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Harry Bowers

From EverybodyWiki Bios & Wiki

Harry Bowers
Harry Bowers
Harry Bowers
Harry Bowers
Born(1938-04-22)April 22, 1938
Los Angeles, California
💀DiedApril 15, 2024(2024-04-15) (aged 85)[1]
Dutchess County, New YorkApril 15, 2024(2024-04-15) (aged 85)[1]
💼 Occupation
Known forFine art photography; digital printing pioneer
🏅 Awards1980 — National Endowment for the Arts Photographer’s Fellowship ($10,000);[2] 1978 — National Endowment for the Arts Photographer’s Fellowship ($7,500);[2] 1978 — New Discovery, Photography Year 1978 (Time-Life Books);[3] 1965 — Science Foundation Fellowship[4]
🌐 Websitewww.harrybowers.com

Search Harry Bowers on Amazon.

Harry Bowers (1938–2024) was an American fine-art photographer, educator, inventor and entrepreneur whose work joined analog photographic practice and digital image production.

Trained in both engineering and photography, Bowers developed large-format color photographs in the 1970s and 1980s using custom-built cameras, enlargers, and processing systems.[5] He later created innovative systems for digital color printing before the widespread adoption of inkjet technologies.[3][6]

In the mid-1980s, Bowers founded Bowers Imaging Technologies and later Cactus, pioneering systems that helped establish early technical and commercial models for large-format digital image production during the pre-inkjet period.[5][7]

Education and teaching

Bowers received a B.S. in engineering physics from the University of California, Berkeley in 1964, and pursued graduate studies in nuclear engineering at the Massachusetts Institute of Technology in 1965. In 1972, he earned a M.F.A. in photography from the San Francisco Art Institute.[3][4] Bowers later taught at the Institute, where he served as Chair of the Photography Department in the late 1970s. He also taught at the University of California Extension and the School of Visual Arts in New York.[3]

Acoustics and sound engineering

Before shifting to photography, Bowers worked in acoustics and sound measurement. In the late 1960s, he was affiliated with the Western Division of the LTV Research Center in Anaheim, California, where he co-authored a 1968 academic paper titled “Decibel Averaging in Reverberant Power Measurements”.[8]

Bowers reinstalling his hand-built speakers
Bowers reinstalling his hand-built speakers

During this same period, Bowers designed and built large folded-horn loudspeaker systems using Altec Voice of the Theatre components. According to studio records and first-hand accounts by Dot Barad, he developed the horn geometries using early computer-based calculations and fabricated the speaker cabinets himself, drawing in part on woodworking skills acquired through earlier pattern-making work.[9] These systems were built in the mid-1960s and remain in daily use. Barad recalled that late in life Bowers described the loudspeakers as among his proudest life-time accomplishments.[9]

Early analog work

Summer Icons

In the mid-1970s, Bowers produced the Summer Icons series, a group of dye transfer prints developed from an eight-day, approximately 3,000-mile road trip through California, Nevada, and Arizona. Rather than functioning as straightforward documentary images, the photographs were shaped by memory, perception, and the subjective experience of place.[3]

Using custom-built cameras and modified optics, Bowers combined technical precision with an interpretive approach to color printing. Working in dye transfer, he adjusted tonal relationships to produce images that appeared natural while subtly departing from direct observation, evoking what he described as “half-remembered impressions” of landscape and experience.[3]

The series was recognized in Photography Year 1978 (Time-Life Books), where Bowers was featured in the “New Discoveries” section, marking his emergence as a leader within contemporary color photography.[3]

Press Clothing

To produce his Press Clothing series, Bowers designed and built a specialized system integrating both a camera and an enlarger, allowing him to print 11 × 14 inch negatives back to full scale. The system incorporated a 610 mm f/11 Goerz Red Dot Artar apochromatic lens optimized for 1:1 reproduction, a curved vacuum easel for maintaining critical focus across the image plane, and a motor-controlled focusing mechanism for precise alignment. Prints were made on special-ordered large-format paper and processed in a custom-built rotating developing tube using one-shot chemistry. Contemporary accounts emphasized the extent to which Bowers engineered the entire photographic system himself, from optics and exposure to print processing.[6]

Photographs in this series use clothing as a surrogate for the body, constructing scenes of gesture, tension, and implied human interaction through garments alone. Rather than functioning as documentary photographs, the works were staged and controlled to produce images that appear at once tactile and illusionistic, hovering between sculpture, painting, and photography. Bowers described the images as “painterly rather than photographic”, reflecting his interest in eliminating conventional photographic cues and creating pictures that operate as self-contained visual realities rather than records of observed scenes.[10][6] The series has also been discussed in relation to trompe-l'œil and other illusionistic traditions, emphasizing the work’s manipulation of perception and its deliberate confusion of flatness and depth.[11][12]

The series received significant contemporary attention. Writing in Popular Photography, Jim Hughes described encountering a 40 × 50-inch image that “looked like the real thing,” noting the absence of visible grain and the precision of color and surface detail.[11] In New West, Carol Field described the photographs as “pressed under glass,” characterizing them as an “erotic dance” of garments and fabrics while emphasizing both their tactile immediacy and their conceptual charge.[13] Tom Garver’s Portfolio of Ten Images and other curatorial writing placed the work within the emergence of large-scale color photography in the period.[12]

Internationally, a 1985 feature in Photo Japon placed Bowers among contemporary American artists associated with a shift from “taking” photographs to “making” them, emphasizing fabrication, staging, and conceptual control of the image.[14]

Le Déjeuner sur l’Herbe (Black and White Series)

In 1984, Bowers produced a black-and-white series titled Studies for Le Déjeuner sur l’Herbe, exploring relationships among figures portrayed in Édouard Manet’s Le Déjeuner sur l’herbe (1863). The photographs were made while Bowers was a visiting professor at the University of Michigan, Ann Arbor, using an 8 × 10 camera and printed at life size corresponding to the figures in Manet’s painting.[15][16]

The series was exhibited at Hansen Fuller Goldeen Gallery and in Sexuality in Art and the Media at the School of the Art Institute of Chicago, where a photograph from the series was selected for the exhibition poster.[15][16] The exhibition, curated by Joyce Fernandes, included artists such as Robert Mapplethorpe, Cindy Sherman, Robert Heinecken, and Sarah Charlesworth, placing Bowers’s work within a broader contemporary discourse on sexuality and representation.[15]

The work was later discussed by Jane Gallop in Thinking Through the Body (1988), where she analyzed one image in relation to Roland Barthes’s concept of the punctum. Gallop identified the wedding ring on the male figure as a detail of heightened psychological and erotic significance, shifting attention from the staged composition to the subject’s implied life beyond the frame.[17]

Contributions to large-format printing

Bowers Imaging Technologies (BIT) (1984–1990)

In the early 1980s, Bowers began experimenting with computer-based image-making using the first Apple Computer systems. According to Ethan Elliott, Bowers met Steve Jobs who gifted him with a Macintosh prior to its milestone 1984 release. Although the computer supported only black-and-white display, Bowers adapted it to perform color separations for four-color printing, using a workflow that also incorporated a video camera with RGB filters and a digital frame-capture system.[5] Between 1984 and 1986, Bowers developed the core concepts and working methods for producing large-scale digital color images, extending into digital form concerns with scale, color, and image control already central to Bowers’s photographic work.[5][18]

Bowers stands in front of four early proof-of-concept electrostatic digital prints (1988)
thumb

The system developed by Bowers integrated prepress and computing technologies that were not originally intended for photographic image production. Industry accounts later recorded that "Bowers created the first direct digital color printing system using a Crosfield color scanner and a Xerox electrostatic printer."[7] Bowers and collaborators repurposed large-format electrostatic output devices—normally used for engineering plotters and proofing—into a continuous digital workflow for producing large-scale color images.[19] The system also incorporated proprietary approaches to image processing, halftoning, and color control.[5] Bowers worked closely with his son John Bowers, who served as the primary programmer and contributed to the software and image-processing architecture of the system.[5] In 1987, Barad joined the project, contributing to production, workflow development, and the system's expansion and advancement into commercial use.[5]

Harry was a cross between Einstein and Andy Warhol. Nobody could keep up with him.[19]

Bowers Imaging Technologies was formally established at Berkeley in 1986. The company received early venture funding from New Enterprise Associates, with financing structured through Bowers Impact Graphics Corporation, as documented in a 1986 stock issuance.[20] Because computing and output equipment remained extremely expensive, BIT operated primarily as a centralized production facility rather than as a direct system-sales business. Images were processed and printed in-house in Berkeley and then shipped to clients.[5] After Bowers’s departure, the company continued under venture ownership and was later renamed Visual Edge.[5]

BIT systems served both exhibition and commercial applications. In fine-art and institutional contexts, works produced through the system appeared in exhibitions such as Media Talk (Security Pacific Gallery, Costa Mesa, 1989), where Bowers's Dance of Life (1978/1989) was shown as a multi-panel electrostatic installation measuring 8 × 35 feet, and de-Persona (Oakland Museum of California, 1991), featured an untitled 80 × 100 inch Bowers electrostatic print .[21][22] In parallel, the company produced large-format corporate and institutional work, including retail display installations for Nike and exhibition panels for the Smithsonian Institution exhibition Tropical Rainforests: A Disappearing Treasure (1988–1994).[5][23] Promotional materials and studio records also indicate that BIT output was distributed through a wider dealer network in the United States and internationally.[9]

Cactus (1989–1997)

After leaving BIT, Bowers established Cactus in the late 1980s with Romit Bhattacharya of Specialty Toner Corporation and financial participation from Jack Keller.[5] The company operated from New York City, where Bowers maintained a combined research-and-development facility and working studio, Chino, California, and Fairfield, New Jersey.[5][9] Barad and John Bowers were part of the core development team, contributing to system design, software development, production workflows, and the transition from prototype to commercial product.[5]

Unlike Bowers Imaging Technologies, which had operated primarily as a centralized production facility, Cactus developed and sold turnkey large-format digital printing systems directly to service bureaus, commercial labs, and institutional users.[5] Cactus systems integrated Macintosh-based workstations, often augmented with accelerator hardware, with proprietary raster image processing software, color-management tools, and large-format electrostatic printers, including machines originally developed by Versatec and later produced under Xerox ownership.[5] These systems adapted electrostatic output devices, traditionally used for engineering plotters and proofing, into final print engines for large-scale color image production.[5]

Cactus technology incorporated proprietary halftoning and screening methods, including stochastic screening, as well as software and hardware for color correction and toner control.[5][7] Specialty Toner Corporation supported the system’s development through liquid-toner technologies adapted for high-resolution color output, while computer-controlled toner-delivery systems helped regulate density and improve color consistency.[5][7][24] Several of these developments were associated with patents issued to Bowers in the early 1990s.[25]

By the early 1990s, Cactus systems were used in commercial graphics, exhibition production, and large-scale display applications. Studio records and contemporary accounts indicate that Bowers and collaborators produced work for artists and photographers.[7][9] Published accounts also described Cactus output used for murals, billboards, banners, backlit signage, gallery installations, and point-of-purchase displays, with clients and users reported in the United States and abroad.[7][9]

Cactus established an international presence, with offices in New York and Paris and distribution networks extending across Europe and Asia.[5] The company demonstrated its systems at trade exhibitions including CeBIT in Hannover in 1990, where Cactus sold two US$440,000 systems in the first week.[5] A 1995 industry account traced the origins of the technology to Bowers’s earlier work in 1985 and described Cactus as a major force in the large-format digital printing market.[7] Cactus Systems was acquired by 3M in 1997.[26][27]

Educational use and donated systems

Donated Cactus printing system in use at Spéos in Paris
Donated Cactus printing system in use at Spéos in Paris[28]

While leading Cactus, Bowers taught at New York's School of Visual Arts, conducting MFA-level critique classes, including sessions held in Bowers’s studio.[9] During this time Bowers also arranged for the donation of complete digital printing systems to the School of Visual Arts, San Francisco Art Institute, and the Spéos school of international photography.[9][29] The donated systems were subsequently used for teaching digital printing, color manipulation, and stochastic screening.[7][29]

Horses LLC

In 1998, Bowers and Barad co-founded Horses LLC, developing MatchLock, a color management software plug-in for Adobe Photoshop designed to provide calibrated color control within the Photoshop environment. The system included a proprietary software delivery and security mechanism tied to specific installations.[9]

MatchLock 2.01 plug-in for Adobe Photoshop

The company’s work extended earlier developments in color calibration, lookup tables (LUTs), and device-specific profiling, including software tools, plug-ins, and algorithmic methods for color measurement and correction.[9]

In 2000, the assets of Horses were acquired by Datacolor. The asset purchase included software products, profiling and calibration systems, plug-ins for spectrophotometer-based color measurement, algorithmic methods, software libraries, and associated intellectual property, including trade secrets and provisional patent filings.[30]

Following the acquisition, Bowers and Barad continued to work with ColorVision under contract for three years, contributing to the further development and refinement of color management technologies associated with the transferred systems.[30]

Later work

The Lost & Found Project (Press Clothing revisited)

Following the sale of Horses and relocation to the Hudson Valley, the original 11 × 14 inch negatives from Press Clothing were rediscovered after having been lost for a number of years. Many of the original chromogenic prints had deteriorated due to the fugitive nature of the materials and no longer reflected the artist’s original intent, a condition widely recognized at the time, with exhibition texts noting the “predicted short life” of such prints and later conservation research confirming the instability of Ektacolor materials.[31]

Bowers and Barad undertook a two-year project restoring 110 images. The work was published in 2008 as The Lost and Found Project.[32]

File:HB dust jacket.jpg
Dust Jacket Lost and found project

Using high-resolution scanning and inkjet printing with pigmented inks, Bowers achieved greater control over color, sharpness, and longevity than had been possible in the original analog prints.[31]

As part of this project, updated digital prints were provided to the Museum of Fine Arts, Houston, which already held examples of Bowers’s earlier chromogenic prints. The museum’s collection includes both original analog works and later inkjet prints of the same images (1978; printed 2008), accessioned as gifts of the artist, reflecting the reinterpretation of the Press Clothing work through digital processes.[33]

Portrait of the Artist with a Young Woman

In his later work, Bowers returned to image-making through a series that revisited themes from his earlier Press Clothing photographs, incorporating live models into constructed scenes that reused original props and garments from the earlier work.

Gadget for taking multiple images to be stitched together

Developed between 2006 and 2021, these works combined staged photography with digitally assembled imagery to produce large-scale compositions intended to read as unified images. As in earlier phases of his career, Bowers designed custom equipment for the process, including a robotic capture system designed by Bowers and built by Michael Schippling in Santa Fe, New Mexico,[MS1] whom Barad had known from her earlier work at the Exploratorium.[9]

Reflecting on this body of work, Bowers described it as “pornography with mirth,” using the phrase to suggest a deliberate tension between erotic imagery and humor, and remarked, “I ain’t dead yet,” underscoring his continued commitment to making new work.[9] Following the restoration of the Lost and Found photographs, he declined to actively promote earlier images, preferring instead to focus on new work rather than be defined by photographs made decades earlier. At the time of his death, this body of work had not yet been publicly exhibited.[9]

Legacy

Bowers’s career joined analog photographic practice and digital image-making in a continuous arc rather than a divided one. An artist with an engineering background, Bowers brought to photography an unusual combination of visual ambition, technical discipline, and self-engineered process.[5][34]

The same commitment to scale, color control, illusion, and material precision that shaped Bowers’s large-format photographic work in the 1970s and early 1980s also informed Bowers’s later development of digital printing systems.[5][34][6] His move into digital imaging arose from the demands of an already highly developed photographic practice: having mastered large-scale analog color printing, Bowers sought a way to make still bigger images than existing photographic processes could readily support.[5][6][12][7][18] As Andy Grundberg later wrote:

(A)ny account of the onset in the 1970s of photography intended to compete in size with painting should mention the work of artists like Harry Bowers...[35]

Working at a formative moment in the development of personal computing, Bowers recognized that emerging digital technologies could make possible a new level of control over image construction and output. As an artist with an engineering background, Bowers was able to see both what those technologies might become and what creative practitioners would need from them. Living in Berkeley and as an alumnus of the University of California, Berkeley, College of Engineering, he had access to the university’s engineering library, where Bowers spent months studying the current state of the art in scientific and technical computing.[9]  Bowers used that research to identify and build the tools required for Bowers’s own artistic aims.[9]

Although Bowers was already producing large-scale analog color prints, the driving ambition was to make still bigger images than existing photographic processes could easily support.[7][9] The proof of concept Bowers produced was compelling enough to be recognized as a new approach to image making, attracting financial backing and leading to the formation of Bowers Imaging Technologies.[5][20][9] Contemporary and retrospective accounts identified Bowers’s mid-1980s work as an important early stage in the development of large-format digital color printing, preceding the widespread adoption of inkjet technologies for photographic and exhibition use.[5][7] Through Bowers Imaging Technologies and Cactus, Bowers helped establish technical and commercial models for large-scale digital image production during a period that is currently underrepresented in broader histories of photography and printmaking.[5][7]

Bowers-Barad studio and archive as of May 2026
Bowers-Barad studio and archive as of May 2026

While many engineers, programmers, entrepreneurs, and manufacturers contributed to the growth of the large-format digital printing industry, that history began with specific early breakthroughs. Later industry accounts traced those beginnings back to Bowers’s work. These assessments suggest that Bowers’s work was understood not simply as one contribution among many, but as one of the first decisive steps in the paradigm shift through which large-format digital color printing entered practice.[5][7] In Ethan Elliott’s 2006 retrospective account of wide-format digital printing, Raster Graphics founder Rak Kumar stated:

Bowers is the real pioneer in wide format. He definitely gets the credit for that.”[5]

Patents

Bowers was inventor or co-inventor on multiple U.S. patents related to digital imaging and printing systems. These patents document key innovations developed during the Bowers Imaging Technologies and Cactus periods.

  • U.S. Patent 5,051,841 — Process for providing digital halftone images with random error diffusion (September 24, 1991)[36]
  • U.S. Patent 5,107,346 — Process for providing digital halftone images with random error diffusion (April 21, 1992)[37]
  • U.S. Patent 5,130,823 — Error diffusion system (July 14, 1992)[38]
  • U.S. Patent 5,296,947 — System for soft proofing a color reproduction (March 22, 1994)[39]
  • U.S. Patent 5,369,476 — Toner control system and method for electrographic printing (November 29, 1994)[24]

References

  1. ↑ "Harry Bowers – Digital Imaging / Photography Pioneer". SF Artists Alumni. Retrieved May 4, 2026.
  2. ↑ 2.0 2.1 Princenthal, Nancy; Dowley, Jennifer (2001). A Creative Legacy: A History of the National Endowment for the Arts Visual Artists' Fellowship Program, 1966-1995. New York: Harry N. Abrams, Inc. p. 212. ISBN 978-0810941700. Search this book on
  3. ↑ 3.0 3.1 3.2 3.3 3.4 3.5 3.6 "Cool Summer Scenes: Harry Bowers". Photography Year: 1978 Edition. Life Library of Photography. Alexandria, VA: Time-Life Books. 1978. pp. 120–129. ISBN 978-0809416691. Search this book on
  4. ↑ 4.0 4.1 "Harry Bowers". Annex Galleries. Retrieved 5 April 2026.
  5. ↑ 5.00 5.01 5.02 5.03 5.04 5.05 5.06 5.07 5.08 5.09 5.10 5.11 5.12 5.13 5.14 5.15 5.16 5.17 5.18 5.19 5.20 5.21 5.22 5.23 5.24 5.25 5.26 5.27 Elliott, Ethan (October 2006). "Wide-format Digital: Book One". Digital Graphics Magazine.
  6. ↑ 6.0 6.1 6.2 6.3 6.4 Hughes, Jim (August 1980). "Proof Sheet: Harry Bowers". Popular Photography. Vol. 87 no. 1. p. 64.
  7. ↑ 7.00 7.01 7.02 7.03 7.04 7.05 7.06 7.07 7.08 7.09 7.10 7.11 7.12 Scholder, Richard (January 1995). "The Large Picture: How Cactus Is Shaking Up the Poster Print Market". Photographic Processing. Vol. 30 no. 1.
  8. ↑ Lubman, David; Bowers, Harry D. (July 1, 1968). "Decibel Averaging in Reverberant Power Measurements". The Journal of the Acoustical Society of America. 44 (1_Supplement): 359.
  9. ↑ 9.00 9.01 9.02 9.03 9.04 9.05 9.06 9.07 9.08 9.09 9.10 9.11 9.12 9.13 9.14 9.15 9.16 Barad Dot Studio records. First-hand knowledge. WP:V WP:RS WP:POV WP:SOAP
  10. ↑ Hughes, Jim (August 1980). "Proof Sheet". Popular Photography. p. 64.
  11. ↑ 11.0 11.1 Kirkpatrick, Diane (1982). "Introduction: Color and Photography". In Litschel, David. Fugitive Color: A National Invitational Show of Color Photography (Exhibition catalogue). Ann Arbor, MI: School of Art, University of Michigan. Search this book on
  12. ↑ 12.0 12.1 12.2 Garver, Tom (1984). Portfolio of Ten Images. Elvehjem Museum of Art, University of Wisconsin–Madison. Search this book on
  13. ↑ Field, Carol (January 14, 1980). "Photographic Memories: Pressed Under Glass, an Erotic Dance Between Jacket and Dress, Pajamas and Skirt". New West. pp. 54–56.
  14. ↑ Takano, Ikuro (February 1985). "Today's American Works". Photo Japon. Vol. 3 no. 16. pp. 30–49.
  15. ↑ 15.0 15.1 15.2 Sexuality in Art and the Media (exhibition catalogue). Chicago, IL: School of the Art Institute of Chicago. October 1984. Search this book on
  16. ↑ 16.0 16.1 Harry Bowers "Black and White" Exhibition Announcement (Exhibition Announcement). San Francisco, CA: Hansen Fuller Goldeen Gallery. June 1982.
  17. ↑ Gallop, Jane (1988). Thinking Through the Body. Columbia University Press. p. 159. ISBN 978-0-231-06611-2. Search this book on
  18. ↑ 18.0 18.1 The Photographic Billboard Show (Exhibition announcement postcard). 10 × 20 foot photographs displayed on Market Street billboards in San Francisco between Castro and Dolores Streets: Eyes and Ears Foundation. 1979. Unknown parameter |orig-date= ignored (help)
  19. ↑ 19.0 19.1 Wilhelm, Tom (November 1999). "Bowers Digital Imaging Pioneers Large-Format Printing". Letters to the Editor. Modern Reprographics. 10 (11). Hollywood, CA. p. 44. Harry was a cross between Einstein and Andy Warhol. Nobody could keep up with him.
  20. ↑ 20.0 20.1 Sale of 2,406,577 Shares of Series B Preferred Stock of Bowers Impact Graphics Corporation (Report). December 17, 1986.
  21. ↑ Johnstone, Mark (September 1988). Media Talk (exhibition catalogue). Costa Mesa, CA: Security Pacific Corporation. Search this book on
  22. ↑ Tomidy, Paul (1991). de-Persona (exhibition catalog). Oakland, CA: The Oakland Museum. pp. 40–41. ISBN 978-0295971636. Search this book on
  23. ↑ "Tropical Rainforests: A Disappearing Treasure". Smithsonian Institution (exhibition). 1988. Retrieved 5 April 2026.
  24. ↑ 24.0 24.1 US patent 5369476, "Toner control system and method for electrographic printing", published 1994-11-29 
  25. ↑ See Patents section for a complete list.
  26. ↑ "3M Acquires Cactus Systems Inc" (Press release). 3M Company. December 16, 1997. Retrieved April 6, 2026.
  27. ↑ 3M 1997 Annual Report (Report). Minnesota Mining and Manufacturing Company. 1998.
  28. ↑ "Apple Certified Pro Training Center certificate at SPEOS". SPEOS International Photography School (Photo). SPEOS. November 2020. Retrieved May 2, 2026.
  29. ↑ 29.0 29.1 Nicolas Foucher exhibition invitation (Exhibition invitation). Paris: Spéos. 26 October – 18 November 1995.
  30. ↑ 30.0 30.1 Empty citation (help) Search this book on
  31. ↑ 31.0 31.1 "The Lost and Found Project - Harry Bowers". CAN (新知客). No. 21. New Know-how Magazine. July 2009.
  32. ↑ Bowers, Harry (2008). Barad, Dot; Rudnick, Sharon, eds. Harry Bowers: The Lost and Found Project. Staatsburg, New York: DrillPress LLC. ISBN 9780615234243. Search this book on
  33. ↑ "Harry Bowers: Ten Photographs". Museum of Fine Arts, Houston. Retrieved 5 April 2026.
  34. ↑ 34.0 34.1 Lloyd Smith, Harriet (September 1, 2022). "Q&A with Harry Bowers". Wallpaper*. Retrieved May 4, 2026.
  35. ↑ Grundberg, Andy (1 December 2008). "Of Time and the Camera". The American Scholar. Retrieved 4 April 2026.
  36. ↑ US patent 5051841, Harry Bowers, John S. Bowers, "Process for providing digital halftone images with random error diffusion", published 1991-09-24, issued 1991-09-24, assigned to Bowers Imaging Technologies, Inc. 
  37. ↑ US patent 5107346, Harry Bowers, John S. Bowers, "Process for providing digital halftone images with random error diffusion", published 1992-04-21, issued 1992-04-21 
  38. ↑ US patent 5130823, "Error diffusion system", published 1992-07-14 
  39. ↑ US patent 5296947, "System for soft proofing a color reproduction", published 1994-03-22 

External links

Category:1938 births Category:2024 deaths Category:American photographers Category:Fine art photographers Category:Digital artists Category:American inventors Category:San Francisco Art Institute alumni Category:Engineers from California Category:People from San Francisco Category:20th-century American photographers Category:21st-century American photographers


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