Nov 22, 2017 05:14 AM
https://www.nytimes.com/2017/11/15/magaz...glass.html
EXCERPT: [...] Glass is everywhere in photography. From Eugène Atget’s reflective vitrines to Lee Friedlander’s sly self-portraiture, photographers have long been in thrall to the visual complications glass can inject into a composition. Glass is present not only as photography’s seductive subject but also as its physical material. Photographs were commonly made on wet-plate negatives (glass coated with photosensitive emulsion) in the 19th century, and then on the improved and portable dry-plate negatives, before film was manufactured at a sufficient strength in the 20th century to serve as a transportable medium for photographic emulsion. Sometimes the very glass of the negative becomes part of the photograph’s story. [...] Broken glass, and broken windows in particular, are a notable byway in photography’s history...
MORE: https://www.nytimes.com/2017/11/15/magaz...glass.html
EXCERPT: [...] Glass is everywhere in photography. From Eugène Atget’s reflective vitrines to Lee Friedlander’s sly self-portraiture, photographers have long been in thrall to the visual complications glass can inject into a composition. Glass is present not only as photography’s seductive subject but also as its physical material. Photographs were commonly made on wet-plate negatives (glass coated with photosensitive emulsion) in the 19th century, and then on the improved and portable dry-plate negatives, before film was manufactured at a sufficient strength in the 20th century to serve as a transportable medium for photographic emulsion. Sometimes the very glass of the negative becomes part of the photograph’s story. [...] Broken glass, and broken windows in particular, are a notable byway in photography’s history...
MORE: https://www.nytimes.com/2017/11/15/magaz...glass.html