Tactile photographs allow persons to experience photographs beyond pure information, and allows for interactions between persons with visual impairments and sighted persons. However, tactile photographs are always interpretations of photographs, not direct translations, and should just as all tactile images be supplemented with captions. There are several techniques for creating tactile reliefs from photos. One technique for creating an image which is both tactile and visual, and where the original photo remains visible, is to mill the photo’s structures and contours in different layers of transparent plastic material. The plastic is then attached to a printout of the photo, which can be seen through the transparent layers of plastic. Tactile photographs made using the above technique have long lives, are resistant to wear and tear, and are easy to clean. As it is an exclusive technique, you often choose to only interpret a few photos, for example, from a larger exhibition. This means that the selection of photos is very important. The tactile design is uniquely made based on each individual photo, in consultation between the customer and designer. It is important to be clear about the information that is to be highlighted in the image. If possible, the photographer should also be involved in the selection and in the production of captions for the photos.
Furthermore, enabling tactile accessibility for two-dimensional images and photographs involves employing techniques like swell-paper, collage pictures, and tactile photos. Skillful design is crucial in creating tactile images, requiring prior experience with the medium to fully leverage its potential. Clarity about the highlighted information in the image is also paramount. Swell-paper images, a cost-effective and straightforward method, offer tactile representation. Easily produced from a digital original, additional copies can be swiftly printed as needed. Convenient to handle and store, these images typically come in A4 or A3 size, fitting into binders or folders like regular paper. Produced using thermosensible swell-paper in a specialized printer, these images comprise raised lines and raster surfaces, making them easily discernible by touch. In addition to the tactile elements, swell-paper images can incorporate color, although it does not contribute to the raised relief. The versatility of swell-paper images extends beyond aiding individuals with visual impairments, as they can be read both tactually and visually. This technique also serves as an additional information medium for 3D models (Lindbäck, 2020).
Example: Klimt from the 3D printer: „The Kiss“ – tactile relief for visually impaired
On October 12, 2010, the collaborative efforts of the AMBAVis project team and the Belvedere Vienna culminated in an invitation to experience a renowned art piece in an inclusive format. Over the past two years, as part of the EU project, groundbreaking 3D technologies have been developed to enhance the accessibility of museum objects for individuals who are blind or visually impaired. A significant contribution to this endeavor was made by VRVis, which meticulously crafted a tactile relief of Gustav Klimt’s masterpiece, „The Kiss,“ housed at the Belvedere. This iconic artwork is now presented in a groundbreaking, barrier-free version, marking a pivotal moment as it becomes accessible to individuals with visual impairments for the first time. The endeavor reflects a commitment to leveraging technology and innovation to make art and cultural experiences more inclusive and enriching for diverse audiences (Klimt from the 3D printer: „The Kiss“ – tactile relief for visually impaired).
In his exploration of materiality, James Elkins contends that vision is inherently linked with touch, feeling, and the entire range of somatic responses. This perspective aligns with the transformative potential of 3D printing, hailed as heralding a new industrial revolution. Beyond industrial applications, an emerging community utilizes 3D printers for personalized small-scale production at home. Inspired by this focus on the physicality of artwork and our engagement with tactile materials for visually impaired exhibition visitors, we propose the groundwork for a novel multisensory discipline termed „tactile photography.“ This discipline, rooted in stereoscopy and computer-aided conversion of digital images into reliefs, allows for the creation of tangible objects through technologies like 3D printing. While particularly beneficial for visually impaired artists, tactile photography extends beyond the realm of „disability arts“ (Sutherland 2005). We aim to demonstrate how it aligns with a longstanding interest in enhancing photography with depth and physical space, akin to multi-photography, Andrew Davidhazy’s peripheral photography, the Lumière Brothers’ photostereo synthesis, and photo sculpture. Unlike other forms, photo sculpture aims to translate photography into tactile sculptural forms. Originating in 1859 with François Willème, Photosculpture involves capturing simultaneous photographs of a subject from various angles, converting them into a three-dimensional portrait-sculpture. Despite an initial euphoric reception, Photosculpture faced challenges due to its cost and was not widely accepted as an independent art medium. However, recent advancements in body-scanning and 3D printing technologies have led to a resurgence of interest in photo sculpture (Reichinger & Neumuller, 2018).
Sources:
- Lindbäck, V. (2020). 8. tactile images. Retrieved from https://www.raa.se/in-english/outreach-and-exhibitions/guide-for-increased-accessibility-through-3d-models/9-tactile-images/)
- (N.d.). Retrieved from https://www.vrvis.at/en/news-events/news/klimt-from-the-3d-printer-the-kiss-tactile-relief-for-visually-impaired
- Reichinger, A., & Neumuller, M. (2018). Redefining the Photographic Medium. Tactile Photography, 245–251.
