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ompare
Muybridges cyanotypes, his working proofs, with the final collotype
prints. As you will see, the cyanotypes include a much larger view of
the outdoor studio than we see in the collotypes, and show details that
have been cropped. The cyanotypes are marked with negative numbers that
sometimes differ from those in the final prints, as well as other signs
Muybridge made to omit or include certain frames in the final collotypes.
The cyanotypes prove that Muybridge manipulated
his data. He freely reprinted, cropped, and deleted or substituted negatives
to make the assemblage that became the collotype portfolio, Animal
Locomotion.
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