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Explorers and Entrepreneurs Behind the Camera Cover Design: Dinah Stratenwerth Cover Images (From Front to Back): Max T All images are property of the Ibero-Amerikanisches Institut SPK (Image archive / Papers and Manuscripts) Image copyright: Ibero-Amerikanisches Institut SPK Editor: Gregor Wolff Translation: Rebekah Smith Explorers and Entrepreneurs behind the Camera Cover design: Dinah Stratenwerth Cover images (from front to back): Max T. Vargas: “Trono del Inka”, Cuzco; Sumner W. Matteson: Carmelite monastery, Desierto de los Leones, Estado de México; Marc Ferrez: “Rio – Copacabana-Ipanema”; Max T. Vargas: The photo studio of Max T. Vargas in Mercaderes THE STORIES BEHIND THE PICTURES AND PHOTOGRAPHS Street 2-4, Arequipa FROM THE IMAGE ARCHIVE OF THE IBERO-AMERICAN INSTITUTE Composition: Patricia Schulze and Dinah Stratenwerth Print: Pinguin Druck Berlin First edition: 2015 ISBN 978-3-935656-64-1 GREGOR WOLFF (ED.) © Ibero-Amerikanisches Institut Preußischer Kulturbesitz, Potsdamer Str. 37, 10785 Berlin, www.iai.spk-berlin.de Explorers and Entrepreneurs behind the Camera and Entrepreneurs Explorers Gregor Wolff (ed.) Gregor IAI_Fotoband_Umschlag_ENG.indd 1 17.11.2015 09:25:19 All images are property of the Ibero-Amerikanisches Institut SPK (Image archive / Papers and Manuscripts) Image copyright: Ibero-Amerikanisches Institut SPK Editor: Gregor Wolff Translation: Rebekah Smith Explorers and Entrepreneurs behind the Camera Cover design: Dinah Stratenwerth Cover images (from front to back): Max T. Vargas: “Trono del Inka”, Cuzco; Sumner W. Matteson: Carmelite monastery, Desierto de los Leones, Estado de México; Marc Ferrez: “Rio – Copacabana-Ipanema”; Max T. Vargas: The photo studio of Max T. Vargas in Mercaderes THE STORIES BEHIND THE PICTURES AND PHOTOGRAPHS Street 2-4, Arequipa FROM THE IMAGE ARCHIVE OF THE IBERO-AMERICAN INSTITUTE Composition: Patricia Schulze and Dinah Stratenwerth Print: Pinguin Druck Berlin First edition: 2015 ISBN 978-3-935656-64-1 GREGOR WOLFF (ED.) © Ibero-Amerikanisches Institut Preußischer Kulturbesitz, Potsdamer Str. 37, 10785 Berlin, www.iai.spk-berlin.de Explorers and Entrepreneurs behind the Camera and Entrepreneurs Explorers Gregor Wolff (ed.) Gregor IAI_Fotoband_Umschlag_ENG.indd 1 17.11.2015 09:25:19 Explorers and Entrepreneurs behind the Camera THE STORIES BEHIND THE PICTURES AND PHOTOGRAPHS FROM THE IMAGE ARCHIVE OF THE IBERO-AMERICAN INSTITUTE Gregor Wolff (ed.) Fotoband_ENGL.indb 1 16.11.2015 15:35:35 INDEX INTRODUCTION 4 Gregor Wolff JEAN LAURENT – PHOTOGRAPHER TO HER MAJESTY THE QUEEN 8 (“FOTÓGRAFO DE S.M. LA REINA”) Gregor Wolff MARC FERREZ (1843-1923). PHOTOGRAPHER, ARTIST 16 AND ENTREPRENEUR IN 19TH CENTURY BRAZIL Margrit Prussat ALBERT FRISCH AND THE FIRST IMAGES OF THE AMAZON 26 TO GO AROUND THE WORLD Frank Stephan Kohl TEOBERT MALER: AN EMPATHETIC VIEW OF MEXICO 36 Claudine Leysinger THE COLLOTYPE, THE AUTOMOBILE AND ELECTRIC LIGHT: 46 THE VARIED PASSIONS OF EMÍLIO BIEL IN PORTO Ricarda Musser ALBERT RICHARD DIETZE: 56 PHOTO CHRONICLER OF THE PROVINCE OF ESPÍRITO SANTO Ricarda Musser ANTHROPOLOGICAL-ETHNOLOGICAL PHOTOGRAPHS 66 FROM PAUL EHRENREICH’S PAPERS AND MANUSCRIPTS Paul Hempel EASTERN PERU – THE REGION AND ITS PEOPLE (1888-1891), 76 DOCUMENTED BY KROEHLE & HÜBNER Frank Stephan Kohl INDEX Fotoband_ENGL.indb 2 16.11.2015 15:35:35 MORE THAN FRIDA’S FATHER. GUILLERMO KAHLO AS A PIONEER 86 OF INDUSTRIAL AND ARCHITECTURAL PHOTOGRAPHY IN MEXICO Rainer Huhle A VISUAL LEGACY OF THE PERUVIAN POPULATION AT THE BEGINNING OF 96 THE 20TH CENTURY. MAX UHLE’S PHOTO COLLECTION AT THE IBERO-AMERICAN INSTITUTE BERLIN Daniela Mihok OF PLANTS AND MEN. A BOTANIST DOCUMENTS THE AMAZON 106 Michael Kraus PICTURES FROM AFAR: ROBERT LEHMANN-NITSCHE 116 AND THE MEDIUM OF THE PICTURE POSTCARD Kathrin Reinert PHOTOGRAPHY WITHOUT BORDERS: MAX T. VARGAS’ IMPACT AS A STUDIO 126 PHOTOGRAPHER, ARTIST AND ENTREPRENEUR IN SOUTHERN PERU Annika Buchholz ADVENTURER WITH BIKE AND CAMERA: 136 SUMNER W. MATTESON (1867-1920) Anja Müller, Gudrun Schumacher, Gregor Wolff “SPECIALTY: VIEWS OF MEXICO” – HUGO BREHME (1882-1954) 146 Friedhelm Schmidt-Welle WHEN OHLSEN FORGOT HIS HAT – PICTURES FROM 156 A GERMAN-CHILEAN ROBINSONADE Kristy Schank AUTHORS 166 INDEX Fotoband_ENGL.indb 3 16.11.2015 15:35:35 INTRODUCTION GREGOR WOLFF The images presented in this volume, taken from the generally made their livings by selling their images and holdings of the Ibero-Amerikanisches Insitut (Ibero- portrait photography. The more successful among them American Institute, IAI), date back to the early phase of published their own volumes of photographs or sold photography – more specifically from 1856 to 1939 – and their pictures to publishing houses and journals. They were taken in Argentina, Brazil, Chile, Mexico, Portugal, expanded their business models by importing and dis- Spain and Peru. tributing photographic equipment and accessories from Europe, selling photo and postcard series to travelers The order of the essays more or less follows the historical and, in some cases (Ferrez), even made forays into the development of photography and traces an arc from ear- film industry at the start of the 20th century. ly studio photographs and expedition and travel photog- raphy to images that documented early film productions. These commercial photographers also received frequent commissions from companies and public institutions. This publication also maps out the technological devel- They documented the processes of modernization and opment of photography from the middle of the 19th cen- mechanization, above all by taking numerous photo- tury to the start of the 20th century. While in the early graphs of railroads, bridges, railroad stations, port fa- days of photography, it was only possible to take pictures cilities, factories and machines, and thus helped various in photo studios, it was not long before photographers governments to project a particular image to the outside took to the road and scientists began to use the camera world. Today, rather unjustly, a number of these commer- as a research instrument. cial photographers may have faded into obscurity. How- ever, during their careers as photographers, their images Initially, the photographs were sold as single shots, then were showcased at international exhibitions, symposia compiled into photo books and later sold as postcards. and even world fairs, where they frequently won awards As printing techniques improved, the images were dis- (Biel, Brehme, Dietze, Ferrez, Laurent). tributed more widely in newspapers and journals and the profession of the press photographer or travel re- A second key group are the scientific expedition photog- porter emerged. raphers (Ehrenreich, Frisch, Kroehle & Hübner, Maler, Ule). They embarked on journeys lasting many months and One of the aims of this publication is to present the dif- covered thousands of kilometers, often contending with ferent types of photographers in their historical contexts. extreme conditions, such as rowing through the Amazon Many of these photographers were commercial photog- tropical rainforest. Their photographic expeditions were raphers who owned one or several photo studios (Biel, ground-breaking achievements. Working in the early Brehme, Dietze, Hübner, Ferrez, Laurent, Vargas). They days of photography, they took a whole host of heavy 4 INTRODUCTION Fotoband_ENGL.indb 4 16.11.2015 15:35:35 technical equipment on their trips, such as photographic phers have in common is the way they staged their imag- glass plates, mobile photo laboratories, chemicals and es and constructed a reality, which may seem surprising darkroom tents, and needed numerous assistants to do considering science’s claims to objectivity. their work. On occasion, a number of commercial pho- tographers (Ferrez, Matteson) also joined these scientific Each in their own individual way, the photographers pre- field trips, meaning that there was some exchange be- sented here are pioneers of photography, in terms of their tween these two groups. working methods – which were ground-breaking in their day – their ambitious photographic expeditions and their The first half of the 20th century saw the emergence of inventive spirit. They experimented with photographic the first travelling press photographers, who sold their chemicals and invented photochemical formulas that pictures to newspapers and journals. Thanks to major allowed them to take photographs in warm and humid technological developments in the fields of transport conditions. They worked on new types of photographic and photography (roll-film cameras), they were able to paper and developed special equipment and modes of set off on their own and report on the countries they transport to ensure that the fragile photographic plates visited. However, their trips were no less adventurous, did not get damaged on the long journeys. as illustrated by Matteson’s bicycle tour, which took him nearly 1,000 kilometers across Cuba. Among the recurring themes of the photographs are the fauna and flora and natural resources of the various re- Working together with the film industry, which was also gions the photographers visited. Another major motif is in its early days, photographers took the first images of modernization, mechanization and infrastructure. The in- film productions. These, too, are interesting historical habitants of the regions were a further focal point of the sources, and not only for research into film history and photographs, which depicted both European immigrants production: they also depict the towns, villages and land- and the native population in urban and rural areas, along scapes that formed
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