| Newsletter for Collectors - Vol 10.3 | April 5, 2016 | | | Home • What‘s New • Photographers • Online Exhibitions
Contents • Alphabetical • Styles and movements • Articles
Visual Indexes • Galleries & Dealers • Timelines • Techniques
Library • Contact us Welcome to another Luminous-Lint Newsletter.
First of all thanks to all of you who have taken out subscriptions to support Luminous-Lint - we‘ve come a long way but there is quite a journey ahead of us. Thanks also to everyone providing information to enhance the website. There are now over 2,900 organisations, estates and collectors providing images and it is gratifying to hear so many positive messages from collectors and fellow enthusiasts. Vast amounts of the content is available nowhere else and the links are starting to reveal patterns and previously unknown stories. These are threads that will be teased out as Luminous-Lint continues to improve.
There is no other resource for highlighting connections between images from thousands of collections. This is why many of the most respected curators, photohistorians, gallery owners and collectors worldwide use Luminous-Lint. We are now at the phase where private collectors have at their disposal resources that many cataloguing departments and curators can only dream about. The amount of time that can be saved by those who understand the features of Luminous-Lint is staggering and the new "Wall Panels" are another powerful feature for curators, educators, the public and those who want to understand the complex threads within photohistory in detail. But more on wall panels a bit later....
Slow, slow, quick and quicker... |
For some weeks Luminous-Lint was running slow and it took me a bit of time to locate the issue. This has been resolved and Luminous-Lint is running hundreds of times faster. Sorry for the inconvenience and your patience is appreciated.
The benefits of wall panels |
Most photography exhibitions include information panels and these go by multiple names such as "Didactic panels" or "Wall panels". These provide static captions and contextual information based on the photographs hung on the walls or in display cases. Some panels display QR codes to allow the public to access additional resources such as images, videos, audio tracks etc as required. These are an essential design element of most real-world photography exhibitions and the same content is often printed in brochures and exhibition catalogues.
Is this as far as we want to go or can we push the exhibition far beyond the boundaries of the physical space of the exhibition and enhance the experience for visitors, educators and the public at the same time?
The visitor to an exhibition will use curator provided information, possibly access additional material via QR codes and access the Internet from their mobile devices as their information needs change. Multiple search strategies are difficult to control but they can be enhanced if we can predict the information needs of the visitor. Some of these are pretty obvious - such as: Tell me more about:
- This photographer
- This artwork
- This technique or process
- This movement
- This year or date
but these lead into other information queries:
- What similar photographs are available at this institution?
- What related images are there in other collections?
- What is the story behind this photograph?
- What are the histories of photography for the country / region where this photograph was taken?
- Where can I read further information?
Information needs are as broad as the many histories of photography but a solution is being experimented with on Luminous-Lint. If wall panels are created that continually improve, include related images and videos from around the world, have fully sourced content, and they link to each other via QR codes we have an integrated network of information to enhance the visitor experience. The partial view of a wall panel on how nineteenth century photographers used pack animals is an example.
Partial screenshot of a Luminous-Lint wall panel (click for further detail)
Subscribers can now experiment with the wall panels from the Themes pages. To access them go to a Theme page and experiment with the different links in the index at the top of the page.
The wall panels can be interactive making them ideal for displays. These panels improve automatically as content and photographs are added to Luminous-Lint but there is also a kicker.
Over 4,000 of these interlinked panels are currently available covering every topic from the history of the Camera Obscura to Conceptual Art. They bring together for the first time the relationships between your own collections and those of other organisations in an easily digestible form.
Subscribers now have access to the wall panels. They are useful teaching aids for educators and I‘d be interested in hearing from curators who would like to experiment with this unique resource to enhance visitor experiences.
Subscriptions are available for those who want to go far deeper into the many histories of photography and these are now extremely detailed incorporating vast amounts of original content.
Requests for further information - and still looking for ... |
Hand-coloured landscapes
Before colour processes were commercially available photographers got around it by hand-colouring and tinting. Early hand coloured daguerreotypes of landscapes don‘t exist (if I‘m incorrect on this please let me know), and coloured salt prints or large albumen prints of landscapes are rare. The exception to this may be stereoviews and lantern slides where there are quite a number. If you have, or know of any, hand-coloured landscape photographs I‘d be most interested. | 
LL/53938 | 
LL/6696 | 
LL/66408 |
Photographs that include data
Many scientific instruments use photography to document experiments and at times additional data is recorded on the negative as an aid to analysis. Within photohistory these photographs are rarely shown and I'm seeking further examples. | 
LL/50413 | 
LL/36547 | 
LL/65668 |
Fabricated realities
Many contemporary photographers including Paolo Ventura, Lori Nix, Sandy Skoglund, Les Krims, Carl Zimmerman and Sarah Hobbs have fabricated realities and then photographed them. I'm interested in your suggestions for contemporary photographers from around the world who are pushing the boundaries. | 
LL/47827 | 
LL/56432 | 
LL/30392 |
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Richard Avedon (1923, 15 May - 2004, 1 October) was born - US, NY, New York. American portrait and fashion photographer.
Henri de Lacaze-Duthiers (1821, 15 May - 1901, 21 July) was born - France, Lot-et-Garonne, Montpezat. A world authority on mollusks who carried out research on the light-sensitive properties of Murex Brandaris. If the sea-snail is broken open it can reveal a yellow slime that changes in sunlight to Tyrian Purple (dibromo-indigo) - a natual More...
Ralph Eugene Meatyard (1925, 15 May - 1972, 7 May) was born - US, IL, Normal. American photographer - shadowy and masked figures emerge from dark and brooding landscapes.
Marie Théophile Louis Rousselet (1845, 15 May - 1929, 21 November) was born - France, Perpignan. French photographer. Between 1863 and 1868 he traveled extensively though India and on returning to Paris a two volume set "Voyage dans L'Inde" comprising 160 of his albumen prints was published by Goupil et Cie. Only one complete set of this More...
Eugene V. Harris (1913, 8 February - 1978, 15 May) died - US, IL, Chicago. He grew up in Minnesota and received a Bachelor of Education degree in 1937 from the State Teachers' College in Moorhead, MN. He joined the Foreign Services in 1944 and became the Asst. Agricultural Attache in Buenos Aires, Argentina in 1948. He More...
Nigel Henderson (1917, 1 April - 1985, 15 May) died - England, Essex, Clacton-on-Sea, Thorpe-le-Soken. British photographer.
Étienne Jules Marey (1830, 5 March - 1904, 15 May) died - France, Paris. French experimental photographer and inventor. He was fascinated by the study of movement (he used the term ‘chronophotographie‘) in animals and man and his photographic inventions were a continual quest to improve his More...
Flip Schulke (1930, 24 June - 2008, 15 May) died - US, FL, West Palm Beach. Photojournalist active in the US who recorded the rise of Cassius Clay - who later became Mohammed Ali. He also recorded the American Civil Rights Movement and Martin Luther King Jr. and his work was documented in three books: Martin Luther King Jr.:More... |
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