kadenca

[kadenca]

POSING SESSION AT THE PHOTOGRAPHER'S - 1855

Séance de pose chez le photographe

Small watercolor painting

Willard Oliver H. (1828-1875)

Paris, musée d’Orsay

O.H. Willard (American)

[kadenca]

Kodak Magnesium Ribbon Holder, a Boot's Flasher magnesium ribbon holder, and a Perken, Son & Rayment hand crank magnesium ribbon holder.

David Silver

[kadenca]

Pul Richer (Chartes, 1849-Paris, 1933) - The Runner, phénakistiscope (1895). École des Beaux-Arts, Paris.

[kadenca]

Mark Osterman

Making a New Drying Box.

Since I left George Eastman Museum in 2020 I’ve been building replacements for all the things I used there that I don’t have anymore. We have a gelatin dry plate / camping workshop coming up and we’ll be coating around 75 plates. So, time to make the same coating box I made years ago. We always found that corrugated cardboard was the best material as it aided the drying process by absorbing some moisture. The one I originally posted below was for 8x10” dry collodion plates. The vintage iron ended rack holds 50 plates.

[kadenca]

View this post on Instagram

A post shared by Jackie Mulder (@jackiemulder)

Jackie Mulder

This artwork is part of my art installation, now on show at the exhibition ‘We are nature’ at Singer Laren.

We Are Nature, inspired by the ideology of Princess Irene van Lippe-Biesterfeld, once again calls our attention to the deep bond between humans and nature. She feels that human beings have placed themselves outside of and above nature, with all the consequences that entails. ‘We have cut ourselves off from nature, even though we are an inextricable part of it. By connecting with nature—and therefore with one another—we can work together to build a shared future that does justice to the well-being of all forms of life.’

[kadenca]

Gigantic Walk-In Camera in Searsport, Maine at the Penobscot Marine Museum.

Photos by Steve Fuller

[kadenca]

Jackie Mulder This 10 meter wide triptych is on show at the group exhibition ‘Urban Oasis’. It’s a 2 layered artwork. Front layer: photo printed on organza silk, Indian ink and hand embroidy Back layer: aquarel paper with parts of the same photo, acrylic paint, Indian ink, charcoal and embroidery

[kadenca]

Photographer unknown

[kadenca]

Charles Johan Bergamasco 1867 Portrait of Grand Princess Alexandra Iosifovna

Salted paper print, with watercolour 38.5 x 31.5 cm (image) 49.5 x 42 cm (mount)

Hermitage Museum Inventory Number: ЭРФТ-21832

Antoine Claudet

1866-1867

Portrait of an English gentleman

Salt print, hand-painted

25 x 20 cm (image)

Bassenge Photography Auctions

Auction 114, 4 December 2019, Lot: 4017

[kadenca]

America and the Tintype

[kadenca]

One of a kind, gunpowder generated silver gelatin prints from "Work of Fire" by Christopher Colville.

Untitled Work of Fire #3-16, 7.25” x 6”, 2016

Christopher Colville's early work of fire.

[kadenca]

Three (3) half-plate imperial size panorama daguerreotype of China town, Oakland by Eric Mertens.

[kadenca]

Historic Lewis Daguerreotype camera with a labeled American Optical (CC Harrison) lens. Imperial half-plate size.

Previous ownership by Eric Mertens.

[kadenca]

Charles Amédée Philippe Van Loo The Camera Obscura, 1764

[kadenca]

Eric Mertens Daguerreotypy

[kadenca]

"Ideas are the number one best thing going… Ideas come to us, we don’t really create an idea, we just catch them, like fish. No chef ever takes credit for making the fish, it’s just preparing the fish. So you get an idea and it is like a seed…and in your mind the idea is seen and felt and it explodes, like it’s got electricity and light connected to it, and it has all the images and the feeling. And it’s like in an instant you know the idea… Then the thing is translating that to some medium. It could be a film idea, or a painting idea, or a furniture idea. It doesn’t matter. It wants to be something. It’s a seed for something. So the whole thing is translating that idea to a medium... And in the case of film…it takes a long time, and you always need to go back and stay true to that idea. Keep checking that idea. And what you realize is the idea is more than you realize. And if you’re true to it, when the work is finished and some years go by, you can get even more out of it if you’ve been true to the idea in the first place." David Lynch

[kadenca]

Saul Steinberg (1914–1999) The New Yorker, 1946