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Posted March 2017 in Advertising, Childhood Photography, Documentary Photography, PhotoSeed, PhotoSeed Gallery
Like what you see on PhotoSeed? Have you ever thought of collecting vintage photographs? It might seem strange for some in our modern age of digital connoisseurship, where family photo albums now reside, along with everything else, on your smartphones. But actual physical photographs, unlike their digital brothers and sisters, do actually stand the test of time. You can even hang them on your wall!
If you’ve arrived here by chance, or are a long-time visitor, you might have thought that some of these digital photographs are quite beautiful. Wouldn’t it be nice to…perhaps, acquire an original for yourself, a friend or loved one? Well today is your lucky day. After nearly two decades of collecting, I’m going in a new direction and launching PhotoSeed Gallery. The new venture is designed to give anyone in the world (we ship internationally) the opportunity to purchase vintage photographic works of art (never reproductions) created from roughly 1885-1920. Heck, you don’t even need to leave home to do it. A desktop computer will give you the best feel and display for the site, but if you insist, that aforementioned smartphone will also do the trick nicely from anywhere.
Many websites solicit funding via one of those “donate here” buttons for their upkeep and survival. I can appreciate that, but somehow, in my humble estimation, it is so much better to support your love of photography by receiving something in return: in this case, tangible and real photographs. Going forward, gallery sales will be vital and necessary for maintaining PhotoSeed’s core mission of bringing attention to the often obscure and forgotten practitioners from photography’s past, as well as the critical and time-consuming scholarship their work demands in giving it the proper due it deserves for the larger historical record. And no worries, I’m a collector myself at heart, so our intent will always be the continual addition of rare and surprising examples to this record in the coming years.
Thanks for stopping by, and please consider a purchase to support our vision and validate our passion.
-David Spencer PhotoSeed Archive & Gallery owner and curator March, 2017
Posted March 2016 in Alternate Processes, Childhood Photography, Exhibitions, History of Photography, Unknown Photographers, Unknown Photographs
Discovering a needle in a haystack, with apologies to this farmhand happily lounging atop a salt marsh haystack before the turn of the 20th century, is the proverbial sensation one beholds when encountering a fine blueprint, or cyanotype photograph, for the first time.
Given the excuse the Worcester Art Museum in Massachusetts is devoting significant wall space to their current exhibit: Cyanotypes: Photography’s Blue Period, (through April 24, 2016-publication here.) all while keeping with this institution’s admirable mission of presenting photography as an art form to the public since 1904, I’m mounting my own mini-exhibition of vintage cyanotypes from the PhotoSeed archive here with the added bonus of several photographs that literally embrace and further the definition of “blue print”. So like our “prince” above, whose raking abilities are indeed most impressive, here’s hoping your own photographic gatherings include finding the unique beauty these gems in blue offer.
-David Spencer, February, 2016
And now, examples of “blue prints” owing their roots to the beauty of the cyanotype reproduced using alternate photo-mechanical and photographic processes:
And in conclusion, a final cyanotype:
Posted July 2015 in Childhood Photography, New Additions
Posted March 2015 in Advertising, Childhood Photography, Engraving, Publishing, Significant Photographers, Typography
Surreal would be a good word for it. On the evening of Friday, November 4, 1904, the touring company of the Broadway flop Eben Holden made its way to a performance at a building called the Auditorium on S. 2nd Street in downtown Newark, Ohio.
Most likely in attendance that night? Clarence Hudson White, (1871-1925) the world-renowned pictorialist photographer who was a recent founding member of the American Photo-Secession and current Newark resident. Only two years earlier, he had taken a series of photographs using his Newark neighbors as models for a special edition of Eben Holden that had been made into this very play.
Written by American journalist and author Irving Bacheller, (1859-1950) the story is a classic rags to riches tale that captivated the masses in the new American century when first published in July of 1900, eventually selling over 1 million copies. The setting at the beginning of the novel is the “North Country” of Northern Vermont , the Adirondack’s and St. Lawrence River Valley of the 1840’s and 1850’s. It tells the coming of age story of William Brower, orphaned at the age of six after his parents and older brother accidentally drowned as well as his relationship with Eben Holden, a farm hand who rescued “Willy” from the cruel fate of an orphanage
But this post is part collecting story, a kind of hunt for treasure, or “spondoolix” as “Uncle Eb” would say in one chapter-his country ways and lack of education brought into sharper focus for the reader by Bacheller’s liberal usage of Holden’s spoken dialect.
The Hunt is on
I consider myself a newbie collector, but one of the first things I put on my list 15 years ago when I first started out was one particular impression of Eben Holden rumored to have been illustrated by hand-pulled photogravures by White, the aforementioned famous photographer.
My curiosity had been piqued after seeing the volume listed in several bibliographies, typically stating the 1900 date. One such entry in author Christian A. Peterson’s Annotated Bibliography on Pictorial Photography did give me hope the work existed, even though finding one in the internet age would prove to be quite the challenge:
The Museum of Modern Art, New York, holds what is probably a unique copy of this book, comprised of the Lothrop text pages bound in leather, with an inscription by White and ten photogravure illustrations by him, including the portrait of Holden. (1.)
Because the novel had been such a success a century earlier, the reality of upwards of 500 vintage copies for sale on the web at any one time was daunting. My course of action however was simple, and eventually effective: send out a mass number of emails to every bookseller in the U.S. listing a copy from a suspect 1901 edition I had honed in on inquiring if it contained any photographic illustrations.
And so eventually luck prevailed. In 2007, a bookseller in Idaho finally said yes, and a bucket item was now on my library shelf. But that was not the end of it, as Alice would say, things got Curiouser and Curiouser! Because collectors never stop looking, I soon stumbled upon a CT bookseller who knew exactly the significance of the White-illustrated impression, with an astronomical asking price. An excerpt from his description of the work stated:
Elusive and highly desirable work, absent from almost all museum and library collections devoted to photography, and one of only a very few photographically illustrated books produced by a leading member of the Stieglitz circle at the height of the Photo-Secession. (2.)
And so I sucked it in and didn’t purchase the second copy, which he told me he had originally purchased in Marlborough, NH. Eventually he sold it to a European collection, but I’ve since visited him several times and made a few purchases over the years, something I highly recommend rather than doing everything through e-commerce.
But then lighting struck again five years ago, when I purchased a second copy which had been personally inscribed by the author in 1911 to John A. Dix, then governor of New York state.
Curiouser? The first copy, fourth edition imprint stated Two Hundred and Sixty-fifth Thousand, March 12, 1901 and the second copy was for Two Hundred and Seventieth Thousand, September 18, 1903.
Knowing the book now existed in multiple impressions with the Clarence White photogravures was perplexing to me at first, but I’m certain the inclusion of the White photographs was intended by the publisher Lothrop for a more discriminating audience, so its assumed they had the monetary incentive to publish more than the one impression-even with the fickleness and extra work necessary to bind an edition with hand-pulled gravures.
To this end, my research in preparing this post discovered 1901 to be the year Clarence White was first commissioned by the Boston publisher to illustrate a new edition of Eben Holden. The intended publication date of very late 1902 was designed to coincide with the lucrative holiday sales season. Even with the move to e-books in our modern age, publishers earn good money issuing ornate and extra-illustrated editions during this time of year catering to the once a year book buyer and bibliophile alike.
Known as the Edition de luxe, this edition of Eben Holden with the White photogravures priced at $2.00 somehow managed to miss the late 1902 holiday sales season. The curious fact of the inclusion of the imprint for March 12, 1901 on the limitation page and White’s signature including the year 02 on many of the 12 plates in the published work was basic economics for publisher Lothrop-they simply used existing leaves, including the old limitation pages from current stock when it was eventually released for sale to bookstores in 1903.
This was by no means unprecedented by Lothrop, or other large publishing houses of the era, as they would have set aside a certain number of unbound sheets from a best-selling work for limited impressions featuring artwork. The first illustrated edition of Eben Holden featured halftone photographs taken by Joseph Byron from the Broadway production of the same name hadn’t even debuted until Oct. 28 of 1901. This also used the March 12, 1901 imprint date. Known as the Dramatic Edition, it was described in the trade monthly The Bookseller:
”An illustrated edition of Eben Holden has been recently published called the Dramatic edition. It contains seven pictures of the play as it appeared in New York and a fine portrait of the author.” (3.)
Published in 1903
Finally, with the eventual tenth imprint of the fourth edition stating Two Hundred and Seventieth Thousand, September 18, 1903, (6.) the makeup of the Edition de luxe was that of a small 8vo Octavo instead of the common edition, a 12mo Duodecimo. The inclusion of 12 fine, hand-pulled photogravure plates by White seen here is another matter altogether. For one, other than White’s autograph-appearing often (and faintly) in the lower left hand corner of each plate image as CH White 02, the Edition de luxe neglects to give him any printed credit for the photographs nor the atelier who printed them. This is very surprising for a special edition. Typically, there would at the very least be a separate illustrations page noting titles and page numbers at the front of a similar volume, but for whatever reason they were not included.
Stieglitz plays Go Between
With Eben Holden’s great success, the dramatization of the novel on the Broadway stage was logical for its day-especially since the Cinema was not an option because of the infancy of the medium. Lothrop’s piggy-backing of the work through this Dramatic edition, even by the “flop” standard of 49 performances, was but one way of keeping the work “fresh”- even a full year after initial publication. At some point late in 1901, a result perhaps of someone seeing the play on Broadway or believing White’s work would lend itself nicely to a series of photographic illustrations, the Boston publisher-perhaps through an association with Fred Holland Day (who lived in nearby Norwood where the Norwood Press printed books for Lothrop) or Alfred Stieglitz in New York-gave White the commission for its second illustrated edition of the novel.
Ultimately, Stieglitz’s publishing background, connections and established relationship with White through his editorship of Camera Notes, his new involvement with Camera Work, as well as his having his own work exhibited in an early salon of pictorial photography in Newark Ohio in late 1900 and other exhibitions made Stieglitz a believer in White’s potential as an illustrator:
“What is especially fascinating, however, is what occurs when White is commissioned, as he was in 1901, to take up literary illustration himself. Through the assistance of Stieglitz, White received the commission to illustrate a new edition of the novel Eben Holden by Irving Bacheller. ( 4. )
And much later, the photographer’s grandson Maynard Pressley White commented about a bit of reluctance on his grandfather’s part in dealing with Lothrop as part of his Ph.D. dissertation in 1975:
“The correspondence with Stieglitz concerning the illustrations for Eben Holden is revealing of his character as well as Stieglitz informed him that he suffered from no such timidity and would—and indeed did—handle the matter with the publishers, as it turned out, to the advantage of White.” (5.)
John Andrew & Son: founded in Boston: 1852
In giving credit to White and the firm that printed his photographs as gravures, a bit of elucidation seems in order to set things straight. Upon close inspection of these plates along with many others by Boston’s John Andrew & Son from the same time frame, I feel confident giving the Andrew firm credit for printing them. This is based on a near exact match in the script font used for the plate titles in the de luxe edition of Eben Holden as well as those plates credited to the firm appearing in the Photographic Times Bulletin from 1902-04.
I’ve included examples of the font as a comparison with this post. Another exact match is the same plate paper was used for both publications: this is very revealing especially on the plate verso where a very fine stipple pattern can be seen on the paper surface of the cream-colored plate paper. Perhaps the strongest association with the John Andrew atelier and the Norwood Press (which printed the de luxe edition) emerged in my research on business associations with some of the individual companies that came together in 1894 when that press was formed. These included J.S. Cushing & Co., (for composition and typesetting) Berwick & Smith Co., (for presswork) and E. Fleming & Co. (for binding). Beginning around 1890, all of these firms along with John Andrew were under one roof as part of the brand new Dana Estes & Company publishing house buildings on Summer Street in Boston.
With the move to Norwood in 1894, the Andrew atelier stayed behind in Boston at 196 Summer St. but continued to provide fine photo engraving work to the major publishing houses in Boston and New York. Known today for printing many of the photogravure plates beginning in 1907 for the monumental Edward Sheriff Curtis work The North American Indian, the firm sometime in the first decade of the 20th Century became a department of the Suffolk Engraving & Electrotyping Co. of Boston with offices at 394 Atlantic Ave.
Named after John Andrew, (1815-1870) a wood engraver born in England who immigrated to Boston where he worked with fellow engraver Andrew Filmer, the firm eventually made the transition to photo engraving, including the half tone and photogravure processes. Andrew’s son George T. Andrew succeeded his father at the business, located at 196 Summer St. An 1892 overview of the firm from the volume Picturesque Hampden gives some background:
JOHN ANDREW & SON COMPANY.
ENGRAVERS AND MAKERS OF FINE BOOKS, BOSTON MASS.
If we go back a few years, we find that in illustrating books and magazines wood and steel engraving were about the only methods available. Nor could steel engraving have any wide use on account of the great expense of printing. Ever since its start, in 1852, the firm, now styled the John Andrew & Son Company, has held a prominent place among illustrators, especially in work of the finest grades. Their reputation was made in the first place as engravers on wood, but the discovery of delicate chemical and mechanical processes has in later years led them to also take the photo-engraving and half-tone work which has at present such wide use and popularity. In this field they do work for some of the best magazines and books published in this country. In what they undertake they strive not so much to do the cheapest work in price as the best work in quality. Quite recently the firm has taken up the photo-gravure process in addition to those spoken of above. The industry we describe is not located in Hampden county, but the mention here is not inappropriate as the engraving of our pen and ink pictures was done almost wholly by this firm. Their address is 196 Summer street, Boston.
Photographic Illustration: a New Outlet
A newspaper clipping, believed to be from the Newark Daily Advocate in the Clarence Hudson White clipping file at the Newark, OH public library, includes the following undated (but 1903) story discussing Eben Holden in passing while concentrating on a new commission that inevitably came from it: costume-piece photographs by White similar to those he did for Lothrop for author Clara Morris’s story published in McClure’s magazine in February, 1904 entitled “Beneath the Wrinkle”:
PICTURES From Real Life by Clarence White
Forwarded On Order to a New York Magazine-Local Artist’s Latest Work.
Mr. Clarence White received a command last fall from the art department of McClure’s Magazine to illustrate Clara Morris’ new story, entitled, “Beneath the Wrinkle,” that will appear in that magazine presumably in the near future. Mr. White was to have been given all the time he wanted, but in view of the change of art editors, Mr. White was notified about three weeks ago that the illustrations would be required immediately. Mr. White at once notified the publishers that he would use all his efforts to complete them immediately, and would forward them when completed. Today the set comprising six, were forwarded and as equaly as clever and well executed as the ones made for the illustrating of the holiday edition of Eben Holden that was to have made its appearance last Christmas, but was not completed in time for that season. The ones now in progress are all local personages, done in quaint, old-fashioned garb and surroundings, recalling vividly to mind the characteristics in dress and decorations then in vogue. They show the fine and beautiful artistic temperament of Mr. White in his striking correct interpretation of dress and customs of the period in which the characters live. Mr. White deserves the honor the illustrations will surely bring to him, as he is always conscientious and painstaking in whatever he undertakes in his profession.
White Family Connections: Songs of all Seasons
During the time he received the commission for illustrating Beneath the Wrinkle in 1903, a more intimate family connection developed which allowed White the opportunity to take another series of photographic illustrations, 42 in all, published in 1904 within a slim volume of poetry titled Songs of All Seasons.
The author was nationally known poet Ira Billman, Clarence White’s uncle, the brother of his mother Phoebe Billman White. In the volume Symbolism of Light: The Photographs of Clarence H. White published in 1977 which accompanied an exhibition of White’s work at the Delaware Art Museum and International Center of Photography, White’s grandson Maynard P. White, Jr. describes Ira Billman as a major influence on Clarence and Songs:
Among the gathering of aunts and uncles that gave meaning and context to the artist’s early life was Ira Billman, his mother’s brother. “Poetic” is the word most often used to describe White’s photography, and his Uncle Ira, a poet by avocation, was one of the earliest artistic influences in his life. …Billman’s work celebrates rural America; his poems are songs to people and to nature, and they are imbued with the deep religious sentiments of his Lutheran heritage, without being mawkish or even faintly cloying. What is important for the purpose of my discussion is that Clarence White made the photographic illustrations for Songs of All Seasons, and Billman dedicated the volume to him. (7.)
Ninety-one poems and sonnets are included in the volume. Here, The Test, a representative poem from the work:
Not what I felt will be the test
When song and fragrance filled the hour,
And all the sunshine of the blest
Unfolded me to perfect flower.
Not what I aid will be the test
When by sweet waters wound my way,
And white-haired, thoughtful hills all guessed
The word I was about to say.
Not what I did will be the test
When stunned by cry of human needs
I dreamed I was myself oppressed,
And woke to passion of great deeds.
Not what I chose will be the test
When first I saw one world in hand
Is worth two in the bush-the best
Of which it is to understand.
O! none of these will be the test,
But what God knows I would have done,
Had I been nurtured in the nest
Of one, I now condemn and shun. (8.)
Pictorial Illustration for Photography a Growing Field
By 1904, esteemed critic Sadakichi Hartman, writing in Leslie’s Weekly, weighed in on the growing use of photography for book illustration:
”…and Clarence H. White, of Newark, O., has found a new opening for photography in the illustration of books. His illustrations for “Eben Holden” have attracted wide and deserved attention.” (9.)
And later that year, citing White’s involvement with Eben Holden while writing in the Photographic Times Bulletin, Hartman brought up the potential financial rewards possible for pictorial photographer in this new field:
“The only way to approximate a market value of pictorial prints is to investigate how much they might bring on the average, if offered for sale as illustrations. There is lately a decided demand for photographic illustrations, and consequently a certain standard price in vogue. The pictorialist, of course, and perhaps with some right, aspires to illustrator’s prices (i.e., $50-$100 for the full page of a magazine), but he has never reached it, with the one exception of Clarence H. White, who is said to have received several hundred dollars for his series of “Eben Holden” illustrations.” (10.)
This additional source of significant money to Clarence White and his young family through these illustration commissions invariably gave him additional confidence in his abilities as a photographer and financial peace of mind to eventually make his way to New York City, leaving Newark in 1906. It is also not a stretch to infer White’s own life mimicked the storyline of hard work that can earn the “American Dream” found between the pages of Eben Holden. Although the critic for the New York Times reviewing the play at New York’s Savoy theater didn’t care too much for the acting:
”As an exhibition of dramatic craft “Eben Holden” is hardly worth serious consideration“…
he did, a few paragraphs later, write the production had a few redeeming qualities:
But, despite its defects, the play is wholesome; it is redolent of the woods and the fields, and it provides the opportunity for an evening of entertainment that need not be looked back upon with regret. (11.)
No doubt Clarence White, had he been in attendance watching the play inside Newark’s Auditorium that 1904 November evening, would have agreed with these last sentiments of the big city critic, marveling and grinning to himself in the darkened hall while taking in the surreal juxtaposition that art imitating life can bring about.
1. (White, Clarence H.) excerpt: An Annotated Bibliography on Pictorial Photography: Selected Books from the Library of Christian A. Peterson: Laurence McKinley Gould Library: Carleton College: Northfield, Minnesota: 2004
2. ABE listing: 120407. Besides multiple copies held by PhotoSeed, other known copies are in the Library of Congress, MOMA and Photogravure.com.
3. The Bookseller-Devoted to the Book and News Trade: Chicago: January, 1902: p. 28
4. Peter C. Bunnell: Inside the Photograph: writings on Twentieth-Century Photography: Aperture Foundation: 2006: p. 47
5. Clarence H. White : a personal portrait: Maynard Pressley White: Ph.D. dissertation, University of Delaware, 1975: pp. 79-80
6. see Beaumont Newhall’s Photography: A Short Critical History, from 1938, lists Eben Holden with the White illustrations as being published in 1903 on p. 215
7. excerpt: see Symbolism of Light: 1977: p. 7
8. Songs of All Seasons: Ira Billman: Indianapolis: The Hollenbeck Press: 1904: p. 65
9. excerpt: Advances in Artistic Photography: Sidney Allan: in: Leslie’s Weekly: April 28, 1904: New York: p. 388
10. excerpt: from: What is the Commercial Value of Pictorial Prints?: Sidney Allen: in: The Photographic Times Bulletin: December, 1904: p. 539
11. excerpt: review: “Eben Holden” at the Savoy: The New York Times, October 29, 1901
Posted April 2013 in Advertising, Childhood Photography, Exhibitions
The 1905 Kodak Competition | Exhibition & Kodak Advertising Contests
The cryptic title of this post owes a debt to advertising. Seeing an opportunity to redefine their annual photographic contest for 1905 by marketing products to all kinds of photographers, the Eastman Kodak Company decided to embrace the two distinct schools of the period.
The so-called “straight” shooters, whose intent was a picture sharply in focus and the “pictorialists”; those embracing the painterly concept of selective focus in their work.
This inclusivity was emphasized after the company announced criteria for their selection of judges for the 1905 contest:
In the selection of a jury we have had two important points in mind. First, the selection of gentleman of high standing and unquestioned competency. Second, the selection of gentlemen affiliated with neither of the warring factions ⎯men who are broad-minded enough to recognize merit where it exists in a picture, no matter whether that picture be as sharp as a needle or as woolly as Mary’s little lamb. (1.)
Rhetoric aside, these judges certainly had artistic ambitions. They were:
Charles Berg: (1856-1926) studied at the Ecole des Beaux Arts in Paris and London, opening an architectural practice in New York City in 1880, and later designing one of the city’s earliest skyscrapers, the Gillender Building. In 1896 he became a founding member of the Camera Club of New York, and his amateur work reflected his classical training-classically draped models often surrounded by architectural elements.
Arthur Radclyffe Dugmore: (1870-1955) at the time of the 1905 contest a pioneering nature photographer, he had the distinction in 1903 of one of his photographs, “A Study in Natural History”, a photogravure of baby birds, appearing in the first issue of Camera Work I. He later became a recognized painter and printmaker.
Henry Troth: (1863-1948) was an active member of the Photographic Society of Philadelphia, a pioneering artistic photography society in the United States. A professional photographer specializing in genre and the natural world, his work appeared in magazines and volume compilations of poetry and verse, often uncredited, such as Poetry of Nature. (1909)
In late 1904, Kodak announced they would break down and eliminate what they felt had been barriers for amateurs and professionals alike in regard to photographic contests up to that period:
A drawback to previous competitions has been the fact that many amateurs felt it useless to compete against their more experienced brothers while not a few of those who have become famous as photographers have been afraid to enter lest they might be awarded a forty-ninth prize and see, in the photographic publications, their famous names at the foot of a list of unknowns.
The terms of the 1905 Kodak Competition overcomes both of these difficulties. It provides separate classes for the novice and for those who have hitherto been successful and then bunches the prizes below fifth so that all such awards will be simply “Honorable Mention” together with a substantial prize. (2.)
A true marketing ploy, the company also made sure there would be plenty of time for those contemplating a submission for the contest. In America, entrants had up to November 1st to enter and in England, a month earlier, although this was changed to a later date to accommodate the mailing of the large amount of submissions, which totaled 28,000 entries worldwide. Particulars for the contest were printed in multiple publications, including the January 1905 issue of Camera & Dark-Room:
The 1905 Kodak Competition.
We have pleasure in announcing that another great picture competition is to take place during the year. The Eastman Kodak Company offer $2,000 in prizes and have arranged for two classes of competitors, “Open” and “Novice.” The “open” class is for all who may care to enter, but the “novice” is open only to amateurs who have never won a prize in a photographic contest. This is a feature which will greatly please many who do good work but who do not care to compete against the regular pot hunters.
The classes and conditions are as follows:
Class A. Open to all. For Kodak pictures 3 ¼ x 4 ¼ or larger, including the Panoram Kodaks.
Class B. Open to all. For Kodak pictures 3 ½ x 3 ½ or smaller, including No. 1A Folding Pocket Kodak.
Class C. Open to all. For enlargements of any size from Kodak or Brownie negatives on Eastman. Nepera or Photo-Materials Bromide Paper.
Class D. Novice. Open only to amateurs who have never been awarded a prize in a photographic contest. For Kodak pictures 3 ¼ x 4 ¼ or larger, including the Panoram Kodaks.
Class E. Novice. Open only to amateurs who have never been awarded a prize in a photographic contest. For Kodak pictures 3 ½ x 3 ½ or smaller, including No. 1A Folding Pocket Kodak.
Class F. Novice. Open only to amateurs who have never been awarded a prize in a photographic contest. For Brownie pictures only.
All pictures sent in for competition must be from negatives made with a Kodak or Brownie on Kodak N. C. Film, and must be printed on papers manufactured or sold by us.
PRINTS ONLY are to be sent in; not negatives.
Prints must be mounted, but not framed.
The title of the picture, with the name and address of the competitor, class entered for, and the name of the printing paper used for the pictures, must be legibly written on the back of mount.
The films must have been exposed by the competitor, but it is not necessary that competitors finish their own pictures.
No competitor will be awarded more than one prize in a class.
Not more than one prize will be awarded to prints from one negative, except that all Velox Prints will be considered In the awarding of the Special Velox Prizes regardless of the prizes said prints may have received in the other classes.
Contact prints from the same negative cannot be entered in two classes.
This contest closes at Rochester. N. Y., on November 1, 1905; at Toronto. Canada, on October 20, 1905. and at London, Eng., on October 1, 1905.
All entries sent in from the United States and the possessions thereof and from South America should be addressed to EASTMAN KODAK CO..
Kodak Contest Dep’t. Rochester, N. Y. (3.)
History of Kodak Competitions
Little scholarship seems to have been spent on the annual photographic competitions which in turn lead to public exhibitions sponsored by the Eastman Kodak Company in the early years of the late 19th and early 20th centuries. Besides accomplishing the desired result of brand recognition, they are undoubtedly a rich resource for understanding the changing aesthetic trends for primarily amateur photography during this period.
Of the resulting exhibition which the 1905 competition spawned, a Photographic Times editor provided an overview but also gave it a veiled endorsement after it closed at Madison Square Garden Concert Hall in New York City in November, 1906:
While the Kodak Exhibition is prompted by commercial interests and is for the purpose of advertising the products of the Eastman Kodak Company, yet so skillfully is this concealed that each visitor comes away feeling indebted to the company.
In 1897, one of the very first Kodak international competitions originated in England, which lead to a show known as the Eastman Photographic Exhibition.
Held at the New Gallery on Regent Street in London from October 27 to November 16, 1897, the exhibit drew 25,000 photographic entries from around the world, with $3000.00 in prize money. It was organized by amateur photographer George Davison, (1856-1930) a founding member of the British Linked Ring and Director of the Eastman Photographic Materials Company in England. In America, these annual competitions were promoted by Kodak advertising department manager Lewis Bunnell Jones. And with the known exception of the 1897 show traveling to America in 1898 where it was enlarged and displayed at The National Academy of Design in New York City in January, Jones’ hand became more evident beginning in 1905. At least five years of public exhibitions beginning in 1906, of which the Kodak Competition Souvenir of 1905 is one of the finest records of, was the result:
Under Jones’s autocratic supervision, Kodak’s advertising department devised some of the company’s most legendary campaigns and strategies, including the 1893 introduction of the Kodak Girl in magazine ads and posters; the Traveling Kodak Exhibitions that toured the country between 1905 and 1910; the famous “yellow box” packaging in 1905… “(4.)
Records from primary source material shed light on these competitions, which beginning in 1907 began to be annually known as the Kodak Advertising Contests:
Book of the £1,000 Kodak Exhibition.
This is the title, stamped in gold, on the cover of a handsome portfolio just issued by the Kodak Press. “To show something of the work that is being accomplished in pictorial photography by the devotees of the Kodak system.” The world-wide interest in the Kodak competition of 1904 naturally brought together much of the best work of the camera and the public exhibition of the competing pictures in London was an eye-opener to all who could attend. From this exhibition sixty or more prints were selected and have been reproduced in half-tone, which will enable photographers in the most remote localities to see the work of others and note the kind and quality of the work which finds favor with competition judges. (5.)
And from The Photographic Times:
A detailed report of the results of the £1,000 Kodak Competition has been received in this country, and the results cannot but prove gratifying to those who take an interest in the advancement of American photography. There were something over 20,000 entries received, of which about 12,000 were from the British Isles, 2,500 from France, 2,000 from the United States, 1,700 from Germany and 2,000 scattering. The British Isles received 229 prizes, the United States 85 prizes, France 28 and Germany 12. It will thus be seen that the British exhibitors received one prize to every 52 entries, the French one to every 89, the German one to every 141 and the American one to every 23 entries. Our American amateurs, in proportion to their entries, carried off over twice as much as their British cousins, three and a half times as much as the French competitors and did six times as well as the Germans—at least such was the opinion of the British judges who were no less personages than Sir William Abney, Mr. Craig Annan and Mr. Frank Sutcliffe. (6.)
The subject of this post concerns the 1905 Kodak Competition, which concluded the following year in 1906 with public exhibitions in America as well as London, England in 1907.
The 1907 Advertising Contest of the Eastman Kodak Company possessed a far greater value than the securing of good pictures for use in advertising the products of the Eastman Company. Its value from an educational and artistic standpoint is exceedingly great, and of inestimable value to all photographers and illustrators who use other methods than photography. The results of this competition were a revelation as to the possibilities of graphic illustration by means of the camera when handled understandingly.
The pictures possess human interest far surpassing anything that could have been drawn or painted, for the subjects were real live people, and not the imaginative creations of some artistic brain. Such pictures grasp and hold the interest of the reader and, when their story is pleasingly told, are most convincing.
Glance over the advertising section of any of the popular magazines, and see how important a part the camera plays in illustrating and in pictorially clinching the advertiser’s argument. In many instances, the picture has been that of some charming bit of femininity and used often only to hold the attention in order that the accompanying text might be read. (7.)
In 1908, the Eastman Kodak Company sponsored an advertising contest for professional as well as amateur photographers. $1600.00 was offered as cash prizes. Winning submissions would be used to advertise Kodak products. Mrs. W.W. Pearce, an active woman amateur photographer from Waukegan, IL, won first prize and $300.00 in the Class B Amateur class of the contest. The PhotoSeed Archive owns a vintage example of this winning print, and more background on the contest and results from 1908 can be found here.
The contention that better pictures for advertising purposes could be produced by means of photography than by any other artistic method has been still further justified by the result of the 1909 Kodak Advertising Contest.
It is gratifying to note the continued interest of competitors in former contests, and also in highly artistic work submitted by newcomers in the field.
The jury which passed on the work was highly competent, consisting of Mr. Rudolph Eickemeyer, of Davis & Eickemeyer; Mr. A. F. Bradley, ex president of the P. P. S. of New York; Mr. Henry D. Wilson, advertising manager of Cosmopolitan; Mr. C. C. Vernam, general manager of the Smith & Street publications, and Mr. Walter R. Hine, vice-president and general manager of Frank Seaman, Incorporated, one of the largest, if not the largest advertising agency in the United States. Mr. Frank R. Barrows, president of the P. A. of A., was announced as one of the judges, but was unavoidably detained, Mr. Bradley acting in his place. (8.)
THE Eastman Kodak Company, always a most generous patron of photographers, both professional and amateur, has just closed its advertising competition for 1910. This contest has become one of the most important fixtures of the photographic world, not only because of the remarkably large cash prizes awarded, but also because of the tremendous stimulus it has been to the application of photography to advertising. Photo-era has many times called attention to the increasing use of photographs by the general advertiser, and one has only to pick up almost any of the popular magazines and glance at the advertising pages (more interesting, oftentimes, than the body of the letter-press) to see how greatly the ad-writer depends on the halftone cut from a photograph to present his goods in an attractive manner. In this development, beyond question, the Eastman Company has had a large share, and the successful contestants in its contests have gained valuable experience which they can apply with profit, should they so desire, to photographic illustration-work. (9.)
From our standpoint the previous Kodak Advertising Contests have been a distinct and growing success. They have supplied us with pictures that told interestingly of the charm and simplicity of Kodakery. But there has been one drawback. In the professional division (Class A), the prizes have gone so often to the same people that we fear other photographers are likely to be discouraged. In order to remove this possible objection to our contests, these former winners will be barred from participation in Class A in the 1911 competition. (10.)
1913 Kodak Advertising Contest — $3,000.00 In Cash Prizes.— The Kodak Advertising Contests are not for the purpose of securing sample prints. They are for the purpose of securing illustrations to be used in our magazine advertising, for street car cards, for booklet covers and the like.
We prefer photographs to paintings, not only because they are more real, but also because it seems particularly fit that photographs should be used in preference to drawings in advertising the photographic business. The successful pictures are those that suggest the pleasures that are to be derived from the use of the kodak, or the simplicity of the kodak system of photography — pictures around which the advertising man can write a simple and convincing story. Of course the subject is an old one — therefore the more value in the picture that tells the old story in a new way. Originality, simplicity, interest, beauty—and with these good technique —are all qualities that appeal to the judges.
In addition to the prize pictures we often purchase several of the less successful pictures for future use in our advertising. So it will be seen that in reality our prize money is even bigger than we advertise.
There is a big future for the camera in the illustrative field. There’s a growing use of photographs in magazine and book illustrations, to say nothing of the rapid advance along the same lines in advertising work. There’s a constant demand for pictures that are full of human interest. Such are the pictures that we need, that others need. The Kodak Advertising Contests offer an opportunity for your entry into this growing field of photographic work. (11.)
The 1905 Competition might certainly be considered key in launching the careers of many serious amateurs, and it undoubtedly gave others the opportunity to pursue photography professionally as a career:
The Kodak Competitions which have been held during the past six or seven years have been something of a revelation in that they have shown that a very large proportion of those amateurs who take photography seriously are frequent users of the Kodak. The same names that appear as Salon Exhibitors have appeared in the Kodak prize lists and often times the pictures that have hung on the Salon walls were from the same negative that won cash and honor in the Kodak competition. (12.)
Doing the Rest
Similar to celebrity endorsement today, Kodak had the uncanny ability to associate the big photographic names of the early 20th century; including Stieglitz, Steichen and Brigman, with the idea amateur photographers using their products could become as skilled or famous. The often mocked Kodak mantra of “you press the button and we do the rest”-acknowledged even by someone as famous as Stieglitz himself -is ironically shot down when it is learned Kodak made the enlarged prints from competitor’s negatives for exhibition purposes for the 1905 competition and those following it:
THE Kodak Exhibition, at No. 40, Strand, W.C, will come as a surprise to persons who are only accustomed to the ordinary enlargements of prize-winning photographs which are displayed in dealers’ windows; it will come as a decided shock to those who are wont to ridicule the “you press the button, and we do the rest” method of photography. Out of some twenty-eight thousand prints and enlargements which were submitted to the judges at the latest Kodak competition, some sixty were adjudged prizes varying from one to thirty pounds; and the negatives of these prints, which have become the property of the Kodak Company, have been enlarged into huge enlargements at the Kodak works, and are now on view for all to see.
There are many well-known names amongst the prizewinners—Steichen, Stieglitz, Harold Baker, Mrs. Barton, Miss Annie Brigman—but these only made the exposures and developed the negatives, Kodak has done the rest, and, as a rule, Kodak has done it uncommonly well. It is not, of course, to be imagined that the Company’s enlargements of negatives by such individual workers as Steichen and Stieglitz are similar to the results that these men would have themselves obtained, but the wonder is that the work has been done so well. The enlargements of Stieglitz’s negatives are particularly good, especially that of “Soap Bubbles,” No. 7, in which the feeling of light and atmosphere has been successfully maintained; and those subjects in which the figures are lit from behind, and, so to speak, silhouetted against the light, are not easy to handle. …
In considering the question of the awards, two facts must be borne in mind: in the first place, the judges in this particular competition belonged to the American school of photography, and the present tendency of this school is to ascribe great merit to original and beautiful schemes of natural outdoor lighting; and therefore we find Steichen’s tour de force, “Mother and Child,” No. 60, awarded the first prize in Class A; and photographs taken against the light have scored throughout. However, such subjects are undoubtedly beautiful, and the rendering of true values in such subjects is exceedingly difficult, and therefore the attitude of the judges is comprehensible. In the second place, the pictures are not the original prize-winning prints, but enlargements made at the Company’s English works; and however skilful the enlarger is, he cannot possibly always catch and elaborate the ideas of men like Steichen.
Bearing this in mind, it is easy to imagine the beauty of Steichen’s own enlargement of the “Sheep Study,” No. 60, with the sheep blended into a soft mass of tones; and the above-mentioned “Mother and Child” (with the imperfections in the values of the child’s hand corrected during the enlargement) must have been quite good in the original; Stieglitz’s “Bubbles,” No. 7, however, has lost but little through enlargement, and although Stieglitz would probably have rendered the subject in a higher key, the Kodak work is excellent.
Why has not Miss Annie Brigman’s “Melody” (15) secured a first prize? It is certainly one of the gems of the collection, and it is good throughout, from the posing and lighting of the hand which holds the mandolin, to the subdued lighting of the music illuminated only by the light reflected from the face of “Melody.” Possibly the judges may have considered the lighting, which might have been arranged by Rembrandt himself, somewhat artificial; but there is no doubt that European judges would have thought differently. This picture, taken with a Kodak, enlarged on Kodak bromide paper, by the Kodak Company, is one of the finest pictures ever rendered by the camera. (13.)
1. excerpt: Judges for the Kodak Contest: Kodak Trade Circular: Toronto, Canada: April, 1905
2. Ibid: Kodak Trade Circular: December, 1904
3. Camera & Dark-Room: Edited by J.P. Chalmers: New York: January, 1905: p. 30
4. excerpt: A Short History of Kodak Advertising 1888-1932: Kodak and the Lens of Nostalgia: Nancy Martha West: The University Press of Virginia: 2000: p. 27
5. excerpt: Book of the £1,000 Kodak Exhibition: The Camera and Dark-Room: New York: January, 1905: pp. 29-30
6. excerpt: £1,000 Kodak Exhibition: Notes, News & Extracts: The Photographic Times: New York: September, 1904: p. 426
7. excerpt: The Kodak Advertising Contest: The Photographic Times: May, 1908: p. 154. The top prize of $1000.00 was awarded to E. Donald Roberts of Detroit.
8. excerpt: AWARDS, PROFESSIONAL CLASS, 1909 KODAK ADVERTISING CONTEST: Wilson’s Photographic Magazine: New York: January, 1910: p. 46
9. excerpt: The Eastman Advertising-Competition: Malcolm Dean Miller: Photo-Era: Boston: January, 1911: p. 73
10. excerpt: With the Trade: 1911 Kodak Advertising-Contest: Photo-Era: Boston: March, 1911: p. 157
11. excerpt: Our Table: American Photography: Boston: May, 1913: pp. 311-312
12. Advertisements: Eastman Kodak Company: excerpt: The New Competition: The American Amateur Photographer: New York: Jan-Dec. 1905
13. excerpt: The Kodak Picture Exhibition: The Amateur Photographer: London: August 27, 1907: pp. 200-01
Posted December 2012 in Childhood Photography, New Additions, Significant Photographs
Posted December 2012 in Childhood Photography
Non-sensical is how a childhood friend of mine described Friday’s shooting rampage at Sandy Hook Elementary School in Newtown, Connecticut which claimed the lives of 26 souls: 20 first-grade students and another six, educators who worked there.
He had come to know the school’s psychologist, a victim of the shooting who occasionally gave my friend rides to school because of proximity of residence. The news was equally devastating for me, because some of my happiest memories as a child and teen were spent in Newtown, a place very close to where I grew up. I often went to the Edmond Town Hall movie theater there with my dad and brother. It cost only $1.00 to get in back in the 70’s and 80’s and I’m sure it was front page news in the local newspaper—the wonderfully named Newtown Bee— when the price shot up to the current admission of $2.00.
The town landmark, however, is the large flagpole dating to America’s first centennial in 1876 just down the street from the theater. Along with picture-perfect 18th century colonial homes flanking main street leading up to it, this beacon with Old Glory now at half-mast is their version of Grand Central’s famous clock. With great restraint, foresight, and deliberate zoning keeping the fast-food joints far away, the town fathers and mothers have thankfully preserved their past and home, founded in 1705 and incorporated in 1711. Dating to before our Republic’s founding, it’s possible an American president has been through this neck of the woods before; perhaps just not in recent memory. Besides standing in solidarity with Newtown’s surviving families and helping to bring closure to our national collective grief from this most incomprehensible tragedy, let’s hope his visit there tonight spurs definite action and realistic solutions to our long-running conversation on gun regulation. We owe our children nothing less.