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99:"The ordinary photographic print, however good, lacks depth and transparency, or more strictly speaking, translucency. We all know how beautiful are the stones and pebbles in the limpid brook of the forest where the water absorbs the blue of the sky and the green of the foliage, yet when we take the same iridescent pebbles from the water and dry them they are dull and lifeless, so it is with the ordinary photographic print, but in the Curt-Tones all the transparency is retained and they are as full of life and sparkle as an opal."
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impregnated with gold-colored pigment, to yield a gold-toned image. Alternatively, the developed glass plate can be gold-leafed by hand with 23-karat gold leaf. Being printed on glass, orotone images are extremely fragile and often require specialized frames in order to prevent breakage. Other types
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A Virtual
Exhibition on Orotone Photographs, Created for the University of Washington Special Collections Division by Christy Hansen, Class of 2011 Museology Graduate Program
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The making of orotone prints was contemporary art in the early twentieth century. Orotones are often to be seen in interiors associated with the
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print which can be made from a negative. An orotone photograph is created by printing a positive on a glass plate precoated with a
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of prints can be made with the same negative used to make an orotone. Consequently, silver gelatin prints and
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during his career. Curtis developed the "Curt-Tone", using techniques which he claimed were superior.
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Prayer to the Great
Mystery: The Uncollected Writings and Photography of Edward S. Curtis
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56:(platinum and palladium prints) are also made by those who produce orotone prints.
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47:. Following exposure and development, the back of the plate is coated with
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Photography's
Antiquarian Avant-Garde, the New Wave in Old Processes
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Edward S. Curtis and the North
American Indian, Incorporated.
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Double Spiral", orotone print by Sally Larsen, 1983
106:(who gold-leafs each developed plate by hand) and
88:, who produced hundreds of orotone photographs of
110:are modern practitioners of orotone photography.
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72:by emulating the colors of actual orotone prints
169:The Rainbow Man Orotone / Goldtone Process <
156:Hausman, Gerald; Kapoun, Bob, eds. (1995).
171:http://www.therainbowman.com/goldtone.htm
95:Curtis promoted his process as follows:
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141:Pioneer Photography of the Great Basin.
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130:Cambridge: Cambridge University Press.
80:. Many of these orotones are by the
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186:. New York: Abrams. pp. 78–79.
160:. New York: St. Martin's Press.
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139:Heyman, Theresa Thau (1984).
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68:A faux orotone created in
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36:is one of many types of
238:Photographic techniques
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126:Gidley, Mick (1998).
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182:Rexer, Lyle (2002).
145:Nevada Museum of Art
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218:A second example.
213:A Curtis orotone.
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243:Contemporary art
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90:Native Americans
86:Edward S. Curtis
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22:Vatican Museums
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108:Ryan Zoghlin
104:Sally Larsen
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60:Then and now
54:platinotypes
38:photographic
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232:Categories
114:References
49:banana oil
70:Photoshop
34:gold tone
45:emulsion
143:Sierra
82:Seattle
30:orotone
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188:ISBN
173:>
32:or
28:An
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