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- Retouching scientific photography – the glass plate negatives collection at the Natural History and Science Museum – University of PortoPublication . Pereira, Catarina; Gaspar, Rita; Castro, Laura; Barata, CarolinaThis work presents a part of a research project on retouching gelatin glass plate photographic negatives, its intentions, impact of the practice on the image and object and its current state of conservation. This is a case study on the use of retouching techniques on a scientific collection belonging to the former Dr. Mendes Correia Anthropology Institute, of the Natural History and Science Museum - University of Porto (MHNC-UP). In scientific photography there is a need for a rigorous record and true representation, which sets apart this type of photographic collection from others. Any alterations, such as retouching, should therefore have little or none aesthetic intentions. Retouched negatives were identified in this scientific and academic collection, and allowed to ascertain the purpose of their use and support the need for its preservation.
- Memória recapturada: imagens de uma comunidadePublication . Pereira, Catarina; Castro, LauraO presente artigo aborda o processo de concepção e produção de uma exposição assente na problemática da imagem fotográfica e na importância do estudo do negativo e da prática do retoque para o cabal conhecimento dessa imagem. Dedicada à fotografia de retrato e ao trabalho do estúdio fotográfico, centrada no espólio da antiga Foto-Carvalho, um estúdio em funcionamento em Estremoz desde 1936 até c.2000, a exposição revela a complexidade da construção da imagem fotográfica. A sua organização envolveu a cidade e conferiu dimensão performativa à pesquisa académica, correspondendo às tendências actuais da investigação e da diversificação dos seus resultados.
- O retoque na fotografia científica – a colecção de negativos de vidro do Museu de História Natural e da Ciência da Universidade do Porto (MHNC-UP)Publication . Pereira, Catarina; Gaspar, Rita; Castro, Laura
- Truth and vanity : the retouching techniques on dry plate negatives of Portuguese collections of the first half of the twentieth centuryPublication . Pereira, Catarina Luísa Cortes; Castro, Laura Lucinda de Oliveira; Barata, Carolina Sofia Sarrazola; San Andrés Moya, MargaritaThis thesis aims to understand better the retouchings on dry plate negatives and contribute to their preservation, updating established conservation practices. Archives of old photography studios, and photographers, are kept for their recognized historical and cultural value. These are mostly negative collections, which are frequently retouched. The research focused on several Portuguese negative collections from the first half of the twentieth century. It was divided into a three-way approach: 1, establish a historical framework to explain the retouching practices, their acceptance, criticisms, and how they relate with contemporary aesthetics, social-cultural dimensions and contribute to a better knowledge of the visual culture of the time; 2, review the practice of retouching to identify motivations, identification of materials and techniques and understand intended effects; 3, revise the established conservation procedures. Frequently not valued in the past, retouched photography exists since the birth of photography itself. Furthermore, although often criticized, retouching photography is an accepted part of the photographic process. However, it is not only relevant to explain and characterize a photographer's technique. While a hidden practice, retouching has a significant impact on the visual culture of its time and even how images and aesthetics of that time help evolve and influence photography today. Many authors identified the aproximation to the truth and the photographer's eye as the primary motivation. When photography was still debating its role in the arts, retouching was central to the discussion and used by each side as an argument both in favor and against. However, for the professional photographer, retouching negatives was necessary to please the client, assure flawless prints, and even a measure of pride in their work's quality. Fourier-transform infrared spectroscopy (FT-IR) was used to complement the identification of retouching materials. The result is a compilation of spectra that can be used as references in future studies. Some flaws in current conservation procedures have been identified, with consequences in the value and preservation of retouched negative collections. Conservation of archive collections can no longer be dissociated from digital dissemination. The conservator needs to take a more active role in advocating for collections' materiality in digital environments to ensure their preservation and truthful representation of the photographic cultural heritage. The retouching practices were kept forgotten for a long time. This work now shines a light on the importance of preserving retouched collections and open directions for future research in the fields of Conservation, Art History, and other Social Sciences.
- Materials and techniques for retouching glass plate photographic negatives in the beginning of the 20th centuryPublication . Pereira, CatarinaRetouching glass plate negatives was a practice that emerged about the same time as the glass plate negative itself. How was photography being retouched in the early 20th century? Today there are generally available known digital tools. A hundred years ago, the retouching was done by hand, by the photographer, or by specific professionals that don’t distance themselves, in technical demand, of the arts of drawing and painting. But the retouching was invisible in the final object, because the changes were done on the negative. Its contemporary books, in the form of manuals, are a window to the past telling us about the techniques and materials used. Existing archive collections of photographic glass plate negatives are testimony to the expertise of photographers and the practical use of those books. The present work will show examples of tools and materials used for retouching of photographic glass plate negatives, taking as an example a portrait collection at the Photographic Archive of Lisbon. Also some considerations are done about the conservation of retouched glass plate negatives in archive collections.
- Reconstituição histórica virtual do retábulo-mor da Igreja do Espírito Santo de Évora: aplicação ao Património da infografia web-basedPublication . Pereira, Catarina; Henriques, Frederico; Carriço, Nuno; Amaral, Vanda; Ferreira, Teresa; Candeias, AntónioAs a part of a multidisciplinary and integrated research, including conservation sciences and history, a proposal is presented for the historical reconstitution and the virtual restoration of the mannerist altarpiece of the main altar at the Espírito Santo Church, in Évora. The collected data is abundant and the scientific information, because of its technicality, is less prone to be easily understood by the general public, thus becoming less accessible. Web-based infographics are explored as privileged forms of disseminating results and raising awareness to Cultural Heritage. The project materializes as an Internet platform where data and a reconstitution proposal are shared in a visual and interactive way. In addition to the digital virtual reconstitution (2D), some tridimensional models (3D) are presented of various elements of the altarpiece, obtained using methods of computer graphics and digital photogrammetry.
- Retouching glass plate negatives. What do old manuals say?Publication . Pereira, Catarina Cortes; Castro, LauraThis paper aims to present a study of old photographic retouching manuals which is part of a research pro ject on the retouching of gelatin silver glass plate negatives from Portuguese photographic col lec tions from the first half of the twentieth century. Several contemporary authors of var ious nationalities were studied. Differences in approach to retouching have been ex plored in terms of techniques and materials, particularly as the authors addressed issues such as ethics and the legitimacy of photo retouching, as well as the relationship of photography to the other arts.