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Saturday, July 25, 2015 / Labels: ,

Remembering Thomas Eakins, the man who introduced the camera to the American art studio

July 25, 2015 /Photography News/ Born 172 years ago today, Thomas Cowperthwait Eakins was an American photographer, realist painter, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history.

Eakins has been credited with having "introduced the camera to the American art studio" (Rosenheim, Jeff L., "Thomas Eakins, Artist-Photographer, in the Metropolitan Museum of Art", Thomas Eakins and the Metropolitan Museum, page 45. The Metropolitan Museum of Art, 1994). During his study in Europe, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s he was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. He performed his own motion studies, usually involving the nude figure, and even developed his own technique for capturing movement on film. Where Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures on one negative.

Study in Human Motion. Photograph by Thomas Eakins. 1880s
Study in Human Motion. Photograph by Thomas Eakins.
Eakins' so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung up and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model.

Thomas Eakins carrying a woman, 1885. Photograph: circle of Eakins.
Thomas Eakins carrying a woman, 1885. Photograph: circle of Eakins.
In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works. 

After Eakins obtained a camera in 1880, several paintings are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins took pains to cover up with oil paint.
 
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students. Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries— as had once been assumed— and that Eakins's progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins's inclination toward unorthodox or provocative behavior.
 
Thomas Eakins died on June 25, 1916.
 

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Thursday, July 23, 2015 / Labels: , ,

13 iconic photographs of Egypt

July 23, 2015 /Photography News/ Egypt commemorates today - July 23, 2015 - the 63rd anniversary of the 1952 Revolution which inspired other neighboring Arab and African countries to undertake social and economic reforms.

These photographs tell stories of Egyptian people who lead a simple life (long) before the 1952 Revolution. How did Egypt change over time?


Egypt, Gizeh. Sphinx and Pyramid. Brooklyn Museum Archives
Egypt, Gizeh. Sphinx and Pyramid. Brooklyn Museum Archives

Sacca (service d'eau a domicile). Photographer: G. Lekegian & Cie. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Sacca (service d'eau a domicile). Photographer: G. Lekegian & Cie. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Egypt. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Egypt. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Egypt - Mosque of ali Mehemet, Cairo. Brooklyn Museum Archives.
Egypt - Mosque of ali Mehemet, Cairo. Brooklyn Museum Archives.
Egypt. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Egypt. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Arab porters, Alexandria, Egypt. Brooklyn Museum Archives.
Arab porters, Alexandria, Egypt. Brooklyn Museum Archives.
Cairo - The pyramids. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Cairo - The pyramids. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Fellah women, Egypt. 1860s-1920s. Notes: Typed on reverse and crossed out in pencil : The fellah women are geniuses in producing rising generations and foolish geese in rearing the brood.  The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Fellah women, Egypt. 1860s-1920s. Notes: Typed on reverse and crossed out in pencil : The fellah women are geniuses in producing rising generations and foolish geese in rearing the brood.  The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Egypt - Market at Kasr-en-Nil. Brooklyn Museum Archives.
Egypt - Market at Kasr-en-Nil. Brooklyn Museum Archives.
Egypt - Beggars, Alexandria. Brooklyn Museum Archives.
Egypt - Beggars, Alexandria. Brooklyn Museum Archives.
Egyptian Girls, Old Cairo. Slide colored by Joseph Hawkes. Brooklyn Museum Archives.
Egyptian Girls, Old Cairo. Slide colored by Joseph Hawkes. Brooklyn Museum Archives.
Inundation du Nil et palmiers. Photographer: Zangaki. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Inundation du Nil et palmiers. Photographer: Zangaki. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Charmeur des serpents. Photographer: Zangaki. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Charmeur des serpents. Photographer: Zangaki. 1860s-1920s. The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.



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Sunday, July 19, 2015 / Labels: , , ,

In photos: The Mazamas, 100+ years ago

July 19, 2015 /Photography News/ Have you ever wondered what your grandfather did for fun? While some undoubtedly whittled their lives away, others were out conquering the wilderness. If you’re from Oregon, ol’ grandpa might have even been part of the Mazamas.

On top of Mt. Hood, the original 105 charter members of the Mazamas founded their organization 121 years ago, on 19 July 1894. Since the organization’s founding, the Mazamas have fought for environmental preservation, built a number of lodges, named Mt. Mazama, and, of course, promoted and taught basic climbing education.


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Image Title: Mazamas hiking trip to Mt. Rainier. Creator: Kiser Photo Co. Date Original: 1905. Original Form: Gelatin silver prints. Original Collection: Gerald W. Williams Collection


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Image Title: Mazamas hiking through the snow on Mt. Rainier. Creator: Kiser Photo Co. Date Original: 1905. Original Form: Gelatin silver prints. Original Collection: Gerald W. Williams Collection


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Image Title: Mountaineers in ice cave, Paradise Glacier, Mt. Rainier. Date Original: 1920. Original Form: Gelatin silver prints. Original Collection: Gerald W. Williams Collection


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Image Title: Mountaineers on top of Mt. Snoqualmie. Date Original: 1915. Original Form: Gelatin silver prints. Original Collection: Gerald W. Williams Collection


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Image Title: Man with motion picture camera near glacier, Mt. Rainier. Creator: Kiser Photo Co. Date Original: 1905. Original Form: Gelatin silver prints. Original Collection: Gerald W. Williams Collection


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Image Title: Mazamas or mountaineers group at Paradise Inn, Mt. Rainier. Date.Original: 1920. Original Form: Gelatin silver prints. Original Collection: Gerald W. Williams Collection


Photographs courtesy of the Oregon State University.



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Friday, July 17, 2015 / Labels: , ,

Remembering Berenice Abbott: Changing New York (1935-1938)

July 17, 2015 /Photography News/ Born 117 years ago today, on 17 July 1898, Berenice Abbott (d. December 9, 1991) was an American photographer best known for her black-and-white photography of New York City architecture and urban design of the 1930s.

She proposed Changing New York, her grand project to document New York City, to the Federal Art Project (FAP) in 1935. The FAP was a Depression-era government program for unemployed artists and workers in related fields such as advertising, graphic design, illustration, photofinishing, and publishing. 

Abbott's efforts resulted in a book in 1939, in advance of the World's Fair in Flushing Meadow NY. At the project's conclusion, the FAP distributed complete sets of Abbott's images to high schools, libraries and other public institutions in the metropolitan area.

These images are a selection of New York Public Library holdings.

Herald Square, 34th and Broadway, Manhattan. July 16, 1936. Notes: Looking down from 'el' station at intersection of 34th and Broadway; pedestrians, traffice, Macy's and billboards, Saks at 34th St. Code: I.B. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Herald Square, 34th and Broadway, Manhattan. July 16, 1936. Notes: Looking down from 'el' station at intersection of 34th and Broadway; pedestrians, traffice, Macy's and billboards, Saks at 34th St. Code: I.B. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Pier 13, North River, Manhattan. April 09, 1936. Notes: Code: II.A.C.1. Lackawanna Railroad Freight station, pier 13, trucks and a wagon in front. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Pier 13, North River, Manhattan. April 09, 1936. Notes: Code: II.A.C.1. Lackawanna Railroad Freight station, pier 13, trucks and a wagon in front. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Talman Street, between Jay and Bridge street, Brooklyn. May 22, 1936. Notes: African American woman sits at street edge with two children, empty lots on either side of street, old 2 and 3 story clapboard houses further up. Code: I.A.5.; III.A.4. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Talman Street, between Jay and Bridge street, Brooklyn. May 22, 1936. Notes: African American woman sits at street edge with two children, empty lots on either side of street, old 2 and 3 story clapboard houses further up. Code: I.A.5.; III.A.4. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Gasoline station, Tremont Avenue and Dock Street, Bronx. July 02, 1936. Notes: Code: II.C.4. Exhibited: Modern Vision #86 Four gas pumps and tall Texaco sign at Abe's Plaza Gas station, with price for gas listed at 11 2/10 cents, cars washed for 95 cents. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Gasoline station, Tremont Avenue and Dock Street, Bronx. July 02, 1936. Notes: Code: II.C.4. Exhibited: Modern Vision #86 Four gas pumps and tall Texaco sign at Abe's Plaza Gas station, with price for gas listed at 11 2/10 cents, cars washed for 95 cents. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Ferry, Central Railroad of New Jersey, Foot of Liberty Street, Manhattan. August 12, 1936. Notes: Horizontal view of neg. #160; ferry building with cabs, vendors out front. Code: II.A.1.d. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Ferry, Central Railroad of New Jersey, Foot of Liberty Street, Manhattan. August 12, 1936. Notes: Horizontal view of neg. #160; ferry building with cabs, vendors out front. Code: II.A.1.d. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Broome Street, Nos. 504-506, Manhattan. October 09, 1935. Notes: Sign company with decorative ironwork along roof, auto radiator shop, in three-story buildings, the elevated railroad just visible at right. Code: I.A.2. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Broome Street, Nos. 504-506, Manhattan. October 09, 1935. Notes: Sign company with decorative ironwork along roof, auto radiator shop, in three-story buildings, the elevated railroad just visible at right. Code: I.A.2. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Newsstand, 32nd Street and Third Avenue, Manhattan. November 19, 1935. Notes: Code: III.1.f. Exhibited: Modern Vision #56 Newstand next to State Coffee Shoppe, large display of magazines, ads for sundaes, Coca-Cola above, boxes of sodas below, man at left. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Newsstand, 32nd Street and Third Avenue, Manhattan. November 19, 1935. Notes: Code: III.1.f. Exhibited: Modern Vision #56 Newstand next to State Coffee Shoppe, large display of magazines, ads for sundaes, Coca-Cola above, boxes of sodas below, man at left. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Oak and New Chambers Streets, Manhattan. October 28, 1935. Notes: Code: III.B.1. Exhibited: Modern Vision #57 Festive lights in curlicue designs arch over street, men with tall ladder, wagons, cars, billboards; 'el' and Municipal Bldg. just visible. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Oak and New Chambers Streets, Manhattan. October 28, 1935. Notes: Code: III.B.1. Exhibited: Modern Vision #57 Festive lights in curlicue designs arch over street, men with tall ladder, wagons, cars, billboards; 'el' and Municipal Bldg. just visible. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Oak and New Chambers Streets, Manhattan. October 28, 1935. Notes: Code: III.B.1. Exhibited: Modern Vision #57 Festive lights in curlicue designs arch over street, men with tall ladder, wagons, cars, billboards; 'el' and Municipal Bldg. just visible. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Blossom Restaurant, 103 Bowery, Manhattan. October 03, 1935. Notes: Code: II.C.1. Exhibited: Modern Vision #59 Men stand at entrance to barbershop, pole in front, under the Blossom Restaurant, which has menu painted on windows and board out front. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Fulton Street Dock, Manhattan skyline, Manhattan. November 26, 1935. Notes: Code: I.D. Men walk on pier where sailing vessels are moored, skyline beyond. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Fulton Street Dock, Manhattan skyline, Manhattan. November 26, 1935. Notes: Code: I.D. Men walk on pier where sailing vessels are moored, skyline beyond. Source: Changing New York / Berenice Abbott. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.

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Sunday, July 12, 2015 / Labels: , ,

Remembering George Eastman, founder of Kodak, inventor of roll film

July 12, 2015 /Photography News/ Born 161 years ago, on July 12, 1854,  George Eastman was an American inventor and philanthropist. He founded the Eastman Kodak Company and invented roll film, helping to bring photography to the mainstream. Roll film was also the basis for the invention of motion picture film in 1888 by the world's first filmmaker Louis Le Prince, and a few years later by his followers Léon Bouly, Thomas Edison, the Lumière Brothers and Georges Méliès.

George Eastman. Part of Bain News Service collection.
In 1884, Eastman patented the first film in roll form to prove practicable; in 1888 he perfected the Kodak camera, the first camera designed specifically for roll film. In 1892, he established the Eastman Kodak Company, in Rochester, New York, one of the first firms to mass-produce standardized photography equipment. This company also manufactured the flexible transparent film, devised by Eastman in 1889, which proved vital to the subsequent development of the motion picture industry.

Page 1 of George Eastman's patent no. 388,850, for his film camera and roll film. 4 September 1888

During his lifetime, he donated $100 million, mostly to the University of Rochester and to the Massachusetts Institute of Technology (under the alias "Mr. Smith"). The Rochester Institute of Technology has a building dedicated to Mr. Eastman, in recognition of his support and substantial donations.

In his final two years, Eastman was in intense pain, caused by a degenerative disorder affecting his spine. He had trouble standing and his walking became a slow shuffle. Today it might be diagnosed as lumbar spinal stenosis, a narrowing of the spinal canal caused by calcification in the vertebrae. Eastman grew depressed, as he had seen his mother spend the last two years of her life in a wheelchair from the same condition. On March 14, 1932, Eastman died by suicide with a single gunshot to the heart, leaving a note which read, "My work is done. Why wait?" His funeral was held at St. Paul's Episcopal Church in Rochester; he was buried on the grounds of the company he founded at Kodak Park in Rochester, New York.

His former home at 900 East Avenue in Rochester, New York was opened as the George Eastman House International Museum of Photography and Film in 1949. 

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Wednesday, July 8, 2015 / Labels: , ,

In Photos: Remembering controversial photographer F. Holland Day

July 8, 2015 /Photography News/ Born 151 years ago, on July 8, 1864, Fred Holland Day was a dedicated aesthete and well-known figure in turn-of-the-century Boston. He was one of the earliest advocates of Pictorial photography in America and, like Alfred Stieglitz (with whom he corresponded until they had a serious disagreement around 1902), he tirelessly wrote articles, mounted exhibitions, and encouraged like-minded photographers who supported the medium's artistic potential.

'Youth sitting on a stone'', 1907, F. Holland Day. Model is the Italian Nicola Giancola.

Day's life and works had long been controversial, since his photographic subjects were often nude male youths. Pam Roberts, in F. Holland Day (Waanders Pub, 2001; catalog of a Day exhibition at the Van Gogh Museum) writes: "Day never married and his sexual orientation, whilst it is widely assumed that he was homosexual, because of his interests, his photographic subject matter, his general flamboyant demeanor, was, like much else about him, a very private matter."

Male nude, F. Holland Day. Source: Scan from the book ''Suffering the ideal''.
Day spent much time among poor immigrant children in Boston, tutoring them in reading and mentoring them. One in particular, the 13-year-old Lebanese immigrant Kahlil Gibran, went on to fame as the author of The Prophet.

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Kahlil Gibran in Middle Eastern costume with leopard skin and staff, seated, ca. 1898, F. Holland Day. 1 photographic print on 2 mounts: platinum print. Forms part of the Louise Imogen Guiney Collection. Anonymous gift to the Library of Congress, 1934.
Probably his best-known work is an 1898 series of more than 250 photographs portraying the Passion of Christ, in which he posed as Jesus, training for the role by losing weight and letting his hair and beard grow. What is usually shown from this series is the group known as “The Seven Last Words of Christ,” seven portraits that refer to Jesus’ statements from the time of his crucifixion until his death. In each photograph Mr. Day, in character, assumed what he felt were facial expressions consonant with Jesus’ ordeal.
The Last Seven Words of Christ, 1898, F. Holland Day
Day often made only a single print from a negative. He used only the platinum process, being unsatisfied with any other, and lost interest in photography when platinum became unobtainable following the Russian Revolution.

F. Holland Day died on November 12, 1933.

Since the 1990s Day's works have been included in major exhibitions by museum curators, notably in the solo Day retrospective at the Boston Museum of Fine Arts in 2000/2001 and similar shows at the Royal Photographic Society in England and the Fuller Museum of Art. Art historians are once again taking an interest in Day, and there are now significant academic texts on Day's homoerotic portraiture, and its similarities to the work of Walter Pater and Thomas Eakins.

Day's house at 93 Day Street, Norwood, Massachusetts is now a museum (The F. Holland Day House & Norwood History Museum), and the headquarters of the Norwood Historical Society.

Saint Sebastian, 1906, F. Holland Day

Beauty is Truth, Truth is Beauty, 1898, F. Holland Day

Black man with diadema, ca. 1897, F. Holland Day

No title, ca. 1900, F. Holland Day

Male nude, F. Holland Day. Source: Scan from the book Suffering the ideal.

Tony Costanza in sailor suit, seated, leaning on pillows, 1911, F. Holland Day

Portrait of Edward Carpenter, the early gay rights activist, F. Holland Day

Amercian poet and essayist Louise Imogen Guiney (1861-1920) in Saint Barbara costume with laurel wreath, pearls, book and (pencilled-in) halo, 1893, F. Holland Day

Woman (Julia Arthur) in Middle Eastern (Salome?) costume, ca. 1895, F. Holland Day
 

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Wednesday, June 24, 2015 / Labels: , ,

Just started: "The Camera Never Lies" free online course

Film, images & historical interpretation in the 20th century for those who have a general interest in history that draws on photojournalism as primary evidence, and films based on historical events.

June 23, 2015 /Photography News/ This short history course is an introduction to use of images and other media as historical evidence in the twentieth century, issues of authenticity and manipulation, and the place of film and historical adoptions as public history.

Course at a Glance
June 22, 2015 - July 31, 2015 (6 weeks of study)
5-10 hours/week
Language: English

Course Syllabus
Week 1: The Camera Never Lies - Introduction 
Week 2: Images and History in the Twentieth Century 
Week 3: The Air-Brushing of History: Stalin and Falsification 
Week 4: Photojournalism, Authenticity and Matters of Public Acceptability - The Battle of Mogadishu 
Week 5: The Power of the Image - Mount Suribachi, 1945 
Week 6: From Page to Screen - Film as Public History 


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Tuesday, June 16, 2015 / Labels: , ,

TeraBella Media Presents: "Reflections" Photography Competition

Photo Credit: TBM
June 16, 2015 /Photography News/ Reflections are defining. They are capable of revealing so much about ourselves, an event or a moment in time. The likenesses that are mirrored sometimes reflect the true reality in this world. A reflection can also play a trick on the eyes and not necessarily reveal everything in plain view. At other times they are nothing more than pure illusions. TeraBella Media is seeking your most interesting images that reveal this “mirror image.”

Prizes:

First Place: $400 (USD) cash prize
Second Place: $200 (USD) cash prize
Third Place: $100 (USD) cash prize
Three (3) Honorable Mentions & three (3) Merit Winners will also be chosen.

All finalists will be announced in the TBMPN/WPN Newsletter and on Photography-News. Finalists will also receive recognition in on line gallery display and social media exposure via Facebook and Twitter.

Copyright:

All submitted images remain sole property of artist/photographer.

Entry Fee(s):

$20 (USD) for first 4 images
 (Up to 8 image entries may be submitted for additional fees)
 Color and/or Black and White images will be accepted.

Eligibility:

Contest is open to all individuals 18 years and older, worldwide.

Entry Deadline:

July 25, 2015 (11:59PM CST)


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Friday, June 12, 2015 / Labels: , ,

10 hand-colored photographs of the Crater Lake, Oregon


June 12, 2015 /Photography News/ 162 years ago today, on 12 June 1853, John Wesley Hillman was reportedly the first European American to see what he named "Deep Blue Lake" in Oregon. The lake was renamed at least three times, as Blue Lake, Lake Majesty, and finally Crater Lake.

“Crater Lake National Park may be reached from Medford, Oregon, on the Southern Pacific Railway, and on the Pacific Highway about 36 miles from the southern boundary of Oregon, or from Kirk, on the new Southern Pacific line between Eugene and Klamath Falls and near The Dalles – [aka] ‘California Highway.’

Motorists southbound from Portland may choose to traverse the Pacific Highway through Oregon City, Salem, and Albany, or go by the West Side Highway through Newberg, McMinnville, Corvallis, and Junction City where this road merges with the Pacific Highway [which] leads through Eugene, Roseberg, Grants Pass, and Medford. From Medford, the distance to Crater Lake is about 80 miles.”

“Crater Lake has inspired people for hundreds of years. No place else on earth combines a deep, pure lake, so blue in color; sheer surrounding cliffs, almost two thousand feet high; two picturesque islands; and a violent volcanic past. It is a place of immeasurable beauty, and an outstanding outdoor laboratory and classroom.” (the National Park Service site)

The Oregon State University Press published a great book on the park entitled "Crater Lake: A History," by Rick Harmon, and the 1916 text on the Crater Lake set from “Pictured knowledge: visual instruction practically applied for the home and school” by Calvin Noyes Kendall and Eleanor Atkinson is available on Google books.

Photographs and text courtesy of OSU.


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Image Title: Sunrise from Victor Rock
Creator: Fred H. Kiser
Date.Original: Circa 1915-1920
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



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Image Title: Crater Lake, view from north
Image Description: "Here is an inspiring view of Crater Lake – that which is left of grim old Mt. Mazama – the deepest and bluest lake in the world. It measures two thousand feet in depth and the intensity of its color is almost unbelievable even while you look at it.
Many Alpine lakes are blue under some lights. The deep blueness of Crater Lake may possibly be due to mineral which the water holds in solution; yet a glassful of the water is as clear as the clearest. Its cliffs from skyline to surface are a thousand feet high, and its color may be due in part to these surrounding walls and to its enormous depth. From the rim, a narrow margin of the water along the walls appears to be sea-green.
The lake has no visible inlet or outlet as it occupies the great cavity left by Mt. Mazama when it disappeared into its own depths.
It is a gem of wonderful color in a setting of pearly lavas relieved by patches of pine-green and snow-white—a gem which varies in hue with every atmospheric change and every shift of light.
Because of the unique character and extraordinary beauty of this lake called by Joaquin Miller, 'The Sea of Silence,' Crater Lake National Park was established in 1902."
Creator: Fred H. Kiser
Date.Original: Circa 1915-1920
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



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Image Title: Crater Lake and Mt. Scott
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



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Image Title: Llao Rock
Image Description: "According to the legend of the Klamath and Modoc Indians the mystic land of Gaywas was the home of the great god Llao. His throne in the infinite depths of the blue green waters was surrounded by his warriors, giant crawfish able to lift great claws out of the water and seize too venturesome enemies on the cliff tops.
War broke out with Skell, the god of the neighboring Klamath Marshes. Skell was captured and his heart used for a ball by Llao’s monsters. But an eagle, one of Skell’s servant, captured it in its flight, and a deer, another of Skell’s servants, escaped with it; and Skell’s body grew again around his living heart. Once more he was powerful, and once more he waged war against the God of the Lake.
Then Llao was captured; but he was not so fortunate. Upon the highest cliff his body was torn into fragments and cast into the lake, eaten by his own monsters under the belief that it was Skell’s body. But when Llao’s head was thrown in, the monsters recognized it and would not eat it.
Llao’s head will lies in the lake, and white men call it Wizard Island. And the cliff where Llao was torn to pieces if named Llao Rock."
Creator: Fred H. Kiser
Date.Original: Circa 1915-1920
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



photography-news.com, Photography News, Diana Topan, Crater Lake, Oregon photos, landscape photography
Image Title: Dutton Cliff and Phantom Ship
Image Description: "Here is Dutton Cliff on the southeast shore, with the so-called Phantom Ship is a volcanic island masted with rock spires and decorated with a few scattered evergreen trees. From a number of points it has the appearance of a ship but under certain lights and shadows “The scene changes magically while you watch” and the ship blends so completely with the walls beyond that it vanishes."
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



photography-news.com, Photography News, Diana Topan, Crater Lake, Oregon photos, landscape photography
Image Title: Wizard Island in Crater Lake
Image Description: "A close view of Wizard Island in the lake near the west shore. It is a perfect little volcano – a crater within a crater. Although a few pines are growing upon it, the island’s lava and ashes appear as if just cast from the internal furnace. The island rises several hundred feet above the lake-surface, and it’s crater is eighty feet deep. The island is a good view-point at noon, at evening, or when the blue cold crater glows and sparkles with the reflected fires of a million fiery worlds."
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides





photography-news.com, Photography News, Diana Topan, Crater Lake, Oregon photos, landscape photography
Image Title: Glacier Peak
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



photography-news.com, Photography News, Diana Topan, Crater Lake, Oregon photos, landscape photography
Image Title: Crater Lake in winter
Creator: Fred H. Kiser
Date.Original: Circa 1915-1920
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



photography-news.com, Photography News, Diana Topan, Crater Lake, Oregon photos, landscape photography
Image Title: Garden of the Gods
Creator: Fred H. KiserImage Title: Sunset on Garfield Peak
Image Description: "And here, it seems are gathered together bits of many wonderful scenes in this marvelous park and blended into one by the colorful tints of a glorious sunset."
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides



photography-news.com, Photography News, Diana Topan, Crater Lake, Oregon photos, landscape photography
Image Title: Garden of the Gods
Creator: Fred H. Kiser
Date.Original: Circa 1915-1920
Original Format: Lantern slides
Original Collection: Visual Instruction Department Lantern Slides




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