|Portrait of Sadakichi Hartmann by Zaida Ben-Yusuf, 1899|
November 21, 2015 /Photography News/ Born 146 years ago today, on 21 November 1869, Zaida Ben-Yusuf was a leader in the art of photographic portraiture in turn of the 19th–20th century.
|Self-portrait of Zaida Ben-Yusuf accompanying her article "The New Photography — What it has done and is doing for Modern Portraiture," published in the "Metropolitan Magazine", Vol. XIV, no. III (Sept, 1901), p. 391.|
Zaida Ben-Yusuf was born in London to a German mother and an Algerian father, but became a naturalised American citizen later in life. She operated – for ten years beginning in 1897 – arguably the most fashionable portrait studio on Fifth Avenue, New York, while at the same time contributing work to numerous publications and the period’s most important photography exhibitions.
|The Odor of Pomegranates (platinum print) by Zaida Ben-Yusuf, 1899|
Despite her young age and her recent arrival in America, she attracted to her studio many of the era’s most prominent artistic, literary, theatrical, and political figures. In 1901 the Ladies Home Journal featured her in a group of six photographers that it dubbed, "The Foremost Women Photographers in America."
Zaida Ben-Yusuf died on 27 September 1933 in Brooklyn.
|American writer William Dean Howells (1837-1920), cca. 1900|
Zaida Ben-Yusuf's work was the subject of an exhibition, Zaida Ben-Yusuf: New York Portrait Photographer at the Smithsonian's National Portrait Gallery, which ran from 11 April through 1 September 2008. The curator, Frank H. Goodyear III, first learned about Ben-Yusuf when he discovered two of her photographs in 2003, and set forth to discover more about a photographer who had almost completely been forgotten. Goodyear suggested that gender discrimination might have led to Zaida Ben-Yusuf being forgotten, despite her significant contributions towards developing photography as a medium of artistic expression. His exhibition at the Smithsonian re-established Zaida Ben-Yusuf as a key figure in the early development of fine art photography.
|Japanese Buddhist monk Ekai Kawaguchi (1866–1945). Illustration in "Metropolitan Magazine", Vol. LXVII, no. 3 (Jan. 1904), p. 384, accompanying Kawaguchi's article "The Latest News from Lhasa: A Narrative of Personal Adventure in Tibet," from a photograph by Zaida Ben-Yusuf, 1904|
November 20, 2015 /Photography News/ Born 214 years ago today, on 20 November 1801, Mungo Ponton was a Scotish inventor who in created a method of permanent photography based on sodium dichromate.
In 1839, while experimenting with early photographic processes developed that year by William Henry Fox Talbot, Ponton discovered the light-sensitive quality of sodium dichromate. He presented his findings to the Society of Arts for Scotland, but did not attempt to patent the photographic process. However, he published his findings in the Edinburgh New Philosophical Journal. Others experimented with his discovery including Talbot, Edmund Becquerel, Alphonse Poitevin, and John Pouncey, all of whom patented their photographic techniques. Mungo Ponton's findings were vitally important to the development of photography, paving the way for nearly all the photomechanical processes that later came into standard use.
Mungo continued to work on photography and in 1845 the Society again awarded him a silver medal for his process for measuring the hourly variation in temperature of photographic paper. That year he also developed a variation on the calotype process to allow for shorter exposure times.
Mungo Ponton died on 3 August 1880.
|Photographs of pollen. Plate O, from Mungo Ponton, The Beginning: Its When and Its How, 1871|
November 15, 2015 /Photography News/ The Manuel Rivera-Ortiz Foundation for Documentary Photography and Film aspires to encourage a new generation of photographers and filmmakers, armed with only a camera and a vision of a better world, to take to the streets every day and document humanity on the move. By rewarding the dedication and determination of emerging photographers and film makers, the foundation’s mission is to support photo and film reportage as a catalyst for change and social justice in communities where needs are most pressing.
The Manuel Rivera-Ortiz Foundation for Documentary Photography & Film will award one $5,000 USD grant to one documentary photography project based on the quality of the submitted 15-image portfolio, the strength of the submitted proposal, as well as any supporting materials including an updated CV. The “Top 12″ shortlisted portfolios will be featured and displayed during Les Rencontres d’Arles (Arles, France) at their new 18th century facility and foundation home located on 19/21 Rue de la Liberté/14 Rue Barrême. The selected project must be completed the calendar year following receipt of the grant.
Grants are open to professional and emerging photographers in all countries. Photographers are expected to be committed to the field of reportage and documentary photography.
All proposed projects and submitted portfolios must be works of non-fiction and must be based on such pressing social issues as health, poverty, oppression, war, famine, religious/political persecution and similar topics. Proposals must be for new or continuing projects. Portfolios should be a representative sampling of your documentary work.
Group entrants are permitted. One submission set of requested documents will be necessary for each member of a group or team. There will be only one grant issued regardless of the number of photographers involved in the submission.
Submission dates and deadlines:
Submissions begin November 1st of each consecutive year.
Deadline: March 31, 2016
To see the 2015 photography grant winner, visit http://mrofoundation.org/pablo-ernesto-piovano/
To enter the competition, go to http://mrofoundation.org/programs/photography-grants/
To view all current call for entries listed at Photography News, visit http://www.photography-news.com/2009/12/photography-competitions.html
November 14, 2015 /Photography News/ Develop your visual sensibility and get to grips with new forms of commercial photography, with this free online course.
Starts: January 11, 2016
Duration: 6 weeks, 3 hours pw
This free online course is designed to help current or aspiring commercial photographers develop their visual sensibility in support of a successful and sustainable practice; and get to grips with new media and moving image photography.
Understand why personal work is key to commercial photographic success
You will begin by looking at the importance of developing your visual sensibility through personal work, where you’re free to push boundaries, make mistakes, pursue your passions and hone your craft.
You’ll then find out how to create work that is new, exciting and individual in order to secure commissions – whether in advertising, fashion or editorial photography – and create commercial work that is new, exciting and individual. You’ll be encouraged to consider the complex interplay between individual approaches to practice and client-led work.
Explore the relationship between still and moving image photography
You’ll then explore the relationship between still and moving image in commercial photography, looking at how you can embrace emerging media and potential markets for your work.
You will examine the need for a coherent and consistent visual approach across both disciplines; the differences between narrative filmmaking and moving image photography; and the use of video, CGI, animation, illustration and mobile devices. We’ll also consider sound, as well as image, and the technicalities of using a camera to record.
Learn with expert academics and practising commercial photographers
Based on elements of the Photography courses at Norwich University of the Arts, the course will enable you to learn with expert academics, as well as leading commercial photographers, including Andy Earl and Tim Flach.
This course is aimed at people who are already working in commercial photography, either as photographers or assistants, and want to develop their skills.
The course would also be of interest to those wanting to work in, or wishing to learn more, about the world of commercial photography.
October 28, 2015 /Photography News/ 129 years ago today, the Statue of Liberty was unveiled in New York Harbor, when France dedicated the monument to celebrate "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."
Here is a wonderful collection of photos showing the Statue of Liberty under construction:
Album de la construction de la Statue de la Liberté. 1883. Photographs by Albert Fernique (1841-1898)
|Model of the Statue of Liberty. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Men in a workshop hammering sheets of copper for the construction of the Statue of Liberty.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Construction of the skeleton and plaster surface of the left arm and hand of the Statue of Liberty.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|Men at work at the construction of the Statue of Liberty. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[View of the workshop, with models of the Statue of Liberty in the background.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Men in a workshop shaping sheets of copper for the construction of the Statue of Liberty.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Head of the Statue of Liberty on display in a park in Paris.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[View of the external area of the workshop in Paris, showing construction materials, the head of the Statue of Liberty, and a group of men gathered in front of the left foot of the statue.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Assemblage of the Statue of Liberty in Paris, showing the bottom half of the statue erect under scaffolding, the head and torch at its feet.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Assemblage of the Statue of Liberty in Paris.]
Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository:
The New York Public Library. Photography Collection, Miriam
and Ira D. Wallach Division of Art, Prints and Photographs|
|Mary Steen, self-portrait 1889|
October 28, 2015 /Photography News/ Born 159 years ago today, on 28 October 1856, Mary Dorothea Frederica Steen was a Danish photographer and feminist. In 1884, at the age of 28, she opened a studio in Copenhagen where she specialized in indoor photography, a difficult art at a time when electricity was not widespread. The photographs she took at the Flerons' house on Copenhagen's Vesterbrogade are among the first showing people inside their own homes. She later became Denmark's first female court photographer, working not only with the Danish royals but with the British royal family too. Around 1895, Princess Alexandra invited her to London where she photographed members of the royal family, including Queen Victoria at Windsor Castle.
|Photograph of Queen Victoria and Princess Beatrice inside Windsor Castle taken by Danish photographer Mary Steen in 1895|
Mary Steen also played an important part in improving conditions for female workers and encouraging women to take up the profession of photography. In 1891, she was the first woman on the board of the Danish Photographers Association. She was also active in the Danish Women's Society (Dansk Kvindesamfund) where she sat on the board from 1889–1892. Together with Julie Laurberg, she photographed the leading figures in the Danish women's movement. In 1891, she received a grant from the Reiersenske Fond, a trade association, which allowed her to travel to Germany and Vienna.
She campaigned for better working conditions for women including eight days holiday and a half day off on Sundays. She treated her own staff well, paying good wages. Her example was widely followed.
As a result of growing deafness, she closed her studio in 1918. She died on 7 April 1939.
October 21, 2015 /Photography News/ The Lucas Dolega Award is intended for freelance professional photographers. It aims to support and accompany photographers with important stories elaborated under risky conditions in order to ensure communication of free and independent information to the public.
The Award aims at rewarding a photographer who, through his or her personal commitment, involvement in the field, as well as the quality of his or her work, will have been able to testify to his or her attachment to the freedom of information.
The Lucas Dolega Award will reward a photographer with a endowment by Olympus of 10.000 Euros, an exhibition in Paris, and a publication in the Reporters without borders album.
The award ceremony will take place at the Mairie de Paris, in january 2016.
The Lucas Dolega Award is open to all professional freelance photographers, without age or country restrictions.
The participation is free.
Participants will have to present a report on the coverage of any event relevant to the defense of freedoms and democracy, a conflict (civil or military wars, riots, attacks or public demonstrations…), a revolution, a natural or sanitary disaster, and/or their consequences on civil populations.
Deadline: November 16, 2015
For more information visit http://www.lucasdolega.com/en/prix-lucas-dolega-2016-5e-edition/
To view all current call for entries listed at Photography News, visit http://www.photography-news.com/2009/12/photography-competitions.html
|Photo: Trish Simonite|
October 6, 2015 /Photography News/ Doors can simply be instruments for leaving one room and entering another room or for venturing forth to the outside world. Some can be rather simple and plain and constructed of wood, straw or even from cloth. Others can be grand and ornate made of metals. A doorway is a passageway that can lead us to an unknown destination full of surprises and mystery, or it can lead us to home and security. Doors and their corridors can be obstacles that prevent us from seeing what is happening, and they can hide all types of secrets. TBM is seeking your creative images that best represent doors and their passageways.
- 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.
$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: November 11, 2015 (11:59PM CST)
For more info: http://terabellamedia.com/photo-contest/
To view all current call for entries listed at Photography News, visit http://www.photography-news.com/2009/12/photography-competitions.html
October 4, 2015 /Photography News/ World Animal Day is celebrated each year on October 4, since 1931 when a group of ecologists hoping to get attention for the plight of endangered species introduced it at a convention in Florence, Italy. October 4 was originally chosen for World Animal Day because it is the feast day of Francis of Assisi, the patron saint of animals and the environment. The day is now set aside as a time to reflect on all of the animals we share this world with, and our involvement with them - and to spur action to commemorate that respectful relationship. Below is a collection of old photos of animals around the world (17 photos).
|Yawning koala bear. Fox Photos. The Daily Herald Archive, National Media Museum|
|Kangaroo & girls, ca. 1925 - ca. 1945, by Sam Hood.|
|Suckling, Shackleton - Rowett Expedition, Antarctica, 1921 - 1922. From the collection of the State Library of New South Wales.|
|Dog riding a trycicle, photographer unknown. National Media Museum|
|Boy with pigeons at [Circular] Quay, Sydney, 22 June 1935, by Sam Hood. From the collection of the State Library of New South Wales.|
|Cat in the window, 1930s, by Sam Hood. From the collection of the State Library of New South Wales|
|Wreck of the "Gratitude", Macquarie Island, 1911. Notes: First Australasian Antarctic Expedition, 1911-1914. From the collections of the Mitchell Library, State Library of New South Wales|
|"Christening of bears" at Koala Park, September 1938, by Sam Hood. Notes: Koala Park is a small zoo in the Sydney suburb of West Pennant Hills.From the collection of the State Library of New South Wales|
|Two exhibitors eye eachother's charges, Sheep Show, ca. 1945, Jeff Carter, Walkabout photograph. Notes: This photograph is from a collection of images taken for Walkabout magazine, between 1934 and 1974. From the collection of the State Library of New South Wales|
|Police dog, Tess, 29 January 1935, by Sam Hood|
|Margaret Shaffhauser with bull terrier at the Canine Association Show, 3 Nov 1934|
|Cat sitting on a radio, 1930s, Sydney, by Sam Hood|
|Study of a girl with ringlets teaching her dog to sit up, 1930s, by Sam Hood|
|Yap Yap (dog) in cart pulled by Achong - Trundle, NSW, n.d., unknown photographer|
|A group of Dalmatians and their owners before the judges, 1920s or 30s, by Sam Hood|
|Girl photographing a dog, photographer unknown. Collection of the National Media Museum|
|Ninely and Nine, by Joseph Gale (1830-1906). Collection of the National Media Museum|
October 3, 2015 /Photography News/ Born 206 years ago today, on October 3, 1809, Thomas Martin Easterly was one of the most prominent and well-known daguerreotypists in the Midwest United States during the 1850s, with his studio becoming one of the first permanent art galleries in Missouri.
By 1844, Easterly had begun practicing photography taking outdoor photographs of architectural landmarks and scenic sites in Vermont. Among his earliest daguerreotypes, made a decade before outdoor photography was popular or profitable, those of the Winooski and Connecticut rivers are the only known examples to be self-consciously influenced by the romantic landscape paintings of the Hudson River School artists. He was also the first and only daguerreotypist to identify his work using engraved signatures and descriptive captions.
|Ruins of the Great St. Louis Fire, 17-18 May 1849. Daguerreotype by Thomas M. Easterly, 1849. Source: Missouri History Museum Photographs and Prints Collections|
|No-Che-Ninga-An, Chief of the Iowas, 1845|
|Lynch's Slave Market, 104 Locust Street, 1852, by Thomas Martin Easterly. According to the National Parks Service, "there were constant reminders of the horrors of slavery in antebellum St. Louis. One of the worst involved the open sales of slaves at various places along the city’s busiest streets, which was an accepted community practice. Regular slave auctions and sales were held in several places, most notably at the slave market run by Bernard M. Lynch on Locust Street between Fourth and Fifth. This market was moved in 1859 to Broadway and Clark Streets. Lynch’s “slave pens” were former private residences with bars placed on all the windows to secure them like prisons. Slaves were herded off steamboats and up the street to the slave houses, then sold to persons, especially after 1840, from outside St. Louis, mostly from the western counties in Missouri or further down the river. Families were broken up, with children taken from mothers, fathers sold down the river, husbands and wives separated. And all of this was done in full view of crowds wishing to buy and passersby going about their daily business." Source: Missouri History Museum.|
In the fall of 1845, Easterly traveled to the Midwest United States and toured the Mississippi River with Frederick F. Webb as representatives of the Daguerreotype Art Union. The two gained some notoriety from their photography of the criminals convicted of the murder of George Davenport in October of that year. Iowa newspapers reported that Easterly and Webb had achieved a "splendid likeness" of the men shortly before their execution.
Easterly soon became popular for his portraits of prominent residents of St. Louis and visiting celebrities which were displayed in a temporary gallery on Glasgow Row. One of these portraits was that of Chief Keokuk taken March 1847. He also took a daguerreotype of a lightning bolt, one of the first recorded "instantaneous" photographic images, while in St. Louis. This was later recorded in the Iowa Sentinel as an "Astonishing Achievement in Art". Before returning to Vermont in August 1847, the St. Louis Reveille described his as an "unrivaled daguerreotypist".
Easterly was brought back to Missouri by John Ostrander, founder of the first daguerreotype gallery in St. Louis, in early 1848. Preparing for an extended "tour of the south", Ostringer asked Easterly to manage his portrait gallery. Esterly would continue running the gallery when Ostringer died a short time later. Many of his unique streetscapes depicting mid-19th-century urban life were taken from the window's of Ostringer's gallery. In June 1850, he married schoolteacher Anna Miriam Bailey and settled in St. Louis permanently.
|Daguerreotype portrait of Enoch Long, circa 1855, Thomas Easterly. Source: Missouri Historical Society|
By the 1860s most photographers had abandoned the daguerreotype process for the albumen and collodion processes. Easterly felt that the daguerreotype was an art form and refused to adopt new techniques, urging the public to "save your old daguerreotypes for you will never see their like again". His studio suffered from declining patronage, and he himself developed poor health, probably due to the mercury poisoning often associated with the daguerreotype process.
Despite the declining interest for pictures on silver, he was able to maintain his gallery until it burned in a fire in 1865. He was forced to move to a smaller location and continued working in near obscurity until his death in St. Louis on March 12, 1882.
|Daguerreotype Gallery of Thomas Martin Easterly, St. Louis, Missouri, 1851. Author: unattributed. Source: Missouri History Museum|
After his death, his wife sold most of his personal collection to John Scholton, another noted St. Louis photographer. The Scholton family eventually donated the plates to the Missouri Historical Society where they remained for nearly a century before being rediscovered during the 1980s by art scholars studying pre-American Civil War photography.
Although his reputation was limited to the Midwest during his lifetime, Easterly is considered to have been one of the foremost experts in the field of daguerreotype photography in the United States during the mid-to-late 19th century.
The most complete appreciation of Easterly's life and work, with 233 illustrations is Dolores Kilgo's book “Likeness and Landscape: Thomas M. Easterly and the Art of the Daguerreotype” published by the Missouri Historical Society Press in 1994. An exhibit of the same name accompanied the book.
September 24, 2015 /Photography News/ In early years of American movies, Jacksonville, Florida, experienced a brief turn in the spotlight as one of the hubs for filmmaking on the east coast.
The Vim Comedy Company, based in Jacksonville and New York, was one of several film studios operating in the Jacksonville area in the first three decades of the 20th century.
Most of the images presented here were collected by one of the Vim actors, William "Billy" Bletcher (September 24, 1894 – January 5, 1979), while working at the studio between 1915 and 1917.
Before going out of business in 1917, it employed such stars as Oliver “Babe” Hardy, Ethel Burton, Walter Stull, and Kate Price, as well as Swedish-born director Arvid Gillstrom.
The Florida Photographic Collection contains more than 158,000 images, representing the most complete portrait of Florida available.
Courtesy of the Florida Memory / State Library & Archives of Florida
|Motion picture scene, 1916. This image was collected by filmmaker William "Billy" Bletcher (1894-1979) while working for the Vim Comedy Company between 1915 and 1917. The small film studio was based in Jacksonville and New York. The company produced hundreds of two-reel comedies (over 156 comedies in 1916 alone). Before going out of business in 1917, it employed such stars as Oliver Hardy, Ethel Burton, Walter Stull, Arvid Gillstrom, and Kate Price. Ethel Burton (Palmer) was a popular comedic actress who made her debut with Vitagraph Pictures in 1915. She co-starred in several Billy West comedies (a popular Charlie Chaplin imitator), and was married to director Arvid Gillstrom, a Swedish-born filmmaker who directed many of the West comedies. Burton did little acting after the 1910s. Most of the films she made in Florida were with the Vim Comedy Company. Tallahassee pennant in the background. L-R: Ethel Burton Palmer, Bobby Burns, and Walter Stull.|
|Motion picture scene, 1916. Harry Naughton, Ethel Burton, and unidentified actors. Unable to tell which individual is which.|
|Motion picture scene, 1916. L-R: Bobbie Burns, Ethel Burton, (?), and Walter Stull.|
|Motion picture scene, 1916. L-R: Rosemary Thebe and Harry Myers.|
|Motion picture scene, 1916. Ethel Burton Palmer is to the left and an unknown actor to the right. Ethel Burton (Palmer) was a popular comedic actress who made her debut with Vitagraph Pictures in 1915. She co-starred in several Billy West comedies (a popular Charlie Chaplin imitator), and was married to director Arvid Gillstrom, a Swedish-born filmmaker who directed many of the West comedies. Burton did little acting after the 1910s. Most of the films she made in Florida were with the Vim Comedy Company.|
|Motion picture scene, 1916. L-R: Walter Stull(?), Harry Meyers, and Rosemary Thebe.|
|Motion picture scene from Strangled Harmony, 1916. L-R: Bobby Burns, (?), Ethel Burton Palmer, (?), Walter Stull.|
September 16, 2011 /Photography News/ General Motors, also known as GM, was founded on 16 September 1908, in Flint, Michigan, as a holding company for Buick, then controlled by William C. Durant. At the turn of the 20th century there were fewer than 8,000 automobiles in America and Durant had become a leading manufacturer of horse-drawn vehicles in Flint, MI, before making his foray into the automotive industry. Today GM employs more than 200,000 people around the world.
General Motors Company. Oldsmobiles 1897 - 1938. Photographs courtesy of the New York Public Library.
|Our First Oldsmobile - 1897|
|1900 - Oldsmobile, curved dashed ru[n]about, 1 cylinder|
|1901 - Oldsmobile, curved dashed runabout, 1 cylinder|
|1903 - Oldsmobile PIRATE special 1 cylinder racer, holder of 1 mile straight record.. 1903|
|1904 - Oldsmobile , curved dashed runabout model 6, 1 cylinder.. 1904|
|1909 . Oldsmobile Model D, 4 cylinders|
|1910 - Oldsmobile Model 23-24, limited, 6 cylinders|
|1913 - Oldsmobile Model 40, 4 cylinders|
|1915 - Oldsmobile Model 43, 4 cylinders|
|1926 - Oldsmobile Model 30-D, 6 cylinder, Landau Sedan|
|1935 - Oldsmobile Model F-35, 6 cylinder|
|1936 - Oldsmobile Model F-36, Touring Sedan, 6 cylinder|
|1937 - Oldsmobile Six Convertible Coupe - Family outing|
|1937 - Santa Claus writes O.K. on a new Oldsmobile Six|
|1938 - Lady with the fox terrier trying to shift gears in a new Oldsmobile eight cylinder convertible coupe|