Busacca Gallery

Basilica di Santa Maria della Salute By Artist Lucia Fischer: Signed, limited edition RA archival photographic print. Edition number 2 of 21. Image size 44 x 45 (the images is square on a top heavy white border) This is an image I took in awe inspiring Venice, the city of classical romance. I shot it on my Holga camera and it is part of a body of work title 'The Holga Diaries'. A raw and gritty double take of the urban landscapes and city streets of Europe; the sights I experienced viewed through the lens of my Holga camera on my vagabond wanderings and travels. This body of work presents a series of hazy and desolate dreamscapes that evoke a sentimentality of times past and whose subjective presentation can be best described as silent, hazy and lost.

Link: http://en.wikipedia.org/wiki/Chromogenic_color_print

Chromogenic color prints are full-color photographic prints made using chromogenic materials and processes. These prints may be produced from an original which is a color negative, slide, or digital image.

The first commercially available chromogenic print process was Kodacolor, introduced by Kodak in January of 1942. Kodak introduced a chromogenic paper with the name Type-C in the 1950s, and then discontinued the name several years later. The terminology Type-C and C-print have remained in popular use since this time. The chemistry used to develop chromogenic prints today is known as RA-4. As of 2010, the major lines of professional chromogenic print paper are Kodak Endura and Fujifilm Crystal Archive. Plastic chromogenic "papers" such as Kodak Duratrans and Duraclear are used for producing backlit advertising and art.

The class of colour photographic processes known as chromogenic are characterized by a reaction between two chemicals to form (or give birth to) the color dyes that make up a photographic image. Chromogenic color images are composed of three main dye layers—cyan, magenta, and yellow—that together form a full color image. The light sensitive material in each layer is a silver halide emulsion—just like black and white papers. After exposure, the silver image is developed (or reduced) by a special color developer. In this reaction, the color developer in the areas of exposed silver are oxidized, and then react with another chemical, the dye coupler, which is present throughout the emulsion. This is the chromogenic reaction—the union of the oxidized developer and the dye coupler form a color dye. Different dye couplers are used in each layer, so this same reaction forms a different colored dye in each layer. A series of processing steps follow, which remove the remaining silver and silver compounds, leaving a color image composed of dyes in three layers.[1] The exposure of a chromogenic print may be accomplished with a traditional photographic enlarger using color filters to adjust the color balance of the print.

A Type R print refers to a positive-to-positive photographic print made on reversal-type color photographic paper.

Fujifilm, Kodak, and Agfa have historically manufactured paper and chemicals for the R-3 process, a chromogenic process for making Type R prints. As of late 2008, all of these companies have ceased to produce Type R paper, although Fujifilm still has some stocks remaining.

Another positive-to-positive process is Ilfochrome, which is sometimes also referred to as a Type R process. Ilfochrome is a dye destruction process, with materials, processing, and results quite different from the R-3 process.

Prints can also be exposed using digital exposure systems such as the Durst Lambda, Océ LightJet and ZBE Chromira, yielding a digital C print (sometimes called a Lambda print or LightJet print). These are exposed using LEDs on light sensitive photographic paper and processed using traditional silver based chemistry[2]. These digital systems expose the paper using red, green, and blue lasers or light emitting diodes, and have the capability of correcting paper sensitivity errors.