Luminogram: Difference between revisions
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A '''luminogram''' is a term that covers several photographic techniques; |
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# for images, usually artistic, created by exposure of [[photosensitive]] materials to light without the intervention of an object, |
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| ⚫ | # in [[Angiography]] in which an x-ray arteriogram, known also as a ''luminogram'', is employed in measuring [[Atherosclerosis|coronary atherosclerosis]],<ref>Johan H. C. Reiber , Gerard Koning, Joan C. Tuinenburg, Alexandra Lansky, Bob Goedhart 'Quantitative Coronary Arteriography’. In {{Citation | author1=Oudkerk, Matthijs | title=Coronary radiology | publication-date=2004 | publisher=Springer | isbn=978-3-540-43640-9 }}</ref> |
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# for an early means of reproducing images of fluorescence phenomena reported in 1932, the term luminogram was applied by hand-writing expert W. R. Mansfield.<ref>Penney, N. (ed.) The Journal of the Friends Historical Society, Volume xxix 1932, p. 71, Friends Historical Society Friends House, Euston Road, London and Philadelphia.</ref> |
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==Technique== |
==Technique== |
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Revision as of 05:53, 28 December 2018
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A luminogram is a term that covers several photographic techniques;
- for images, usually artistic, created by exposure of photosensitive materials to light without the intervention of an object,
- in Angiography in which an x-ray arteriogram, known also as a luminogram, is employed in measuring coronary atherosclerosis,[1]
- for an early means of reproducing images of fluorescence phenomena reported in 1932, the term luminogram was applied by hand-writing expert W. R. Mansfield.[2]
Technique
A luminogram is a variation on the photogram, made in the darkroom directly on photosensitive paper and chemically developed and fixed normally.
The technique is distinguished from the photogram in that the latter employs the shadows of objects while in the luminogram the light is modulated by varying the intensity through distance from the photosensitive surface, by the power or shape of the light source, or tempered by filters or gels, or by moving the light, often a low-powered torch or flashlight. The paper can itself be shaped to create the desired effects in the final image.
Many of László Moholy-Nagy's photograms were luminograms. The image is created by variations in light shape and intensity. Gottfried Jäger (photographic theorist) describes this as "the result of pure light design; the rudimentary expression of an interaction of light and photosensitive material… a kind of self representation of light."[3]
History
László Moholy-Nagy (1895-1946), in the 1920s, with his wife Lucia Moholy, began experimenting with the process of making photograms.
Moholy-Nagy produced photogram and luminogram images from 1922 in Berlin and continuously until his death in 1946. Chronologically they can be considered from three groups of images:
- Berlin Bauhaus period (1923-1928),
- his period of exile in London (1935-1937),
- and the United States (1937-1946).
Moholy-Nagy considered the "mysteries" of the light effects and the analysis of space as experienced through the photogram to be important principles that he experimentally explored and advanced in his teaching throughout his life.[4] His luminograms are related to his sculptural experiments with projected light on his 'light modulator' machines starting with the "Lichtrequisit einer elektrischen Bühne" [Light Prop for an Electric Stage] (completed 1930), a device with moving parts meant to have light projected through it in order to create mobile light reflections and shadows on nearby surfaces.[5][6]
Moholy-Nagy's luminograms are concerned exclusively with light and design.[citation needed] Moholy-Nagy approached the light sensitive photographic paper as a blank canvas and used light to literally paint on the surface with and without the interference of an intervening object.[7]
The experimental German Fotoform group, from 1949, produced luminograms,[8] though their leader Otto Steinert and member Peter Keetman produced their abstract images by pointing a camera, with shutter open, at light sources to produce light trails. Another, Heinz Hajek-Halke, eliminated the camera.[9]
References
- ^ Johan H. C. Reiber , Gerard Koning, Joan C. Tuinenburg, Alexandra Lansky, Bob Goedhart 'Quantitative Coronary Arteriography’. In Oudkerk, Matthijs (2004), Coronary radiology, Springer, ISBN 978-3-540-43640-9
- ^ Penney, N. (ed.) The Journal of the Friends Historical Society, Volume xxix 1932, p. 71, Friends Historical Society Friends House, Euston Road, London and Philadelphia.
- ^ Symposium on Photography and the Media (21st : Bielefeld); Jäger, Gottfried (2002), The art of abstract photography, Arnoldsche ; Oxford : William Snyder, ISBN 978-3-89790-015-8
{{citation}}: CS1 maint: numeric names: authors list (link) - ^ Moholy-Nagy, László; Institute of Design (Chicago, Ill.) (1947), Vision in motion, P. Theobald
- ^ Tate bio Retrieved January 17, 2011
- ^ Light Art Retrieved January 17, 2011
- ^ Moholy-Nagy, László; Haus, Andreas (1980), Moholy-Nagy, photographs and photograms, Pantheon Books, ISBN 978-0-394-50449-0
- ^ Baker, Simon, 1972-, (editor.); L'Ecotais, Emmanuelle de, (editor.); Mavlian, Shoair, (editor.); Allen, Sarah, (contributor.); Tate Modern (Gallery) (2018), Shape of light : 100 years of photography and abstract art, Tate Publishing, ISBN 978-1-84976-369-1
{{citation}}:|author1=has generic name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) - ^ Cordier, Pierre; Biasino, Fabrice (2007), Pierre Cordier : le chimigramme = the chemigram, Racine, ISBN 978-2-87386-494-1