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Dating early photographs by process and format can be a useful skill, especially if sitters' clothing offers no clues. Colin Harding provides some expert advice on how to unlock their secrets.

Over the next few weeks, I'll be showing you how to date your old family photographs by format and process, using the photographic techniques that dominated the first 100 years of commercial photography.

Frustratingly, old family photographs often come without any accompanying documentation so it can be very difficult to identify their age. Old photographs are full of clues that can help you to do this, such as clothes or hairstyles, and we have a list of useful contacts and resources that may be able to help you date your photographs by fashion.

But even without these pointers, it is possible to date a photograph by its type, rather than what it depicts. One way to do this is to consider the methods used to create photographs.

There have been hundreds of different photographic processes, each with their own distinguishing characteristics. Fortunately, most family photographs were made using just a few photographic techniques-for example daguerreotypes, collodion positives and ferrotypes.

As well as the process, you can also tell a lot from a photograph's size or 'format'.

Most processes and formats were only popular for a limited time, so if you can identify these you will also have a rough idea of the photograph's date.

With just a basic knowledge of what these physical clues can tell you, you are well on your way to revealing the mysteries of your family photographs and their subjects.

How to identify a Daguerreotype (1840s-1850s)

For the first in this series of posts, we'll take a look at some clues that can help to spot a daguerreotype among your old family photographs.

About the daguerreotype process

The daguerreotype was invented by Louis Jacques Mande Daguerre (1787-1851), and it was the first commercial photographic process. A highly polished silver surface on a copper plate was sensitised to light by exposing it to iodine fumes. After exposing the plate in a camera it was developed with mercury vapour.

Richard Beard opened England's first public photographic studio in March 1841 in London's Regent Street, after buying the rights to be sole patentee of the daguerreotype process in England.

Daguerreotypes were sold in Britain throughout the 1840s and into the early 1850s. Access to the studios of photographers working with the daguerreotype process around 1850 would have been limited to the middle and upper classes.

Use these clues to identify a daguerreotype

Cases
Daguerreotype images are very delicate and easily damaged. Daguerreotypes always come in protective cases, often made of leather and lined with silk or velvet.

Plates
They were made on highly polished silver plates. Depending on the angle at which you view them, they can look like a negative, a positive or a mirror.

Tarnish
If exposed to the air, the silver plate will tarnish. Though they were sealed under glass, it is very common to find characteristic signs of tarnishing around the edges of the daguerreotype.

Size
Daguerreotypes were produced in a range of sizes, but most portraits are quite small, usually around 2×3 inches.

Examples of daguerreotypes in our collection

John Adams Whipple (1822-1891), working with George Phillips Bond (1825-1865), the director of the Harvard College Observatory, endeavoured to create lunar daguerreotypes of a quality never seen before. One of Whipple and Bond's lunar daguerreotypes was shown at the Great Exhibition of 1851 where it won a medal.

Inscribed in ink, 'For Mrs Bridges Taylor / with the very sincere regards / Prince Liholiho / Gerrit Parmele Judd / Prince Kamahameeaha / Boston 24th May 1850. To be left at St Katherine's Lodge / Regent's Park / or the Foreign Office / London'. Signed by all three sitters.

Judd was a Congregational cleric and Foreign Minister to the Hawaiian Kingdom. He and the Princes visited Europe and America on a diplomatic mission in 1849 and 1850. The Boston portrait studio, Southworth and Hawes, operated from 1843 to 1863.

More in the series

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How to spot a daguerreotype (1840s-1850s)

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Dating early photographs by process and format can be a useful skill, especially if sitters' clothing offers no clues. Colin Harding provides some expert advice on how to unlock their secrets.

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This one’s pretty cool and is in good condition, some prints are very hard to make out and hazy but this one is is far from that

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Portrait of a woman, c. 1846, Antoine Francois Jean Claudet © The Royal Photographic Society Collection

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I wonder if both of the kids are actually alive since many times the kids were actually dead in portraits

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Group portrait of a woman with two children, c. 1850, Science Museum Group collection

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How did they even do this? Did they strap the daguerreotype plain to the end of a telescope?

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The Moon, 1851, John Adams Whipple and George Phillips Bond, Science Museum Group collection

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Title: A Scene in a Library

Artist: William Henry Fox Talbot (British, Dorset 1800-1877 Lacock)

Date: before March 22, 1844

Medium: Salted paper print from paper negative

Classification: Photographs

Credit Line: Gift of Jean Horblit, in memory of Harrison D. Horblit, 1994

Accession Number: 1994.197.2 (3)

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William Henry Fox Talbot | A Scene in a Library | The Metropolitan Museum of Art

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William Henry Fox Talbot; by descent to his daughter, Matilda Caroline (Talbot) Gilchrist-Clark (1839-1927); by descent to her daughter, Constance (Gilchrist-Clark) Stewart (1863-1944); Stewart family until 1984; (Christie's South Kensington, October 1984); Harrison D

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This is really cool I like even in the 1800’s they were taking photos of people taking photos 

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Attributed to William Henry Fox Talbot (British, Dorset 1800–1877 Lacock)

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Attributed to William Henry Fox Talbot (British, Dorset 1800–1877 Lacock)

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Attributed to William Henry Fox Talbot (British, Dorset 1800–1877 Lacock)

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This is referring to the publication “To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes” a book that follows “fifteen daguerreotypes of Alfred, Delia, Drana, Fassena, Jack, Jem, and Renty—men and women of African descent who were enslaved in South Carolina.” (
9/22/2020. To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes, Pp. 488. Cambridge, Massachusetts: Peabody Museum Press and Aperture.)

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The book is made up of essays and contributions on the history and experiences of the people depicted in the photos and there experiences as slaves as well as using them as a way to protest institutional racism.

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Abstract:

Foreword by Henry Louis Gates Jr.
Photographic Essay by Carrie Mae Weems

Bronze Medal, 2021 IPPY Awards (Photography)
Finalist, 2021 Arles Book Awards (Historical)

Visit our online resource on this publication for more information on this research project, access to online chapters, and more.

The Peabody Museum Press and Aperture are pleased to announce the new publication To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes. The book is a profound consideration of some of the most challenging images in the history of photography: fifteen daguerreotypes of Alfred, Delia, Drana, Fassena, Jack, Jem, and Renty-men and women of African descent who were enslaved in South Carolina.

Made by photographer Joseph T. Zealy for Harvard professor Louis Agassiz in 1850, the daguerreotypes were rediscovered at the Peabody Museum in 1976. Since that time, the images have drawn worldwide interest, provoking wide-ranging interpretation and raising critical questions about the history and conditions of slavery, racism, representation, and identity.

To Make Their Own Way in the World features essays by prominent scholars from the disciplines of history, anthropology, art history, and American studies. Together, they explore such topics as the identities and experiences of the seven people depicted in the daguerreotypes, the close relationship between photography and race in the nineteenth century, and visual narratives of slavery and its lasting effects. The authors also examine the ways contemporary artists have used the daguerreotypes to critique institutional racism in the twentieth and twenty-first centuries.

With over two hundred illustrations, including a portfolio of stunning new photographs by contemporary artist Carrie Mae Weems, this book frames the Zealy daguerreotypes as works of urgent social and intellectual engagement. With strong resonance with the events shaping American lives today, this groundbreaking multidisciplinary volume is part of Harvard's ongoing efforts to grapple with the university's and the country's historical and enduring connections to slavery.

"At this moment and in these divided states of America, perhaps more than at any time since their rediscovery in 1976," Molly Rogers writes, "the daguerreotypes of Jem, Alfred, Delia, Renty, George Fassena, Drana, and Jack command our attention, demanding that we look closely, listen intently, and speak out-however difficult this may be-giving voice to all that we have learned."

About the Contributors

Ian Askew is an artist working in performance, theater, and music. Recent performance research includes SLAMDANCE, a solo concert on punk and Blackness, and A Story Project, a directing thesis on process and storytelling. Recent collaborations include assisting directing The Black Clown (The American Repertory Theater, Lincoln Center) and Perle Noire: Meditations for Joséphine (The Met Museum) alongside director Zack Winokur. They are a 2019 graduate of Harvard College where they co-founded the Harvard Black Playwrights Festival.

Ilisa Barbash is curator of visual anthropology at Harvard's Peabody Museum of Archaeology and Ethnology. She co-directed the films In and Out of Africa (1992) and Sweetgrass (2009), which was nominated as best documentary film for the Independent Spirit Awards, Gotham Award, IDA Documentary Award, and Cinema Eye Awards and was selected for the U.S. State Department and the University of Southern California's 2012 American Documentary Showcase. She co-wrote Cross-Cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Video (1997) and co-edited The Cinema of Robert Gardner (2007). Barbash's book Where the Roads All End: Photography and Anthropology in the Kalahari (Peabody Museum Press, 2016) was the recipient of the Society for Visual Anthropology's 2017 John Collier Junior Award for visual excellence in the use of still photography.

Robin Bernstein is the Dillon Professor of American History and professor of African and African American Studies and of studies of Women, Gender, and Sexuality at Harvard University. She is the author of the multi-award-winning book Racial Innocence: Performing American Childhood from Slavery to Civil Rights (2011). Bernstein co-edits the book series Performance and American Cultures for New York University Press.

Keziah Clarke is a graduate of Harvard College, class of 2020, concentrating in History and Literature with a citation in Arabic.

Matthew Fox-Amato is assistant professor of History at the University of Idaho. He is the author of Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America (2019), which was a finalist for two awards: the Gilder Lehrman Lincoln Prize and the Association of American Publishers PROSE Award. He received a B.A. from Harvard and a Ph.D. in history, with a certificate in Visual Studies, from the University of Southern California.

Henry Louis Gates, Jr., is the Alphonse Fletcher University Professor and director of the Hutchins Center for African and African American Research at Harvard University. An Emmy Award-winning filmmaker, literary scholar, journalist, cultural critic, and institution builder, Gates has authored or co-authored twenty-four books, including Stony the Road: Reconstruction, White Supremacy, and the Rise of Jim Crow (2019). Among his twenty-one documentary films are Black in Latin America (2011), The African Americans: Many Rivers to Cross (2013), Black America since MLK: And Still I Rise (2016), Africa's Great Civilizations (2017), Reconstruction: America after the Civil War (2019-), and the popular genealogy series Finding Your Roots, now in its sixth season on PBS. The recipient of fifty-five honorary degrees, Gates was a member of the first class awarded "genius grants" by the MacArthur Foundation in 1981, and in 1998 he became the first African American scholar to be awarded the National Humanities Medal.

Harlan Greene is currently Scholar in Residence at Addlestone Library at the College of Charleston, where he previously served as head of special collections, and as manager of reference and archival services at the college's Avery Research Center for African American History and Culture. He was previously archivist and assistant director of the South Carolina Historical Society and director of the North Carolina Preservation Consortium. He is a prize-winning novelist and the author of numerous books and articles on the culture and history of the South Carolina low country. Some of his works include Mr. Skylark: John Bennett and the Charleston Renaissance (2001); The Damned Don't Cry, They Just Disappear: The Life and Works of Harry Hervey (2017); and Slave Badges and the Slave Hire System of Charleston, South Carolina, 1783-1865, with Harry S. Hutchins, Jr., and Brian E. Hutchins (2003).

Gregg Hecimovich is professor and chair of the Department of English at Furman University in Greenville, South Carolina. From 2014 to 2015, Hecimovich was a Sheila Biddle Ford Foundation Fellow at the W. E. B. Du Bois Institute at Harvard University. From 2015 to 2016, he served as the Josephus Daniels Fellow at the National Humanities Center in Research Triangle Park, North Carolina, and was a Public Scholar Fellow appointed by the National Endowment for the Humanities. The author of four books, including Puzzling the Reader: Riddles in Nineteenth-Century British Literature (2008), he is currently working on The Life and Times of Hannah Crafts: The True Story of the Bondwoman's Narrative and a separate monograph based on the material that appears in his chapter in this volume.

Evelyn Brooks Higginbotham is the Victor S. Thomas Professor of History and of African and African American Studies at Harvard University. A pioneering scholar in African American women's history, she is known for coining and theorizing the "politics of respectability" in her prizewinning book Righteous Discontent: The Women's Movement in the Black Baptist Church 1880-1920 (1993), and she is co-editor, with Henry Louis Gates, Jr., of the African American National Biography (2013). Higginbotham thoroughly revised and rewrote the ninth edition of the classic African American history survey From Slavery to Freedom (2010), which was first published by John Hope Franklin in 1947. She has now authored the tenth edition for publication in 2020. The recipient of numerous awards and honors, she received the National Humanities Medal from President Barack Obama in 2015 for "illuminating the African American journey."

Christoph Irmscher teaches at Indiana University Bloomington, where he is Distinguished Professor of English and George F. Getz, Jr., Professor and Class of 1942 Professor in the Wells Scholars Program, which he also directs. Among his books are The Poetics of Natural History (1999; second edition, 2019), one of the earliest treatments of Agassiz's photographs; Longfellow Redux (2006); Louis Agassiz: Creator of American Science (2006); Max Eastman: A Life (2017); Stephen Spender, Poems Written Abroad (2019); and the forthcoming Love and Loss in Hollywood: Max Eastman, Florence Deshon, and Charlie Chaplin (co-written with Cooper Graham). Irmscher is also the editor of Louis Agassiz's Introduction to the Study of Natural History (2017).

Jonathan Karp is a Ph.D. candidate in the Department of American Studies at Harvard University.

Sarah Elizabeth Lewis is associate professor of History of Art and Architecture and of African and African American Studies at Harvard University. She is the guest editor of the landmark "Vision & Justice" issue of Aperture magazine, which received the 2017 Infinity Award for Critical Writing and Research from the International Center of Photography, and was the inaugural recipient of the Freedom Scholar Award from the Association for the Study of African American Life and History (ASALH) in 2019. Her research interests focus on representations of race in contemporary art and nineteenth- and early twentieth-century American culture and across the Black Atlantic world. She is the author of The Rise: Creativity, the Gift of Failure, and the Search for Mastery (2014) and is currently finishing a book on race and photography and the Caucasian War for Harvard University Press.

Eliza Blair Mantz graduated from Harvard College in 2018 with a degree in Theater, Dance, and Media and a secondary in African American Studies. They are now working as an actor and activist in Los Angeles.

William Henry Pruitt III is pursuing a Ph.D. in African and African American Studies with a primary field in English and a secondary in Women, Gender, and Sexuality at Harvard University. His research interests include twentieth- and twenty-first-century literature, performance, and Black radical thought in the United States.

Molly Rogers is a writer and independent scholar with interests in American history and the history and theory of photography. She is the author of Delia's Tears: Race, Science, and Photography in Nineteenth-Century America (2010), a history of the Peabody Museum's daguerreotypes of enslaved Africans and African Americans. In addition to her research and writing, Rogers is associate director of the Center for the Humanities at New York University.

Reggie St. Louis graduated from Harvard College in 2018 and is currently working to develop biomaterials for 3-D printing living human tissue.

Tanya Sheehan is the William R. Kenan, Jr., Professor of Art at Colby College and Director of Research at the Lunder Institute for American Art, Colby College Museum of Art. She has been a research associate at the Hutchins Center for African and African American Research at Harvard University since 2012 and the executive editor of the Smithsonian Institution's Archives of American Art Journal since 2015. Sheehan is the author of Doctored: The Medicine of Photography in Nineteenth-Century America (2011) and Study in Black and White: Photography, Race, Humor (2018). Her edited books include Photography, History, Difference (2014); Photography and Its Origins, co-edited with Andrés Mario Zervigón (2015); Grove Art Guide to Photography (2017); and Photography and Migration (2018). She is currently working on a book that examines medicine and modernism in art by African Americans.

Manisha Sinha is the Draper Chair in American History at the University of Connecticut. She is the author of The Counterrevolution of Slavery: Politics and Ideology in Antebellum South Carolina (2000) and the multiple-award-winning The Slave's Cause: A History of Abolition (2016), which was long-listed for the National Book Award for Non-Fiction. She is a contributing author of The Abolitionist Imagination (2012) and co-editor of the two-volume African American Mosaic: A Documentary History from the African Slave Trade to the Twenty-First Century (2004) and of Contested Democracy (2004). Sinha's research interests lie in United States history, especially the transnational histories of slavery, abolition, and feminism, as well as the history and legacy of the Civil War and Reconstruction.

John Stauffer is the Sumner R. and Marshall S. Kates Professor of English and of African and African American Studies at Harvard University. He is the author or editor of over twenty books and one hundred articles about antislavery and/or photography, including the bestsellers GIANTS: The Parallel Lives of Frederick Douglass and Abraham Lincoln (2008) and The State of Jones, with Sally Jenkins (2010). Stauffer's The Black Hearts of Men: Radical Abolitionists and the Transformation of Race (2002) was co-winner of the Frederick Douglass Book Prize and second-place winner of the Lincoln Prize. The Battle Hymn of the Republic: A Biography of the Song that Marches On (2013) and Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century's Most Photographed American, with Zoe Trodd and Celeste-Marie Bernier (2015), were Lincoln Prize finalists. He has served as a consultant on numerous exhibitions, documentaries, and feature films.

Carrie Mae Weems is an internationally renowned contemporary artist whose work resides in public and private collections around the world, including the Metropolitan Museum of Art; Museum of Fine Arts, Houston; Museum of Modern Art; Tate Modern; Whitney Museum of American Art; National Gallery of Canada; and Museum of Contemporary Art, Los Angeles. Her many publications include The Hampton Project (Aperture, 2001), The Louisiana Project (2005), and Kitchen Table Series (2016). Among her numerous awards and grants are the Prix de Rome, the National Endowment for the Arts grant, Herb Alpert Award in the Arts, Anonymous Was a Woman and the Tiffany awards, and a U.S. Department of State Medal of Arts. In 2013, Weems received the John D. and Catherine T. MacArthur Fellowship as well as the Congressional Black Caucus Foundation's Lifetime Achievement Award. She is represented by the Jack Shainman Gallery in New York City.

Deborah Willis is an artist, author, and curator and University Professor and chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University. She is a MacArthur and a Guggenheim Fellow and was a Richard D. Cohen Fellow at Harvard's Hutchins Center for African and African American Research. Willis received the NAACP Image Award in 2014 for her co-authored book Envisioning Emancipation: Black Americans and the End of Slavery, with Barbara Krauthamer (2013), and in 2015 for the documentary Through a Lens Darkly, inspired by her book Reflections in Black: A History of Black Photographers, 1840 to the Present (2000). Other notable publications include The Black Female Body: A Photographic History, with Carla Williams (2002); Posing Beauty: African American Images from the 1890s to the Present (2009); Michelle Obama: The First Lady in Photographs, with Emily Bernard (2009); and Black Venus 2010: They Called Her "Hottentot" (2010).

John Wood received the 2009 Gold Deutscher Fotobuchpreis for his collection of poems Endurance and Suffering: Narratives of Disease in the 19th Century (2007) and was awarded the Iowa Poetry Prize of the University of Iowa Press twice, for In Primary Light (1993) and The Gates of the Elect Kingdom (1996). His Selected Poems 1968-1998 was published in 1999. He founded and directed McNeese University's M.F.A. program in creative writing and held professorships there in both English literature and photographic history. He was co-curator of the 1995 Smithsonian Institution/ National Museum of American Art exhibition Secrets of the Dark Chamber: The Art of the American Daguerreotype, and his book based on the exhibition was selected by the New York Times Book Review as one of the "Best Books of 1995." Wood is editor and co-founder of 21st Editions and co-editor of the German fine arts press Edition Galerie Vevais.

Full Text

By Ilisa Barbash, Molly Rogers, and Deborah Willis

Foreword by Henry Louis Gates Jr.
Photographic Essay by Carrie Mae Weems

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To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes

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2020. To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes, Pp. 488. Cambridge, Massachusetts: Peabody Museum Press and Aperture.

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Ilisa Barbash is curator of visual anthropology at Harvard University's Peabody Museum of Archaeology and Ethnology. She is codirector of the films In and Out of Africa (1992) and Sweetgrass (2009). Barbash is the author of Where the Roads All End: Photography and Anthropology in the Kalahari (2016), which was awarded the John Collier Jr. Award for Still Photography.
Molly Rogers is a writer and independent scholar of American history and the history and theory of photography. She is the author of Delia's Tears: Race, Science, and Photography in Nineteenth-Century America (2010), on the Peabody Museum's daguerreotypes of enslaved Africans and African Americans. Rogers is associate director of the Center for the Humanities at New York University.
Deborah Willis is a professor and chair of the Department of Photography and Imaging at the Tisch School of the Arts, New York University. She received the NAACP Image Award for her coauthored book Envisioning Emancipation: Black Americans and the End of Slavery (2013). Other notable publications include Black Venus 2010: They Called Her "Hottentot" (2010) and Posing Beauty: African American Images from the 1890s to the Present (2009). Willis has been awarded Guggenheim and MacArthur fellowships.
Henry Louis Gates Jr., an Emmy Award-winning filmmaker, literary scholar, journalist, and cultural critic, is the Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research at Harvard University. Gates has been awarded a MacArthur Foundation Fellowship and a National Humanities Medal, authored or coauthored twenty-one books, and created fifteen documentary films and series, including Wonders of the African World (1999), African American Lives (2006-8), Faces of America (2010), and Finding Your Roots (2012-18).
Carrie Mae Weems, one of today's most influential contemporary American artists, has work in New York's Metropolitan Museum of Art and Museum of Modern Art, the Los Angeles Museum of Contemporary Art, and London's Tate Modern. Her previous publications include The Hampton Project (Aperture, 2001), Kitchen Table Series (2016), and Strategies of Engagement (2018). Weems has been awarded a MacArthur Foundation Fellowship the Congressional Black Caucus Foundation's Lifetime Achievement Award, and a US Department of State Medal of Arts.

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To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes | Aperture

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To Make Their Own Way in the World is a profound consideration of some of the most challenging images in the history of photography: fifteen daguerreotypes of Alfred, Delia, Drana, Fassena, Jack, Jem, and Renty-men and women of African descent who were enslaved in South Carolina. Photographed by Joseph T.

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What stands out to me initially is the contrast of “good” and “bad” in the quality of the images of the sides and Center. The Center image objectively being far worse as it is taken on a cell phone camera with no clear photographic intent. I think this helps bring a humanity to the photos, I don’t entirely think it is the best approach but it is definitely effective in what it tries to show. I see it as simply a photo anyone would take naturally if them selves in a mirror. The next thing that stands out is obviously the bold red text that reads “Post Traumatic Slave Syndrome”.

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This art piece is very interesting, it is very unique and I like yeh reworked and recycled feel of it all. It’s staples on a used piece of plywood to make a portrait of a man. These art works are made by using staple guns and repeatedly stapling over an ink drawing made on the piece of wood. I find this very compelling because peoples likenesses are not often captured in ways like this.

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Flaherty, Photograph of Allakariallak (Nanook) at Port Harrison post, with record player, 1920-21

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Flaherty, Photograph of Allakariallak (Nanook) at Port Harrison post, with record player, 1920-21

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https://pubs.aina.ucalgary.ca/arctic/Arctic40-4-354.pdf

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Flaherty, Two Women and One Child with Filming Equioment. Baffin Island (c. 1913-14), negative copy of lantern slide. Library and Archives Canada,

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Flaherty, Two Women and One Child with Filming Equioment. Baffin Island (c. 1913-14), negative copy of lantern slide. Library and Archives Canada,

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https://www.gallery.ca/magazine/exhibitions/images-of-the-frigid-zone

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Nanook of the North a film by Robert Flaherty 

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Nanook of the North a film by Robert Flaherty 

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https://www.google.ca/url?sa=i&url=https%3A%2F%2Fflickeralley.vhx.tv%2Fpackages%2Fnanook-of-the-north-1922%2Fvideos%2Fnanook-of-the-north-vhx&psig=AOvVaw1lOoXUk-LrUoL1YCyaIV4J&ust=1709304994186000&source=images&cd=vfe&opi=89978449&ved=0CBUQjhxqFwoTCNjx1rnn0IQDFQAAAAAdAAAAABAW

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https://www.documentary.org/feature/how-i-filmed-nanook-north

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https://www.documentary.org/feature/how-i-filmed-nanook-north

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I see a common theme of expressing cultural identity through there images, in the work of Flaherty the indigenous peoples are shot in a more documentary way, capture their “essence” in a way. McMaster on the other hand uses a more editorial and conceptual approach to reach the same outcome. Overall I am a fan of both works and think they both get the job done and well at that. I don’t think I prefer one or the other it just depends on the use of each

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The Shirt

2003

Shelley Niro

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Sleeping

2012

Shelley Niro

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In the Series "The Shirt" it follows self portraits of Shelley Niro herself posed infant of a green landscape with a variety of t shirts all holding different messages. The messages start off as simply saying "the shirt", the it says, "my ancestors where annihilated, exterminated, murdered and massacred" "they were lied to cheated tricked and deceived" "attempts were made to assimilate colonize enslave and displace them" "And all I get is this shirt" The message of the photo series I think is very effective and delivered very straight forward but thought provoking as well. Having shelly herself posed with the t shirts and then having a white woman at the end symbolizing what the attempt at assimilating is about. Trying to rid indigenous peoples of their culture. Though photographically simple I think it still has good colours and color choice and a simple but effective composition.

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In This series Niro captures a man at sleep on a couch in many different collages. These collages range from a business person in a suit, an army member in uniform, a traditional warrior, and just simple western clothes. This series is all made up and around the same photo of someone laying on a couch asleep with a cut and past feel with different wardrobe and backgrounds. I think this is a very thought provoking pice that demonstrates the different aspects that make up a stereotypical indigenous mans life.

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I think Niros work is very closely tied to their identity as an indigenous woman, having her work be very political and captivating. Her work is meant to draw attention to herself as a minority and be able to have something to use to speak up against injustices. additionally it's also just accretive outlet for herald a means of inspiration. I think she is able to use her work to represent herself in photography especially when not many other photographers are doing work similar to hers.

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Chronophotograph

1894

Etienne-Jules Marey

Gelatin silver print from glass negative

16.5 × 21.3 cm

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[Bird in Flight]

1886

Etienne-Jules Marey

Albumen silver print from glass negative

1 5/16 x 6 13/16 in

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Arab Horse Gallup

1887

Étienne-Jules Marey

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Attitudes of Animals in Motion

1879, printed 1881

Eadweard Muybridge

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Animal Locomotion, Plate 686

1887

Eadweard Muybridge

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Jumping over boy's back

1884-86

Eadweard Muybridge

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Both of these photographers works are made up of their studies of motion and their position as pioneers of cinema. Marty was th inventor of, Chronophotography, it is a photographic technique from the Victorian era. Muybridge was the inventor the zoopraxiscope, he created it in 1879, ait was a machine that allowed him to project up to two hundred images on a screen.

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I couldn't particularly find any sort of photographers working in a similar type of photography, There are many people using motion in manages such as having motion blur and shaky camera effects. I have one type of photo in mind but I can't find it and I've tried hard and I have no lead as to what the photo is called or who shot it so I'll explain it. I think someone working in a contemporary version of the works of Marey and Muybridge is the photographer who shoots still scenes with some sort of movement in it but the subject repeats over and over. For example, There's a photo of two people playing ping pong and it seem like a still Timelapse as it has the subjects collages over them selves many times.

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Playground in Poverty Gap

1890

Jacob Riis

Photo-Gelatin silver

24.7 x 31.5 cm

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Cell in Penitentiary, Blackwell's Island

1888-1890

Jacob Riis

Photo-Gelatin Silver

24.8 x 20 cm

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Bohemian cigarmakers at work

1889

Jacob Riis

Photo-Gelatin silver

20 x 24.8 cm

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[Spinner piecing-up, Millville Manufacturing Company, Millville, New Jersey]

1936-37

Lewis Hine

Photo-Gelatin Silver

12.7 x 17.8 cm

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[Worker twisting warp ends on to "from" ends, Paterson, New Jersey]

1936-37

Lewis Hine

photo-Gelatin Silver

12.7 x 17.8 cm

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[Junkies breaking up old looms to be sold for scrap-iron and sent to Japan for munitions, Patterson, New Jersey]

1936-37

Lewis Hine

photon-gelatin silver

12.7 x 17.8 cm

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In both Jacob Riis work and Lewis Hine I see a lot of narrative in their work, both in the subject matter as well as the way they go about shooting the subjects. They seem on assignment shooting the stories of the working class or those living in poverty. The photos seem very head of their time and are definitely influential in paving a way for many documentary photographers to come. The work has deep and rich contrast and don’t seem like they are taken at the start of the. 20th century.

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In their work I definitely feel questions about work place safety and working conditions come to mind. Specifically how the working class was treated in the late 19th and early 20th century, the photos remind me of the film modern times by Charlie Chaplin, as they both follow the working conditions of factory workers and the affects that they can have on people both physically and mentally. I think these topics are very ahead of there time as I know many people on this time didn’t consider the affects that the rigorous and dangerous work could have on someone especially during post war times.

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Their work reminds me allot of what most magnum photographers shoot. I wouldn’t be surprised if many magnum photographers are inspired by them as they follow a similar shooting style and storytelling elements in their work. People like Alex Webb and Yael. Martinez and Abbas, all photographers who shoot with narratives to tell stories of the subjects in there image

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I have no old analogue prints in my house hold or any family members near me, my parents are both immigrants from Colombia and all our family still lives there so all I have are shitty instax instant film photos I took when I was younger, I’ve attached some digital copies of old photos I do have, as well as those shitty instant film images. Just wanted to explain this just for some context

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My mom and Brother

2015-2016

Esteban Riveros-Yepez

Instax instant film

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Family Portrait

2006-2007

Unknown

Probably some sort of disposable camera or cheep film that was developed at a pharmacy or Walmart or Costco