Hockney reflected extensively on his process of collaging prints taken with a 35 mm camera as connecting to the Cubist sense of multiple angles and especially of movement. These "multiples" (as he called them) convey a strong sense of movement, Hockney argued, in that the viewer must keep readjusting his imagined viewpoint as his gaze travels from print to print. And of course by this means the viewer builds up a single image that is many times wider in angle of view than the camera lens. (The viewing angle of a standard 55mm lens for a 35mm format camera is about 45 degrees. Wide angle lenses increase the angle of view to about 75 degrees without obvious distortion, but the human angle of view, with eye movement, is about 180 degrees.)This portrait of Hockney's mother illustrates the technique at close range. See collage.
Scott Mutter (American, 1944-), Untitled (Forest), 1975, gelatine-silver print photomontage, 11 x 14 inches, American Museum of Photography. This forest has a parquet floor. "While others use the techniques of photomontage for shock effect, Mutt