Photographic Techniques

Approaches that turn light sensitive material and the darkroom itself into the expression, including ways of printing without a camera and of folding time into a single sheet.

Dictionary entry

  1. Cyanotype 1842– / Technique

    Fixes the outline of a light-struck object directly into deep blue, making record and lyric the same image.

  2. Photomontage 1910s– / Technique

    Cuts and rejoins photographic fragments, assembling relations and critical meanings that never existed in the original reality.

  3. Photogram 1830s– / avant-garde revival / Technique

    No camera is involved. Objects laid on the sensitive surface and exposed to light turn contour, transparency and distance into the picture.

  4. Solarization 19th century– / 1920s revival / Technique

    Re-exposes the print mid-development, reversing part of the tonal scale into glowing edges and metallic light.

  5. Chronophotography 1870s–1890s / Technique

    Decomposes movement into successive instants, making the structure of time visible in one or a series of photographs.

  6. The Decisive Moment 1932- / Technique

    A way of shooting that waits for the event and the shape of the frame to coincide, then releases once. Cartier-Bresson set it out in his 1952 book and made using the whole uncropped frame part of the method.

  7. Daguerreotype 1839–1860s / Technique

    The first practical photography, fixing an image directly onto a silvered plate. A one-of-a-kind picture reversed as in a mirror and housed in velvet like jewelry is where the experience of owning an image begins.

  8. Instant Photography 1948– / Technique

    Polaroid made the picture appear on the spot. The white-bordered square, the soft color of chemical development and the fact that only one copy exists became a language of intimacy that outlived digital and carries on in Instax.

  9. Stereograph 1850s-1930s / Technique

    Two views of one scene taken from slightly separated positions, mounted side by side and sent to each eye through a viewer so the scene reads as depth. Placing an object large in the foreground to force that depth was the standard move.

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