I would be interested in knowing how much time and energy the members of
this list give to the viewing of 19th century photography. How important to
you is looking at various 19th century photographs (the whole range- dag's,
mammouth plates, tin-types, CDV's, stereoviews, and of course platinum,
cyanos etc., et.al.)?
How does the 19th century imagery inform and influence your own imagery and
how it is you approach your work?
How many of you own and/or collect 19th century photography and where might
that activity "fit" on your personal landscape?
My fascination with these "renaissance processes" (it gets my vote, a great
name!) is firmly rooted in the actual, historical artifacts. I've come to
these processes through a long time friendship with a collector and dealer
of 19th century photography. I used to wait tables with this guy for many
years, and we'd talk photography and photo-history when it was slow (and
even sometimes when it wasn't). But I've also walked through The Met's
wonderful exhibition "The Waking Dream" and had him point out no fewer than
three photographs on the wall which he had found and identified, and sold to
Howard Gillman. It's been a living history lesson for me (I'm self-taught,
never had any art courses)- "living"- in all senses of the word. I've sit
around in his house with simply incredible things right in my own hands
(usually a glass of wine somewhere nearby.) So my sense of the history of
these photographs is really quite visceral.
I signed on to this list, not because I *practice* these processes
(something which is out there lurking for me) but because of a love of the
processes through their history. My interest in these processes has lead me
to explore "further developing an image" through various toning processes.
Something that I could afford to try at a time when I was wanting to try
albumen and platinum. I have been amazed at how this decision has rendered
a remarkably "19th century" image without having to literally resort to
using the 19th century processes. (Of course, the imagery itself - from a
"Diana" camera - is in no small way responsible for this too).
So, that's my long-ish way around to inquiring of this list where it stands
vis-a-vis the antique photograph.
Gumprint@aol.com (I may regret this, but I would be happy to send a few of my exhibition
announcements to anyone who would care to send a snail-mail address...)
Thanks and good luck-
Jon Bailey
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