Mark Osterman是一位艺术家，教育家，历史学家和纽约罗切斯特Scully & Osterman Studio的主理人之一，并且教授Niepce日光照相术到明胶乳液的早期摄影工艺的研讨会。 

奥斯特曼被广泛认为是摄影技术演变中最重要的专家，他在1999年至2020年在纽约罗切斯特的乔治·伊士曼博物馆担任摄影工艺方面的历史学家，并教授早期摄影工艺技术。 奥斯特曼最出名的是他对干版和湿版的研究，并用这些工艺创造了精湛的作品。通过他的研究，写作，展览，教学和作为艺术家的工作，他对当前美术摄影中使用的其他工艺的复兴同样产生了重要影响。

马克·奥斯特曼（Mark Osterman）撰写并校订了《New Focal Encyclopedia of Photography，2007》1900年之前的部分。1995年至2002年，他与妻子弗朗西丝（France）共同出版和校订了《The Collodion Journal》季刊。他的照片曾在以色列，法国，波兰，瑞士，日本和美国各地的画廊及博物馆展出。

奥斯特曼的摄影作品和文章发表在伊丽莎白·奥帕莱尼克（Elizabeth Opalenick）的Workshop Stories;Don't Press Print： De/Re-Construct the Collodion Process， Royal Photoic Society（2021）;New Dimensions In Photo Processes: A Step-by-Step Manual for Alternative Techniques, by Laura Blacklow (2017), Salted Paper Printing by Christina Z. Anderson (2017), Das Kollodium, Peter Michels (2015); Alternative Photographic Processes, Brady Wilks, (2015); Photography Beyond Technique, by Tom Persinger (2014), Eclats de Photographie, (2011); The Book of Alternative Photographic Processes by Christopher James (first two editions), Le Vocabulaire Technique de la Photographie by Anne Cartier-Bresson (2008), and the third edition of Photographic Possibilities, by Robert Hirsch (2008); Photography's Antiquarian Avant-Garde, The New Wave in Old Process Photography by Lyle Rexer (2002), Coming into Focus by John Barnier (2001)...

他的作品被巴黎欧洲摄影之家收藏。美术博物馆，休斯顿，德克萨斯州;日本大学，东京;纳尔逊-阿特金斯艺术博物馆，堪萨斯城，密苏里州;乔治·伊士曼博物馆，罗切斯特，纽约;德克萨斯大学哈里·兰瑟姆中心;爱丽舍博物馆，洛桑，瑞士;美术博物馆，休斯顿;陶布曼艺术博物馆，罗阿诺克;James A. Michener艺术博物馆，宾夕法尼亚州Doylestown和众多私人收藏。

Mark Osterman is an artist, educator, historian and co-owner of Scully & Osterman Studio in Rochester, New York where he works as an artist and teaches workshops in early photographic processes from Niepce heliographs to gelatin emulsions.  

Widely recognized as the foremost expert in the technical evolution of photography, Osterman was Photographic Process Historian at George Eastman Museum, Roch-ester, New York from 1999-2020 where he conducted primary research and taught early photographic processes for the international conservation community.  Oster-man is best known for his research in the wet and dry collodion variants and creating masterful bodies of work with these techniques. Through his research, writings, exhi-bitions, teaching, and work as an artist, he has been an important influence in the cur-rent revival of collodion and other techniques used in fine art photography. 

Mark Osterman wrote and edited the pre-1900 section of the New Focal Encyclo-pedia of Photography (2007). With his wife, France, he co-published and edited The Collodion Journal quarterly from 1995 to 2002. His photographs have been exhib-ited in galleries and museums in Israel, France, Poland, Switzerland, Japan and throughout the United States.

Osterman's images and writing are featured in Workshop Stories, by Elizabeth Opa-lenick, (2021); Don't Press Print: De/Re-Constructing the Collodion Process, Royal Photographic Society, (2021); New Dimensions In Photo Processes: A Step-by-Step Manual for Alternative Techniques, by Laura Blacklow (2017), Salt-ed Paper Printing by Christina Z. Anderson (2017), Das Kollodium, Peter Michels (2015); Alternative Photographic Processes, Brady Wilks, (2015); Photography Beyond Technique, by Tom Persinger (2014), Eclats de Photographie, (2011); The Book of Alternative Photographic Processes by Christopher James (first two edi-tions), Le Vocabulaire Technique de la Photographie by Anne Cartier-Bresson (2008), and the third edition of Photographic Possibilities, by Robert Hirsch (2008); Photography's Antiquarian Avant-Garde, The New Wave in Old Process Photog-raphy by Lyle Rexer (2002), Coming into Focus by John Barnier (2001), and many other publications.

His work is in the collections of the Maison Européenne de la Photographie, Paris; Museum of Fine Art, Houston, Texas; Nihon University, Tokyo; Nelson-Atkins Muse-um of Art, Kansas City, Missouri; George Eastman Museum, Rochester, NY; Harry Ransom Center at the University of Texas; Musée de l'Elysée, Lausanne, Switzerland; Museum of Fine Art, Houston; The Taubman Museum of Art, Roanoke; James A. Michener Art Museum, Doylestown, PA and numerous private collections. 

Osterman is represented by Tilt Gallery in Scottsdale, Arizona and Photo Gallery In-ternational in Tokyo, Japan. For more information go to: http://www.tiltgallery.com/  https://www.pgi.ac/en/ and http://www.collodion.org