Both authors appreciate that there are subjects which are covered only briefly or not at all and over time we will work with colleagues to gradually fill in the pieces. We are not seeking to reinvent the wheel so if you have material that will fill in a gap or elucidate a point or footnote please let us know.   This project is an adventure that both of us are enthusiastic about and if it helps to encourage a deeper understanding of a subject we love so much the better.   Over the years both of us have been assisted by thousands of people and we will make certain that each is thanked properly on this site as it progresses.

Carte de visite - Uncut sheets

21st Editions

Snapshot Photography

Mexican-American War (1846-1848)

American Civil War (1861-1865)

Lucien Aigner: Photo/Story

NEW ONLINE EXHIBITIONS
 

• Carte de visite - Uncut sheets  
    
  If you have examples of uncut sheets I would be interested.
   
  
• 21st Editions  
    
  21st Editions started in 1998 as 21st: The Journal of Contemporary Photography. The original mission of the press was to broaden the dialogue of contemporary fine art photography by bringing together the widest variety of photographic work with the finest international writers, poets, and essayists. The six volumes of the Journal published between 1998 and 2002 represent an astonishing survey of artistic visions and literary voices, revealing current thoughts on photography from a unique range of intellectual, critical, and historical points of view.
   
  Introduction and photographs kindly provided by 21st Editions. With grateful thanks to Steven Albahari, John Wood, Pam Clark and Crissy Welzen
   
  
• Snapshot Photography  
    
  To My Sweetheart‘s Kodak.
   
  Oh Kodak, are you void of sense.
  That you so stoically take
  The pressure of her fingers fair.
  Which all my nerves would wildly shake?
   
  Ah ! don‘t you see her wealth of hair;
  Her eyes so softly, brightly blue
  Now bent, with tender interest
  , O Kodak Camera, on you?
   
  And can‘t you feel the lively thrill
  Of pleasure in her lovely face
  When you work well? 0 Camera,
  I‘d like, just once, to have your place!
   
  Such pictures as I‘d take for her,
  Such glorious views of east and west,
  Like magic they should come, her smile
  Would pay me well to do my best.
   
  You don‘t appreciate your luck,
  O Camera, with glassy eye.
  Which, staring ever straight ahead.
  Sees not the charming maid close by.
   
  If I were you — but never mind,
  You‘re not her lover that is clear.
  While I — I love the very ground
  That only serves to bring her near.
   
  But still, I scarcely envy you.
  Although from me you steal her smiles.
  You‘re deaf, and dumb, and blind to all
  Her beauty rare, her winning wiles.
   
  And saddest, worst of all your lot,
  Ah ! this I could not bear and live!
  To feel that I belong to her.
  And then,— to take a negative.
   
  —M. A. B. Evans, in Outing for Jan., 1890
   
  The Vassar Miscellany, Vol.XIX, Number 4, January, 1890.
   
  Related Luminous-Lint exhibitions on Vernacular Photography and Photo Postcards:
   
  
  • Snapshot photography
  • Early Kodak camera formats
  • Accidental Mysteries
  • The Roz Leibowitz Collection: Snapshot Disasters
  • Abstract: Multiple exposures - Snapshots
  • Vernacular
  • Vernacular photography: Photobooths
  • Identity cards
  • Najaf Shokri: Iran Dokht
  • Least Wanted: A Century of American Mugshots
  • Photo Postcards: The People‘s Photography
  • Real Photo Postcards: African Americans
  • Real Photo Postcards - Portraits: The Brian Smolens Collection
  • Henry M. Beach: Real photo postcards
  • Beauty and the Beast: Human-Animal Relations as Revealed in Real Photo Postcards, 1905-1935
  • Postcards with a message (1980-2000)
  
   
  
• Mexican-American War (1846-1848)  
    
  A selection of what are considered to be the earliest photographs covering a war. If anybody has earlier examples I would be most interested.
   
  
• American Civil War (1861-1865)  
    
  Whilst the American Civil War was not the first conflict to be photographed it came at a time that was interesting photographically. The Daguerreotype was in decline as was the ambrotype but the albumen print and the poor mans photograph, the tintype, were gaining popularity. This meant that whilst the better photographers could use albumen prints to capture the generals, camps and battlegrounds the lower cost of carte de visites and the even cheaper tintypes taken by itinerant photographers made photography within reach of all. The difference between the American Civil War and the wars that had gone before was the way in which the common soldier was recorded as a memento that could be sent home rather than a semi-official photograph of the common soldier taken for portfolios out of the reach of the subject of the photograph.
   
  Related Luminous-Lint exhibitions on War photography:
   
  
  • Earliest War Photographs
  • Mexican-American War (1846-1848)
  • Crimean War (1854-1856)
  • Indian Mutiny (1858)
  • Second Chinese Opium War (1856-1860)
  • American Civil War (1861-1865)
  • Gardner‘s Photographic Sketch Book of the War (1866)
  • Paris Commune Album (1871)
  • Adolphe Braun - The Paris Commune and the Aftermath of the Franco-Prussian War (1870-1871)
  • Boer War (1899-1902) - Fabrications
  • 1914-1919, The War, 150 Artist plates from the personal collection of Major Tournassoud
  • First World War (1914-1918) - Prisoners of War
  • The Atomic Age
  
   
  
• Lucien Aigner: Photo/Story  
    
  "While I have a great respect for the photographic medium, I feel that pictures are not enough to say what needs saying. I have always been suspicious of the cliché about one picture being worth a thousand words."
  Lucien Aigner
   
  "Pictures produce impact, writing adds meaning. Pictures without words are often ambiguous; words without pictures, lame."
  Lucien Aigner
   
  This online exhibition includes thirty seven photographs from the seventy four included in the exhibition Lucien Aigner Photo|Story, January 29-April 24, 2011, deCordova Sculpture Park and Museum, Lincoln, Massachusetts, USA.
   
  Courtesy of the Lucien Aigner Estate and with special thanks to guest curator Jennifer Uhrhane.
   
  
• 20th century Augustus Francis Sherman and Ellis Island (1905-1920)  
    
  Augustus Francis Sherman (1865-1925) was a registry clerk at Ellis Island (NY) and between 1904 and 1920 he took over 200 photographs of new arrivals.
   
  
• Peter Henry Emerson - Marsh Leaves  
    
  In 1895 Emerson produced Marsh Leaves, the last of his volumes of photographs to be published. Smaller in format than the early works, it is illustrated with sixteen photogravures. For On English Lagoons and Marsh Leaves Emerson did, as he claimed he would do, make all his own photogravure plates, finally freeing himself from commercial engravers.
   
  From the introduction to the exhibition by David Stone.
   
  
• Najaf Shokri: Iran Dokht  
    
  The photographed portraits are always bearing this kind of feeling, a feeling of permanent loss, the horror of being vanished and forgotten, Of being lost and coming to naught, despite what they pretend and persisting in preserving them. As if we know, when we are photographed, some parts of our existence are taken away forever and tend to be lost. Whenever I happen to face a picture of past, always this feeling, this sense, overwhelms me, as did this people truly exist! Did they happen to live over a time! Have feelings! Fall in love! And Something like a dust of lassitude has covered everything, everywhere, as these portraits have no more relationship with their surrounded society, everything seems to be unfamiliar. My [native] land is full of these paradoxes, and my persistence in demonstrating some parts of this manipulated identity is an invitation for Iranian audience to face the picture of past, without any judgment, without any repentance. This is more like facing past after ages, a mental controversy over "prescribed amnesia" by authority constitution. Ancient excavation of humans and things, searching for pieces of identity within the overflowing mass of horror and emptiness! Recycling a disrupted identity and stitching together the run away "past" from city hall recycling machine! Finding these devastated identity papers within urban waste of Statistic and Registration Administration, gathering them from the mass of urban trashes before that city hall recycling machine indicates that the fate of these wrecked papers are finished! This is all I have done.
   
  Najaf Shokri
  December 2008
   
  
• Carleton Watkins - Spring Valley Water Works  
    
  This online exhibition is an examination of a single rare yellow-mount stereoview "#925 Spring Valley Water Works" by Carleton E. Watkins (1829-1916). The comments beneath the individual photographs are those of Will Dunniway and Robert Szabo and based upon their years of experience as contemporary wet-plate collodion photographers.
   
  Further observations on this series by photo-historians and wet plate collodion photographers would be appreciated.
   
  
• Jerusalem  
    
  Edward L. Wilson "A Drop from the Desert", The Photographic Times and American Photographer, Vol.XII, June, 1882, No.138 - New Series, No.18, , p.197
   
  A hundred topics come up in my mind when I look over the magazines which awaited my arrival at Jerusalem and Beyrout, I find photographers everywhere, and even in that old city of Damascus photographs are made largely and sold in many of the bazaars amid antiques and draperies and gorgeous apparel. The very first thing I saw after emerging from the subterranean arch which leads you into the center of the "Great Court" of the magnificent ruins at Baalbec was a photographer‘s temporary tent, well stained by developer and hypo., and outside the enthusiastic disciple of our art wrestling with some visitors whom he was trying to persuade to have a group made with the six remaining giant columns of the Temple of Jupiter, or of Baal (as you like), i serving as a background. Jupiter ! What a commentary upon the growth of civilization this was. Baal himself would have become an amateur photographer could he have seen how lovely the rich columns of his temple looked inverted on my ground glass, and reduced through a breach in the wall (whose stones are nearly seventy feet long) from sixty-five feet to two inches and a half in height, and all their glories thrown in. I found the amateur photographer with priestly robes bringing Mount Sinai down to his requirements, and the German professor gathering fragments with his camera where Moses watched the Amalekites while Israel drove them away from the water supply which they required for purposes not entirely photographic. In the Holy City, too, I found Mr. Bergheim, the well-known banker, to be a talented and loving amateur photographer, while Rev. Mr. Phillips, the able missionary at Damascus, was about to join our ranks and include photography as one of the industries which he will in the future teach his native pupils.
   
  Related Luminous-Lint exhibitions on locations:
   
  
  • Egypt, The Pyramids and other archaeological sites
  • Jerusalem
  • Athens, The Acropolis
  • Rome, The Colosseum
  • Constantinople, The Architecture
  • Fontainebleau, Barbizon - the relationships between painters and photographers
  • Niagara Falls
  • London, The Streets, Buildings and Monuments
  • New York
  • China in the 19th century
  • Japan in the 19th century
  • South East Asia in the 19th century
  • Antarctica - Le Grand Blanc
  
   
  
• Contemporary Tintypes  
    
  An exhibition of works by Joni Sternbach, Robb Kendrick, Susan Seubert and Will Dunniway.
   
  Related Luminous-Lint exhibitions on alternative or "noble" processes:
   
  
  • Contemporary Noble processes
  • Contemporary Daguerreotypes
  • Contemporary Tintypes
  • Contemporary Photogravure
  • Contemporary Bromoil prints
  
   
  
• Typologies  
    
  An online exhibition from the digital vaults that explores the nature of typologies within a single image.
   
  

20th century Augustus Francis Sherman and Ellis Island (1905-1920)

Peter Henry Emerson - Marsh Leaves

Najaf Shokri: Iran Dokht

Carleton Watkins - Spring Valley Water Works

Jerusalem

Contemporary Tintypes

• William Henry Fox Talbot - The Ladder - ARE YOU A PHOTOMONTAGIST? I will shortly be sending out a JPG of the photograph below to a group of photomontagists so they can incorporate it into a new artistic work for an online exhibition on Luminous-lint and possibly real world exhibitions. If you are interested in flexing your artistic muscles and participating get in touch. alan@luminous-lint.com
   
  
   
  
• Costume and Fashion photography - In 2011 there will be between five and ten online exhibitions added to Luminous-lint covering the history of costume and fashion photography including:
   
  
  • Nineteenth century clothing including non-photographic fashion plates
  • Key photographers including Cecil Beaton, Horst, and Norman Parkinson
  • Hollywood and fashion - the promotion of clothing through the Waldman Bureau
  
  If there are estates and curators who would like to be involved or have expertise to share let me know.
   
  
• Contemporary documentary and photojournalism - A vast topic but I need assistence and suggestions from rights agencies, image librarians, galleries and dealers to get permission for the very best photo-essays of the last ten years. These will be used to illustrate the texts with Images and Words. Suggestions for stories are welcome.
   
  

 
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