Archive for the 'Other' Category

’12 Years a Slave’: Solomon Northup’s Descendants Gather for Photo Shoot at Eastman House

Posted by on Mar 01 2014 | Behind The Scenes, Motion Pictures, Other

The Hollywood Reporter recently brought together five generations from the family tree of the real-life Solomon Northup portrayed in the film 12 Years a Slave (Steve McQueen, US/UK 2013). Eastman House had the great honor of hosting the photo shoot for Northrup’s 26 upstate New York descendants. Similar gatherings were held for Northrup’s other family members in Los Angeles and Washington, D.C.
 
Nominated for nine Academy Awards, including Best Picture, 12 Years a Slave tells the story of Northup, a New York State–born free black man who was kidnapped in Washington, D.C., in 1841 and sold into slavery. He worked on plantations in the state of Louisiana, suffering extreme cruelty and brutal torture for twelve years before his release. The film is based on a book of the same name written by Northup in 1853.
 
The Hollywood Reporter wrote:

It’s one of the most visceral depictions of American slavery ever committed to the screen. But it’s the fact that 12 Years a Slave is based on the real-life events of Solomon Northup’s kidnapping and eventual escape that makes the film truly powerful — especially for his descendants.

Eastman House was honored to be chosen as the venue for these Rochester-area family members to gather and reflect on Northrup’s powerful legacy. Here are the resulting photos and video testimonials captured in the Dryden Theatre:
 



Northrup_family

More photos and stories from the other cities can be found here.

 

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Eastman House celebrates 20 years of Dutch Connection

Posted by on Feb 21 2014 | Exhibitions, History, House & Gardens, Other

For the last 20 years, in February, George Eastman House has organized the Dutch Connection to show the kind of flowers George Eastman enjoyed in his home from late fall to early spring. Although there is no record of his bulb order for 1913/1914, historic records indicate that Mr. Eastman typically ordered varieties of each plant included in this exhibition—tulip, daffodil, hyacinth, and amaryllis bulbs; freesia corms; and clivia, begonia, campanula, hellebore, primrose, and azalea. Because this two-week exhibition includes the total number of plants that Mr. Eastman would order for display over a five-month period, you are enjoying approximately ten times the number of blooms that Mr. Eastman would have displayed at one time.

DutchConnection2.14-3.2
In July, 2013, nearly 6,000 bulbs were ordered. The bulbs were shipped in late September and volunteers and staff potted the tulips, daffodils and hyacinth. These pots were then placed in a dark, cool root cellar in Highland Park. Tulips, daffodils and hyacinth require a 12 to 15 week 40 to 45 °F cool, dark period, much like they get when planted in the garden. The potted bulbs that were in the root cellar were moved into the greenhouse in January. In the greenhouse, the bulbs require 2 to 7 weeks, depending on variety, at 55 to 65 °F. with full sunlight to flower. The bulbs were forced into bloom at Lucas Greenhouses, Fairport, NY. The freesias and amaryllis were grown in the Palm House until they could be moved to the greenhouse in January. The azaleas, hellebores, clivia, primrose, campanula, and begonias are grown on site or purchased from a wholesaler.

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The exhibition opened on Valentine’s Day and will close on Sunday, March 2. At any one time there are over 3,000 blooms in the exhibition. The tulip, daffodil, and hyacinth blooms last only a week in the relatively warm, dry, Conservatory environment, and are replaced once during the exhibition. The azaleas, hellebores, freesias, amaryllis, clivia, begonias, campanula, and primrose bloom two weeks or longer.

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Remembering Philip Seymour Hoffman

Posted by on Feb 06 2014 | Guest Blog, Motion Pictures, Other

Magnolia (1999)

Magnolia (1999)

I remember discovering Philip Seymour Hoffman for the first time at the movies. It was in Scent of a Woman. He looked like no one else you’d ever seen on screen before, and yet he was someone you immediately recognized as real. He played a bully in Scent and was more or less the villain of the movie, but something in his performance suggested an inner torment and that made him all the more recognizably human. His work in this movie was hard to forget. Maybe it was because we had never seen him before. Maybe it was because, as they’ve been saying, he was on his way to being the greatest actor of our generation.

He was a familiar face in Hollywood movies over the next couple of years. Because he was so indelible in Scent, it was hard not to feel that tingle of excitement every time he appeared on screen, even in forgettable movies. I really liked him as another bully, the cop who gets punched out by Paul Newman in Nobody’s Fool. Then came the unforgettable sequence where he played a degenerate gambler taunting Philip Baker Hall in Hard Eight (aka Sidney). That started a series of films with Paul Thomas Anderson. It was in their next collaboration, Boogie Nights, where, in one scene, the camera uncomfortably gazes on his character, the hapless boom operator Scotty, after he’s been rebuffed by Mark Wahlberg’s Dirk Diggler. Barely choking back the tears, Scotty performs a unique brand of self-flagellation, repeating, mantra-like, “I’m a fuggin’ idiot!” Was this the first time we shared a “private” moment with one of Hoffman’s characters on screen? I think it was the first of many times that he broke my heart.

This ability to play self-loathing characters who put up a false front while falling apart inside would turn out to be his specialty: Happiness, Almost Famous, Love Liza, Owning Mahowny, Before the Devil Knows You’re Dead, Synecdoche, New York, and The Master. The Oscars like to reward actors for historical impersonations, but his Truman Capote was so much more than just mimicry in a standard biopic. It was a vivid and moving portrait of an artist who was ultimately crippled by his own self-doubts.

I lived in Rochester for a little more than nine years while I worked at George Eastman House, and I became very close with Phil’s mother, Marilyn O’Connor. Through her influence, and the influence of Phil’s brother Gordy, we were able to bring Phil in for a screening of Love Liza at the Dryden. After the screening, I hosted a Q&A with Phil and Gordy (who wrote the film), but I don’t remember what we talked about. I do remember, just after the movie began, talking excitedly just outside the theater doors with Gordy and my brother Pat (he had become friendly with Phil after they both appeared in Magnolia). We must have been loud, because Phil, who was inside watching the opening of the movie, came out and shushed and scowled at us. He was right, of course.

About a year later, Phil and Gordy were home for the holidays and Gordy invited me to join his family in seeing the third Lord of the Rings movie. We went to a multiplex in Henrietta and Phil was very relaxed. I only noticed him being recognized once or twice and he was very sweet with anyone who approached him. Phil sat one row behind me and Gordy. The ubiquitous pre-feature trailers seemed to go on forever. One of the trailers seemed determined to overwhelm us with bombast and swagger: “Now,” read the on-screen text accompanied by thundering music, “the epic action-adventure the world has been waiting for…” Phil leaned forward between me and his brother and, before we could find out what this “must-see” entertainment was titled, he whispered, “The Gin Game!” Before we stopped laughing, he leaned forward again and murmured, “Mornings at Seven!”

The next month, Phil came back to Eastman House to present a documentary he appeared in called The Party’s Over. We talked afterward and he answered audience questions. I don’t remember much else about the evening, but my pal Bruce Bennett was there, and he reminded me that a teenage kid stood up and tried to explain how much Phil’s performances meant to him. He struggled in finding the right words and he finally just asked Phil if he could have a hug. Bruce remembers Phil as being “totally moved and disarmed and surprised by all the emotion clumsily and honestly pouring out of this young guy who clearly didn’t get to express his feelings too often” Phil quickly replied and said “yeah, sure, of course” and the two embraced. Bruce says, “People forget how much personal impact actors can have. I don’t think anyone’s ever asked to hug [Paul Thomas Anderson] because of a camera move he blocked or a line of dialogue he typed.”

I saw Phil a few more times over the years; once at his mother’s birthday celebration, another time at a party after the Toronto premiere of Capote. I last saw him introduce a movie he directed and appeared in, Jack Goes Boating, at Sundance in 2010. It was a nice little movie, based on a play in which he had also appeared. I regret never being able to see him perform live on stage.

These few, brief personal encounters were pleasant and memorable for me. They gave me little insight into what drove him as an artist. I only know that he consistently surprised me and moved me with his honesty and his understanding of human beings.

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A Chaplin Centennial

Posted by on Feb 02 2014 | Motion Pictures, Other

February 2, 2014 is a significant date in the history of cinema. One hundred years ago on this date, a face that was to become one of the most recognized faces in the world was first illuminated on movie screens. That face was Charlie Chaplin’s, and on February 2, 1914, his first film was released in the United States.

Chaplin’s character of “the Little Tramp” didn’t spring forth on that day fully formed in baggy pants and bowler hat.  Almost, but not quite! The film was Making a Living and Chaplin donned a long frock coat, top hat, and sinister mustache.

Making a Living frame

A mere five days later, though, on February 7, 1914, Chaplin’s second film was released, and in Kid Auto Races at Venice, audiences first saw the character of the Tramp. Filmed at Venice Beach, the Keystone Film Company made use of a local event happening there – kiddy car races – and set up their cameras as if to film the races. The comedy resulted when Chaplin, in character, became a camera hog, wandering into the frame at every opportunity, and angering the director at every turn of the camera crank.

Kid Auto Races frame

Although Kid Auto Races at Venice was the first film in which audiences saw Chaplin in what would become his trademark tramp costume, it was actually for Mabel’s Strange Predicament that he assembled and wore the costume in front of the camera. Mabel’s Strange Predicament was filmed before Kid Auto Races at Venice, but not released until February 9, 1914. Legend has it that Chaplin improvised the costume by selecting various pieces worn by other Keystone contract players, attempting to achieve a costume of contrasts – large pants and small jacket, large shoes and small hat.

Mabel's Strange Predicament

Chaplin worked for the Keystone Film Company for one year, from December 1913 to December 1914. His short films for Keystone were released at a slapstick speed of 3-4 per month, so audiences never had to wait long to see the tramp appear in a new film. (Although it should be noted that Chaplin’s costume still varied from time to time from the tramp costume, depending on his role, whether working in a bakery in Dough and Dynamite or appearing as a woman in A Busy Day.) Chaplin’s popularity gained momentum while at Keystone, and he skyrocketed to cultural phenomenon the following year after he left Keystone to work for the Essanay Film Manufacturing Company.

The Stills, Posters and Paper Collections in the Moving Image Department include some rare and unique items of note related to Charlie Chaplin. The Theodore Huff Collection, which consists of thousands of stills, posters, lobby cards, and music scores and cue sheets for silent films, includes a wealth of Chaplin material. Huff was the author of one of the earliest biographies of Chaplin (Charlie Chaplin, published in 1951) and his collection offers insight into his research and study of Chaplin, such as the research notes and papers he used in writing his book. Pictured here are pages from a small notebook of photo reproductions of frames from Chaplin’s Keystone films that Huff created as a reference in writing about Chaplin’s films. The three frames above were reproduced from this notebook.

Huff notebook

Also in the Moving Image Department is the Douglas Fairbanks Nitrate Still Negatives Collection. This collection includes the original negatives produced by Fairbanks’ production company for his major feature films in the 1920’s such as Robin Hood (1922), The Thief of Bagdad (1924), and The Black Pirate (1926). In addition to the stills shot for specific films, the collection include publicity stills taken around Fairbanks’ studio, showing him posed with notable visitors such as his good friend Chaplin. Their high-spirited friendship is especially evident here as they demonstrate for the camera just how much fun they had together:

Fairbanks-Chaplin 1

Fairbanks-Chaplin 2

Fairbanks-Chaplin 3

Finally, the Moving Image Department has in its collection a rather rare self-caricature, drawn and signed by Chaplin himself:

Autographed caricature

For further study of Chaplin and his films, I highly recommend:

Chaplin at Keystone (dvd set of all of Chaplin’s surviving Keystone films, released by Flicker Alley)
My Life in Pictures by Charles Chaplin
Chaplin by David Robinson
Chaplin: Genius of the Cinema by Jeffrey Vance

Click here to view rare autochromes by Charles C. Zoller on Eastman House’s Tumblr blog Dodge & Burn.

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What is a Digital Negative?

Posted by on Jan 30 2014 | Behind The Scenes, Other, Photography, Tutorials

We’re excited about a new workshop at George Eastman House in February: Digital Negative Making. For years we have taught a growing number of photographers how to make their own photographic negatives on glass using historic processes. Realizing that not everyone is interested in going that route, we decided to look into a new approach for the rest of the world: the “digital” negative.
 
But what is a digital negative? A digital negative is a negative image printed onto a transparency film using an inkjet printer. Once the original image is in your computer it can be edited “to taste” and prepared for lots of really interesting alternative photographic printing processes. The digital negative bridges the gap between 19th and 21st century photographic processes. You can use old glass plate or film negatives, that last bit of type 55 Polariod film you love so much, or even a digital capture from a smart phone.
 
Once you’ve decided on a printing process, like salted paper, platinum, or gum printing, a series of test prints are made to create a “printing curve.” This curve will be applied to the file before printing to help optimize the negative for the selected processes. The printing curve is a layer in Photoshop that has been adjusted for the specific paper printing process you’ve chosen. The curve allows the print to have smooth continuous mid tones while still keeping strong black tones and clean white tones. Once these tests are completed you never have to look back as the final steps are a check list of settings which once set, can be saved and applied the same way every time.
 
Here are some examples of Digital Negative Making in action:
 

Two hand made salted paper prints. The negative used to print these were created from Instagram files from a smart phone.

Two hand made salted paper prints. The negative used to print these were created from Instagram files from a smart phone.


 
A digital negative printing on ink press transparency film, the green cast is added to help give the negative spectral density.

A digital negative printing on ink press transparency film, the green cast is added to help give the negative spectral density.


 
An albumen print from a digital negative. The original 4x5 negative was created using a hand made gelatin dry plate.

An albumen print from a digital negative. The original 4×5 negative was created using a hand made gelatin dry plate.


 
 Two hand made salted paper prints and the original digital file on the phone that captured it.

Two hand made salted paper prints and the original digital file on the phone that captured it.

Digital Negative Making is a technique that photographers could have only dreamed of in the past. Now we can easily combine the precision editing and tonal control of digital with the beauty and magic of alternative photographic printing processes. All this and more will be covered in our very first digital negative making workshop at the George Eastman House Museum next month. Sign up today! Hope to see you there!
 

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