Vintage vibe: Gallery shows 'dags' from artist on the rise

Photograph:

"Winter Flood" a 4.5 minute time exposure during a recent flood in the Squamscott River in Exeter, by Casey Waters. Courtesy of the artist

At Iocovozzi Fine Art, everything old really is new again.

The downtown Savannah art gallery, one of a handful of venues in the United States to showcase antique 19th-century daguerreotypes, is featuring 34 new "dags" by Casey Waters, a rising star in the photography world.

Gallery owner Kim Iocovozzi is especially excited to host the first exhibition of contemporary daguerreotypes in Savannah. Very few photographers in the United States work in this notoriously challenging photographic medium, which was originally developed by French chemist and artist Louis Daguerre in 1839.

"The daguerreotype process is easily the most complicated process in photography, then and now," he said. "You have to understand chemical theory, light and exposure time."

Waters, who started out as a daguerreotype conservator, has electrified the photography world at the age of 30 with his masterful approach to the original mercury method.

"Casey's work has been recognized so quickly," said Iocovozzi. "He has an amazing eye and makes these images look so easy."

Everyday moments

Seen under bright light, the daguerreotypes shimmer and shine with an almost holographic intensity. Waters focuses his camera on a wide range of subjects he encounters near his hometown of Exeter, N.H., from urban graffiti to rugged coastal landscapes. He captures the fleeting majesty of waves rolling over jagged rocks and the deserted splendor of a water park in the off-season, turning everyday moments into visual poetry.

"Seeing them in person, you really get a feel for what a unique photographic process this is," said Waters.

"Everyone shoots digital now, but I think it's cool to produce one photograph at a time. It really makes me think about the process and appreciate each photo in its own right."

The daguerreotypes, which measure 4-by-5 inches, reveal ethereal photographic images rendered in lustrous shades of silver and pewter, lending a retro feel to this decidedly contemporary work. Waters uses original brass daguerreotype mattes from the 1840s as well as hand-cut birch wood mattes, in a tribute to his home state of New Hampshire.

This retro-photographer enjoys working with antique equipment and mastering the original 19th-century live plate methodology. He buffs each plate and coats it with special chemicals that make the surface especially sensitive to light. Then he pays special attention to the exposure time, which can range from a few seconds to more than a half an hour, in order to ensure that the image has the proper balance.

"Controlling the light is what all daguerreotypists are after," he said. "They historically worked in controlled conditions in a studio, but I like to take these images while I'm out walking or driving around."

Waters excels at portraiture, landscapes and slices of life. In "One Love," he immortalizes graffiti spray-painted on a wall in Exeter, N.H., while in "Where's the Third Tugboat," he captures the industrial splendor of two tugboats docked along a waterfront.

Unlike conventional photography, a daguerreotype doesn't involve a negative. Instead, each image serves as a one-of-a-kind mirror-image reflection of the scene at hand, etched into shiny silver-coated copper plate.

"You get an amazing depth and clarity with daguerreotypes that you just can't get with any other photographic process," said Waters.

Waters admits that he's attracted to the longevity of the images he creates, knowing full well that his compositions will outlive him.

"Antique daguerreotypes have lasted more than 160 years so far," he said. "This work will last longer than any paper photographs. I hope they will leave a lasting impression."

ABOUT THE ARTIST

Casey Waters began collecting antique daguerreotypes when he was 7 years old.
An accomplished daguerreotype restoration expert, he studied photography under Rob McElroy and Mike Robinson and processes his daguerreotypes using the original mercury method of the mid-19th century.
Now 30, he lives and works in Exeter, N.H., where he enjoys documenting life in New England using this vintage photographic technique.

SUNSHINE STATE SPLENDOR
In addition to the exhibit of contemporary daguerreotypes, Iocovozzi Fine Art also offers a brush with old Hollywood.

With "Anne Power," a collection of 26 paintings by Anne Lavenue Power Hardenbergh (1915-1999), the gallery celebrates the artistic achievements of the sister of legendary Hollywood actor Tyrone Power through the end of April.

"She wasn't a Sunday painter," gallery owner Kim Iocovozzi said. "She was an accomplished artist who painted throughout her life."

The paintings on display, part of Power's estate, are largely based in Florida, exploring landscapes, seascapes, fishermen and bits of local color in the Sarasota area she called home for many years.

"Her work is not overly complicated, but it's wonderful," Iocovozzi said. "It's fun Florida stuff, which is really popular now."

Posted: March 27, 2010
By Allison Hersh
Savannahnow.com

Color Photographs - History and Background

Walk into any home and you’ll see color photographs on display, either standing in frames or
hanging on walls. The photos depict graduations, family vacations and other events of
significance to the owner.

The transition from all black and white photography to commercially available color took close to a
century. Daguerre and others tried to invent a color photographic process by experimenting with
different chemicals. But they were largely unsuccessful in their quest for permanent color images. In
1850, a New York state Baptist minister, Levi Hill, announced that he’d found a way to reproduce
natural color in daguerreotypes, but he refused to reveal his methods. He called his process
Heliochromy and his plates were called hillotypes. Many photographers labeled him a fraud. Yet in
2007, researchers working under the auspices of the Smithsonian Museum of American History
found that Hill had indeed been able to capture blue and red hues.

To learn more about the history and background of color photographs, check out my book Preserving Your Family Photographs.

The Field Museum: Chocolate Exhibit

From rainforest treasure to luscious treat—immerse yourself in the story of chocolate.

A gift for the gods. A symbol of wealth and luxury. An economic livelihood. Bonbons. Hot fudge. Candy bars. For thousands of years humans have been fascinated with the delicious phenomenon that we call “chocolate.”

Journey through history to get the complete story behind the tasty treat that we crave in Chocolate, an exciting new exhibition developed by The Field Museum.

To learn more about the exhibit, Visit the Field Museum website.

Negatives Part 3: Safety Film

Cellulose acetate film and nitrate film share some patterns of deterioration, such as brittle quality, bubbles, chemical by-products and an odor.

Unlike nitrate, safety film is not a fire hazard.

There are several considerations when storing negatives. First is the environment. Negative deterioration is slowed when the material is stored at a constant temperature and humidity.

The second consideration is that negatives range in size.  Each size needs to be stored separately so that the weight is evenly distributed.

As with all photographic material, wear non-latex disposable examination gloves when handling the negatives.

Storage recommendations for negatives as well as Frequently Asked Questions can all be found in Preserving Your Family Photographs.  Or if you have questions, please feel free to email me at mtaylor@taylorandstrong.com.

Negatives Part 2: Film

FILM (HANDLE WITH CAUTION)

According to James Reilly, in the IPI Storage Guide for Acetate Film (Rochester, NY:IPI, 1993), all film-based negative deterioration is dependent on exposure to high humidity and temperature. Once conditions are right for deterioration, chemical changes become cumulative and actually rapidly increase.

The characteristics of the deterioration vary depending on the type of negative. Of great concern are nitrate negatives that are not only fragile but also dangerous.


If you discover you have nitrate film, have the negatives copied at a reputable photo conservation lab in your area. Federal regulations imposed by the United States Department of Transportation restrict shipping
nitrate because it is considered a fire hazard. Once you have the copies, ask your local fire department how to dispose of the negatives. Most communities mention the disposal of nitrate in their fire codes.


Steps for identifying nitrate film and other useful information on handling such film can be found in Preserving Your Family Photographs.

Weekend at the Museum: Photographic Fictions

Tampering with Perfection


Photography was born pure.  In the beginning, there was the daguerreotype. Each daguerreotype was made individually in the camera. No negative was used. Since photography was so new, and seemed so miraculous, daguerreotypes were prized for their perfect accuracy in recording a scene or making a portrait. Dr. Oliver Wendell Holmes called photography "the mirror with a memory." Why would anyone try to improve upon such perfection?

LEARN MORE AT THE PHOTOGRAPHY MUSEUM WEBSITE.

Negatives Part 1: Glass

The history of prints corresponds to the development and history of the negatives used to produce them. After prints, negatives make up a significant part of our family photograph collection. But how many people know about the negatives in their possession?

Glass Negatives

Photographers created their own supply of negatives in the 1850s by coating a piece of glass with a new substance, known as collodion. The light-sensitive silver halides in the collodion captured and preserved the image during the photographic process.

If you have glass negatives in your collection, they are probably sitting in a box that is too heavy to lift. Photographers used to store these plates in wooden storage boxes with dividers to protect the glass from breakage. Glass plate negatives, being both heavy and fragile, also require special storage care.

Steps to take when moving or re-boxong glass plates can be found in Preserving your Family Photographs.

Weekend at the Museum: The Influenza Epidemic of 1918

World War I claimed an estimated 16 million lives. The influenza epidemic that swept the world in 1918 killed an estimated 50 million people. One fifth of the world's population was attacked by this deadly virus. Within months, it had killed more people than any other illness in recorded history. READ MORE HERE

Documents and photos relating to this story can be found at the National Archives and Records Administration website.

Photographic Albums

Our ancestors initially used plain paper albums to arrange their photographs with captions written
underneath until commercially manufactured albums became available. These albums figured
prominently in the decorating scheme of nineteenth century parlors and were displayed beside the

family bible for visitors to view. Often, the albums contain the name of the owner.

Mid-nineteenth century photo albums often resembled bibles.


These nineteenth century albums evolved from scrapbook pages to pre-cut albums back to scrapbooks.

As albums lost their formality and amateur photography became popular, albums became a form of personal expression. These albums portrayed family unity and revealed a personal identity. Albums, with their imaginative arrangements, decorative cutouts, and artifacts, are the predecessors of the contemporary scrapbook.

One of the most often asked questions at my presentations on family photographs is what to do with images that are in albums. The first suggestion is to follow the basic rules for extending the longevity of any photographs by placing them in an area that does not experience variable temperature and humidity.

Conservators suggest keeping the album in its original state unless it is extremely damaged.

If your album has been extremely damaged, Preserving your Family Photographs details suggestions for possible restoration.

Paper Prints

All of us are familiar with paper prints. Every year we produce them by the thousands, documenting our family milestones and vacations. The paper prints of our ancestors and the ones we take today are similar, but the chemicals and processes that create the images are different.  The negatives used to produce these prints ranged from paper to glass to contemporary film materials.

Paper prints fall into several categories. In the nineteenth century, two types of paper prints existed: Printing-out papers and developing-out papers.

• Printing-out papers: light sensitive chemicals applied to paper allowed the image to appear during exposure to light.
• Developing-out papers: required chemical processing to bring out the image.

There is a revival of nineteenth century printing out processes. Photographers experimenting with these photographic processes are causing a renewed interest in the photographic community.

Also, in the nineteenth century, All prints were contact prints, meaning they were the same size as the negative. When you are looking at an 11 x 14 inch print from the 1870s, the negative was also 11 x 14 inches. Since artificial light was not available until the late nineteenth century, sunlight was a key ingredient of

the photographic process.

By the end of the nineteenth century, card photographs came in a variety of shapes and sizes.

Probably the most common type of nineteenth century photograph in your collection is known as a card photograph. The thin paper used to produce the majority of nineteenth and early twentieth century prints necessitated mounting them to heavy card stock or cardboard to help support the print. These images, regardless of the type of photographic process, came in standard sizes. Some types of card photographs include (with sizes and date introduced to U.S.):

• Cartes-de-visite - 4 1/2 x 2 1/2 (1859)
• Cabinet Card - 4 1/2 x 6 1/2 (1866)
• Victoria 3 1/4x5 (1870)
• Promenade 4x7 (1875)
• Boudoir 5 1/4 x 8 1/2 (not known)
• Imperial (life-size) 6 7/8 x 9 7/8 (not known)
• Panel 8 1/4 x 4 (not known)
• Stereograph Either 3 x7 or 4 x 7 (Smaller 1859 Larger 1870)

Preserving Your Family Photographs details identifying and caring for your card photographs.

Until the late 1880s, there were two ways to have your portrait taken. You could visit a professional studio or use the services of the amateur photographer in your family. These portraits lack spontaneity because it was an involved process.

Amateur cameras manufactured by Kodak and other companies allowed our ancestors to photograph their daily lives.

Different types of nineteenth century and early twentieth century prints develop problems based on the chemical processes used in their creation. Each photograph is a combination of photographic chemicals and paper. Both elements can affect the longevity of the print as much as conditions under which they’ve been stored since their creation.

In my book, you learn how to address special concerns for paper prints and avoid common damage to your historical photographs.

Night at the Museum Series: The Star Spangled Banner

Making the Flag

In the summer of 1813, Mary Pickersgill (1776–1857) was contracted to sew two flags for Fort McHenry in Baltimore, Maryland. The one that became the Star-Spangled Banner was a 30 x 42–foot garrison flag; the other was a 17 x 25–foot storm flag for use in inclement weather. Pickersgill, a thirty-seven-year-old widow, was an experienced maker of ships’ colors and signal flags. She filled orders for many of the military and merchant ships that sailed into Baltimore’s busy port.

Helping Pickersgill make the flags were her thirteen-year-old daughter Caroline; nieces Eliza Young (thirteen) and Margaret Young (fifteen); and a thirteen-year-old African American indentured servant, Grace Wisher. Pickersgill’s elderly mother, Rebecca Young, from whom she had learned flagmaking, may have helped as well.

Pickersgill and her assistants spent about seven weeks making the two flags. They assembled the blue canton and the red and white stripes of the flag by piecing together strips of loosely woven English wool bunting that were only 12 or 18 inches wide.

Floor Plan of Mary Pickersgill’s House
The huge 30 by 42–foot flag overwhelmed the cramped rooms of Pickersgill’s house. She moved the operation across the street to the more spacious Claggett’s brewery. There they assembled the pieces of the flag and placed fifteen cotton stars on the blue canton.

Night at the Museum Series: The Star Spangled Banner

A Moment of Triumph

By the “dawn’s early light” of September 14, 1814, Francis Scott Key, who was aboard a ship several miles distant, could just make out an American flag waving above Fort McHenry. British ships were withdrawing from Baltimore, and Key realized that the United States had survived the battle and stopped the enemy advance. Moved by the sight, he wrote a song celebrating “that star-spangled banner” as a symbol of America’s triumph and endurance.

Night at the Museum Series: The Star Spangled Banner

A View of the Bombardment of Fort McHenry

Print by J. Bower, Philadelphia, 1816. One of
the soldiers who was in the fort during the 25-hour
bombardment wrote, “We were like pigeons tied by
the legs to be shot at.”

 

 America’s future seemed more uncertain than ever as the British set their sights on Baltimore, Maryland, a vital seaport. On September 13, 1814, British warships began firing bombs and rockets on Fort McHenry, which protected the city’s harbor. The bombardment continued for twenty-five hours while the nation awaited news of Baltimore’s fate.

Cased Images

At almost every lecture, someone approaches me with a question about a small box or book-like
item they found in with the family photographs.


If you have one or two in your collection, treat them with care and respect. They are the earliest types of
photographs and provide you with a glimpse into life in the mid-nineteenth century.

Typically three types of images were placed in cases: daguerrotypes, ambrotypes and tintypes.

DAGUERREOTYPES
A daguerreotype is a sheet of polished silver covered in light-sensitive chemicals and exposed to light. The resulting portraits were initially crude and miraculous. Never before had individuals seen such a clear and unflattering portrait of themselves. The final product was a realistic portrait of an individual that could be obtained in a short period of time.

These images were one of kind. The technology did not exist to make multiple copies at the same time.

AMBROTYPES
Popular in the mid-1850s, they consist of a piece of glass coated with a photo chemical known as collodion, a mixture of gun cotton and ether. The end result is a negative image until backed with a dark piece of cloth or fabric. The image is then viewed as a positive.
Just like the daguerreotype, ambrotypes were a one of a kind image.

TINTYPES
Tintypes or Ferrotypes have a fascinating history. It was the first photographic process invented in the United States and its longevity is only surpassed by the paper print.

A tintype resembles a daguerreotype only because it is an image on metal.  Unlike the daguerreotype and ambrotype, multiple tintypes could be made at a sitting. A tintype was inexpensive to produce, and it took less than a minute to walk out of a photographer’s studio with one in hand.


My Preserving Your Family Photographs book explains how to identify each of these forms of cased images along with care instructions.  

If you think you may be in possession of a cased image and would like some help identifying it, please contact me at mtaylor@taylorandstrong.com.

Night at the Museum Series: The Star Spangled Banner

The Capital Captured

Angered by British interference with American trade, the young United States was intent on reaffirming its recently won independence. Instead, a series of defeats left Americans anxious and demoralized. They were stunned when, on August 24, 1814, British troops marched into Washington, D.C., and set the Capitol building and White House ablaze.

Restoring Damaged Photographs

Unless you are extremely fortunate to have a collection in mint condition, at least a few of your family photographs will need to be professionally restored or conserved. There is a lot of confusion about these two processes.


Digital restoration is not conservation. The two terms are not interchangeable. Restoring an image is the process of re-creating the appearance of the object.

Conservation includes several steps such as object examination, scientific analysis, research, and evaluation of the object's condition. All conservation work involves treatment to prevent future deterioration.

Both conservation and restoration are time-consuming processes. Unless you are a trained chemist with a background in photographic conservation or a specialist in photographic restoration, you will want to hire a professional. A professionally-trained photographic conservator should handle your conservation work. Your attempts to remove damage could destroy your images.

Learn more about Preserving Your Family Photographs in my newly updated and revised book. 

Night at the Museum Series: The Star Spangled Banner

The War of 1812

Although its events inspired one of the nation’s most famous patriotic songs, the War of 1812 is a relatively little-known war in American history. Despite its complicated causes and inconclusive outcome, the conflict helped establish the credibility of the young United States among other nations. It fostered a strong sense of national pride among the American people, and those patriotic feelings are reflected and preserved in the song we know today as the U.S. national anthem.

Britain’s defeat at the 1781 Battle of Yorktown marked the conclusion of the American Revolution and the beginning of new challenges for a new nation. Not even three decades after the signing of the Treaty of Paris, which formalized Britain’s recognition of the United States of America, the two countries were again in conflict. Resentment for Britain’s interference with American international trade, combined with American expansionist visions, led Congress to declare war on Great Britain on June 18, 1812.

In the early stages of the war, the American navy scored victories in the Atlantic and on Lake Erie while Britain concentrated its military efforts on its ongoing war with France. But with the defeat of Emperor Napoléon’s armies in April 1814, Britain turned its full attention to the war against an ill-prepared United States.

Does anyone have pictures of the War of 1812 veterans in their family?  I'd love to see them. Email me at mtaylor@taylorandstrong.com.

Do You Recognize any of the Men in this Photograph?

AN HISTORIC photograph has been discovered showing the workers who helped create one of North Yorkshire's most beautiful buildings.

As a £150,000 English Heritage project to revive their work at Manor House, Mount Grace Priory, near Northallerton, is currently under way, the modern day team has recreated the fascinating photograph.

The picture, which has been handed in anonymously by a local man, dates back to the 1890s and shows artisan workers employed by priory owner Sir Isaac Lowthian Bell.

To read the rest of the story Click HERE

Night at the Museum Series: The Star Spangled Banner

For the Next 12 weeks I will be doing a blog post series based on the Star Spangled Banner. Stay tuned every Saturday for a new piece of the story provided by the Smithsonian.

On September 14, 1814, U.S. soldiers at Baltimore’s Fort McHenry raised a huge American flag to celebrate a crucial victory over British forces during the War of 1812. The sight of those “broad stripes and bright stars” inspired Francis Scott Key to write a song that eventually became the United States national anthem. Key’s words gave new significance to a national symbol and started a tradition through which generations of Americans have invested the flag with their own meanings and memories.

AIC: Caring for Your Treasures

A photograph can be one of many processes in which light-sensitive media are employed to create a visible image. The prevalence of photographs allows us to forget that they are potentially fragile objects that can be easily damaged by careless handling, improper storage, and exposure to environmental influences such as light, humidity, and temperature.

In caring for a photographic collection, it is important to know that various components comprise the structure of a photograph. The interaction of these components, with each other and with their environment, has a lasting effect on the longevity of the image. Most photographs consist of a final image material, a binder layer, and a primary support. The final image material—commonly silver, platinum, organic dyes, or pigments—creates the image we see. The binder layer is a transparent substance such as albumen, collodion, or gelatin in which the final image layer is suspended. The binder and final image material are applied to a primary support, usually paper, glass, metal, or plastic. Although many photographs have this three-part structure, individual images may have additional components. For instance, color, coatings, original frames, and cases need to be considered as part of the photographic object.

Maintaining a Suitable Environment

Photographic materials benefit from a cool, dry, well-ventilated storage environment. High temperature and relative humidity increase deterioration and promote the growth of mold and mildew, which could mar surfaces and break down binder layers. Avoid storing photographs in the attic, the basement, or along the outside walls of a building where environmental conditions are more prone to extremes and fluctuations and where condensation may occur. In some storage situations, seasonal adjustments such as dehumidifiers or fans may be necessary to improve problematic environmental conditions.

The optimal storage conditions for most photographs are a temperature of 68°F and relative humidity in the range of 30–40 percent. Film-based negatives and contemporary color photographs benefit from storage in cooler environments of 30–40°F and 30–40 percent relative humidity.

Choosing Storage Enclosures

Keep photographic materials in enclosures that protect them from dust and light and provide physical support during use. Chemically stable plastic or paper enclosures free of sulfur, acids, and peroxides are recommended. Plastic sleeves should be constructed of uncoated polyester, polypropylene, or polyethylene. They should not be frosted. Paper enclosures should have passed the Photographic Activity Test (PAT), a test designed to determine the safety of an enclosure in contact with a silver photographic image. If PAT test results are not available, choose paper enclosures that are lignin-free, 100 percent rag or alpha-cellulose fibers, and have a white or off-white color. Film-based negatives, which can produce acidic gasses as they age, should be stored separately from other photographic materials. Store cased objects, such as daguerreotypes and ambrotypes, in their original cases or frames with the addition of custom-made, four-flap paper enclosures to reduce wear and tear on fragile cases. Place individually housed prints, negatives, and cased objects in acid-free, durable boxes that will afford further protection.

The storage of photographs in albums serves the dual purpose of organizing groups of images while protecting them from physical and environmental damage. Albums can be wonderful sources of historic and genealogical information. Preserve them intact when possible and store them in custom-fitted archival boxes. Magnetic or self-adhesive albums can damage photographs and should not be used.

Displaying Photographs

Photographs should be protected from extended exposure to intense light sources. Limit exhibition times, control light exposure, and monitor the condition of the photographs carefully. Prolonged or permanent display of photographs is not recommended. Use unbuffered ragboard mats, and frame photographs with archivally sound materials. Use ultraviolet-filtering plexiglass to help protect the photographs during light exposure. Reproduce vulnerable or unique images and display the duplicate image; in this way, the original photograph can be properly stored and preserved.

Housekeeping Guidelines

An overlooked area of collection maintenance is keeping the areas where photographs are handled or stored clean and pest-free. Paper fibers, albumen, and gelatin binders are just some of the components in photographic materials that provide an attractive food source for insects and rodents. It is vital that collection areas be free of debris that might encourage pests. Food and beverages should not be allowed. Apart from the potential for attracting pests, accidental spills can irreversibly damage most photographic objects.

Handling Procedures

Most damage to photographs results from poor handling. A well-organized and properly housed collection promotes respect for the photographs and appropriate care in handling. When images can be located quickly, there is less possibility of physical damage. Establish handling procedures and adhere to them whenever photographs are being used. View photographs in a clean, uncluttered area, and handle them with clean hands. Wear clean white cotton gloves to lessen the possibility of leaving fingerprints and soiling the materials; however, be aware that gloves may reduce the manual dexterity of the user. Support photographs carefully and hold them with both hands to avoid damage. Keep photographs covered when they are not being viewed immediately. If it is necessary to mark a photograph, write lightly with a soft lead pencil on the reverse of the image. Do not use ink pens.

Disaster Preparedness

Disaster preparedness begins by evaluating the storage location and the potential for damage in the event of a fire, flood, or other emergency. It is important to create a disaster preparedness plan that addresses the specific needs of the collection before a disaster occurs.

The location and manner in which photographs are housed can be the first line of defense. Identify photographic materials that are at higher risk of damage or loss. Remove all potentially damaging materials such as paper clips and poor-quality enclosures. Store negatives and prints in separate locations to increase the possibility of an image surviving a catastrophe. If a disaster occurs, protect the collection from damage by covering it with plastic sheeting and/or removing it from the affected area. If using plastic, make sure not to trap in moisture as this could lead to mold growth.  Evaluate the situation and document the damage that has occurred. Contact a conservator as soon as possible for assistance and advice on the recovery and repair of damaged materials.

Common Concerns and Solutions

The following problems are commonly encountered in photographic collections:

Broken, torn, or cracked photographs: If the primary support of a photograph sustains serious damage, place it carefully in a polyester sleeve with an archival board support. If the photograph has a flaking binder layer or friable surface components, such as the pastel coloring often seen on crayon enlargements, place it in a shallow box, not a polyester sleeve. Do not use pressure-sensitive adhesive tapes to repair torn photographs.

Soiled photographs or negatives: Do not clean photographs with erasers. Brush soiled  photographs carefully with a clean, soft brush. Proceed from the center of the photograph outward toward the edges. Do not attempt to clean photographs with water- or solvent-based cleaners, such as window cleaner or film cleaner. Improper cleaning of photographic materials can cause serious and often irreversible damage, such as permanent staining, abrasion, alteration, or loss of binder and image.

Photographs or negatives adhered to enclosures: High-humidity environments or direct exposure to liquids can cause photographs to adhere to frame glass or enclosure materials. This is a very difficult problem to resolve, and great care must be taken to reduce the possibility of further damage. If a photograph becomes attached to adjacent materials, consult a photographic materials conservator before attempting to remove the adhered materials.

Deteriorated negatives: Chemical instability is a major factor in the deterioration of early film-based materials. If film-based negatives are brittle, discolored, sticky, or appear wavy and full of air bubbles, separate the negatives from the rest of the collection and consult a photographic materials conservator.

Broken glass negatives or ambrotypes: Place broken glass carefully in archival paper enclosures. Use a separate, clearly marked enclosure for each piece to reduce the possibility of scratching or further damage. For long-term storage, construct a custom sink mat that holds the pieces of broken glass, separated by mat-board shims, in one enclosure.

Article Provided by:

American Institute for Conservation

A 160-Year-Old Photographic Mystery

I wrote about early color images in Family Tree Magazine in the March 2010 issue. Here's a story about Levi Hill, one of photo history's most intriguing people. He claimed to find a way to make daguerreotypes in color. This is from the Smithsonian Magazine. A 160-Year-Old Photographic Mystery

What Children's Book Influenced Your Life? Your Responses

Theresa Berghoff wrote that A White Bird Flying by Bess Streeter Aldridge gave her an understanding of aging and death. It was a sequel to Aldridge's A Lantern in Her Hand.

Rose Marie Morrell of A Lifetime Remembered, LLC said that Winged Moccasins by Frances Farnsworth (out of print), a story about Sacajawea was influential. "After reading the book (on Christmas Day) when I was eight, I decided that I wanted to know the story behind the person who was a name on a page. Thus came my love of preserving personal histories to share each individual's unique life stories and celebrate their lives."

Janelle Walker Warden told me that her favorite children's book  was Josea Areugo's Leo The Late Bloomer.

For Gayle Waite, it was Black Beauty by Anna Sewell. She wrote, "I was 4 when we got our first horse, Redwing."

With the exception of Winged Moccasins, the books mentioned are available on Amazon.com. 

Thank you for sharing!!

YouTube - Faces of the Feebleminded

If you've never watched Lorie Conway's DVD called Forgotten Ellis Island or seen the book, take a peek at this short video clip. The last time I was at Ellis Island some of these intelligence tests were on display. YouTube - Faces of the Feebleminded  

Take time to scan the photos on Forgotten Ellis Island.

Emory University Saves Rushdie’s Digital Data - NYTimes.com

Emory University Saves Rushdie’s Digital Data - NYTimes.com Here's a nice article on digital decay and what one archive is doing about it. Have you read the chapter on digital preservation in my recently revised Preserving Your Family Photographs book?

Family History Kids

Thank you to the staff of Reunions Magazine for mentioning my website that focuses on kids and family history. It appeared in the Feb/Mar/Apr 2010 issue of Reunions magazine. The current issue is online through April 30, 2010. Click on the magazine cover on the home page to open the issue.

Weekend at the Museum: 25 Nostalgic Photos Comparing Past to the Present | WildAmmo.com

25 Nostalgic Photos Comparing Past to the Present | WildAmmo.com This online exhibit of before and after photos is wonderful. I've always wanted to do something like this. Feel inspired, please send me your example.

Cover Story: 18th Century Hair Fun

 

I never imagined that hair history would be so interesting.  In the March/April 2010 issue of the DAR magazine American Spirit you can read about hair in the Revolutionary War period. You won't believe it!

Photo Identification, Photo Preservation, Organize Photos - Photo Detective - Maureen Taylor

Lisa Kudrow was on the Today Show the other day talking about the American version of Who Do You Think You Are, which premieres tonight on NBC. Meredith Vieira mentioned how the hosts of that morning show had traced their family trees. That short sentence, made me think about my involvement in one of those Today Show segments. I actually had two opportunities to work with Vieira's producers, first on The View and then again on The Today Show. In both cases, I was able to turn up new information on her family. It was a lot of fun and I got to work with some really nice folks. You can watch my spot on The Today Show on my website. I'll be watching tonight's premiere episode of WDYTYA to see what researchers were able to find on the celebs. Hope you'll turn in too!

Celebrities root through family history - The Boston Globe

So will this new series encourage millions more Americans to trace their roots? The answer is probably yes. Can't wait to watch it. A photo credit for this image would have been great. It features Josh Taylor of the New England Historic Genealogical Society sitting with Sarah Jessica Parker in library's 6th floor reference area. Celebrities root through family history - The Boston Globe

Luc Sante's "Folk Photography: The American Real-Photo Postcard 1905-1930" Boing Boing

Here's a short article on a new book about Real Photo postcards. How fun! Luc Sante's "Folk Photography: The American Real-Photo Postcard 1905-1930" Boing Boing

Preserving Your Family Photographs: In the Bookstore

I have big news!  I've spent months revising and updating my book Preserving Your Family Photographs and now it's finally available through my estore.

It was a task that took a lot of time.  In this edition, I've included more information on digital imaging and preservation. There is new material in just about every chapter such as handling pictures and labeling techniques. Two conservators helped make sure I got it right. 

Hope you like it!

Could This Be Annie Moore at Ellis Island?

The story of Annie Moore’s arrival at Ellis Island is a compelling one. She was the first immigrant to arrive on January 1, 1892. For the last several years, genealogist Megan Smolenyak Smolenyak has been researching and writing about Annie's life. You can read about Megan’s research in The Story of the First Through Ellis Island is Rewritten by Sam Roberts. In response to this article two relatives from different branches contacted Megan and asked if a photo they had seen at Ellis Island could be Annie.

It depicts three children standing near a long spindled bench inside a building. Along the back wall, is a large group of people standing in line. The question is: “Could this be Annie and her brothers?” This is something I’ve been consulting on since October 2008, when Megan first contacted me to look at  this photograph. On February 2nd, Megan posted a story about Annie in the Huffington Post and mentioned my work with the possible photos of Annie. Thank you Megan!

With all photo mysteries there are a series of steps and questions that lead to a conclusion. Here’s the evidence for these photos.

Picture 1: Three Children

Provenance (ownership clues)
This unlabeled image was found in a group of photos donated by the grandson of Colonel John B. Weber, who was the first Superintendent at Ellis Island. He gave Annie a coin when she arrived there. These are supposed to be photographs he either took himself or had taken, rather than media images. The majority of the photos are identified as the Barge Office in Battery Park, which is where immigrants disembarked in 1890. The two individuals that contacted Megan saw this image towards the back of a three-ring binder. Both contacted her at different times asking if this could be Annie.

I haven’t seen the binder or the photo. Photo albums tell a story through the placement and context of the images. Is the three-ring binder the original album or was there an original that was taken apart? This was common practice. If that’s the case then the context of this photo in relation to the other images is now lost.

Architectural Evidence
The problem in identifying the location of this scene is the lack of photographs of the interior of both buildings--Ellis Island and the Barge Office. Photo albums often tell a story based on the selection and arrangement of images in one. The placement of a picture in an album can determine many things. In this case it could help pinpoint where the image was taken. If it was surrounded by images of the Barge Office, it could’ve been taken there or if it was stuck in the back it’s possible it could be the interior of Ellis Island. The first Ellis Island opened in 1892 and was destroyed by fire in 1897.

In the Huffington Post, Megan showed a portion of an engraving of Ellis Island that appeared in an 1893 Harper’s magazine. The ceiling supports in both images are similar to those used in buildings in the late 19th century. Unfortunately, Megan hasn’t discovered any architectural drawings for Ellis Island. These would be helpful. I'd also love to see a list of the furniture ordered for various parts of the first Ellis Island or for the items used at the Barge Office.

Historical Documentation
The identification of Annie as the girl in this image is based on a description of her arrival that appeared in the New York Recorder. Megan searched a wide range papers and found other mentions of Annie's arrival, including one that described her as being "buxom."

The First to Land
“When she was made fast a rosy-cheeked little Irish girl in a short dress, with a wooly sack buttoned close about her and bareheaded tripped laughingly down the gangplank.”

Family Information
There are various ages assigned to Annie and her two brothers. What’s known is that they immigrated to New York in 1891 and that Annie was first to step foot on Ellis Island when the facility opened on January 1,1892. According to Megan’s research, on the departure manifest from the U.K. their ages are as follows: Annie, 15, Anthony, 11 and Phillip, 8. Upon arrival in the U.S., Annie’s age is listed as 13, Anthony as 11 and Phillip is 7. Birth information on the siblings: Annie's actual age was 17, Anthony was 15 and Phillip 12.

Clothing Details
The boy on the left wears a tight fitting jacket and a cap with short pants. This was typical for boys in the early 1890s. Generally boys older than 12 didn’t wear short pants, by then males were considered young men and as such wore long pants.

The girl in the center is wearing a youthful hairstyle. This is the hair of a young teen. Girls in their late teens wore their hair up in a topknot, not down. She wears a tight fitting short jacket. The newspaper said that Annie wore a short dress. Short means less than floor length. Again this is the fashion for a young teen. Older girls wore full length dresses like a grown woman. The clothing mentioned in the newspaper fits the description of the items worn by this girl.

The youngest boy's clothing is very dark in this image and difficult to see.

It's possible that Annie and Anthony deliberately dressed as younger teens. Was there a lower fare for younger children?

Pictorial Evidence
These three individuals are standing out from the crowd and posed for this picture. This signifies that the photo was likely taken to document an event. Colonel Weber would've wanted a picture taken to commemorate the opening of Ellis Island.

At the end of this analysis, I asked Megan if there were any other photos of the Moore children for facial comparison.

Picture #2: Annie as a young mother

A relative found this image in a family collection. A caption on the back states this is "Ma Schayer." Schayer was Annie Moore’s married name.

Family information
Annie was born in 1874 and married in 1895. She had 11 children.

Clothing Details
This style of coat was popular during 1893-1896. The wide sleeves date the coat. It’s a heavy wool coat. She doesn’t look like she had the means to change her clothes with every fashion whim so she might have worn it longer. She wears her hair in a topknot. This was common in the late 1890s. Most women wore their topknots at the crown but she’s chosen to wear it in the front. It looks like she’s got thin hair so it could be that this worked best for her.

The child’s coat was fashionable c. 1895. It was worn by girls. Boy’s coats in this period have a more tailored look. The child wears a thin fabric dress with long pantalettes to keep her legs warm. She’s young--probably less than two years of age. According to Megan, Annie’s first daughter was born in 1897. This could be that daughter.

Pictorial Evidence
This photo was taken in the winter months. The studio is not very prosperous. There is an old oilcloth on the floor and a simple stone bench. This type of bench usually appears in earlier photos in a studio setting made to look like the outdoors. In the 1890s studios usually featured wicker benches. Perhaps this photographer bought a used prop or was in business for a long time.

If the first photo is Annie at 17, then she’s changed quite a bit. Here she’s a grown woman with a child and much thinner in the face than the young girl. However, it’s important to remember that in the late nineteenth century, girls often matured later than girls do today. This could make a difference in the appearance of a 17 year old vs. a 20 year old.

Picture 3: Annie as an older woman (This photo appear in a second story by Sam Roberts , Relatives Say Photos Depict Ellis Island’s First Immigrant)

This is yet another image positively identified by family as Annie Moore. Megan informed me that two branches of the family independently supplied these identified photos of Annie, with the same handwriting on the back. The captions read, "Ma Schayer."

So the real question is—Are all three women Annie? It’s quite likely. Forensic facial analysis combined with all the pictorial evidence strongly suggests that this is the case.

The most difficult photo identification technique involves comparing facial characteristics. In particular it is helpful to look at the following:
Shape of face: oval, heart shaped, round, square
Eyes (shape, position, color, size)
Nose and nostrils (shape, position, size)
Ears (shape, size, position on head, length)
Hair pattern (baldness, widow’s peaks)
Eyebrows (size, shape)
Moles
Teeth

In facial comparison, in addition to looking at facial features, it’s important to study the measurements between specific features, such as the length of the tip of the ear to the point of the chin, and the space between the eyes. It’s about matching up the points in a face and then comparing those to another face.

The three images of Annie have significant similarities, although it is difficult to compare fine facial details due to the resolution of the pictures. In particular, the third picture of Annie looks particularly like the girl posed with the two boys. The shape of face, eyes, mouth and even ears seem to match.

Tim McCoy of Ireland sent Megan a fascinating comparison of the significant points in the first two pictures of Annie. It’s also clear that they match. Here are some of his overlay images.

 

 In this side by side comparison, the young girl is on the right and on the left is the photo of Annie as a mother with the other image layered on top of it. The bright dots are significant points where the two images match.  Thank you Tim!


Since the family has positively identified the picture of the mother and the older woman as Annie, then the facial comparisons suggest that the first one could be Annie as well.

I'd really like to obtain a higher resolution image of the three children just to see what it looks like. In photo identification cases, looking at original print is ideal. By seeing it I can determine whether it's an original nineteenth century photograph or a copy.  This means I need to make a trip to New York City.

Photo identification is based on both objective and subjective evidence. It's all about adding up the clues. In the case of these three photos of a woman, it’s quite likely that Megan has solved the mystery of the unidentified young woman and as a result of her searching now has a timeline of images of Ellis Island’s first immigrant.

A Wonderful Evening

Last night was so much fun. I was on a panel discussing the children's books that influenced our lives. Editor Anita Silvey featured me (along with 109 other folks) in her book Everything I Need to Know I Learned From a Children's book. So, there I was on a podium with award winning children's author Lois Lowry (The Giver), New York Times bestselling author Anita Diamant (The Red Tent and The Last Days of Dogtown) and Carol Greenwald of WGBH who brought Arthur, Curious George and Martha Speaks to TV. Our assignment was to talk about how one book led to our career decisions. I talked about Wrinkle in Time and showed two photo case studies. The other writers featured their favorites--The Yearling, Mary Poppins and The Oxcart Man. Anita Silvey ended the evening by speaking about the power of children's books. Believe me. Every person in Silvey's book chose to follow their dream based on something they read. It's an amazing testament to the power of the written word.

Props in Pictures: World's Oldest Watch

You never know what you're going to find in a picture be it a photo or a painting. In this case, experts think they've found the oldest example of a watch in a painting of Cosimo I de Medici, the Duke of Florence. It was painted in 1560. What objects have you seen depicted in your photographs? Send me an email and let me know.

Weekend at the Museum: America's Kitchens

I'm a foodie, albiet a wheat, dairy and nut free foodie, but one just the same. I love food and cooking so naturally I was drawn to the article in the Boston Globe on historic kitchens. Oh goody I thought. I've already visited a couple of the kitchens mentioned--the Gropius House and the Culinary Arts Museum, but I've added a couple to my list. Towards the end of the article was a mention of a traveling exhibition called America's Kitchens organized by Historic New England, that's declared this the Year of the Kitchen. I think it's time for a field trip to see the show!

Photographs Help Solve the Case

A couple of Saturday's ago armed with Netflix and a new wifi enabled Blu-ray DVD player I sat down to watch movies. My selection made my daughter roll her eyes--Breaking the Mayan Code based on the book by Michael Coe. It was totally fascinating. I had no idea that a set of photographs taken by Alfred Maudslay beginning in 1881 were key in solving the Mayan writing. He dragged large format cameras and glass plates to the ruins and took gorgeous images of the ruins. I highly recommend this documentary!

Weekend at the Museum: American Independence Museum

This week I'm featuring the American Independence Museum in Exeter, New Hampshire. Visitors can tour their Ladd-Gilman House and the Folsom Tavern, but if you visit today you can hear me lecture on The Last Muster: Images of the Revolutionary War Generation. I'll be there at 1 pm. Sign up in advance if you're interested in a photo consultation. Anyone in attendance receives a pre-publication offer from Kent State University Press. You can pre-order the book for a special price. Hope to see you there!