Walking the Camino at the Dryden

Posted by on Sep 25 2014 | Motion Pictures, Other

“Around 1 p.m. we were overcome with the paranoid notion that we were waiting for a train that would never come. We threw on our packs and headed out into the wasteland of abandoned buildings to find answers.” [Train station El Burgo Ranero headed toward Leon, September 24, 2013]

This is a journal entry by Jeff Stanin, George Eastman House staff member. Exactly one year ago, Jeff was in the midst of a 500-mile pilgrimage across Spain known as the Camino de Santiago. This Saturday, September 27, at 8 p.m., the Dryden Theatre will be screening the Rochester Premiere of Walking the Camino: Six Ways to Santiago. The documentary follows six strangers from diverse walks of life walking this same journey, each with a unique story to tell.

Post-screening, Jeff will lead a discussion based on his unique journey across the Camino de Santiago. We hope you’ll join us!

For more information on the screening visit dryden.eastmanhouse.org

Jeff and wife Elizabeth at the Statue of the Wind-Battered Pilgrim

Jeff and wife Elizabeth at the Statue of the Wind-Battered Pilgrim

Sign marker of the Camino

Sign marker of the Camino

Church outside of Villalcazar de Sirga

Church outside of Villalcazar de Sirga

Setting out into the hot, dusty plains known as the Meseta

Setting out into the hot, dusty plains known as the Meseta

 

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

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The Dawn of Technicolor

Posted by on Sep 18 2014 | Motion Pictures

Next year will be the 100th anniversary of the Technicolor Motion Picture Corporation, whose revolutionary color processes transformed cinema from black & white into a brilliant rainbow of color. As caretakers of the Technicolor Corporate Archive, George Eastman House is planning a series of events and collaborations to celebrate Technicolor’s enduring legacy. Particular focus will be given to the company’s formative years, which have remained largely in the shadow of its later success.

Two-color Technicolor camera. George Eastman House. Gift of Technicolor.

Two-color Technicolor camera. George Eastman House. Gift of Technicolor.

These events will kick-off at this year’s Le Giornate del Cinema Muto (commonly known as the Pordenone Silent Film Festival), which runs from October 4-11, 2014. This specialist film festival takes place in the city of Pordenone in northern Italy, and attracts hundreds of film historians, archivists, academics, and silent film enthusiasts from all over the world. This year, film historian David Pierce and I will be presenting the series The Dawn of Technicolor, which includes a host of silent features, shorts and excerpts made using the two-color Technicolor process.

Inside the Teatro Verdi at the Pordenone Silent Film Festival

Inside the Teatro Verdi at the Pordenone Silent Film Festival

In total, there will be six “programs” of films over the week-long festival; four dedicated exclusively to Technicolor productions, and two consisting of shorts made using other color processes, such as Prizma Color, Handschiegl spot coloring, and Multicolor. These two contextual programs have been curated in collaboration with the “Colour in the 1920s” research project overseen by Prof. Sarah Street of Bristol University and Dr. Joshua Yumibe of the University of St. Andrews. Highlights of the series will include rarely-seen shorts and tests preserved by Eastman House; the earliest surviving Technicolor feature, The Toll of the Sea (1922); Ben-Hur: A Tale of the Christ (1925), which includes nine Technicolor inserts; the British Film Institute’s superior restoration of Douglas Fairbanks’s swashbuckler The Black Pirate (1926); and the recently “rediscovered” color print of The Mysterious Island (1929) from the Czech Národní filmový archiv.

The short film Manchu Love (Elmer Clifton, US 1929) has been preserved by George Eastman House and will screen in the Dawn of Technicolor series at the Pordenone Silent Film Festival. Frame enlargement from 35mm nitrate Technicolor dye-transfer print. George Eastman House. Gift of Alan D. Kattelle.

The short film Manchu Love (Elmer Clifton, US 1929) has been preserved by George Eastman House and will screen in the Dawn of Technicolor series at the Pordenone Silent Film Festival. Frame enlargement from 35mm nitrate Technicolor dye-transfer print. George Eastman House. Gift of Alan D. Kattelle.

Following the Giornate, David Pierce and I will present the Ernest Lindgren Memorial Lecture at the BFI London Film Festival on October 15. This 90-minute archival talk will illustrate Technicolor’s origins during the silent era using photographs and documents from the Technicolor Corporate Archive and excerpts from rarely-seen Technicolor films of the 1920s.

Both these events precede the launch of Eastman House’s new publication, The Dawn of Technicolor, 1915-1935, written by myself and David Pierce. This fully-researched and beautifully-produced book will be released in the new year and will include more than 400 black & white and color illustrations throughout. Furthermore, in January 2015, Eastman House will host the exhibition In Glorious Technicolor and a major three-month film series in the Dryden Theatre. We will be sharing more news of all of these exciting activities over the coming months.

Actor Richard Dix and cameraman Edward Estabrook inspect a two-color Technicolor camera during the production of Redskin (Victor Schertzinger, US 1929). George Eastman House. Gift of Connie Estabrook.

Actor Richard Dix and cameraman Edward Estabrook inspect a two-color Technicolor camera during the production of Redskin (Victor Schertzinger, US 1929). George Eastman House. Gift of Connie Estabrook.

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James Layton is a Research and Information Specialist in Eastman House's Moving Image Department. He is also the co-author of the publication The Dawn of Technicolor, 1915-1935.

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What Does Identity Mean?

Posted by on Aug 27 2014 | Behind The Scenes, Exhibitions, Exploring the Archive, History, Other, Photography

“What’s in a name? That which we call a rose — by any other name would smell as sweet.” Shakespeare wrote these lines for Juliet to speak in the play “Romeo and Juliet” and the question they pose is sometimes relevant to the cataloguing of a photograph.

Images such as “Migrant Mother,” “Powerhouse Mechanic,” and “Afghan Refugee Girl” are familiar to us by these acquired names, sometimes merely descriptive, sometimes alliterative and even poetic ones.

Dorothea Lange (American, 1895 - 1965). Migrant Mother, Nipomo, California, 1936, printed ca. 1973. Gelatin silver print. George Eastman House. Gift of Robert J. Doherty.

Dorothea Lange (American, 1895 – 1965). Migrant Mother, Nipomo, California, 1936, printed ca. 1973. Gelatin silver print. George Eastman House. Gift of Robert J. Doherty.

But it is also human nature to want to look behind the curtain, to know the narrative behind the iconic image, “just the facts, Ma’am” (as Sgt. Friday on the TV show Dragnet would say), the who, what, when and where of that image.

In the past year or so, new information about the identity of a solemn, bearded man in a brimmed hat in a Lewis Hine photograph has brought both clarity and resolution as well as prompting some consideration about the significance of a title and of inscriptions and the overall meaning and impact of certain historical photographs.

The portrait, now titled by Eastman House “A Yemenite Jew from Palestine” and dated 1926 in the exhibition Lewis Hine-from the Collections of George Eastman House, International Museum of Photography and Film was the springboard of these discussions. The image is a powerful one and like the familiar saying it “speaks a thousand words.”

Lewis W. Hine (American, 1874 - 1940), A Yemenite Jew from Palestine, 1926. Gelatin silver print. George Eastman House. Transfer from Photo League Lewis Hine Memorial Committee; ex-collection of Corydon Hine.

Lewis W. Hine (American, 1874 – 1940), A Yemenite Jew from Palestine, 1926. Gelatin silver print. George Eastman House. Transfer from Photo League Lewis Hine Memorial Committee; ex-collection of Corydon Hine.

In the case of this man’s portrait however, this road led to conflicting pieces of information for the cataloguer, creating, for a time, more confusion than clarity.

In 1901, Hine was one of several mid-westerners that progressive educator Frank Manny brought with him when he took over the position as supervisor of the Ethical Culture School in New York City. Hine began to photograph at Ellis Island in 1905 and wanted his pupils “[to] have the same regard for contemporary immigrants as they have for the Pilgrim who landed at Plymouth.”

As former Eastman House curator Alison Nordstrom tells us, “he was not on assignment in those years and he did not expect to make a living at it. His photographs were not “mug shots,” he strove to enoble-and not to accuse. He established a connection with his subjects and wanted the resulting images to tell their stories.”

We also know that in response to the new US government imposition of immigrant quotas, he returned to Ellis Island to make the same kind of portraits of new-arrivals in 1926.

The Eastman House’s Lewis Hine archive contains over 7000 photographs and 4000 negatives, along with manuscript and other materials and is generally acknowledged to be the most comprehensive collection of his work in the world. However, one should not be surprised that his work is widely represented in other museum collections and at historical sites, including the New York Public Library, the National Archives, the Library of Congress, the University of Maryland and other places. Photography is, after all, a reproductive and a disseminating medium, and one negative can yield up many prints. What gives significance and value to most photographs is not that it is the only one, but that it is a vintage one, made by the photographer himself or under his close supervision, around the time the negative was exposed. And, not incidentally, a good print in fine condition will be valued over a poor one.

There are 2 small negatives of the bearded man at Ellis Island in the Eastman House Collection, each taken from a slightly different angle, probably moments apart. There are also 2 vintage photographs that correspond to each of these negatives.

This particular image is generally known through past exhibitions and their catalogues by the title “Armenian Jew, Ellis Island” and is sometimes dated 1905 and sometimes as 1926. An enlarged image in the second floor Great Hall at the Ellis Island National Monument bears the evocative caption, “Armenian Jew, Ellis Island” 1926, followed by: “This Armenian Jew probably left his native land to escape the Turkish persecution of the post-war period.”

Eastman House cataloguers were contacted in April 2010 by a visitor to Ellis Island, a man with an interest in Turkish history, who questioned this caption information on multiple fronts and argued dispassionately and persuasively that all of these facts could not be right at the same instance: nationality, religious affiliation, date, and historical events in the sequence and timing of last years of the Ottoman Empire.

The information written on the 4 portraits of this man by Hine in the Eastman House did little to resolve the issue and his concerns, since the information Hine had written on the prints was indeed “Armenian Jew Emigrant at Ellis Island 1926” but in contrast, he had written on the envelopes containing the negatives “Syrian Jewish Immigrant, Photograph by Lewis W. Hine, Ellis Island, 1905” With 2 nationalities and 2 dates, one is left with 4 distinct possibilities for the title. We knew from experience with Hine’s conflicting notations on the material at Eastman House that this was not unusual: The same portrait of an elderly woman could be identified as “Slovakian Grandmother”, “Jewish Grandmother” or “Polish Grandmother for instance and all could be variously dated from his two forays into Ellis Island. Hine did not recorded the identity of the subjects he photographed, although in some cases (as with children working in factories), he noted their height or other physical attributes.

The question of the identity of the portrait of the bearded man was raised again from a different source in late 2013. A family from New York City who had long believed that the Ellis Island enlargement was a relative (and even posed under it for snapshots), decided to come forward after seeing the image used in a review of the Eastman House exhibit on Lewis Hine at the International Center of Photography, published in the Wall Street Journal. The Goldzweig family contacted the newspaper and one of the staff writers, Angela Chen recognized a good story and took on the project.

Naomi and Yitzchak Goldzweig seated, with Ariella, far left, and Mazal Goldzweig, look at photos and information about their loved one Adrienne Grunwald for The Wall Street Journal.

Goldzweig family look at photos and information about their loved one. Photo credit: Adrienne Grunwald for The Wall Street Journal.

Cataloguing staff were naturally cautious. An identification made on a resemblance alone is often a subjective judgment and people often disagree, perhaps especially when the stakes are high (think… a portrait that “looks like” Abraham Lincoln). But in the end, all of the information provided by the family lined up nicely, and the “mug shot” (in this case) on a May 6, 1926 “Document of Identity to an Applicant who cannot obtain a National Passport” was compelling.

His passport picture. Photo credit: Adrienne Grunwald for The Wall Street Journal

His passport picture. Photo credit: Adrienne Grunwald for The Wall Street Journal

So, much was gained through this communication. The bearded man was Rabbi Shalom Haim Nadoff. He was the son of Rabbi Meir Elnadaf of Jerusalem and his wife Bedur who had immigrated to Palestine from Yemen around the time of his birth in 1901. His family had produced generations of Torah scholars, some of whom had worked to preserve Yemenite Torah and religious works and heritage during the early waves of immigration to Palestine.

He was trained in the customary Yemenite order of Torah study before pursuing advanced studies at Yeshivat Etz Chayim in Jerusalem, with its emphasis on the analytical methods of the Eastern European yeshivot. He was ordained there in 1922.

He was also a graduate of Bezalel Art Institute in Jerusalem where he trained as a silversmith. He was an accomplished designer and craftsman of jewelry and religious articles, who exhibited at the British Empire Exhibition in Wembly, England in 1925.

Hine had noticed and photographed an educated young married man, an ordained Rabbi and a graduate of a prestigious school for craftsman. One might add that Rabbi Nadoff exhibited his works in silver at the Sesqui-Centennial Exposition in Philadelphia in 1926. He became a naturalized United States citizen in 1933. He and his wife Mazal Sofer Nadoff and their five children initially resided in Brooklyn, New York before moving to Chicago, Illinois where in 1933, he displayed his work at the Century of Progress Exhibition. In Chicago, he established himself as the senior rabbi of the Sephardic Congregation of the Portuguese Israelite Fraternity, where he served for the next forty years. During this period, the congregation grew to include Sephardim of Middle Eastern and Northern African extraction, in addition to the original Spanish-Portuguese constituency. Although of Yemenite heritage, he was familiar with Sephardic and Ashkenazic culture and practice. He did not favor Yiddish and conversed only in Hebrew, English and Arabic. He was also able to use some Ladino (Judeo-Spanish) with his congregation.

He was a dedicated proponent of the establishment of a Jewish State and in 1974, he and his wife became residents of Bayit VeGan in Jerusalem, where they lived for the rest of their lives. He died there in 1986, four months after the death of his wife.

All of this information is now in the catalogue record of the Eastman House Data Management System.

However, as noted above, the title of the photograph is “A Yemenite Jew from Palestine” rather than the name of this man. The cataloguer’s reasoning was that this was also Lewis Hine’s photograph and the photographer was taking these images not as “mug shots” as stated above, not even as individual portraits (though he surely sought out an evocative face), but really to “ give a face” to the experience of an Immigrant to America in 1926.

The conflicting captions needed to be resolved, of course, as well as the misleading narrative used in the Ellis Island Caption. Both of the correspondents, the man with interest in Turkish history and the family of Rabbi Nadoff expressed satisfaction over these decisions. This information was shared with both the New York Public Library and the Ellis Island site. The Wall Street Journal published Angela Chen’s article, illustrated with photos of the Goldzweig family and using quotes from Eastman House on December 15, 2013 under the heading ”Rightly Identified – At Last.”

As a final note, the world was intrigued by the National Geographic documentary when photographer Steve McCurry returned to Afgahnistan after the removal of the Taliban government by American troops and local allies in 2001. He eventually located the subject of his compelling photograph, Sharbat Gula, then around the age of 30. Nevertheless, the photograph itself will probably never be known as “Sharbat Gula.” Like other iconic images, it stands for our collective, human identity, which in the best cases, transcends the identity of an individual.

Steve McCurry (American, b. 1950). Afghan Refugee Girl, ca. 1985, printed later. Chromogenic development print. George Eastman House. Courtesy Steve McCurry. © Steve McCurry

Steve McCurry (American, b. 1950). Afghan Refugee Girl, ca. 1985, printed later. Chromogenic development print. George Eastman House. Courtesy Steve McCurry. © Steve McCurry



 
The exhibition Lewis Hine is on view though September 7, 2014 George Eastman House. This major retrospective of the celebrated documentary photographer, reformer, and educator features more than 150 original prints dating from 1905 to 1937, including “A Yemenite Jew from Palestine.”

 

Joe Struble is the Department of Photography Collection Manager at George Eastman House.

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Daguerre Introduced Photography 175 Years Ago

Posted by on Aug 19 2014 | Photography, Technology

It has been 175 since Louis Daguerre introduced photography to the world. The Giroux daguerreotype apparatus is photography’s first camera manufactured in quantity.

On June 22, 1839, L.-J.-M. Daguerre and Isidore Niépce (the son of Daguerre’s deceased partner, Joseph Nicéphore Niépce) signed a contract with Alphonse Giroux (a relative of Daguerre’s wife) granting him the rights to sell the materials and equipment required to produce daguerreotype images.

Scientist and politician François Arago publicly announced the new daguerreotype process in a speech to the French Academy of Art and Sciences on August 19, 1839, and the first advertisement promoting the process appeared in the August 21 issue of La Gazette de France.

Within three short weeks, Giroux met with popular success both in and outside of France; the first export of his company’s cameras arrived in Berlin, Germany, on September 6, 1839.

Giroux daguerreotype camera, 1839. Alphonse Giroux, Paris France. Gift of Eastman Kodak Company, ex-collection Gabriel Cromer.

Giroux daguerreotype camera, 1839. Alphonse Giroux, Paris, France. Gift of Eastman Kodak Company, ex-collection Gabriel Cromer.

Click here to learn more about Daguerre and the Daguerreotype photographic process.

For more about the history of photographic technology, check out the book Camera: A History of Photography from Daguerreotype to Digital.

 

Todd Gustavson is the curator of technology at George Eastman House, working with the collection for more than 20 years.

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The Douglas Fairbanks Nitrate Still Negatives Collection

Posted by on Jun 23 2014 | Motion Pictures, Other

As part of our studies through the L. Jeffrey Selznick School of Film Preservation, I chose to work with the Douglas Fairbanks Nitrate Still Negatives Collection for my personal project.  The collection has been mentioned a few times on our blog, most notably in the past month in honor of 90 years since the release of The Thief of BagdadThe collection comprises nearly 10,000 nitrate still negatives that came from Douglas Fairbanks’ personal collection and were donated to George Eastman House by his son, Douglas Fairbanks Jr.  The still negatives range from his early works such as A Modern Musketeer (1917) and Mr. Fix-It (1918) to most of his well-known works like Robin Hood (1922) and The Black Pirate (1926).  The collection features scene stills, character portraits, set designs and many other behind-the-scenes photos.

One of the most interesting titles I have worked with so far is The Gaucho (1927).  The title has nearly 1,600 negatives, one of the largest out of the entire collection.  The negatives have been wonderfully fascinating to study and work with, as they demonstrate the extensive range of the collection.  While the negatives had not been kept in ideal conditions before being donated to Eastman House, the quality of the photos is still quite impressive.

Lupe Velez is love struck by Fairbanks as the Gaucho (understandably so!)

Lupe Velez is love struck by Fairbanks as the Gaucho (understandably so!)

In addition to beautiful shots of scenes from the film, there are a number of stills showing paintings, pages from books, and prints used as reference for the film (much like a modern day photocopier.)   The stills show exactly what inspired and guided the costume and set designers for the film.  Within these stills are also photographs of the paintings of art director Carl Oscar Borg.  Borg was a Swedish painter who also worked as art director on Fairbanks’ previous film, The Black Pirate (1926).  The paintings are regrettably only documented in black-and-white, but it is interesting to compare them to scene stills to truly marvel at how well the set designers and decorators were able to capture Borg’s vision.

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As noted in The Thief of Bagdad blog post, tests for make-up effects were a must during production.  For The Gaucho, they had at least five different versions of make-up for the ‘Victim of the Black Doom,’ yet in the final version of the film his face is never shown!
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Processing and scanning of this collection has been ongoing for several years. The scope of my project is to continue inventorying the negatives, re-house them into new archival boxes for storage, create master digital scans of each negative, and perform file maintenance on existing digital files.

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These various steps proved to be more challenging than I had originally anticipated. Improvements to the workflow over the course of the project has meant revisiting some of the previous work done with the collection, in order to keep things consistent. What may seem to be simple tasks on the surface are often in actuality very detailed and time-consuming, and one small change can set in motion a whole series of related tasks that need to be applied to the entire collection. While the process has had its challenges, it has been a great experience becoming familiar with rare nitrate stills, Douglas Fairbanks, and the amazing work that went into the making of his spectacular features.

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Sophia Lorent is from Madison, Wisconsin and is a current Masters student in the L. Jeffrey Selznick School of Film Preservation and at the University of Rochester.

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