The History and Technology of Opalotypes
The History and technology of Opalotypes
Fig 1; Unknown, date unknown Opalotype 383 x 280mm; From the collection of CCMC;
Introduction
The Opalotype consists of almost any photographic technique as long as it used on opal glass. It was in use from the mid 1800 's through to the1930 's and most of the methods of photographic production that were used during the 19th century were tried out with opalotypes. However despite it 's long-lived history, Opalotypes are sadly treated as a very minor side road of exploration by most of the photography history books and if mentioned at all, will be given only a one paragraph description. This disregard may have helped contribute to their poor state in contemporary collections.
This investigation began after viewing an opalotype portrait (fig 1) in the collection of Centre for Cultural Materials Conservation (CCMC) with a photographic image of a suited gentleman printed onto an opaque white glass plate 388mm high by 280mm wide. The image had added detail possibly in a watercolour or ink, having a slightly transparent quality. There is a considerable amount of image loss and staining. There is evidence of an oval vignette mount now missing with the exposed areas showing fading and light damage.
The image appears to be not quite photo, not quite painted-portrait but has a soft compelling quality to it, which is quite endearing, despite its sad state. There is something special about Opalotypes.
In this paper I will discuss the evolution of the opalotype with it 's emergence from the miniature to its popularity as a framed portrait. I will talk about the material technology and development opalotype production. The chemistry of the gelatino-bromide emulsion technique will be examined as this is the most commonly represented in opalotype in Australian collections (Egunnike, 2007 p144). Finally, the types of degradation that occur because of the materiality of opalotypes will be discussed.
The Evolution of the
Fig 1; Unknown, date unknown Opalotype 383 x 280mm; From the collection of CCMC;
Introduction
The Opalotype consists of almost any photographic technique as long as it used on opal glass. It was in use from the mid 1800 's through to the1930 's and most of the methods of photographic production that were used during the 19th century were tried out with opalotypes. However despite it 's long-lived history, Opalotypes are sadly treated as a very minor side road of exploration by most of the photography history books and if mentioned at all, will be given only a one paragraph description. This disregard may have helped contribute to their poor state in contemporary collections.
This investigation began after viewing an opalotype portrait (fig 1) in the collection of Centre for Cultural Materials Conservation (CCMC) with a photographic image of a suited gentleman printed onto an opaque white glass plate 388mm high by 280mm wide. The image had added detail possibly in a watercolour or ink, having a slightly transparent quality. There is a considerable amount of image loss and staining. There is evidence of an oval vignette mount now missing with the exposed areas showing fading and light damage.
The image appears to be not quite photo, not quite painted-portrait but has a soft compelling quality to it, which is quite endearing, despite its sad state. There is something special about Opalotypes.
In this paper I will discuss the evolution of the opalotype with it 's emergence from the miniature to its popularity as a framed portrait. I will talk about the material technology and development opalotype production. The chemistry of the gelatino-bromide emulsion technique will be examined as this is the most commonly represented in opalotype in Australian collections (Egunnike, 2007 p144). Finally, the types of degradation that occur because of the materiality of opalotypes will be discussed.
The Evolution of the
References: Peres, M. 2007 Focal Encyclopaedia of Photography 4th edition Focal Press, Oxford Unknown 1 1864 'The Toovytype:or:Ivorytype, or the Process of Printing on White Glass ' Vol Unknown 2, 1864 'The Toovytype;or;Ivorytype ' The British Journal of Photography November 18th accessed through Albumen Photographs: History Science Preservation 2000 viewed 9/5/09 Unknown 3 1864 'Pictures on Opal Glass Verplanck, A. 2004 'The art of John Henry Brown ' The Magazine Antiques Nov 2004 New York 166, 5 Academic Research Library p138 Werge, J 1890 The Evolution of Photography Piper & Carter and J Werge London Williams, G1864 'Printing on Opal Glass ', The British Journal of Photography December 2, 1864 accessed through Albumen Photographs: History Science Preservation 2000 viewed 9/5/09 Bibliography