In the Garden Photo-A-Week: The Challenge Continues

Posted by on Jul 08 2015 | contest, Exhibitions, Other, Photography

Each week on Instagram, we’ve been exploring a different theme related to gardens and how humans cultivate the landscape – all inspired by our current exhibition In the Garden. Many followers have tackled the challenge and shared images related to the weekly themes using the hashtags #eastmanhouse and #inthegarden. Here are some highlights from each week so far:

Week 1 (May 4) | Public gardens

A photo posted by Emily Naff (@enaff) on

 

Week 2 (May 11) | Favorite flower

 

Week 3 (May 18) | Human impact on the land

A photo posted by Romy Hosford (@photo_romy) on

 

Week 4 (May 25) | Favorite person in a garden

A photo posted by kayramming (@kayramming) on

 

Week 5 (June 1) | Sunrise/Sunset in a garden

A photo posted by Pete and Billy (@petebilly) on

 

Week 6 (June 8) | Hedgerow

 

Week 7 (June 15) | Bridge in a garden

A photo posted by kimmiiesue (@kimmiiesue) on

 

Week 8 (June 22) | Garden picnic

A photo posted by kayramming (@kayramming) on

 

Week 9 (June 29) | Farm/Cultivated landscape

 

Week 10 (July 6) | Animals in the garden

There’s still plenty of time to join the fun and challenge yourself. Check out the remaining themes-of-the-week below and follow us on Instagram: @eastmanhouse.
Week 10 (July 6) | Animals in the garden
Week 11 (July 13) | Working in a garden
Week 12 (July 20) | Food from a garden
Week 13 (July 27) | Black & white flower/plant
Week 14 (August 3) | Interesting angle
Week 15 (August 10) | Water in a garden
Week 16 (August 17) | Playing in a garden
Week 17 (August 24) | Leaf
Week 18 (August 31) | Garden symmetry
BONUS | George Eastman’s gardens

Tags: ,

Rachel Pikus is the Manager of Online Engagement at George Eastman House International Museum of Photography and Film.

Comments Off for now

Happy 4th of July!

Posted by on Jul 04 2015 | Motion Pictures, Other

Happy 4th of July from George Eastman House and the Moving Image Stills, Posters, and Paper Collection!

Joan Crawford

Joan Crawford

Nancy Carroll

Nancy Carroll

Colleen Moore

Colleen Moore

Nancy Kauffman is the Archivist for the Stills, Posters and Paper Collections in the Moving Image Department.

Comments Off for now

Beat the Heat: Get Cool, Get Cultured

Posted by on Jul 01 2015 | House & Gardens, Other

unnamed
Looking for a way to beat the heat this summer? Get cool in a museum! George Eastman House, and our neighbor Memorial Art Gallery, are teaming up to offer discounted admission in July and August. At Eastman House, request a coupon at the Admission Desk with your paid or member’s free admission. Present this coupon at Memorial Art Gallery within 14 days,* purchase one admission and receive a second admission free. Memorial Art Gallery visitors heading to Eastman House will receive the same courtesy.

*(Offer good July 1-August 31)

Rachel Pikus is the Manager of Online Engagement at George Eastman House International Museum of Photography and Film.

Comments Off for now

A Piece of History Reborn

Posted by on Jun 29 2015 | Behind The Scenes, Photography, Technology

In 1995, before I was hired to teach in the conservation department, my wife and I originally came to Eastman House to teach workshops. Back then, we brought a car load of equipment from home—cameras, studio stands, and other specialized photographic equipment—every time we held a workshop. Now, twenty years later, my full-time job at Eastman House is once again teaching public workshops in historic photographic processes . . . and, I’m still bringing equipment from home.

The technology collection at the museum holds more than eight thousand cameras. But as Todd Gustavson, curator of the technology collection, tells me, once an object is officially accessioned into the collection, it becomes an artifact available for study—not for actual use. It’s understandable. Damage to equipment is expected when a piece is handled by many or exposed to corrosive chemicals, particularly the wet collodion process used to make tintypes and ambrotypes.

In the past few years, I’ve been scrounging for original equipment for the workshop program so that eventually we’ll be fully equipped without the need for me to loan pieces to the museum. We run our workshop program without a budget for equipment, and the supplies are funded by an additional fee paid by the participants. A few months ago, I decided it was time to get an 8×10” studio camera for the program, and I used social media to get it.

I made an appeal to our friends. We host the Eastman House Historic Processes Education group page on Facebook with more than 2,800 subscribed friends. In less than a day I had two people willing to donate the type of camera we needed. One was in New Jersey and the other was in Ohio. The Ohio camera, owned by Jeannette Palsa, also had the original studio stand—both in need of restoration, but solid. Jeannette had taken an ambrotype workshop from us years ago and uses the process in her fine art photography.

On a Friday in April, my assistant, Nick Brandreth and I drove the four hours to the Akron area to retrieve the camera and stand. When we arrived, Jeannette’s friend Bob Herbst was also there with a second camera donation. Jeannette was kind enough to send us off with box lunches and we arrived back in Rochester with two cameras, a studio stand, and a speeding ticket from an Ohio speed trap.

That weekend, I disassembled the studio stand, made the necessary repairs, refinished the wood and iron castings, and had it ready for use by Tuesday of the next week. The better camera of the two, an 8×10″ Century 10A Studio Camera donated by Bob was chosen for use since the bellows were still in usable condition and it only need some minor repairs. I made a lens board for this camera and attached a large brass portrait lens from my personal collection so that we could use it right away. Eventually we’ll be looking for a replacement lens and new bellows to be made, but the camera was put to use immediately in a tintype workshop less than a week after bringing it back to the museum. It’s a great piece of history reborn.

_MG_2174 _MG_2187 _MG_2191 _MG_3343 _MG_3405

Brandreth (left) and Osterman (right) with the century 10A Studio Camera donated by Bob Herbst and original studio camera stand donated by Jeannette Palsa.

Brandreth (left) and Osterman (right) with the century 10A Studio Camera donated by Bob Herbst and original studio camera stand donated by Jeannette Palsa.

The workshop program is always looking for donations of equipment, from laboratory glass, to vintage photographic apparatus. Contact Mark Osterman at mosterman@geh.org if you think you can help.

 

 

Mark Osterman is the Process Historian in the Kay R. Whitmore Conservation Center at George Eastman House. Best known for his depth of knowledge in the area of collodion photography, Osterman is also internationally recognized for his research and teaching of photographic processes from Niepce heliographs to gelatin emulsions. Osterman's curriculum, once reserved for the international conservation community, is now available to the public through a series of hands-on workshops at Eastman House and other venues in the U.S. and abroad.

1 comment for now

Curating for the First Time

Posted by on Jun 08 2015 | Behind The Scenes, Photography, Student Work

After spending our first year of the Photographic Preservation and Collections Management (PPCM) graduate program at Ryerson University in Toronto, my classmate Andrew Murphy and I chose to move to Rochester, New York to spend our second year studying at George Eastman House. Upon arriving, we learned that we would be co-curating a rotation of the newly established exhibition series, A History of Photography. Under the guidance of the Curator-in-Charge and Associate Curator of the Photography Department, we developed another version of the complex history of the photographic medium through works in the Eastman House collection that conceptualize how photography can be used to represent information, whether scientific or artistic in nature.

Andrew and I had the daunting task of selecting only thirty photographs from the collection of over 400,000 objects. To narrow our options, we both identified key figures and movements that we felt deserved a place in our history of photography. Our goal was to find photographs that represented various photographic processes and conceptual uses of the medium.

Dr. Josef Maria Eder (Austrian, 1855-1944) and Eduard Valenta (Austrian, 1857-1937) Zwei Goldfische und ein Seefisch (Christiceps argentatus), 1896 Photogravure print from x-ray negative Gift of Eastman Kodak Company; ex-collection of Josef Maria Eder

Dr. Josef Maria Eder (Austrian, 1855-1944) and Eduard Valenta (Austrian, 1857-1937)
Zwei Goldfische und ein Seefisch (Christiceps argentatus), 1896
Photogravure print from x-ray negative
Gift of Eastman Kodak Company; ex-collection of Josef Maria Eder

Next, Andrew and I had to become familiar with the objects in the photography collection. We became fast friends with the Collections Manager and Assistant Collections Manager from our many visits to the Study Center to view objects from the vault. As we browsed through box after box of photographs, Andrew and I found direction for the exhibition. We were able to construct a preliminary checklist of items we felt would appropriately serve as our own interpretation of photographic history.

Selecting photographs is not as easy as it sounds. Certain objects were out on loan for another exhibition. Others were too fragile to display after consulting with the Conservator, so Andrew and I had to make substitutions. Because the collection is so vast, we did not have too much trouble finding replacement objects. In some instances, we found photographs that we had not previously considered, some of which we felt fit more appropriately with our concept

Then, the research began. Each photographic object requires an object label on the gallery wall to justify its place within exhibition. Andrew and I divided and conquered, completing our first drafts in early 2015. It was a challenge to choose the most relevant information about an object and its maker, and then to translate all that knowledge both concisely and accessibly.

Andrews_books

The job of curating did not end there. We wrote a press release and article for Films & Events, cleaned up object records in the database for future researchers, selected mats and frames, determined the layout and design of the exhibition, and prepared a presentation of our exhibition (which will take place on Saturday, June 13, 2015). The week before the exhibition opens to the public, Andrew and I will make final placement decisions. Hopefully, every photograph will fit on the wall as we anticipated when we planned it on the model (see image below). After devoting so much energy to each object’s inclusion in the exhibition, it would be difficult to cut any photograph.

Andrews_mockup

Our first curatorial experience has required lots of time, collaboration, and consideration. Seeing the results of our nine months of work will be very rewarding and we hope that our enthusiasm for photography is evident to visitors who see our iteration of A History of Photography.

RELATED EVENT:

Focus 45: PPCM Students, Rachel Andrews and Andrew Murphy, on A History of Photography
Saturday June 13, 2015 from 12:15 to 1 p.m., Curtis Theatre

Rachel E. Andrews is completing her M.A. in Photographic Preservation & Collections Management at George Eastman House through Ryerson University.

Comments Off for now

Next »