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Platinum Spring Poses

Apr 2025 | New Additions, Significant Photographers

Passion, joy, yearning, and dreaming are common to Cutting’s vocabulary, as, implicitly, they are to his photographs. Ellie Reichlin

Fiddlehead Ferns Emerge: Matteuccia struthiopteris” 1906, Album-mounted platinum print, Alfred Wayland Cutting, American, 1860-1935, 9.2 x 9.54 | 27.8 x 34.5 cm. Fiddleheads emerge in Spring in this landscape study most likely taken in or around Wayland, MA. Fiddleheads are prized by foragers and can be prepared for consumption in any number of ways. From Wikipedia: “Matteuccia is a genus of ferns with one species: Matteuccia struthiopteris (common names ostrich fern, fiddlehead fern, or shuttlecock fern.” From: PhotoSeed Archive

Spring is finally upon us in New England, so I’m making the excuse of showcasing a few more examples of the beautiful work of Wayland, MA resident Alfred Wayland Cutting. (1860-1935)  Pulled from an 1905-1906 Cutting album acquired by PhotoSeed in 2022, these delicate platinum prints may just be the inspiration for you to explore the beauty and magic emerging in your own backyard: the wonder of the season after their Winter slumber.

Star of Bethlehem: Ornithogalum”, 1906, Album-mounted platinum print, Alfred Wayland Cutting, American, 1860-1935, 10.5 x 16.0 | 27.8 x 34.5 cm. However delicate and beautiful, some species of Ornithogalum are classified as noxious invasive weeds in some portions of North America. From Wikipedia: “The common name of the genus, star-of-Bethlehem, is based on its star-shaped flowers, after the Star of Bethlehem that appears in the biblical account of the birth of Jesus. The number of species has varied considerably, depending on authority, from 50 to 300.” From: PhotoSeed Archive

Trilliums: Trillium grandiflorum: Melanthiaceae”, 1906, Album-mounted platinum print, Alfred Wayland Cutting, American, 1860-1935, 12.5 x 19.2 | 27.8 x 34.5 cm. White Trillium blooms are arranged in a glass vase. From Wikipedia: “Trillium grandiflorum, the white trillium large-flowered trillium, great white trillium, white wake-robin or French: trille blanc, is a species of flowering plant in the family Melanthiaceae. A monocotyledonous, herbaceous perennial, the plant is native to eastern North America, from northern Quebec to the southern parts of the United States through the Appalachian Mountains into northernmost Georgia and west to Minnesota. There are also several isolated populations in Nova Scotia, Maine, southern Illinois, and Iowa.” From: PhotoSeed Archive

The Wayland Historical Society describes Cutting as someone who “always had his camera with him.” A lifelong bachelor, he was the sixth generation of Cuttings to live in Wayland, MA going back to  1713. Born in Boston, he spent 19 years of his life there as a bank teller after graduation from English High School. He then moved to Wayland for good around the turn of the 20th Century, devoting countless hours to his photography.

Flowering Apple Trees: Malus domestica”, 1906, Album-mounted platinum print, Alfred Wayland Cutting, American, 1860-1935, 16.0 x 20.5 | 27.8 x 34.5 cm. In an orchard, apple trees show off their flowers in Spring. Seen from a high angle, with a fence and roadway at right, this view was most likely taken on a farm in the greater Wayland, MA area. From Wikipedia: “An apple is a round, edible fruit produced by an apple tree (Malus spp.). Fruit trees of the orchard or domestic apple (Malus domestica), the most widely grown in the genus, are cultivated worldwide. The tree originated in Central Asia, where its wild ancestor, Malus sieversii, is still found. Apples have been grown for thousands of years in Eurasia before they were introduced to North America by European colonists. Apples have cultural significance in many mythologies (including Norse and Greek) and religions (such as Christianity in Europe).” From: PhotoSeed Archive

Historic New England, based in Boston, the oldest and largest regional preservation organization in the United States, holds the largest collection of extant photographs and other ephemera by Alfred Wayland Cutting: a body of work that commenced when he acquired his first camera, in 1881, to the early 1930’s. By 1927, this archive had already numbered short of 4000 examples.

Gathering Lilac Blooms between Poplar Trees: Syringa vulgaris & Populus”, 1906, Album-mounted platinum print, Alfred Wayland Cutting, American, 1860-1935, 19.0 x 15.5 | 20.4 x 17.0 | 27.8 x 34.5 cm. On a country road, most likely in or around Wayland, MA, a woman gathers lilac blooms from a large bush growing between two poplar trees. From Wikipedia: “Syringa vulgaris, the lilac or common lilac, is a species of flowering plant in the olive family, Oleaceae. Native to the Balkan Peninsula, it is widely cultivated for its scented flowers in Europe (particularly the north and west) and North America.”|  “Populus is a genus of 25–30 species of deciduous flowering plants in the family Salicaceae, native to most of the Northern Hemisphere. English names variously applied to different species include poplar, aspen, and cottonwood.” From: PhotoSeed Archive

Here are three insights into the working methods of Alfred Wayland Cutting, from research conducted by the late Ellie Reichlin, former curator of acquisitions at the Harvard Peabody Museum and then Director of Archives at the Society for the Preservation of New England Antiquities in Boston. From the exhibition brochure: The Old Life Silently Passed: Photographs by Alfred Wayland Cutting (1860-1935):

Cutting was an intensely serious photographic artist and craftsman, steeped in the precepts of art photography and pictorialism, which emerged in the late 1880s and early 1890s as a liberating alternative to the sharply detailed documentary styles that had dominated photography’s first four decades. 

He loved Wayland, Massachusetts, where his ancestral roots ran generations deep, with a devotion that verged on reverence.

For all the local significance of Cutting’s work, it would be a mistake to characterize him principally as a Wayland photographer, or as Wayland’s photographer, even though he-with Yankee disdain for the high-falutin’-might have protested efforts to intellectualize or magnify his accomplishments. He described himself unpretentiously as an “amateur or semi-professional.”

American Crucible

Apr 2025 | Documentary Photography, New Additions, Publishing, Unknown Photographers

Members of the Acton Minute Men, reenactors in the annual Isaac Davis Trail March, fire a volley over the side of The Old North Bridge in Concord, MA: the start of the American Revolution on April 19, 1775. This year marks the 250 anniversary of what is known as “The Shot Heard Round the World.” David Spencer for PhotoSeed Archive

Concord Hymn

“By the Rude Bridge That

Arched the Flood,

Their Flag to April’s

Breeze Unfurled,

Here Once the Embattled

Farmers Stood,

And Fired the Shot Heard

Round the World.” -Ralph Waldo Emerson  1837

“Flag Raising on New Flag-Staff Apr. 19, 1906”, 1906, album-mounted platinum print, Alfred Wayland Cutting, American 1860-1935, 15.3 x 19.5 | 27.8 x 34.5 cm. On the Wayland, MA town common, residents watch the dedication of a new town flag pole: the date occurring on April 19th, an important date in American history commemorating “The Shot Heard Round the World.” From: PhotoSeed Archive

Bad luck. At least for one distant relation. On official battle cry orders, the second soldier to die on April 19, 1775— the very moment which started the American Revolutionary War—was my direct cousin, private Abner Hosmer, not quite 21 years old, a member of the Acton, MA Minute Men.

At left, a cow powder horn recovered from the Old North Bridge battle is now a centerpiece of a display on Concord’s role in the American Revolution at the Concord Museum. A descriptive panel states: “Abner Hosmer loaded his musket with gunpowder from this horn at the North Bridge on the morning of April 19, 1775, but was killed before he had a chance to pull the trigger.” Right: this bloodied hatband belonging to Private Abner Hosmer, an Acton Minute Man, was also recovered at the bridge site. It is now on display at the Acton Memorial Library. Abner’s father, Jonathan, in a letter written just ten days earlier, had predicted that if the (British) Regulars turned out, “there will be Bloody work.” Hosmer was a direct descendent of this site owner. David Spencer for PhotoSeed Archive

Today, April 19, 2025, we, now the American nation, pay tribute to his fellow Massachusetts townsfolk—those approximately 400 colonial soldiers who went into battle against 96 British Regulars at the Old North Bridge in Concord, Massachusetts. It was their bravery that began the epic conquest and eventual success to cast off their English king in becoming a new nation and free republic.

Detail: “Bloody Butchery, by the British Troops”, 40 coffins representing some of the first provincial soldiers killed in fighting against British troops from towns including Concord, Acton, (Captain Isaac Davis, Abner Hosmer and James Hayward) Sudbury, Charlestown, Salem, Woburn, Cambridge, Brookline, Medford, Lynn and Danvers make up the top portion of this broadside. Printed in letterpress by the Essex (MA) Gazette only five days after the April 19, 1775 battle, subsequent editions of the broadsheet added more coffins representing lives lost in the ongoing war. The work is framed and on display at the Concord Museum. David Spencer for PhotoSeed Archive

The last time I visited Concord was in my childhood. The Hosmer line sprouts from my maternal side, and I’m sure my mom was her usual stern yet patient New England self in trying to explain the significance of our ancestor and what happened in this place. But no. I remember the bridge and perhaps a vague memory of someone dressed in a tricorn hat, but that is all that registers now, thinking back. But 50 years forward to the present? A load of difference.

And, as one of those descendants, I will not mince words now. I’m scared for our country and ashamed of what is happening in the name of it. But what I saw in Concord yesterday was downright beautiful.

With permanent Photography not invented yet in 1775, the Concord Museum features a variety of media, including a large 24-hour digital timeline on an expansive battle and route map showing the advance of British troops marching from Boston to Concord. This detail from a 3d diorama of the battle at the Old North Bridge, however old school, is still visceral and gets the point across: casualties on the provincial side. Two British soldiers were also killed at the bridge, their bodies interred nearby. David Spencer for PhotoSeed Archive

 

In what has become a long-time annual tradition, a group of Acton, MA and other local town residents gather and march behind the Minute Men bearing that old town’s name: the annual Isaac Davis Trail March. The Acton group are American Revolutionary War reenactors who celebrate that fateful day by marching at dawn nearly seven miles to the Old North Bridge in Concord. They are led by a gentleman playing the role of Captain Isaac Davis, “the leader of the Acton Minute Company who sounded the alarm shots to rally his men to come to his house and prepare to head off for Concord,” according to the company’s website.

“American Revolutionary War Reenactors: Wayland, MA”, 1906, album-mounted platinum print, Alfred Wayland Cutting, American 1860-1935, 14.2 x 19.0 | 27.8 x 34.5 cm. Pride and patriotism are on display as three columns of troops parade off the town common in Wayland, MA: perhaps on the July 4th holiday. An automobile can be seen making up the rear. From: PhotoSeed Archive

 

This year, due to events surrounding Concord’s direct 250th anniversary role in “The Shot Heard Round the World,” and the massive amount of people expected on town streets, many of which will be closed due to a parade and other Patriot Day Weekend events, the Acton company made the decision to do the trail march a day early.

Overlooking from the rear at the conclusion of the April 19th Issac Davis Trail March at Concord’s Old North Bridge is the iconic Minute Man bronze statue depicting Davis by American sculptor Daniel Chester French. The large group that marched behind the Acton Minute Men look on at center as they are thanked for their nearly seven mile journey. The sculpture was unveiled for the Centennial of the battle on April 19, 1875. My aunt Jane described the work in 2009: “By definition, a minuteman can be ready to fight “in a minute”: he hears the alarm, grabs his musket from the farmhouse wall, and leaves his farm chores for battle. This statue can be Abner, in our imagination, or any other soldier in the Revolution, standing with his left foot forward, his right foot poised to take a step while holding his musket on his right hip. He wears simple, everyday clothes, and boots, and a hat with a jaunty, upturned brim, and he gazes straight ahead.” David Spencer for PhotoSeed Archive

“Two Drummers & Fifer: Wayland, MA”, 1906, album-mounted platinum print, Alfred Wayland Cutting, American 1860-1935, 13.2 x 14.0 | 27.8 x 34.5 cm. Pride and patriotism are on display as two drummers and a fifer keep the past alive- perhaps with a spirited rendition of The White Cockade March, on the Wayland town common. Fifteen-year-old Luther Blanchard was the name of the fifer that day, and is reported to have been the first to be grazed by a bullet on his side by a British Regular: the “First Shot?” The gathering was perhaps part of the town’s July 4th holiday. From: PhotoSeed Archive

So let me end with this, while getting back to that “beautiful” statement thing I mentioned a few lines ago. The 100 or so townsfolk following along yesterday—to my eye—were from all walks of life, nationalities and genders, along with a Boy Scout troop thrown in for good measure. Basically, the American Melting Pot, in real life, practicing their Constitutionally-protected right to assemble while keeping in marching step to the flute and drummer ahead of them playing a spirited rendition of the White Cockade, the traditional Scottish folk song. And, as luck would have it, at the conclusion of several musket volleys over the Old North Bridge, I ran into a fellow Hosmer descendant from another line of the family. A hug for both of us, and not bad luck at all 250 years later.

Eyes Wide Shut

Feb 2025 | Alternate Processes, New Additions, Painters|Photographers, Significant Portfolios

It seems relevant to look to a chapter of America’s past-that of the so-called “Gilded Age” whose unchecked power and monopolies ran most things in the late 19th and early 20th Centuries, while seeking out clues to the unsustainable wealth, as well as racial and environmental disparities of the present-day.

“Group Photo: One of the 1001 Nights Costume Party: December 17, 1896”, James Lawrence Breese, American, 1854-1934, Cyan Carbon Print, The Carbon Studio, 1897 from 1896 negative, 22.3 x 27.6 | 35.8 x 50.6 cm & mat with window opening: 25.1 x 29.8 cm. Celebrants attending a costume party close their eyes while being instructed by host, the photographer James L. Breese, seen standing at right. Breese, who might be described as a dandy polymath of the America’s Gilded Age, (photography, race cars, early airplanes as well as other passions) was a stockbroker by profession who ran his Carbon Studio more as a hobby, although it was a paying concern. But social gatherings were also an amusement. His riotous, and sometimes scandalous midnight “1001 night” Salons like this one were gatherings for the New York City elite. The scandal on this occasion? “News” of a distinctly social register kind appeared in the pages of the New York Journal ten days after this photograph was taken: champagne had to be used to extinguish the flaming dress of Mrs. George B. de Forest- “a member of one of the city’s oldest and most aristocratic families”, who “narrowly escaped being burned to death as a result of the exuberant liveliness of the entertainment” in the form of one party goer amusing himself by throwing lit matches into the air. From: PhotoSeed Archive

In defending artistic expression, the history and beauty of past accomplishments: in the form of art, photographs, literature, musical scores, etc. is top of mind in the evolving form of this website. Of course, the transformational technologies that created and maintain the modern internet have made this possible in the first place, but maintaining our Democratic ideals, all within a Constitutional framework- keeps things honest, in check, and crucially- from falling apart.

And yet the mantra of late seems to reward those going really fast, while things have started to break.  Asking questions does not seem to figure into certain algorithms- or at least those programmed by a computer. Meanwhile, the ones running the show seem to be closing their eyes while flipping all the switches. What could possibly go wrong? Uncharted for now, but devastating in a most human and personal way for those swept up in the present.

These so-called mandates, earned by our esteemed prophets of commerce in the seeking of the new, belies an absolute absence of what was once known as “wisdom”, at least in what I formerly understood to be the meaning of that word pertaining to government action and sound public policy. I for one am sober to the reality of what I’m looking at. I may not like it, but I’m planning on keeping my eyes open, all the same. I hope you feel similarly, while maintaining vigilance and honesty in calling out the truth staring back at us.

 

See related: Portfolio: Souvenir of “One of the 1001 Nights”

May you find Beauty in the Light & Shadows of the New Year

Jan 2025 | Color Photography, New Additions, Painters|Photographers, PhotoSeed, Significant Photographs

Icy Night, Holy Night

Dec 2024 | New Additions, Significant Photographers, Significant Photographs

No matter the temperature, may your Christmas be warm and bright.

“Icy Night” 1898, Alfred Stieglitz, American, 1864-1946, photogravure included within Camera Work IV, 1903, 12.9 x 16.0 | 20.5 x 29.7 cm. Presented here cropped to image with additional colored masks. Used as an advertisement for Goerz Lenses, the following copy accompanied the gravure: “The original of this celebrated picture, Icy Night,” exhibited in the International Exhibitions at London, Paris, Turin, Brussels, Hamburg, Philadelphia, etc., etc., was made in January, Eighteen Hundred and Ninety-eight, at one a.m., with a Goerz Lens, Series III., full opening, and an exposure of three minutes.” From PhotoSeed Archive

Cue the Sun

Nov 2024 | Color Photography, Composition, Fashion Photography, History of Photography, New Additions, Painters|Photographers, Significant Photographers

Sunlight is said to be the best of disinfectantsLouis Brandeis, U.S. Supreme Court Justice, 1913

Top: The Sun takes center stage: Detail: “La Perle Doucement S’ Éteint et la Danse S’ Arrête | The Pearl Slowly Fades Away and the Dance Stops” Pierre Dubreuil, Belgian (1872-1944) Photogravure: Chine-collé: published in Die Kunst in der Photographie: 1903: Lieferung 1 | First Issue-16.5 x 23.0 | 26.6 x 34.8 cm. A critic on this photograph from 1901:”Now the light gradually dies and with it the dance fades away, for dance is a child of the light. They have whirled around for the last time, their movements become more subdued and tired, and now they stand still. They hold hands and lean back, as if in delicious relaxation. They look long and deeply into each other’s eyes once more while the sun sets.” Bottom: The Sun clouded over: Believed to be the original source material compositionally for Dubreuil’s photograph above: Detail: “Strassenklatsch | Street Gossip” Alfred Stieglitz, American (1864-1946) Photogravure published in Die Kunst in der Photographie: 1899: Lieferung 5 | Fifth Issue-12.2 x 21.0 | 24.9 x 33.7 cm. In her book:  Stieglitz-A Beginning Light, author Katherine Hoffman comments about this photograph: “Another well-known Katwyk image depicts the prow of a boat at anchor, its boom, lower sail, and rigging forming varied triangles.  The prow of the boat points toward two women talking nearby at the water’s edge. Entitled, Gossip, Katwyk, the photograph focuses on narrative and formal elements.  The women stand firm, their hands on their hips, forming small triangles that balance the ship’s forms and one of the women looks toward the ship.  The strong horizontal elements of the beach, water, and sky, serve as a well-integrated backdrop for the women and ship.  The small lantern on the boat seems to light the image symbolically.” Both from PhotoSeed Archive

This Brandeis quote is widely cited today as referring to the benefits of openness and transparency-especially as it pertains to keeping democracy vital and thriving.

So what does this have to do with a blog dedicated to preserving, promoting and riffing on the history of artistic photography?

Well, unfortunately, not much at all. That is, if only we were to think of photography as a truthful medium- something that accurately records for posterity what is placed before it or “seen” by the camera. That evidence would be from an impartial machine, and honesty might prevail. But as we traverse the second decade of the 21st Century, technology is taking a brutal hammer to what our once (believing) eyes took for fact. The sunlight of truthfulness has gotten a bit dim of late, yielding, inevitably, to “progress”. Of course, arguments could be made that photography has lied ever since the invention of the medium. Longtime readers of this blog might remember how I wrote about unscrupulous “photographers” operating in the mid 19th century who would trick people into believing the camera itself could mesmerize them. Today, as of October 2024, when I first spotted it, the updated version of mesmerization is now done courtesy of AI. (artificial intelligence) Here’s an Orwellian example of that in what I will call the Ebay photographic caption from Hell that should help put things in perspective:

Left: The Rays of the Sun cover the Earth: Before Photography, the public consciousness was getting more familiar with scientific thought in the press. Detail: Gilt decoration of the Sun and Earth: volume cover: “Light: Its Properties And Effects” London: The Religious Tract Society, 1838. 18mo: 5.5” x 4.25”. Illustrated with 40 steel engravings, an 1839 reviewer wrote of this little book: It is written in a simple style, but introduces the reader to all the arcana of the science which it touches. The anecdotes of singular illusions and the explanations of them enliven it, and serve to impress the general principles and laws of light more distinctly upon the mind. And, as may be believed from the fact of its issuing from the Tract Society, it fails not to point the learner “To look thro’ nature up to nature’s God.” Right: “Camera Obscura”, unknown artist: full-page steel engraving from “Light”- Chapter XI: Lenses-The telescope-The microscope-Various Optical Instruments: 13.5 x 9.8 cm. A family peers into a very large Camera Obscura placed on a table. Cameras such as this would eventually be retrofitted to accommodate chemically altered sheets of writing paper placed within-part of the process of making Photogenic Drawings and early Calotypes. From: PhotoSeed Archive

This vintage photograph captures a momentous occasion in Yellowstone National Park in 1892. The image depicts a family who was taken by a tripod rigged. The photograph is in sepia tone and has a size of H18 3/10 cm x W21 5/10 cm. The image is produced using a photographic technique and features the Richardsons family. This collectible item is perfect for photography enthusiasts and collectors alike.

So far, kinda good, other than the “tripod rigged” mention and the fact no one really speaks of common snapshots of Victorians chilling in nature as a “momentous occasion”. It would soon become apparent that our new friend AI was hard at work to really sell this photo. The caption continues:

Top left: First mass market publication of a “Sun Picture”: pasted paper label: PATENT TALBOTYPE or SUN PICTURES. 5.8 x 7.1 cm. Affixed to verso of leaf: 22.6 x 28.6 cm. 1846. Contained in “Art-Union Journal”. Top right: The editors of the publication were keen to go into detail on how Fox Talbot’s “Sun Pictures” (calotypes) were made, refuting the notion they were done by some sleight of hand, and even gave a detailed account of how these photographs were made. Bottom: “Mount Edgcumbe House, Devon” William Henry Fox Talbot, English, (1800-1877) salted paper print inserted in June 1, 1846 issue of the Art-Union Journal, London. 15.7 x 20.0 cm pasted to leaf 22.6 x 28.6 cm. Extremely rare but heavily faded, with the main facade of the home clearly identifiable, this is one of a believed 6000 original Talbotypes published in the Art Union. Various other views were also supplied by Talbot for the publication, a commission unfortunately compromised by the fact all of the calotypes were believed to be insufficiently fixed and washed by Nicolaas Henneman’s overworked Reading printing establishment. From: PhotoSeed Archive

The Richardson Family was off on an expedition and there were no cell phones and there was no one out there and there were no Rangers and there were no Rescuers and nobody could save them if they where to call out and that’s what it was like in those days and they put their lives in front of nature and they didn’t think ahead of time to prepare if any natural occurrences would come along with bears and mountain lions.”

So yeah. What could possibly go wrong in our brave new world? I say bring on the sunlight. And lots of it. Call out the fakes. Push back. We here at PhotoSeed are big fans of transparency. Who wants to collect a “vintage” photograph with that kind of back story or an obvious fake of great, great grandma or grandad run through an AI filter? Well someone of course, and that’s cool too- whatever floats your boat and all that. But I digress.

“The Glorious Sun: Stays In His Course And Plays The Alchemist” : “Here is a Wonder, if You Talk of a Wonder” were phrases incorporated into the elaborately engraved title page to the very first issue of “Sun & Shade-A Photographic Record of Events”: July, 1888. Unknown American artist, possibly George Wharton Edwards, (1859-1950) credited with cover design for issues beginning around 1890. 30.5 x 24.1 | 35.2 x 27.6 cm. Published by the The Photo-Gravure Company of New York by Ernest Edwards, the publication, according to the volume “Imagining Paradise”, “grew from less than fifty subscribers to a monthly edition of four thousand copies” in its first year. “With emphasis on quality rather than quantity, the magazine transformed itself from its original concept of a “Photographic Record of Events” to an “Artistic Periodical”, and would feature many fine photogravure plates, mainly from photographs but also artwork. From: PhotoSeed Archive

Sunlight- as a kind of invisible chemical medium- was everything to the existence of early photography. Similar to AI today in that enabling it is just a few clicks on a computer keyboard, and may remain a mystery to unsuspecting viewers, people did not understand what a photograph  was or how they were made in the earliest version of the medium. Sunlight provided that answer, or at least a reasoning. The ever-present Sun overhead provided the means for these early efforts. In the 1830s, the Englishman William Henry Fox Talbot, a botanist among other passions, experimented by recording the shapes of things like leaves and lace, contact printing these on sheets of chemically altered writing paper. The results were known as “photogenic drawings”, or drawings produced by light. It’s no wonder promotion of early photography involved the iconography of our friend the Sun.

Top: The Eyes of the Sun: Sun iconography was incorporated like this example in the cover design to the important Austrian portfolio Amateur-Kunst, (Amateur Art) published in late 1891 by the Vienna publishing house Gesellschaft für Vervielfältigende Kunst. Detail: gray cloth over boards, three-point folder portfolio-January, 1891: Vol. III, No. 29: 49.8 x 36.6 cm. Middle: From around 1890, the Sun God Phoebus, (Apollo) one of the Olympian deities in Greek and Roman mythology, was prominently featured on covers for the publication “Sun & Shade, an Artistic Periodical” published by the N.Y. Photogravure Company from 1888-1896. Wood engraving: 35.2 x 27.6 cm. George Wharton Edwards, American (1859-1950) is responsible for the Art-Nouveau cover design, which also includes a plate camera at the upper right corner. Bottom: Detail: “Sun Artists Series Wrapper”. Multi-color wood engraving: October, 1889. 40.3 x 30.4 | 40.3 x 60.8 cm (outline of series title Sun Artists printed in gold ink) Featuring a design by English illustrator Laurence Houseman, (1865-1959) this rare example of a brown-paper wrapper for the first Number of Sun Artists originally contained four hand-pulled photogravures made from the original negatives taken by English photographer Joseph Gale, (1835-1906) as well as individual letterpress featuring an essay on this photographer’s work by George Davison. All: PhotoSeed Archive

Talbot’s Calotype process, patented in 1841 with earlier iterations being the basis for his groundbreaking positive-negative process of 1839, would be referred by him and other practitioners as “Sun Pictures”, or Talbotypes. The editors of London’s Art Union Journal exclaimed in June 1846, while presenting an original example of one of his Sun Pictures (see example above) that:

It will be remembered that we have from time to time called attention to these truly wonderful representations, in our notices of Mr. Talbot’s work, “The Pencil of Nature.” By the public these “sun-pictures” are still misapprehended-still “misnomered;” we shall accordingly, in this notice, show what they are not, and endeavour to explain what they are, as it is yet far from generally accepted that they result from the action of light alone, and are not produced by some leger-de-main [slight of hand] of Art.”

Top left: The Painted Sun: Detail: “Study of a Nude”, 1899, Charles Fondu, Belgium: (1872-1912) collotype from Sentiment D’Art en Photographie: Vol. 1, No. 4, Planche 3: 14.8 x 19.6 | 26.0 x 36.9 cm. From the volume “The Last Decade” published in 1984 by George Eastman House, this photograph is commented on: “Fondu’s woman, combination of femme fatale and omnipotent angelic female, is profiled against the sun. Like the sunflower, the sun was a popular symbol with art photography clubs. It represented photography’s necessary light as well as the inspiration, power and renewal associated with otherworldly presence.” (p. 4) Lower left:  “Family in an Explosion of Light” Emery Gondor, American (b. Hungary- 1896-1977) Linoleum cut: 1925 plate from 1923 block: 20.5 x 18.8 cm impression | 28.9 x 25.0 cm. Although better known as an artist, Emery Gondor was an accomplished photographer whose work appeared in some of the largest European newspapers (principally German) from the mid 1920’s into the 1930’s. He escaped the Nazi regime, emigrating to America in 1935. This plate from his unpublished folio: “Sehnsucht nach Licht” (Yearning for Light) : “8 original Linoleum cuts by Emerich Göndör”. Right: The Sun in etched form: Detail: “Folder: Die Kunst in der Photographie” Hermann Hirzel, born Switzerland, (1864-1939) 36.0 x 26.5 cm  Originally etched in 1896, Hirzel’s cover design showing a Faun playing his flute among a landscape of trees and the rising Sun was used in all issues from 1897-1903. Published between 1897-1908 by Franz Goerke in Germany, Die Kunst in der Photographie is one of the most important journals of photography ever published showcasing artistic photography from around the world. All: PhotoSeed Archive

The article continues and even gives the chemical formula for making sensitized Calotype paper that could be exposed in a camera obscura. (1.) Terminology developed rapidly from here. To differentiate in the public discourse from a painting or drawing made by hand, these new “photographs” would hence be referred to as being “From Nature.” The one constant of this wondrous invention was the Sun overhead. It alone was responsible for even making photography and photographs exist in the first place.

In the exhibition catalogue “The Last Decade” published in 1984 by George Eastman House, the symbolism of Sun imagery is discussed as part of an 1899 nude study by Belgian photographer Charles Fondu:“Fondu’s woman, combination of femme fatale and omnipotent angelic female, is profiled against the sun. Like the sunflower, the sun was a popular symbol with art photography clubs. It represented photography’s necessary light as well as the inspiration, power and renewal associated with otherworldly presence.” (p.4)

As a graphic device, the image of a Sun would be a great promoter for photographic achievement, and was common in print even through the first decade of the 20th Century. 

Top: The Setting Sun: “Adieux au Soleil | Farewell to the Sun” Pierre Dubreuil, Belgian (1872-1944) Photogravure: Chine-collé: published in Die Kunst in der Photographie: 1903: Lieferung 1 | First Issue-12.2 x 24.5 | 26.3 x 35.2 cm. In 1901, Fritz Loescher, in his essay On the Pictures of P. Dubreuil, comments on this photo: The farewell to the sun is wonderful in the combination of the most artistic calculation and the favor of the moment. The dark female figure, standing on the far edge of the seashore, stretching out her arms towards the departing sun, is like the embodiment of the longing for the light. And driven by the wind, the veil from the head also blows in the same direction, and the mood of this human soul is expressed in everything to the fullest.” From: PhotoSeed Archive. Bottom: My contemporary update from 2001: “Butterfly Wings”.On Lake Worth Lagoon in Palm Beach County Florida, the wings of the most beautiful butterfly is what came to mind while the wind lifted up the silk cape being held by Ballet Florida dancer Wendy Laraghy. This photo was from a series of portraits of Ballet Florida dancers in unconventional but truly believable South Florida settings and situations. The story promoted the fact the local company, based in West Palm Beach, was turning 15 years old. Photo by David Spencer/The Palm Beach Post

I hope you enjoy these examples of artistic photographs from nature, and have included a few of my own as modern comparisons. The contrast deliberate, my very own version of “Sun & Shade”: “Butterfly Wings” was taken in the “Sunshine State” while “Condemned” hails from the depths of an upstate New York Winter.

Left: The Sun: but quite hidden on a snowy day: “Condemned” :1984, from a gelatin silver print. By David Spencer for the Daily Orange. Some of the last students of Winchell Hall, on the campus of Syracuse University in New York state, hang out on exterior balconies for the last time. The first dormitory to be constructed on campus in 1900, Winchell Hall Dormitory for Women was replaced by the Schine Student Center. Right: Setting sail into the Sunset? “Off Tilbury” Ralph Rowland Rawkins, English: (1874-1951) Mounted platinum print, from the Hand Camera Postal Club Portfolio: 1904: 14.3 x 7.1 cm print | mounts: 14.6 x 7.3 | 14.9 x 7.7 | 30.4 x 25.2 cm. Rawkins, the honorary secretary for the Postal Club based in London’s Tufnell Park, took this photograph of a sailboat silhouetted against a hazy, sunny sky in September, 1904. From: PhotoSeed Archive

Even in our current digital age, the Sun, giver of all life, continues to make photography possible by giving complex machines the illumination necessary to record our everyday existences and its many hues, shapes and wonders. But it’s a layered argument, the Sun being symbolic as well. Take my last photograph in this post. It’s the winter of 1983 (2.) and my assignment for The Daily Orange student newspaper was to photograph the final residents of the old Winchell Hall dormitory on campus, soon to face the wrecking ball. A snowstorm, as was common on a Syracuse winter day back then, was in full force. Stage directing the scene from across the street while somehow convincing the students to  all climb out onto their respective room balconies was actually the easy part. What I didn’t anticipate were all the smiles that erupted, the finger pointing and general merriment the act of taking the photograph brought about. Sure, the old building was coming down to be replaced by a bright new shiny object, but these students had been forever immortalized in a photograph. And a truthful one at that: an unmanipulated moment where their futures were truly bright, and one where future dreams would surely include many bright tomorrows.

  1. Excerpt: The Talbotype.   Sun Pictures. The Art Union Journal, June 1, 1846 pp. 143-44.
  2. I may have actually photographed this scene in mid January, 1984. From the SU archives: “While in the process of being demolished to make room for the building of Schine Student Center, a fire, possibly arson, swept through Winchell in early February 1984 and hastened the venerable structure’s end. in early 1984.” Read more about the history of Winchell Hall.

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