DOCSLIB.ORG

Philadelphia Photographer by Date

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philadelphia Photographer by Date Index to frontispiece embellishments from 1864 to 1901 in The Philadelphia Photographer (later Wilson’s Photographic Magazine). Chronological by issue. Negative by Frederick Gutekunst Negative by Frederick J. Wallis and (Philadelphia, Pennsylvania, 1831-1917), Brothers (Chicago, Illinois, 1800s). “Der printed by Frederick Gutekunst. “Loan of a getreue Eckart, engraving.” Albumen silver Bite, engraved by H.D. Shenton after print. The Philadelphia Photographer 1, William Mulready's painting.” Albumen no.07 (July1864). Commentary on p.111. silver print. The Philadelphia Photographer 1, no.01 (January1864). Commentary on Negative by John Moran (Philadelphia, p.15-17. Pennsylvania, 1831-1903). “Noonday Rest.” Albumen silver print. The Philadelphia Negative by Frederick Gutekunst Photographer 1, no.08 (August1864). (Philadelphia, Pennsylvania, 1831-1917), Commentary on p.126. printed by Frederick Gutekunst. “Happy as a King, engraved by Finden, after William Negative by John Moran (Philadelphia, Collins's painting.” Albumen silver print. Pennsylvania, 1831-1903). “Indian Ladder The Philadelphia Photographer 1, no.02 Bluff (Delaware Water Gap).” Albumen (February1864). Commentary on p.30. silver print. The Philadelphia Photographer 1, no.09 (September1864). Commentary on Negative by Frederick August Wenderoth p.142-43. (Philadelphia, Pennsylvania, 1819-1884), printed by Frederick August Wenderoth. Negative by Robert Newell (Philadelphia, “untitled [Scenery near Flat Rock, on the Pennsylvania, 1822-1897). “Union Avenue Schuylkill River].” Albumen silver print. in the Great Central Sanitary Fair, Logan The Philadelphia Photographer 1, no.03 Square.” Albumen silver print. The (March1864). Commentary on p.44-45. Philadelphia Photographer 1, no.10 (October1864). Commentary on p.157. Negative by John Moran (Philadelphia, Pennsylvania, 1831-1903). “The Delaware Negative by J.D. Sergeant (Philadelphia, Water Gap from Table Rock.” Albumen Pennsylvania, 1800s), printed by Frederick silver print. The Philadelphia Photographer Gutekunst. “Camp Pool on the Nipissiquit.” 1, no.04 (April1864). Commentary on p.62. Albumen silver print. The Philadelphia Photographer 1, no.11 (November1864). Negative by Borda and Fassitt (1800s), Commentary on p.173-75. printed by A.H. Hemple. “Trip to Pike County, Pa.” Albumen silver print. The Negative by C. Eugene Meyer (Philadelphia, Philadelphia Photographer 1, no.05 Pennsylvania, 1800s), printed by R. Newell. (May1864). Commentary on p.80. “Arch near the wheel-house at Fairmount Waterworks, Philadelphia.” Albumen silver Negative by Graff, Borda, and Fassitt print. The Philadelphia Photographer 1, (1800s), printed by A.H. Hemple. “Trip to no.12 (December1864). Commentary on Pike County, Pa.” Albumen silver print. The p.191. Philadelphia Photographer 1, no.06 (June1864). Commentary on p.95. 1 Negative by John Carbutt (Chicago, Illinois, Negative by John Coates Browne 1832-1905), printed by John Carbutt. “Deer (Philadelphia, Pennsylvania, 1838-1918), Park, Illinois.” Albumen silver print. The printed by R. Newell. “Crum Creek.” Philadelphia Photographer 2, no.13 Albumen silver print. The Philadelphia (January1865). Commentary on p.14. Photographer 2, no.20 (August1865). Commentary on p.137. Negative by John Carbutt (Chicago, Illinois, 1832-1905), printed by John Carbutt. Negative by Henry P. Moore (Concord, New “Starved Rock, Illinois.” Albumen silver Hampshire, 1835-1911), printed by John M. print. The Philadelphia Photographer 2, Slaney. “"Gwine to da Field" taken 1862 on no.14 (February1865). Commentary on p.30. Edisto Island, S.C. at the plantation of James Hopkinson.” Albumen silver print. The Negative by John Coates Browne Philadelphia Photographer 2, no.21 (Philadelphia, Pennsylvania, 1838-1918), (September1865). Commentary on p.152. printed by R. Newell. “Study from Nature, near Tacony, Pa.” Albumen silver print. The Negative by Levy & Cohen (1800s), printed Philadelphia Photographer 2, no.15 by Levy & Cohen. “Burnt District, (March1865). Commentary on p.47. Richmond, Va.” Albumen silver print. The Philadelphia Photographer 2, no.22 Negative by John Coates Browne (October1865). Commentary on p.170. (Philadelphia, Pennsylvania, 1838-1918), printed by R. Newell. “Study from Nature, Negative by John Coates Browne near Tacony, Pa.” Albumen silver print. The (Philadelphia, Pennsylvania, 1838-1918), Philadelphia Photographer 2, no.16 printed by R. Newell. “Portraits and (April1865). Commentary on p.64. Landscape Study, Major-Generals Anderson and Burnside.” Albumen silver print. The Negative by John Coates Browne Philadelphia Photographer 2, no.23 (Philadelphia, Pennsylvania, 1838-1918), (November1865). Commentary on p.186. printed by R. Newell. “The Falls of Melsingah.” Albumen silver print. The Negative by Wenderoth, Taylor & Browne Philadelphia Photographer 2, no.17 (Philadelphia, Pennsylvania, 1800s), printed (May1865). Commentary on p.82. by Henszey & Co. “Portraits.” Albumen silver print. The Philadelphia Photographer Negative by Loescher & Petsch (Berlin, 2, no.24 (December1865). Commentary on Prussia, 1800s), printed by Wilson?. p.205. “Portraits.” Albumen silver print. The Philadelphia Photographer 2, no.18 Negative by John Coates Browne (June1865). Commentary on p.102. (Philadelphia, Pennsylvania, 1838-1918), printed by R. Newell. “Portraits by Negative by J.D. Sergeant (Philadelphia, Magnesium Light.” Albumen silver print. Pennsylvania, 1800s). “Falls on the The Philadelphia Photographer 3, no.25 Nipissiquit River.” Albumen silver print. (January1866). Commentary on p.28-29. The Philadelphia Photographer 2, no.19 (July1865). Commentary on p.121. Negative by John C. Reid (Paterson, New Jersey, 1835-1911), printed by A. Marshall. “Passaic Falls, N.J.” Albumen silver print. 2 The Philadelphia Photographer 3, no.26 Negative by John Coates Browne & H. (February1866). Commentary on p.60. Davids (Philadelphia, Pennsylvania, 1838- 1918), printed by Schreiber & Sons. Negative by Ezra H. Alley (Moravia “Landscape Study.” Albumen silver print. Village, New York, born 1828). “Montville The Philadelphia Photographer 3, no.34 Falls, N.Y.” Albumen silver print. The (October1866). Commentary on p.316-17. Philadelphia Photographer 3, no.27 (March1866). Commentary on p.93. Negative by James Inglis (Montreal, Québec, 1835-1904). “Right Still Now.” Negative by S.G. & T.W. Rogers Albumen silver print. The Philadelphia (Carmichaels, Pennsylvania, 1800s). “Oil Photographer 3, no.35 (November1866). Well, Carmichael's, Pa.” Albumen silver Commentary on p.356. print. The Philadelphia Photographer 3, no.28 (April1866). Commentary on p.125. Negative by Walter C. North (Utica, New York, 1831-1891), printed by Henszey & Negative by William Notman (Montreal, Co. “Study for Lighting.” Albumen silver Québec, 1826-1891). “A Chance Shot.” print. The Philadelphia Photographer 3, Albumen silver print. The Philadelphia no.36 (December1866). Commentary on Photographer 3, no.29 (May1866). p.387-89. Commentary on p.129-31. Negative by William Notman (Montreal, Negative by Henssey & Co. (Philadelphia?, Québec, 1826-1891), printed by William Pennsylvania, 1800s). “The Pets of the Notman. “Cabinet portrait.” Albumen silver Family.” Albumen silver print. The print. The Philadelphia Photographer 4, Philadelphia Photographer 3, no.30 no.37 (January1867). Commentary on p.31. (June1866). Commentary on p.161-64. Negative by John Coates Browne Negative by Loescher & Petsch (Berlin, (Philadelphia, Pennsylvania, 1838-1918). Prussia, 1800s), printed by Loescher & “Instantaneous Marine Views.” Albumen Petsch. “The Gleaners.” Albumen silver silver print. The Philadelphia Photographer print. The Philadelphia Photographer 3, 4, no.38 (February1867). Commentary on no.31 (July1866). Commentary on p.218. p.60-62. Negative by William Notman (Montreal, Negative by Napoleon Sarony (New York, Québec, 1826-1891). “The Two Sisters.” New York, 1821-1896), printed by N. Albumen silver print. The Philadelphia Sarony. “Portrait Studies.” Albumen silver Photographer 3, no.32 (August1866). print. The Philadelphia Photographer 4, Commentary on p.252. no.39 (March1867). Commentary on p,82- 84. Negative by Frederick August Wenderoth (Philadelphia, Pennsylvania, 1819-1884). Negative by Wenderoth, Taylor & Browne “Photographic Study.” Albumen silver print. (Philadelphia, Pennsylvania, 1800s). The Philadelphia Photographer 3, no.33 “Cabinet Portraits.” Albumen silver print. (September1866). Commentary on p.284-86. The Philadelphia Photographer 4, no.40 (April1867). Commentary on p.111-113. 3 Negative by George H. Fennemore Albumen silver print. The Philadelphia (Philadelphia, Pennsylvania, 1800s), printed Photographer 4, no.48 (December1867). by F.S. Keeler. “Cabinet Portraits.” Commentary on p.398-99. Albumen silver print. The Philadelphia Photographer 4, no.41 (May1867). Negative by Jeremiah Gurney & Son (New Commentary on p.157-59. York, New York, 1812-1895). “Cabinet Portrait, Miss Clara Louise Kellogg.” Negative by John Carbutt (Chicago, Illinois, Albumen silver print. The Philadelphia 1832-1905), printed by John Carbutt. “Falls Photographer 5, no.49 (January1868). of Minnehaha, Minnesota.” Albumen silver Commentary on p.31. print. The Philadelphia Photographer 4, no.42 (June1867). Commentary on p.190- Negative by Adolphe Braun (Dornach, 92. France, 1811-1877), printed by Adolph Braun. “Carbon Print, View in the Swiss Negative by William Bell (Washington Alps.” Carbon print. The Philadelphia D.C., 1830-1910). “United States Capitol Photographer 5, no.50 (February1868).
Load more

Recommended publications
  • William Henry Jackson Photographs of Plains Peoples, Circa 1870-1871
    William Henry Jackson photographs of Plains peoples, circa 1870-1871 Sarah Ganderup 2012 December 12 National Anthropological Archives Museum Support Center 4210 Silver Hill Road Suitland 20746 [email protected] http://www.anthropology.si.edu/naa/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Local Call Number(s)....................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 William Henry Jackson photographs of Plains peoples NAA.PhotoLot.95-20 Collection Overview Repository: National Anthropological Archives Title: William Henry Jackson photographs of Plains peoples Identifier: NAA.PhotoLot.95-20 Date: circa 1870-1871 Extent: 6 Prints (albumen) Creator: Jackson, William Henry, 1843-1942 Language: English . Administrative Information Provenance Donated by Betty John, John Warren Beaman's granddaughter, 1995. Location of Other Archival Materials Additional Jackson photographs held in National Anthropological Archives Photo
    [Show full text]
  • Park Bill Made No Reference Tothe Jackson Photographs. Jackson Himself Viewed His Role As Expedition Photographer As Supportive :,Thee Than Primary
    DOCUMENT RESUME ED 204 767 CS 206 413 AUTHOR Bossen, Howard TTTLE A Tall Tale Petold: The Influence of the Paotographs of William Henry Jackson upon the Passage of the Yellowstone Park Act of 1872. PUB DATE 81 NOTE 28p.: Paper presented at the Annual Meeting of the Association for Education in Journalism (64th, East Lansing, MI, August 8-11, 1901). rDRS PRICE MF01/PCO2 Plus Postage. DESCRIRTORS *Federal Legislation: Legislators: Lobbying: Persuasive Discourse: *Photography: *Political Influences: *Recreation Legislation: United States History TDENTIFIERS *Jackson (William Henry): Photolonrnalism: *Yellowstone National Park ABSTRACT The photographs of William Henry Jackson taken during the 1971 survey of the Yellowstone region of Wyomingand Montana have often been cited as the first specific group of photographs used for successful persuasion.' Many historians credit Jackson's photographs is being the most influential factor in persuading Congress to designate the Yellowstone region as the nation's. first national park. But a closer examination of historical reports and congresSional accounts shows that these claims are exaggerated. Oral descriptions of the area from unofficial expeditions prior to the survey sounded unbelievable, but were consistent in many ways, thus lending the stories credibility before the Jackson photographs were taken. An article from a prominent newspaper applauding passage of the national park bill made no reference tOthe Jackson photographs. Jackson himself viewed his role as expedition photographer as supportive :,thee than primary. Although congressional members received the photographs as part of the Yellowstone lobbying effort, those members most influential in the passage of the'till were more likely persuaded by accounts from tamily, members in previous expeditions than by the photographs.
    [Show full text]
  • Barry Lawrence Ruderman Antique Maps Inc
    Barry Lawrence Ruderman Antique Maps Inc. 7407 La Jolla Boulevard www.raremaps.com (858) 551-8500 La Jolla, CA 92037 [email protected] Parts of Western Wyoming, Southeastern Idaho and Northeastern Utah. Stock#: 43117 Map Maker: Hayden Date: 1877 Place: Washington, D.C. Color: Uncolored Condition: VG Size: 34 x 27.5 inches Price: $ 345.00 Description: Fine large format map of the region just south of Yellowstone National Park, as surveyed in 1877 by the Hayden Survey. The map extends from Logan, Utah and the Black Foot Marsh (now Reservoir) in the West, to Fremont Lake Wyoming, and the confluence of the Green River and the Big Sandy River in Wyoming. The map provides a meticulous topographical treatment of the region, including wagon roads, ferries, rivers, mountains, forts and settlements. The route of the Utah and Northern Railroad is shown west of Bear Lake. The Old Fort Hall Overland Road is noted, as is Lander's Cut off. After the American Civil War Ferdinand Vandeveer Hayden led geographic and geologic surveys of the Nebraska and Western Territories for the United States Government. In 1867 he was appointed geologist- in-charge of the United States Geological and Geographical Survey of the Territories. Hayden organized and led previous expeditions into the Rocky Mountains, both before and after the Civil War. In 1869, he led an expedition along the Front Range to Denver and Santa Fe. In 1870 he received an $25,000 governmental grant to lead a 20-man expedition to South Pass, Fort Bridger, Henry's Fork, and back to Cheyenne.
    [Show full text]
  • William Henry Jackson Photographs Collection
    William Henry Jackson photographs collection This finding aid was produced using the Archivists' Toolkit February 28, 2018 History Colorado, Stephen H. Hart Library & Research Center 1200 Broadway Denver, Colorado, 80203 303-866-2305 [email protected] William Henry Jackson photographs collection Table of Contents Summary Information ................................................................................................................................. 3 Biographical note...........................................................................................................................................4 Scope and Contents note............................................................................................................................... 4 Administrative Information .........................................................................................................................5 Related Materials ........................................................................................................................................ 5 Controlled Access Headings..........................................................................................................................6 - Page 2 - William Henry Jackson photographs collection Summary Information Repository History Colorado, Stephen H. Hart Library & Research Center Creator Detroit Publishing Co.. Creator - Photographer Jackson, William Henry, 1843-1942 Title William Henry Jackson photographs collection Date circa 1873-1924 Extent 185.0 Linear
    [Show full text]
  • Knights of Columbus Continues Service to Church Rapidly Growing Organization Focuses on Offering Spiritual Programs
    . ^ I ^ ^ . D enver C atholic Vol. LXXVI No. 7 35 Cents Ninety-nine years of service to the Gospel March I, 7000 ^ 0 0 ^ h* ■ ^ t s Coptic Orthodox children cheer for Pope John Paul II as he arrives for a meeting with their religious leader, Pope Shenouda III, in Cairo Feb. 24. (CNS photo from Reuters) Journey to Egypt Pope begins long-anticipated series of Holy Year pilgrimages - Page 3 Father Dennis Ryan, pastor of Nativity of Our Lord Parish, stands near the baptismal font at the entrance to the new church. House of God New church to be dedicated in Broomfield - Page 7 Jubilee for Deacons Local deacon addresses g a th e rin g at V a tica n - Page 5 Father Michael McGivney, founder of the Knights, is being considered for canonization - 1 6 New Bishop Welcomed Jubilee Mass at JPll - Page 8 DFNVFR ( ATI lOlK k’h( ilSTFR M.ik h I , ?00() Carrying the cross of the poor Colorado Knights celebrate 100 years of service defense of the family. The Knights are hat would happen if all Archbishop's convinced that hand in hand with sup­ Catholics and other porting religious and priestly voca­ W Christians would suddenly Column tions is the need for strengthening fam­ stop accommodating the "culture of ily values. As husbands and fathers, death" anct dedicate themselves to the grit By Most Rev. f members are called to set a standard of goal of making Christ the vital princi­ prayer and faithful leadership in the ple in their lives? Charles J.
    [Show full text]
  • Yellowstone National Park! Renowned Snowcapped Eagle Peak
    YELLOWSTONE THE FIRST NATIONAL PARK THE HISTORY BEHIND YELLOWSTONE Long before herds of tourists and automobiles crisscrossed Yellowstone’s rare landscape, the unique features comprising the region lured in the West’s early inhabitants, explorers, pioneers, and entrepreneurs. Their stories helped fashion Yellowstone into what it is today and initiated the birth of America’s National Park System. Native Americans As early as 10,000 years ago, ancient inhabitants dwelled in northwest Wyoming. These small bands of nomadic hunters wandered the country- side, hunting the massive herds of bison and gath- ering seeds and berries. During their seasonal travels, these predecessors of today’s Native American tribes stumbled upon Yellowstone and its abundant wildlife. Archaeologists have discov- ered domestic utensils, stone tools, and arrow- heads indicating that these ancient peoples were the first humans to discover Yellowstone and its many wonders. As the region’s climate warmed and horses Great Fountain Geyser. NPS Photo by William S. Keller were introduced to American Indian tribes in the 1600s, Native American visits to Yellowstone became more frequent. The Absaroka (Crow) and AMERICA’S FIRST NATIONAL PARK range from as low as 5,314 feet near the north Blackfeet tribes settled in the territory surrounding entrance’s sagebrush flats to 11,358 feet at the Yellowstone and occasionally dispatched hunting Welcome to Yellowstone National Park! Renowned snowcapped Eagle Peak. Perhaps most interesting- parties into Yellowstone’s vast terrain. Possessing throughout the world for its natural wonders, ly, the park rests on a magma layer buried just one no horses and maintaining an isolated nature, the inspiring scenery, and mysterious wild nature, to three miles below the surface while the rest of Shoshone-Bannock Indians are the only Native America’s first national park is nothing less than the Earth lies more than six miles above the first American tribe to have inhabited Yellowstone extraordinary.
    [Show full text]
  • The Paintings of William Henry Jackson
    An Eye for History: The Paintings of William Henry Jackson COVER INTRODUCTION By Marian Albright Schenk FOREWORD By Dean Knudsen SECTION 1 Primary Themes of Jackson's Art SECTION 2 Paintings of the Oregon Trail SECTION 3 Historic Scenes From the West BIBLIOGRAPHY AN EYE FOR HISTORY The Paintings of William Henry Jackson From the Collection at the Oregon Trail Museum by Dean Knudsen scbl/knudsen/index.htm Last Updated: 14-Apr-2006 http://www.nps.gov/history/history/online_books/knudsen/index.htm[7/2/2012 3:40:02 PM] An Eye for History: The Paintings of William Henry Jackson COVER INTRODUCTION By Marian Albright Schenk FOREWORD By Dean Knudsen SECTION 1 INTRODUCTION Primary Themes of Jackson's Art Union soldier in the Civil War, bullwhacker on the Oregon Trail, explorer, photographer and artist for the famous Hayden Surveys of the Territories in SECTION 2 the 1870s, author, publisher, world traveler, and businessman—William Paintings of the Henry Jackson was still utilizing and honing his skills until the day of his Oregon Trail death. He was then nearly one hundred years old. Retiring from his normal SECTION 3 routine of business after 1920, Mr. Jackson entered a new active, exciting, Historic Scenes and productive life. From that time until the 1940s, he returned to the scenes From the West of his young manhood in the West, especially those of Yellowstone, the Great Plains, and the Rocky Mountains. He occupied these days with sketching, BIBLIOGRAPHY photographing, writing, identifying historic sites, and dedicating monuments and markers. He was the author and illustrator of books, an active member of the Grand Army of the Republic, and secretary for the American Pioneer Trails Association.
    [Show full text]
  • William Henry Holmes Papers, 1870-1931
    William Henry Holmes Papers, 1870-1931 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 1 Descriptive Entry.............................................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: CORRESPONDENCE. ARRANGED ALPHABETICALLY. 1882-1931................................................................................................................. 4 Series 2: CORRESPONDENCE. ARRANGED NUMERICALLY BY WILLIAM HENRY HOLMES. 1870-1931................................................................................. 6 Series 3: CORRESPONDENCE. ARRANGED BY SUBJECT................................. 7 Series 4: MEMORABILIA......................................................................................... 8 Series 5: FIELD NOTES, SKETCHES, AND PHOTOGRAPHS..............................
    [Show full text]
  • The Idea of Yellowstone
    "The place where Hell bubbled up" A History of the First National Park by David A. Clary 1972 Office of Publications National Park Service U.S. DEPARTMENT OF THE INTERIOR The Upper Geyser Basin from the cone of Old Faithful, taken by the pioneer photographer William Henry Jackson in 1872 on his second trip into the region with the Hayden Expedition. The idea of Yellowstone One morning in May 1834, in the northwest dred and fifty feet accompanied with a tremen­ corner of Wyoming three men waited anxiously dous noise . ... I ventured near enough to put for the end of a night of strange noises and my hand into the water of its basin, hut with­ curious smells. Warren Ferris, a clerk for the drew it instantly, for the heat of the water in American Fur Company, had ventured into the this immense cauldron, was altogether too upper Yellowstone country with two Indian great for comfort, and the agitation of the companions to find out for himself the truth water ... and the hollow unearthly rumbling about the wild tales trappers told about the region. under the rock on which I stood, so ill accorded It was a place, they said, of hot springs, water with my notions of personal safety, that l re­ volcanoes, noxious gases, and terrifying vibra­ treated back precipitately to a respectful tions. The water volcanoes especially interested distance. him, and now, as dawn broke over the Upper Geyser Basin, Ferris looked out on an unforget­ Ferris later recalled that his companions thought table scene: it unwise to trifle with the supernatural: Clouds of vapor seemed like a dense fog to The Indians who were with me, were quite overhang the springs, from which frequent appalled, and could not by any means be in­ reports or explosions of different loudness, duced to approach them.
    [Show full text]
  • Behind the Lens: Photography in the Pikes Peak Region
    Behind the Lens: Photography in the Pikes Peak Region During the nineteenth century rapid advances in photography and the development of the west went hand in hand. As the science and practice of photography grew more efficient and less expensive, Americans who might never travel west of the Mississippi River could view an astounding array of breathtaking images of mountains, canyons, and vast open spaces from the comfort of their homes. Photographs of the seemingly endless landscape and natural resources helped spur western emigration and finance railroads, town companies and businesses. It also changed the way Americans remembered themselves. Historian Martha Sandweiss notes that for Americans moving west, “photographs provided a way for these immigrants to maintain visual ties to the families and places they had left behind.” Since 1839 when the invention of the first “permanent photograph” was announced, photography has been a rapidly and dynamically evolving mix of the scientific and artistic. The inventors of photography are generally considered to be Joseph Nie’pce, Jacques Louis Mande’ Daguerre, and William Henry Fox Talbot, all of whom were both artists and chemists. The chemical and material processes of photography have dictated how the medium would be used and by whom. The stylistic and artistic conventions of photography have also evolved over the course of the past 175 years according to the tastes of both the producers and consumers of images. The varied ways people use photography: as memento of family and friends, container of personal memory, instrument of scientific inquiry, entertainment, documentation and evidence, promotion, tool of surveillance or an object of art – changes over time according to society’s needs and desires.
    [Show full text]
  • Friends of the British Columbia Archives Is Open to Everyone and Covers the Year from September to August
    1 Friends of the NEWSLETTER British Columbia Archives Vol. 14, No. 5 Royal BC Museum to Launch Crowd-Sourcing Transcription Site, Transcribe This spring the Royal BC Museum will launch Transcribe, a crowd-sourcing website that will allow the public to transcribe valuable historical records. The project aims to improve the Royal BC Museum and Archives’ public accessibility by turning handwritten, audio, and video records into searchable data. By donating their time to transcribe letters, diaries, journals, and other materials Transcribe volunteers can help share BC’s history from the comfort of home. Crowd-sourcing is an increasingly popular way for archives and museums to improve the accessibility of their collections. The concept behind Transcribe is simple – the Royal BC Museum provides digital photographs of archival materials alongside a blank text area and users type exactly what they see. Volunteers simply visit the website, choose a collection and begin to transcribe, all on their own time. The finished transcriptions are reviewed and approved by Royal BC Museum staff and the data becomes searchable on the Transcribe site. The project was initiated by the New Archives and Digital Preservation department and Archivist Ann ten Cate. “We wanted to enlist the help of volunteers to make our collections more accessible,” said Ember Lundgren, Preservation Manager. “There’s a huge, untapped resource of talented and enthusiastic volunteers, just waiting to help out. Transcribe will help us use that resource. Plus, it’s fun!” 1 Lundgren notes that visitors are not obligated to transcribe work; they will also have the option to view the materials as an online exhibition, and browse existing transcriptions.
    [Show full text]
  • Chorographies, Ancient Ruins, and Placemaking in the Salt
    Casas Montezumas: Chorographies, Ancient Ruins, and Placemaking in the Salt and Gila River Valleys, Arizona, 1694-1868 by Linnéa K. E. Caproni A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved April 2017 by the Graduate Supervisory Committee: Victoria Thompson, Chair Philip VanderMeer Dallen Timothy ARIZONA STATE UNIVERSITY May 2017 ABSTRACT This dissertation uses the narrative practice of chorography as a genre for assessing the history of placemaking in the Salt and Gila River region of central Arizona from the late seventeenth century through the mid-nineteenth century. Chorography concerns the descriptive representation of places in the world, usually of regions associated with a particular nation. Traditionally, chorography has served as a written method for describing geographical places as they existed historically. By integrating descriptions of natural features with descriptions of built features, such as ancient ruins, chorography infuses the physical landscape with cultural and historical meaning. This dissertation relies on a body of Spanish- and English-language chorographies produced across three centuries to interpret how Euro- American descriptions of Hohokam ruins in the Salt and Gila River valleys shaped local placemaking. Importantly, the disparate chorographic texts produced during the late- seventeenth, eighteenth, and early nineteenth centuries reflect ‘discursive continuity’—a continuity of thought spanning a long and frequently disregarded period in the history of central Arizona, in which ruminations about the ruins of ancient cities and irrigation canals formed the basis for what people knew, or thought they knew, about the little-known region. When settlers arrived in the newly-formed Arizona Territory in the 1860s to establish permanent settlement in the Salt and Gila River valleys, they brought with them a familiarity with these writings, maps, and other chorographical materials.
    [Show full text]