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1

United States International Trade Commission. Color negative photographic paper and certain chemical components from Japan and the Netherlands: [investigations nos. 731-TA-661 and 662 (preliminary)]. U.S. International Trade Commission, 1993.

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2

Ellis, M. H. The ambrotype and photographic instructor, or, Photography on glass and paper. P.E. Palmquist, 1990.

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3

Inc Australian Institute for the Conservation of Cultural Materials. AICCM Symposium 2002: Conservation of paper, books and photographic materials 17-19 April 2002, Melbourne, Australia. AICCM, 2002.

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4

Roberta, Valtorta, ed. Carte riciclate =: Recycled papers. Charta, 2001.

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5

Flaum, May. Paper + pixels: Scrapbook layouts. Memory Makers Books, 2008.

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6

Hans-Scharoun-Archiv and Akademie der Künste (Berlin, Germany), eds. Papier - Linie - Licht: Konservierung von Architekturzeichnungen und Lichtpausen aus dem Hans-Scharoun-Archiv = Paper - line - light : the preservation of architectural drawings and photoreproductions from the Hans Scharoun Archive. Akademie der Künste, 2012.

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7

Company, Gilman Paper. Photographs from the collection of the Gilman Paper Company. White Oak Press, 1985.

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8

Schulz, Carolyn. Creating family memories. David & Charles, 1998.

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9

Zévila, Assis de. Photographic View on Paper. Independently Published, 2018.

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10

Cartier, Françoise, Daniel Cartier, Christophe Brandt, Thilo Koenig, and Kathrin Schönegg. Never Taken Images: Photographic Paper Archive. Antique Collectors' Club, 2022.

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11

Paper Cities: Urban Portraits in Photographic Books. Leuven University Press, 2016.

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12

Color negative photographic paper and certain chemical components from Japan and the Netherlands: [investigations nos. 731-TA-661 and 662 (preliminary)]. U.S. International Trade Commission, 1993.

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13

Langford, Martha. Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art. McGill-Queen's University Press, 2007.

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14

Standardization, International Organization for. ISO 6051: photography - processed photographic paper prints - storage practices. 2nd ed. I.S.O, 1986.

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15

Old ways new views: Photographic processes on handmade paper. Hand papermaking, 1999.

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16

Ellis, M. H. The Ambrotype & Photographic Instructor, or Photography on Glass & Paper. Borgo Pr, 1991.

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17

Langford, Martha. Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art. McGill-Queen's University Press, 2007.

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18

Averkamp, Marcella. Preserving Paper and Photographic Materials: A Handbook for Curators and Librarians. Wisconsin Historical Society, 1986.

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19

Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art. McGill-Queen's University Press, 2012.

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20

Scissors, paper, stone: Expressions of memory in contemporary photographic art. McGill-Queen's University Press, 2007.

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21

Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black and White Paper. Taylor & Francis Group, 2018.

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22

Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black and White Paper. Taylor & Francis Group, 2018.

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23

Ross, Denise. Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black and White Paper. Taylor & Francis Group, 2018.

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24

Ross, Denise. Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black and White Paper. Taylor & Francis Group, 2018.

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25

Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black and White Paper. Taylor & Francis Group, 2018.

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26

The 2006-2011 World Outlook for Wrapped Ream Paper Excluding Loose-Leaf Filler Paper, Photographic and Photocopy Paper, and Paper for Fax Machines. Icon Group International, Inc., 2005.

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27

Parker, Philip M. The 2007-2012 World Outlook for Wrapped Ream Paper Excluding Loose-Leaf Filler Paper, Photographic and Photocopy Paper, and Paper for Fax Machines. ICON Group International, Inc., 2006.

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28

Reilly, James M. Albumen and Salted Paper Book: The History and Practice of Photographic Printing 1840-1895. Rochester Institute of Technology, RIT Press, 2012.

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29

Parker, Philip M. The 2007-2012 Outlook for Wrapped Ream Paper Excluding Loose-Leaf Filler Paper, Photographic and Photocopy Paper, and Paper for Fax Machines in Japan. ICON Group International, Inc., 2006.

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30

Group, Research. The 2000 World Market Forecasts for Imported Photographic Film, Plates, and Paper. Icon Group International, 2000.

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31

Ross, Denise. Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black and White Paper. Taylor & Francis Group, 2018.

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32

Parker, Philip M. The 2007-2012 Outlook for Wrapped Ream Paper Excluding Loose-Leaf Filler Paper, Photographic and Photocopy Paper, and Paper for Fax Machines in Greater China. ICON Group International, Inc., 2006.

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33

Chalmers, Thomas Wightman. Paper Making and Its Machinery: Including Chapters on the Tub Sizing of Paper, the Coating and Finishing of Art Paper and the Coating of Photographic Paper. Creative Media Partners, LLC, 2023.

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34

Parker, Philip M. The 2007-2012 Outlook for Wrapped Ream Paper Excluding Loose-Leaf Filler Paper, Photographic and Photocopy Paper, and Paper for Fax Machines in the United States. ICON Group International, Inc., 2006.

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35

Richelson, Jeffrey T. United States Strategic Reconnaissance: Photographic Imaging Satellites (Cisa Working Paper Ser. ; No. 38). Center for International Relations, 1996.

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36

Moran, Richard. Cavell on Recognition, Betrayal, and the Photographic Field of Expression. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190633776.003.0005.

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The ideas of expression and expressiveness have been central to Stanley Cavell’s writing from the beginning, joining themes from his more strictly philosophical writing to the role of human expression as projected in cinema. This paper explores a thread running through several different parts of his writing, relating claims he makes about the photographic medium of film and its implications for the question of expression and expressivity in film There is an invocation of notions of necessity and control in the context of cinema that should be understood in the context of related ideas in his w
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37

Film, Plates The Photographic, The Photographic Film Plates, and Paper Research Group. The 2000 World Forecasts of Photographic Film, Plates, and Paper Export Supplies (World Trade Report). 2nd ed. Icon Group International, 2000.

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38

Howlett, Robert. On the Various Methods of Printing Photographic Pictures upon Paper: With Suggestions for Their Preservation. Creative Media Partners, LLC, 2018.

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39

Evans, Elaine Altman. Scholars, Scoundrels and the Sphinx: An Photographic and Archaeological Adventure Up the Nile (Occasional Paper). University of Tennessee Press, 2001.

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40

On the Various Methods of Printing Photographic Pictures upon Paper: With Suggestions for Their Preservation. Creative Media Partners, LLC, 2023.

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41

Stevenson, Jane. Silver Paper. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0013.

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Photography acquired a peculiar importance between the wars, since the development of halftone printing in the late nineteenth century meant that black-and-white photographs could be easily and cheaply reproduced and put into mass circulation. Glamour therefore became monochrome and focused on catching light in complex ways. The twenties is the era in which it became possible to be famous for being photographed. Equally, ideas in architecture were primarily distributed through magazines, and concrete, steel, and glass were also camera-friendly. The relations of celebrities and photographers we
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42

The World Market for Sensitized, Unexposed Photographic Paper, Paperboard, and Textiles: A 2004 Global Trade Perspective. Icon Group International, Inc., 2005.

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43

Parker, Philip M. The World Market for Sensitized, Unexposed Photographic Paper, Paperboard, and Textiles: A 2007 Global Trade Perspective. ICON Group International, Inc., 2006.

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44

Film, Plates The Photographic, The Photographic Film Plates, and Paper Research Group. The 2000 Import and Export Market for Photographic Film, Plates, and Paper in Asia (World Trade Report). 2nd ed. Icon Group International, 2000.

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45

Film, Plates The Photographic, The Photographic Film Plates, and Paper Research Group. The 2000 Import and Export Market for Photographic Film, Plates, and Paper in Europe (World Trade Report). 2nd ed. Icon Group International, 2000.

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46

Film, Plates The Photographic, Plates The Photographic Film, and Paper Research Group. The 2000 Import and Export Market for Photographic Film, Plates, and Paper in Oceana (World Trade Report). 2nd ed. Icon Group International, 2000.

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47

Publishers, Museum. Notebook: Night Effect, 1862, Charles François Daubigny, French, 1817-1878, France, Cliché-Verre on Ivory Photographic Paper. Independently Published, 2020.

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48

Publishers, Museum. Notebook: Scrawl, 1856, Jean-Baptiste-Camille Corot, French, 1796-1875, France, Cliché-Verre on Ivory Photographic Paper,. Independently Published, 2020.

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49

Film, Plates The Photographic, Plates The Photographic Film, and Paper Research Group. The 2000 Import and Export Market for Photographic Film, Plates, and Paper in Africa (World Trade Report). 2nd ed. Icon Group International, 2000.

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50

Publishers, Museum. Notebook: Little Sister, 1854, Jean-Baptiste-Camille Corot, French, 1796-1875, France, Cliché-Verre on Ivory Photographic Paper. Independently Published, 2020.

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