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From George Eastman House : Notes On Photographs

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A medium for inter-communication among students, historians, collectors, curators, conservators, archivists, practitioners, and the interested public and a forum for gathering Notes that enhance communal understanding of the photographic print.



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Marks + Inscriptions
Signatures, stamps, and labels are among the distinguishing characteristics marking individual prints that aid in characterizing the work of a particular photographer. The characterization database records these and many other characteristic details of specific photographic prints.

Photographers + Prints
Identification and characterization of key attributes of the work of specific photographers enhances understanding of valued photographic prints. Compare and contrast individual prints in the Print Room.

Materials + Techniques
The choice of materials and techniques applied in photography are intrinsic to the photographs that are produced. Recognizing these artifacts and understanding the creative process of an individual photographer deepens appreciation of the photograph.

Conservation
Condition issues, relative to the work of an individual photographer or to a specific process, have implications for treatment and future care of the print. Conservation encompasses scientific analysis, guidelines for photograph documentation, and glossaries for related terms.

Just Added! Index to the Research from the Andrew W. Mellon Advanced Residency Program in Photograph Conservation.

Reference Resources
Sharing expertise through authored articles and glossaries dynamically builds a repository of knowledge.

Featured Project

From negative to prints: excerpt from ongoing research by Valentina Branchini, Andrew W. Mellon Fellow, Advanced Residency Program in Photograph Conservation, George Eastman House.

The richness of the Alvin Langdon Coburn collection at GEH allows exploration of the photographer's working method, reestablishing sequences from negative to prints.

Cristoid film Platinum print Photogravure

Alfred Stieglitz
The reconstruction of such a sequence helps a further understanding of solutions and choices that at first glance could seem related to aesthetic issues only. Here, for instance, the shape of a tondo adopted for the platinum print is a unique case in the Coburn's portraiture I have seen so far. When looking at the negative, it becomes clear that it was Coburn's brilliant solution for overcoming the loss in the top left corner of the film, which would have been otherwise very hard to disguise in the print. (more...)


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