Wednesday, September 5, 2018

George Eastman patented a camera that would change photography

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IT was an invention that would literally transform the way the world saw itself. On this day, 130 years ago, George Eastman received a patent for “certain new and useful Improvements in Cameras” that he had made.
Until then photographers went through a long process to take a picture. They had to insert large photographic plates in the back of their devices, remove them and then develop an image in a dark room by hand.
Eastman’s new camera came with a paper film already installed. Snappers just took their photographs and then sent the whole thing off to Eastman’s company to have the pictures developed. It opened up photography to amateurs.
With Eastman’s cheaper, more compact, easy-to-use camera, no particular expertise was needed. On the same day he received the patent, September 4, 1888, he also registered a name for his film and camera company — Kodak. For more than a century Kodak dominated the photographic industry.
Kodak founder George Eastman.
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Eastman was born on a farm in Waterville, New York, in 1854. When his father’s health started to deteriorate in 1860, the family sold the farm and moved to Rochester. Eastman later quit school to find a job to support his mother and sisters.
He worked in the insurance industry before being employed as a bookkeeper at a bank. In 1877 he planned on taking a trip and bought camera equipment to record the experience. But he never took the trip. Instead, he took up photography as a hobby.
To make it easier to take photos and carry the cumbersome equipment around, Eastman started to streamline the process. In 1878 he improved on the platemaking procedure that previously involved wet chemicals with a new dry-plate process.
Next, he invented a machine for automatically producing dry plates. By then it had become far more than a hobby and in 1880 he opened the Eastman Dry Plate Co. He gave up his clerical career to run the company full time, with investor Henry Strong as company president.
Then Eastman looked at replacing the fragile glass with something more flexible that would allow quicker loading to take the next photo. At the time some cameras were using chemically treated paper rolls, so Eastman bought the patent for a paper winder and installed it in the camera he designed and patented in 1888. He sold the cameras with the roll of negative paper sealed inside. He called it the Kodak, a name that was easy to spell and impossible to mispronounce. He also liked the letter K.
Those who bought the camera, took 100 pictures and returned the whole thing to his company, where the film was processed. His slogan was, “You press the button, we’ll do the rest”. Suddenly photography was open to anybody. The number of photographs of everyday people, objects and situations grew. Consequently, history after 1888 is more comprehensively documented. Also, our obsession with images of ourselves can be traced to Kodak making photos easier to take.
In 1889 Kodak introduced flexible transparent roll film on a new material known as celluloid, which became the preferred standard for most cameras, including motion pictures. In the 1890s the growing number of motion picture producers needing celluloid helped make Eastman’s company a fortune.
Eastman holding the box camera during an Atlantic crossing in 1890.
Manufactured by Kodak, the Target Brownie Six-20 camera was in circulation from 1941-1946.
He kept innovating — next with colour film, nonflammable film and, in 1900, he introduced a camera so simple even children could take snaps.
Developed by Frank Brownell, a Kodak employee, it was basically a cardboard box with a lens, a shutter, a button, a hinged lid and film roller.
Covered in “leatherette”, a leather-look cardboard, it came in five colours, one of which was brown. Dubbed the Box Brownie, the name was neither a tribute to Brownell, nor was it because the boxes were brown. In its advertising Kodak used characters from children’s literature, fun-loving sprites known as Brownies. The Box Brownie created more photographers and different versions were made into the ’60s.
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With a virtual monopoly of the photographic industry, Eastman became hugely wealthy, but in the 1920s he gave half his fortune away to educational institutions, hospitals and charities. In 1930 he made a gift of 500,000 Brownies to children turning 12 to celebrate the 50th anniversary of his company.
At 77 Eastman committed suicide leaving a note that said “My work is done, why wait?”
Kodak remained a major player until the late 1990s when the digital revolution cut into its film sales.
In 2012 the company avoided going under financially by a comprehensive reorganisation of its business, and it remains today as a reminder of how in 1888 Eastman changed the way we captured our world.

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Saturday, September 1, 2018

Response time: Kurt Markus photographs Monument Valley

"I once did a series of interviews with photographers whose work I admire mainly to see how other photographers lived and worked, because we isolate ourselves, pretty much,” veteran photographer Kurt Markus said. “Coming to Santa Fe was like an explosion for me — an explosion of people to see and talk to. I feel it’s a very forgiving environment here, too: No matter what you’re working on or what you’re doing, it’s welcome.”
Montana native Markus and his wife, Maria, moved to Santa Fe five years ago. During his career, he has done advertising campaigns for Armani and BMW; shot for People, Rolling Stone, and Vanity Fair; published three monographs on cowboys; assembled portfolios of nudes, athletes, and fashion models; and filmed music videos for Jewel, Tori Amos, and John Mellencamp. But his work on view at Obscura Gallery is all about nature — specifically, the towering landforms of Monument Valley.
The exhibition, which marks the new gallery’s first solo show, offers visitors an immersion in the austere beauty of the American West. But it was not an objective for Markus. “I had an assignment from Condé Nast Traveler in England in 2002 that brought me to Monument Valley,” he said during a visit to his home studio and darkroom. “I’d never given it much thought, other than the background in The Searchers, and thinking it was a tourist thing. I got lucky the first day with some huge clouds and it just hooked me — OK, this place wants me to come back.
“It’s more of a landscape of sky, so when the sky is really giving it up to you, it feels like a feast,” he elaborated. “But there is famine, and that’s when you’ve made the pilgrimage and you fall back into some other zone and you’re forced to look at it differently, and respond.”
There are dozens of responses to what the photographer encountered at Monument Valley at Obscura, and all but a few are expressed as gelatin-silver prints. This photographer works mostly in the tools of the old school: film camera and darkroom. Shelves in his studio are packed high with negative boxes bearing the inked names Cormac McCarthy, Meryl Streep, Uma Thurman, MC Hammer, Lauren Hutton, Isabella Rossellini, and many others.
In his darkroom — “Kurt’s escape hatch,” his wife called it — the walls are peppered with dozens of photos of another kind of star: Laura Gilpin, Clyde Butcher, Édouard Boubat, Sebastião Salgado, Edward Weston, Bradford Washburn with his 50-pound aerial mapping camera, Elizabeth Taylor with a Rolleiflex camera, and many other photographers.
During our meeting, Markus often mentioned one name in particular. “I go back to meeting Paul Caponigro as being a big moment in my life that kind of cemented me here in Santa Fe. I have the memory of him playing the piano at his place up in the hills here. I’ve never lived in a place until now that had such a strong photography component. I can never print like Bill Clift or Paul Caponigro, but I love the way they’ve approached the work. One of my complaints of what I see in contemporary photography is a certain degree of alienation. There’s no commitment to the emotion of the scene.”
He talked about what he described as Caponigro’s policy of silence — that it is better, when one feels a response to a scene, to make a point of first spending time there without the camera rather than instantly rushing to capture it. But Markus added, “I don’t know that my well is deep enough to really make sense of that. I’m so challenged by the tools that I have and the way that I use them. If I can’t do it with this set of tools, I don’t think becoming a different photographer is really going to help me.”
He has done a lot of shooting with the Pentax 5x7 medium-format camera, but his main squeeze is the 4x5 Linhof Master Technika field camera that he bought new in 1972 or 1973. He still uses 16-exposure film packs in the large-format camera, and like everything else, he develops that film himself. “No one else I know of can do the film packs,” he said. “And I don’t really want to have anyone else do it.”
He develops all of his own film and makes all his prints using the traditional setup of the enlarger or contact-printing frame; processing the prints in trays of developer, stop bath, and fixer; then thoroughly rinsing them. The only exceptions in the Monument Valley show are the largest prints. “Once they get beyond 16 by 20 inches, I go to Steve Zeifman at Rush Creek Editions. He makes those big digital prints. It’s kind of a novelty to me. Handing it off is a very different feeling when you have a one-to-one relationship to the work, keeping your hands on it throughout.”
The most recent photo in the exhibition was taken in 2017, so it represents a 15-year record. “And for me, it’s not over,” he said. An aspect of that portfolio that is not on view at Obscura Gallery recalls a series involving one of Markus’ favorites from the past: photographer Alfred Stieglitz’s pictures of artist Georgia O’Keeffe. “Every time I went to Monument Valley, I took at least one serious picture of Maria in the landscape.”
Some of the framed prints in Kurt Markus: Monument Valley 2002-2017 show skies that are almost black; these tend to accentuate the sunlit rock monuments and especially the huge white clouds. Ansel Adams, another photographer Markus has long admired, used colored filters with his black-and-white films to create exactly those effects. And, especially toward the end of his career, Adams accentuated that contrast between light and dark.
“I do use yellow and sometimes orange filters,” Markus said. “I have definitely left the light camp behind. If I’m going to fail, I want to fail dark. And when I left the idea behind that you have to have detail everywhere, man, I took off. I saddled up my horse and I rode it right down into darkness.
“Photographing sand dunes in Namibia was the perfect example. There’s nothing there but sand, so why do I have to have detail in the shadows?” He contributed an essay to 2003’s Edward and Brett Weston: Dune, a collection of dune images by the two renowned photographers. Markus pointed to a couple of very small prints of his Namibia work, which also boast astounding sand textures and shapes. “These are amazing. This is archival Moab paper printed on an Epson inkjet printer with archival inks. They were taken with the Pentax, but then I found my peace, if you will, using the digital world to satisfy some of my urges.”
He walked over to another stack of boxes. “I’ve done some fashion work, and this is something I just did. I don’t think anybody’s doing 4-by-5 contact prints of Christy Turlington. I can indulge myself a little bit. Every once in a while, I’ve slipped away and tried something new. I’m not sure there’s any rhyme or reason to what I’m doing, except the world’s getting bigger and I want to go smaller.”

 Photographer exhibits photos for museum fundraiser




My father, pioneer conservation photographer Philip Hyde, took the summer of 1948 off from Ansel Adams’ new photography school to earn income for school supplies and living expenses. The G.I. Bill for Veterans of World War II paid for his tuition and books. He and my mother Ardis first moved to Plumas County so he could work at the Cheney Mill in Greenville.
That same summer Dad also photographed many ranches in Plumas County. After photography school his work showed in major museums and galleries including the Smithsonian. He became known for his iconic 1960s and 1970s landscapes that campaigned to establish many U.S. national parks and popularized the large coffee table photography book.
Mom and Dad lived in Plumas County more than 50 years. In 1965, I was the second male baby born in Genesee since the 1800s. Meanwhile, Dad became friends with Plumas County Chamber of Commerce manager and Museum Curator Bob Moon. With a bequest from the estate of Stella Fay Miller, Dad, Moon and other community leaders, along with members of the Native Daughters of the Golden West, founded the Plumas County Museum.
Now fittingly, the museum will host the first show of my exhibition, “Agriculture West and Midwest: Visual Stories of a Fading Way of Life from 17 States with Special Emphasis on Plumas County,” from Sept. 7 through Dec. 29.
The opening reception Sept. 7 will run from 5 p.m. to 7 p.m. At 6 p.m., I will talk briefly about my adventures photographing farms and ranches in 17 states. I will also share a few experiences from my upbringing traveling the wilderness West and learning basic camera settings from my father after he gave me an all-manual Pentax film camera when I was 10 years old.
For many years, I never made more than a few hundred photographs, until 2009 when I bought a Nikon DSLR. Since then I have made over 80,000 images, more than one third depicting agricultural subjects.
Childhood memories of swinging on ropes into stacks of hay bales in a barn near home made barns a familiar and loved subject that took me deeper into photographing agriculture. At first I kept capturing historic barns because people liked those photographs. However, with the influence of my mother’s green thumb and going with her to local ranches to get manure for the garden or to buy fresh eggs or milk, my interest was in the people, the life and how they worked with the animals. I wanted to preserve for future generations, all phases of farming and ranching in action, especially the styles and methods already disappearing across the country.
Cloudy sunset, Olsen Barn in Chester.
While I traveled in the Midwest for three months in the summer of 2015 in Dad’s 1984 Ford converted van, a reporter told me the state of Minnesota alone loses more than 300 barns a year. Agriculture has changed more in the last 80 years than in the last 4,000. In 1900, there were over 30,000 million American farmers, today fewer than five million. Many small agrarian communities across the U.S. are turning into ghost towns.
Besides photographing our disappearing agricultural history, I also strive to bring to light the differences between industrial agriculture and smaller, more sustainable ways. For example, in the West it has become common to use chutes to hold calves still for branding. However, this year I photographed local ranchers in Indian Valley who still ride, rope and rustle the calves by hand.
The art of agriculture itself is a rich tradition going back to the Dustbowl and the Great Depression. Studying the details and keen eye for observation of Dorothea Lange, one of Dad’s teachers at the California School of Fine Arts — now the San Francisco Art Institute, informed how I photograph farmers and ranchers. She, Adams, Edward Weston, Minor White and other luminaries, who taught Dad at school, all photographed agriculture and set the bar high. Today, Weston’s series of bell peppers have become some of the most prized silver gelatin prints ever made. Morley Baer, also an Adams protégé, photographed barns in California particularly well, as did Carr Clifton, a neighbor and protégé of Dad.
Another example of traditional agriculture, the iconic Olsen Barn and meadow border on Chester at the edge of what is left of the Native Maidu people’s Big Meadows on the shore of Lake Almanor. Feather River Land Trust recently began restoring and stabilizing the base and foundation of the barn that pioneered dairy farming in the area, to keep it from collapsing under heavy snow or wind. I am proud that my photographs of the historically significant barn helped in fundraising for the project. However, many old farm structures no longer get enough use to justify the high costs of maintenance. I hope my project can bring awareness and funding for historical restoration efforts. My goal is to do additional shows of my agricultural work. A book is also underway about some of the crazy and unusual experiences I have had walking onto farms and ranches and the people I met on my journey.
Meanwhile, the Plumas County Museum is also constantly scrambling to raise funds to keep enough employees to properly take care of the collection. Museum Director and Curator Scott Lawson said that besides the papers and biographies of the pioneers of the county, the museum also holds a large collection of tangible objects passed down through generations.
Amish teenage brothers and horse cart near Holton, Michigan.
“We have a little bit of everything that represents what life was in Plumas County over the last 170 years for the Euro-American culture, plus items that represent the life ways of the indigenous Maidu. People gave us these objects and records for us to hold in trust and make sure they are taken care of for future generations,” said Lawson. “We are not the Quincy Museum, we are an all-encompassing facility holding the history of the whole county. We represent all of the towns and the entire Feather River watershed is important to us. We can’t do it all here. We are not in competition with the other 11 local museums, but try to help them as much as we can.”
From time to time, the county budget gets tight and the Plumas Museum Association picks up the slack and keeps the doors open. The association relies on donations from the community for its survival.
The museum has a full calendar of well-organized, quality programs for children and adults. The kids especially enjoy learning the heritage skills from the past like making candles and other goods. Lawson said an example of what gives him the most satisfaction happens when new parents come in with a child or two and mention that one of their own best childhood memories came from a day at the museum.
“We are excited to have a fund-raising exhibition here,” said Lawson. “It is noteworthy that David’s work will be displayed on the Mezzanine Gallery near his father’s 40×50 darkroom prints which have graced our walls since 1969. David Leland Hyde plans to donate to the museum half of all proceeds from the sale of his fine art prints and other small collectibles available during the exhibition. Please enjoy the show and support the museum. The first 50 people to arrive at the opening will receive a keepsake gift.”
For information, call 283-6320 or email pcmuseum@psln.com.

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