Talbot’s technique converted a negative image into a positive one, a procedure that remains core to film-based photography. Because the negative made it pos- sible for the image to be replicated an infinite number of times, unlike the daguerreotype, painting-conscious pho- tographers such as Oscar G. Rejlander (1813–75) could assemble elaborate, multifigure compositions in stage-like settings. They [...] from a vari- ety of negatives and then orchestrated them, rather in the way history painters prepared their grand narrative scenes
Answer
pieced the total image together
Question
Talbot’s technique converted a negative image into a positive one, a procedure that remains core to film-based photography. Because the negative made it pos- sible for the image to be replicated an infinite number of times, unlike the daguerreotype, painting-conscious pho- tographers such as Oscar G. Rejlander (1813–75) could assemble elaborate, multifigure compositions in stage-like settings. They [...] from a vari- ety of negatives and then orchestrated them, rather in the way history painters prepared their grand narrative scenes
Answer
?
Question
Talbot’s technique converted a negative image into a positive one, a procedure that remains core to film-based photography. Because the negative made it pos- sible for the image to be replicated an infinite number of times, unlike the daguerreotype, painting-conscious pho- tographers such as Oscar G. Rejlander (1813–75) could assemble elaborate, multifigure compositions in stage-like settings. They [...] from a vari- ety of negatives and then orchestrated them, rather in the way history painters prepared their grand narrative scenes
Answer
pieced the total image together
If you want to change selection, open original toplevel document below and click on "Move attachment"
Parent (intermediate) annotation
Open it umber of times, unlike the daguerreotype, painting-conscious pho- tographers such as Oscar G. Rejlander (1813–75) could assemble elaborate, multifigure compositions in stage-like settings. They <span>pieced the total image together from a vari- ety of negatives and then orchestrated them, rather in the way history painters prepared their grand narrative scenes <span>
Original toplevel document (pdf)
owner: mmartin046 - (no access) - H. H. Arnason, Elizabeth C. Mansfield-History of Modern Art-Pearson (2012).pdf, p33
Summary
status
not learned
measured difficulty
37% [default]
last interval [days]
repetition number in this series
0
memorised on
scheduled repetition
scheduled repetition interval
last repetition or drill
Details
No repetitions
Discussion
Do you want to join discussion? Click here to log in or create user.