This process makes you a better editor and narrows your focus to making one or two great images, rather than a dozen or so OK ones that can be quickly uploaded to a Facebook album. Buy a sample pack of fine art papers to try out or ask the lab to make some test strips on the papers they offer. Create a physical scrapbook filled with photo memories.
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Experiment, get creative, make mistakes, and refine your approach. The physics of how light bounces off a piece of paper and into your eyes is not going to change, but the way a computer reads an image file does change. External hard drives have gone through several types of physical connection, from USB to FireWire to Thunderbolt — and several generations of each. In short, there is no guarantee that the computer of tomorrow will be able to read the photos you take today, unless you consistently modernize your digital archives.
An archival inkjet print can last for over years when stored properly and yes, you can make this sort of print at home.
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Printing for archival reasons is a logical thing to do, but the real reason you should start printing is emotional. When done correctly, seeing a high quality print of an image you made can be mesmerizing. There is just something about holding a finished print in your hands that is infinitely more satisfying than seeing your photo on a screen — especially a pocket-sized one.
It also serves as a tangible, permanent product of your work, a monument to the time and effort you put into creating it. So take a trillion photos. Forget billions of them. But print one, and do it right. Mount it, frame it, display it. Take pride in it. The Print in the Nineteenth Century. The Printed Image in the West: Aquatint. The Printed Image in the West: Drypoint.
The Printed Image in the West: Engraving.
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The Printed Image in the West: Etching. The Printed Image in the West: Woodcut. Rembrandt van Rijn — : Prints. Woodblock Prints in the Ukiyo-e Style.
Prints and People: A Social History of Printed Pictures
Timelines 8. Balkan Peninsula, — A. Central Europe including Germany , — A. Florence and Central Italy, — A. France, — A. Japan, — A. Korea, — A. Rome and Southern Italy, — A.
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By the family had used them to create 30 books filled with hundreds of stunning and exotic copper-plate illustrations. The De Brys redrew pictures and expanded the stories that went with them. They didn't know how to draw American Indians, so they made them look Graeco-Roman. They mixed up cultural details -- like putting Indians from opposite hemispheres in the same picture. Still, these are the most detailed reports of the 16th-century Americas we have.
But the De Brys were Protestant, and they were landlubbers. They had no knowledge of our Native Americans and no love for their Catholic invaders. The results are, predictably, appalling. Strange Shaman rites, along with everyday industry. They stirred in a thematic gallery of recurring grotesque figures.
Anthropologist Bernadette Bucher speaks of the semantic wealth and insidious power of this new pictorial mass medium. The Protestant world was just beginning its own exploitation of these people. The De Brys had to fit these new races into a framework that would make exploitation seem morally acceptable. They worked their way through the data, recasting it. When they were done, they'd created the first iconography of the American Indian and unwittingly bent their historical record as they did.