Photography

Leica 35mm Camera

The millions of photographs in the Museum's collections compose a vast mosaic of the nation's history. Photographs accompany most artifact collections. Thousands of images document engineering projects, for example, and more record the steel, petroleum, and railroad industries.

Some 150,000 images capture the history, art, and science of photography. Nineteenth-century photography, from its initial development by W. H. F. Talbot and Louis Daguerre, is especially well represented and includes cased images, paper photographs, and apparatus. Glass stereographs and news-service negatives by the Underwood & Underwood firm document life in America between the 1890s and the 1930s. The history of amateur photography and photojournalism are preserved here, along with the work of 20th-century masters such as Richard Avedon and Edward Weston. Thousands of cameras and other equipment represent the technical and business side of the field.

Name: Fassbender, Adolf

Rain

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"I was at the foot of the St. Gothard in Switzerland, in the little village of Hospenthal. Cowbells had awakened me at five-thirty A.M. The dawn was gray and dim, with the rain coming steadily down.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"I was at the foot of the St. Gothard in Switzerland, in the little village of Hospenthal. Cowbells had awakened me at five-thirty A.M. The dawn was gray and dim, with the rain coming steadily down. At the sound of the bells only one thought came to mind. I simply must get a cow picture. So I rushed to the window, grabbing my camera on the way. But I was too late… not a cow in sight. My disappointment only made me more eager to take a cow picture at this time. Since optimism has always been one of my greatest faults, I was still hopeful that some more cows would obligingly pass by my window. I put the camera in focus and rested it on the window ledge with a cloth covering the camera safely from moisture. There now, I thought to myself, I am ready for any picture possibility within range of my window. I hope it will be cows.
With this wish, I returned to my bed to await the tinkle of the cowbells. But instead at every sound outside my window, up I would jump and rush to look. An hour of this seemingly mad performance and I was through with bed, choosing instead to doze by the window. During the period of this self-imposed vigil, I managed to get a number of interesting pictures of passersby. The picture reproduced here is one of the most interesting. But woe for my optimism and fortitude. There is not a cow picture in the lot!
Composition:
Steelyard with S-curve. An ideal study for the student of dynamic symmetry. Although the two figures moving in opposite directions seem to provide a double motive, they are held together so forcefully by the leading lines of the road and the enclosing perspective of the buildings that unity and harmony remain.
Technical Problems:
The poor light required that I use an exposure of 1/10 of a second. I had to watch the feet of the woman as she walked so that my exposure would be accurately timed to catch the least possible movement. In the original scene a large and swift-flowing waterfall was at the left. Because this tended to distract attention and confuse the composition, it was etched and retouched out of the negative. The curved path, the stones and steps were all too dark and had to be carefully revalued to give the figure of the woman necessary emphasis. Bright patches in unimportant areas were subdued by reduction.
Data:
Camera: 2 ½ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.6.3
Exposure: 1/10 from window sill
Film: Agfa Super Plenachrome
Print: 14x17 Defender Velour Black"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.24
catalog number
4116.24
accession number
146001

Abundance

Currently not on view
Location
Currently not on view
maker
Fassbender, Adolf
ID Number
PG.003997A
catalog number
3997A
accession number
125574

Doomed

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Imagine with me!—Before dawn, a pirate ship had crept into the harbor to rob and sack the town while the peaceful villagers still slept.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Imagine with me!—Before dawn, a pirate ship had crept into the harbor to rob and sack the town while the peaceful villagers still slept. As the pirates were busy collecting their plunder the tide went out, leaving them stranded. The villagers had their revenge when morning broke. Here in the picture we see the threatening symbolism in the formation of the clouds—and the ominous massing of the village, waking defiantly from the dark. It is as though the whole atmosphere is charged with the spirit of vengeance.
The evening before I had photographed the same ship from another angle, against a beautiful sunset. It was an entirely different mood that I captured… A graceful ship resting gently on its side, bathed in the gold of the sunset. The lyrical beauty of the scene called for quite a different title interpretation and decided that the nostalgic inference of the stranded three-master in this exquisite setting was best expressed in the title “The Last Journey”.
Composition:
Steelyard in close formation. The scene conveys a striking Drama. The turbulent sky, the blunt mass of the ship, the silhouetted church and housetops all combine to effectively portray the mood of the title, “Doomed”.
Technical Problems:
The exposure was made against the light and sun. Result: extreme contrast. Filter practically ineffective for lack of blue near the horizon in the direction of the sun. Blocking up and flattening out of clouds and lack of detail shadows was the result. Extensive reduction, work on shadow detail and brightening of the highlights in clouds which had flattened out were necessary because of the over-exposure. Strong texture was printed in to emphasize the mood.
Data:
Camera: Linhof 9x12cm
Lens: Zeiss Tessar
Stop: f.16
Filter: Dark Yellow
Film: Agfa Superpan
Exposure: 1/10 second, on tripod
Print: 14x17 Tuma Gas"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.09
catalog number
4116.09
accession number
146001

Solemnity

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"A huge green-black tree formation like a giant wave seemed to pile up against the transparent pale blue mountain sides far in the distance. A carpet of the most vivid green grass lay at my feet.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"A huge green-black tree formation like a giant wave seemed to pile up against the transparent pale blue mountain sides far in the distance. A carpet of the most vivid green grass lay at my feet. Such was the majestic setting that spread before me high in this mountain pass in Switzerland. A drop of 4,000 feet fell behind the trees in the distance. The mysterious haze, characteristic of the Swiss Alps, makes one feel transported to a different world. Ghostly white, and murky grey clouds constantly try to scale the mountain-tops, shrouding the glorious Jungfrau now invisible in the distance. The everchanging shapes and colors of the scenery stir the imagination, and one can watch this breathtaking spectacle of solemnity for hours on end without tiring.
Composition:
A rhythm of gigantic proportions, the huge waves stretch in a horizontal movement. Careful treatment of tone in the dominant masses is the outstanding feature of this composition. Whereas these masses emphasize the Drama of the scene, the pleasing curves of horizontal lines lend charm and grace to the composition.
Technical Problems:
Texture had to be introduced to strengthen the heaviness of the atmosphere. Disturbing detail in sky, trees and foreground was subdued to recreate the simplicity of the actual scene. Counter movement in the sky was slightly emphasized by removing unnecessary clouds with retouching.
Data:
Camera: Makina 2 ¼ x 3 ¼
Lens: Anticomar
Stop: f.8
Film: Agfa Super Plenachrome
Exposure: 1/25 in hand
Transparency: 8x10 Eastman Commercial
Paper Negative: 14x17 Velour Black L
Print: Defender Velour Black"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.36
catalog number
4116.36
accession number
146001

Good Bye

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Good by father! Goody bye brother! Come home soon.It is along the shores of the St.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Good by father! Goody bye brother! Come home soon.
It is along the shores of the St. Lawrence stream where its width measures twenty miles or more, but the fishing is usually carried on close to shore and no big boats are needed. The little girl does not know where they are going—she is deep in thought—Oh yes, they will bring big fish and plenty of them in large barrels packed with salt to be sent to the United States. So she told me in French. And so I posed her to convey the story of “Good Bye”.
Composition:
Steelyard—arranged to impress by its simplicity. The rock in the middle distance was left to detract from the monotonous horizon line. The tone scale is left in grey shades to add to the sad mood of the setting.
Technical Problems:
The fishermen were coming in with their catch. Dozens of their relatives rushed to their aid to carry away the fish in baskets. There were too many people to make a picture, therefore posing had to be done. I told the two girls and the fishermen the story of “Good Bye” and with a little practise [sic] of rowing in and out, it worked.
There were more rocks in the water, taking away from the simplicity. They were removed by retouching. Irregular grain was introduced into the print to suggest atmosphere.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.8
Filter: Light Yellow
Exposure: 1/50 in hand
Film: Agfa Super Plenachrome
Print: 14x17 Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.34
catalog number
4116.34
accession number
146001

Bittersweet

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"The bright flowers and foliage of Summer are gone.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"The bright flowers and foliage of Summer are gone. Dry leaves and broken twigs rustle and crackle underfoot… the crisp air has become coolly remindful of the imminence of Winter… and sprigs of colorful Bittersweet again adorn the vases on my mantelpiece.
For it is at this time in our seasonal cycle that the hardy crimson-berried shrub defiantly colors the faded countrysides, and we gratefully gather its vivid cheeriness to grace our homes with its lasting hues through the long Winter months. It is this feeling of homely delicacy that I wished to capture in the subject.
Composition:
A simple arrangement in steelyard balance. The vase positioned at the extreme right permits the Bittersweet to extend far to the left without distortion or side-heaviness. The second sprig, resting carelessly below provides whatever additional support may be needed. The simple, restrained tone and contour of the vase prevent this large mass from otherwise dominating the composition and subordinating the intended center of interest, which of course is the Bittersweet. The high key of the rendering with subtle play of light and tone, and the diffused light accent at the center of the composition, give the ethereal delicacy and charm I desired.
Technical Problems:
High key and finely balanced tone values in a limited range is an achievement in photography that demands complete mastery, (barring accidents) of the technique of pictorial control all the way from the selection of suitable subject matter to the final negative and print manipulation. The particular problem at this time was to successfully introduce strength in high key without falling into that ever yawning pitfall of ruinous contrast. The tone in the center was introduced by flashing and printing-in during enlarging.
Data:
Camera: Jewel A 9x12cm
Lens: Zeiss Tessar
Stop: f.16
Film: Agfa Superpan
Exposure: 8 seconds (Mazda Light)
Print: 14x17 Tuma Gas, toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.04
catalog number
4116.04
accession number
146001

At Dusk

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Five p.m. a winter evening. The sun is about to set but still desperately tries to penetrate the heavy atmosphere.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Five p.m. a winter evening. The sun is about to set but still desperately tries to penetrate the heavy atmosphere. The thick blue haze seems to creep between the man-made canyons partly obscuring the great buildings until they appear like colossal ghosts with multitudes of black eyes. Above tower the spires of a dream city, only visible in outline leaving to your imagination the details of the thousands of windows and lofts, where millions of people struggle for their existence.
Composition:
Pyramidal. From the almost invisible dusky blue foreground, the buildings mass one higher than the other, until we reach the horizon line with its graceful, cathedral-like towers, bathed in an impenetrable veil of a bright orange hue, interrupted by purple etched clouds. The tower on the right side is of great importance in the balance of the composition, permitting the group of tall towers to be placed off center to the left.
Technical Problems:
The exposure was made against the light source itself. The sky, as a result, received over exposure which had to be corrected with local reduction. Separation between some of the buildings had to be provided for by groundglass work. Texture was printed in during enlarging to give a more decided feeling of thick haze.
Data:
Camera: 5x7 Eastman View
Lens: Zeiss Tessar
Stop: f.8
Film: Agfa, Supersensative Plenachrome
Exposure: 3 seconds
Print: Defender Velour Black"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.10
catalog number
4116.10
accession number
146001

City, Thy Name Be Blessed

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Coming home from Nova Scotia, I found this unusual opportunity for a truly symbolical portrayal. There were many nuns aboard ship, returning to a convent in New Jersey.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Coming home from Nova Scotia, I found this unusual opportunity for a truly symbolical portrayal. There were many nuns aboard ship, returning to a convent in New Jersey. I knew we would pass the majestic skyline of New York at about half past seven in the evening and visualized my picture completely beforehand. The nuns were reticent about posing, but when I explained that the rules of their order would not be violated since I did not intend to photograph their faces, they graciously consented to take the position by the rail of the boat.
Thus I was able to portray the materialistic creation of man in stone and steel dwarfed by the heavenly grandeur overhead. The heads of the nuns, bowed as in prayer, seem to be blessed by the great slanting beams of sunlight.
Composition:
Pyramid and radiation. The motif is spiritual which is carried through the entire composition. The pose of the nuns conveys a sense of reverence. The detail in the buildings is almost obscured which gives a feeling of mystery. Clouds and rays which connect the city with the sky above prevent separation of the motive. Although vivid light rays stream downward, the heaven above is shrouded in mystery by dark tones… this holds the eyes within the picture and makes them follow other rays down to the motive again.
Technical Problems:
The nuns, at first reluctant, consented to pose at the last minute. The sun rays were present, but not in the picture field and had to be re-introduced via ground glass work. On account of the wind, the nuns were holding their veils which made their white hands very conspicuous, and they had to be removed by etching and retouching. Quick action was necessary because the boat was moving fast and the exposure had to take place at the moment the nuns were in proper relation to the buildings in the background, which happened in a fraction of second. Mystery was added by printing in an irregular grain.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.6.3
Film: Eastman Verichrome
Exposure: 1/25 in hand
Transparency: 8x10 Eastman Commercial
Negative: 8x10 Eastman Commercial
Print: Tuma Gas 14x17"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.22
catalog number
4116.22
accession number
146001

The Sentinels

Currently not on view
Location
Currently not on view
date made
1937
Associated Date
1937
maker
Fassbender, Adolf
ID Number
2013.0327.0032
catalog number
2013.0327.0032
accession number
2013.0327

Snow Caps

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Winter night, away from the clamor and noise of the busy streets, and yet in the heart of the bustling Metropolis, New York City.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Winter night, away from the clamor and noise of the busy streets, and yet in the heart of the bustling Metropolis, New York City. Here and there dancing snowflake flutter past the glare of the lantern and settles on the heavily laden fence or pathway. The stillness makes one hesitate, yet the winding curve with its elfin, snowcapped little figures seem to invite one to continue through the winter fairyland.
Composition:
The S-curve: In a daring fashion, two powerful leading lines direct attention into the picture field. From whatever angle the picture is viewed there is no other way to enter the simple, but dramatic setting. The lantern in the upper right provides a possible escape which is counterpoised by the surrounding darkness. The suggestion of the road turning inward again satisfactorily encloses the composition at this point.
Technical Problems:
To retain the semi-detail in the darkness of the distance, extreme over-exposure in the foreground was inevitable. Here, as in a great many cases the eyes adjust themselves to a scale of light too great to be reproduced on film or paper. Therefore local reduction had to be applied extensively to bring the tone scale into a possible printing balance. The lantern in the distance and the surrounding area also had to be brought down in tone and gradation via reduction.
Data:
Camera: 10x15 centimeter Orix
Lens: Tessar
Opening: f.11
Exposure: 3 ½ Minutes
Plate: Illingworth Lightning
Print: Tuma Gas, direct enlarging—blue toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.19
catalog number
4116.19
accession number
146001

Abundance

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Luscious fruit cascading in orderly disarray against the tapestried background of horsemen, dogs and the spirit of the chase. How amazingly third-dimensional this colorful bounty seems.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Luscious fruit cascading in orderly disarray against the tapestried background of horsemen, dogs and the spirit of the chase. How amazingly third-dimensional this colorful bounty seems. Oranges, apples, peaches and grapes… reach out and take some! Feel the down on the soft textured peaches… the hard, shiny apples… the dusty blue and iridescent green and yellow grapes… the bright mottled oranges!
As a matter of fact the original of which this print is a copy, is a full color reproduction made by the Three-Color Carbro Process. The color print is now part of the permanent photographic collection of The Smithsonian Institute [sic] in Washington, D.C.
Composition:
To arrange fruit in a pleasing unit and avoid the impression of obvious posing is a difficult feat, and requires painstaking care in selection and disposition of the various sizes, colors, and textures to achieve balance and avoid “bunching”. Notice how the orange at the left is placed above the extended mass of grapes to break up the otherwise monotonous and artistically bad horizontal line formed by the table level and the wall.
Technical Problems:
Photographing such a variation of colors in fruit or any other collection of objects with Panchromatic or Orthochromatic film tends to provide false correction of certain of the colors when reproduced in monotone. Therefore, rebalancing of the tones is absolutely necessary to achieve logical distinction between the color values of the various objects. In the making of the color print previously mentioned this was scarcely necessary due to the compensation made by the various filters used to make the primary color separations. In the black and white print reproduced here, the highlights were brought out for additional contrast by penciling and chalking the groundglass substitute behind the film.
Data:
Camera: Zeiss Orix, 4x6 inches
Lens: Zeiss Tessar
Stop: f.16
Film: Agfa Superpan
Exposure: 8 seconds
Print: 14x17, direct
Paper: Tuma Gas"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.25
catalog number
4116.25
accession number
146001

Figure 8

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Winter in Central Park, New York City. Early morning, only a few people realized that there would be ice and snow in the Park.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Winter in Central Park, New York City. Early morning, only a few people realized that there would be ice and snow in the Park. The haze was lifting and I found this young lady busy making her perpetual Figure 8. Ice skating is real fun at the foot of the city skyscrapers. It is real fun, too, taking pictures on such an exhilarating morning, except for the comfort of my finger tips and toes.
In the distance is Columbus Circle if one wishes to penetrate the thin haze which lingers like winter’s icy breath over the town.
Composition:
The open space between the figures and the tree in the foreground provides an excellent entrance to the wintry scene, which is enhanced by the interesting group of modern skyscrapers in the background. The tree on the lower right is most important in the balance of the composition. Also the slight darkening of the sky on the upper right, conveying the blue coming through, helps to add to the necessary weight at this point.
Technical Problems:
In the foreground there was a fence which had to be removed via retouching. Otherwise one would have to jump over the fence to reach the picture. The tree on the right was too light and had to be darkened via reduction on the negative. A texture was introduced in the printing to convey the feeling of the delicate haze, noticed when making the picture. The vicinity around the skating figure had to be lightened to distinguish the lady from her surroundings. The ice looked too dark, especially in the distance, and had to be brightened.
Data:
Camera: Jewell A 9x12cm
Lens: Zeiss Tessar
Stop: f.11
Film: Agfa Super Plenachrome
Filter: Light Yellow
Exposure: 1/10, on tripod
Print: 14x17 Tuma Gas, blue toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.05
catalog number
4116.05
accession number
146001

Budding Contenders

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"The boy at the left was dominating the conversation, emphasizing the import of his words every now and then with a wave of his apple-filled hand.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"The boy at the left was dominating the conversation, emphasizing the import of his words every now and then with a wave of his apple-filled hand. I learned that the free-for-all sailboat race was to take place here in the park lake the next day. The present problem, however, was how the dickens could they get their impish little vessel to stop sailing in circles. Change the mains’l… heavy the ballast… shorten the center-board. These were but a few of the many suggestions my eavesdropping ears overheard. Enough! Action! Camera! But I was not quick enough. The boys spied me. “look, fellers”, said one of them. “That man is going to take our picture. Will it be in the News tomorrow, Mister? Our boat is going to take first prize, you know”.
Composition:
The boys had to be carefully posed again, since the nonchalance of their natural postures had given way to a self-conscious stiffness upon seeing me. I persuaded them to resume their original positions at the water’s edge, and as their camera-consciousness disappeared once they became engrossed in the solution of their navigating problem, I then caught the interesting little chapter of boyhood comradeship you see here. There is a steelyard balance of the principle masses in the picture area. Note how the separation of the boys’ heads from the light background of the water gives clarity to the motive. Likewise the placing of the light toned sail against the dark reflection draws sufficient attention to this secondary mass to make it the logical continuing point of interest.
The boat, drifting along the eddying and distorted extremities of the reflections brings a welcome sense of motion to this area.
Technical Problems:
The delicate reflections of the clouds were introduced in the negative afterwards to give a feeling of substance and reality otherwise lacking in the lighter toned water areas. This was done with chalk on groundglass substitute. General tone balance was brought about local reduction of the negative.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Anticomar
Stop: f.8
Filter: Medium yellow
Exposure: 1/25 in hand
Film: Agfa Super Plenachrome
Print: 14x17 Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.07
catalog number
4116.07
accession number
146001

The Ice Serpent

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"This striking and fantastic semblance, etched in the ice by the slanting beams of the late afternoon sun, lasted but a few minutes… just long enough for me to recover from the excitement of my discovery an
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"This striking and fantastic semblance, etched in the ice by the slanting beams of the late afternoon sun, lasted but a few minutes… just long enough for me to recover from the excitement of my discovery and intense admiration of its dramatic beauty to take the picture. How my imagination responded! I visioned the icy spectacle as the glittering trail left by a monstrous sea serpent that had just slithered away from behind the great rock in the foreground to plunge into the depths of the sparkling water beyond, leaving behind, the glitter of a thousand shining scales on the frosted surface. And to think… this all happened on a lake in Central Park, New York City.
Composition:
S-curve. Although the graceful lines and fine gradations of tone tend toward the lyrical, I feel the composition is basically dramatic. The dominating mass of snow-covered rock in the foreground is the source from which the S-curve springs, making the latter of secondary importance in the dramatic sense. The fantastic mystery of the interpreted analogy intensifies the interest, and the great sweep of line to the far distance and woodland gives a feeling of vastness… of space unlimited… a world such as my imaginary super-reptile could move in with ease and comfort.
Technical Problems:
Happening on the scene as suddenly as I did, permitted little time for speculation; it meant rapid thinking and action. Shutter speed, film, filter factors, stops, etc., had to be adjusted while I concentrated on what I saw and felt. My split-personality method worked quite successfully. The great contrast of light called for over-exposure, with careful reduction later in the darkroom to bring out the desired balance. The foreground was considerably toned down and the sparkle of the S-curve greatly emphasized to bring out the splendor and drama of its beauty. Since only one exposure was possible at the time, I had to be right. This reliability and coordination of experience and knowledge proves the worth of the care, the time, and the trouble taken by the serious pictorialist to achieve perfection in his work.
Data:
Camera: Ihagee, 4x6cm
Lens: Tessar
Stop: f.16
Filter: Medium Yellow
Exposure: 1/5 on tripod
Plate: Illingworth Lightning
Print: Tuma Gas (blue-toned)"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.28
catalog number
4116.28
accession number
146001

City Symphony

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Imagination is the thing of which most beautiful and unusual pictures are created. Walk along this lake with me and gaze at what seems to be a sunken castle in the shimmering water.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Imagination is the thing of which most beautiful and unusual pictures are created. Walk along this lake with me and gaze at what seems to be a sunken castle in the shimmering water. See how it follows us as we proceed, changing with every move to grotesque and weird shapes. Why, snakes seem to be running up and down the edges! There now, towards us comes a tree, upside down. We stop. So does the tree! It stretches its fluttering arms out as if to embrace the castle. There are more quivering leaves at the bottom of the lake. Everything seems to vibrate on the eddying water. The gentle breeze that stirs the water sounds like music, floating from the submerged castle with its towers of glory… a City Symphony.
Composition:
A steelyard arrangement, but pyramidal in effect. Notice the harmony and unison brought about by the stretching branches and leaves, unifying things that “belong” together”. The tree trunk, bent slightly backward and the heavy foreground made it possible to move the tower somewhat off center avoiding immovability and stagnation.
Technical Problems:
Depth of focus, due to large camera and moving objects, was difficult to achieve. Only by compromising and throwing the foreground (6 feet away) into darkness to overcome lack of focus, then waiting long for the wind to still its movement, and leaving the lends fairly wide open, was it possible to get an exposure short enough to arrest the swift creeping motion along the roof tops. The sky was empty and looked dreary so clouds had to be introduced to create the fairylike atmosphere. To convey a sense of mystery, texture was printed in.
Data:
Camera: 9x12cm Jewell A
Lens: Zeiss Tessar
Opening: f.8
Filter: Light
Film: Agfa Plenachrome
Exposure: 1/25, on tripod
Print: 14x17 direct, on Tuma Gas"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.35
catalog number
4116.35
accession number
146001

Helping Hands

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Boys and boats are always ideal picture material. Take these young mariners, for example.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Boys and boats are always ideal picture material. Take these young mariners, for example. I had been setting up my camera quite a distance away in preparation for taking a general view of the interesting fishing village locale, when my attention was attracted by the hustle and bustle of the boys in the boats. Why, thought I, here might very well be a group of young adventurers in possession of an ancient weather-stained map of buried treasure busily preparing to set forth in quest of fame and fortune… or, an intrepid band of explorers bound for the arctic wastes! Yes, indeed… but I must be quick or they will be gone and I will not have my picture!
Hastily bundling my equipment together… visualizing the composition, calculating the exposure, setting lens stop, shutter, focus and filter on the run, I arrived at my predetermined point of view and made the exposure before the boys became aware of my presence. Breathless, but happy and confident that I had succeeded in getting the picture I wanted, I realized more than ever that chance good luck with snapshots is satisfying only to the beginner. The serious pictorialist, even when working under conditions requiring quick thinking and action, finds his reward for painstaking effort in the consistent superior qualities of his results.
Composition:
Human interest and unposed spontaneity of action in the figures make a pleasant contrast to the highly pictorial nature of the setting. The pier-line to the left retains and defines the canal while the zig-zag character of the roof lines help to make that portion of the sky area interesting. The horizontal position of the boat and the illuminated figure of the little boy seated in it attracts the eye to this point in the composition, from which the eye can then sweep along the directional lines of the oar and the converging sides of the boat to where the other boys… the helping hands… are preparing for departure.
Technical Problems:
Late afternoon, filter and lens stop considerations forced me to use the longest possible exposure. Therefore, I had to watch and be ready for the moment when there was a minimum of motion in the figures. The horizontal mass of clouds was later introduced to relieve the otherwise uninteresting void of sky over the flat portion of the horizon at the upper left.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.6.3
Film: Agfa Super Plenachrome
Filter: Medium Yellow
Exposure: 1/25 in hand
Print: 14x17 Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.27
catalog number
4116.27
accession number
146001

The White Night

From Pictorial Artistry: The Dramatization of the Beautiful in PhotographyChristmas! The Spell of Yuletide everywhere… enhanced a thousand-fold for me by the all-blanketing blizzard. Excitedly, the snowflakes whipped and clung to my face and camera like myriad tiny hands.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
Christmas! The Spell of Yuletide everywhere… enhanced a thousand-fold for me by the all-blanketing blizzard. Excitedly, the snowflakes whipped and clung to my face and camera like myriad tiny hands. Now and then, the sounds of the crunching footsteps made me aware of strangers passing by furtively. The park was shrouded in the mystery of this luminous night. The high ascending buildings that frame the park were lost in the far-reaching darkness. But the bright glow to the south was unmistakable. There stands the Plaza. A tiny bell tinkled… a “Santa Claus” still at his post somewhere waiting for alms. The world about me, so aloof in the snowy stillness, held a serenity that filled me with gladness… an unknown something that for me is the spirit of Christmas… so glorious, so white, on this night of nights.
Composition:
We are led into the picture field over a winding black brook, resembling one of the many strange designs of the Chinese Dragon, culminating in a mysterious glow beyond the trees. The fantastic towers in the dim distance group themselves in pyramidal fashion and lend dignity to the drama.
Technical Problems:
The buildings were not visible, but their position was known through my daytime familiarity with the setting. The feeling of snow in the air was lost, due to time exposure and had to be reintroduced by printing a texture into the image during enlarging. The icy snow settled between metal parts of the camera and on the lens which made the camera useless after one exposure.
Data:
Camera: 4x6 inches
Lens: Zeiss Tessar 7 ¼ inches
Stop: f:11
Exposure: 3 ½ minutes
Plate: Illingworth Lightning
Exhibition Print: 12x17 inches, direct enlarging
Paper: Tuma Gas, blue toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.01
accession number
146001
catalog number
4116.01

Tranquility

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Evening fell upon the little fisher village, and with it, silence. Nothing seemed to move—even the streaky clouds appeared stationary.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Evening fell upon the little fisher village, and with it, silence. Nothing seemed to move—even the streaky clouds appeared stationary. From one of the little houses nearby came the gentle strains of a reed organ. This little instrument can be found in almost every house in Nova Scotia.
The music had a deep effect on me while facing the serenity of the scene. A few old fisherfolk came down the road to watch the performance with the camera and tripod. I worked very carefully, as if not to disturb the spirit that floated through the air and expressed itself in “Tranquility”.
Composition:
An arrangement of many long horizontal lines, which convey peace and quiet, but here and there interrupted by delicate vertical lines which lend stability to the setting without giving it dramatic power. Also the extensive use of medium grey tones in mass adds to the serenity and simplicity of the plain motif.
Technical Problems:
The houses were of light grey color, but photographing against strong light in the sky, the film, not having the light scale capacity of the eyes, rendered the buildings dark and the sky too light, when translated to the final print. This, of course, is not in accordance with the impression one has when viewing the actual scene. Rebalancing of the negative and final print via reduction, printing in, holding back and flashing in, became a necessity, if a truer picture was to be the result.
Data:
Camera: Linhof 9x12cm
Lens: Zeiss Tessar
Stop: f.11
Filter: Medium
Film: Agfa Superpan
Exposure: ½ second on tripod
Print: 14x17 Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.11
catalog number
4116.11
accession number
146001

When Knights Were Bold

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"It was early morning. We were driving through rich farmlands in Northern Bavaria, a drizzling rain from the low-hanging clouds cast a depressing heaviness over the countryside.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"It was early morning. We were driving through rich farmlands in Northern Bavaria, a drizzling rain from the low-hanging clouds cast a depressing heaviness over the countryside. Despite the weather, peasants were busy with the harvest in the fields beside the road, turning from their labors to greet us respectfully as we passed.
A sharp twist in the road… a clearing vista ahead as a few feeble rays of sunlight began to penetrate the overcast sky. Behold! In a sudden burst of sunlight a gleaming white tower rose high in the distance… a fairy-castle pinnacle which seemed to rest miraculously on a cluster of little houses. What a sight it was midst the otherwise flat and uninteresting country… so breathtaking in its suddenness… unleashing our imagination with its charm. Why, here might be the Sleeping Beauty awaiting to be awakened from her sleep of centuries. Or, here behind the mighty ramparts might be an army besieged… the clash of arms dimmed by time. Yes, here was romance… the glory of the past… when knights were bold.
Composition:
Pyramidal. Point of view was selected to achieve a repetition of the pyramidal movement within the composition. The tower was centered and positioned high in the picture area to convey the desired impression of might and lofty dominance over the surrounding subject matter. The dazzling play of light on the tower decided the natural focal point of interest within the picture.
Technical Approach:
By the time the picture was taken from close up, the light had become diffused and had spread across the entire picture field. Since I wished to recapture the magnificent first impression as I had viewed the scene from afar, the following was my procedure.
The houses to the left and right appeared too light from false reflections, and the light balance of the entire scene was scattered, minimizing the power and beauty of the tower. So I had to resort to local reduction, and to give added brilliance to the tower itself in keeping with its importance, I used chalk on the paper negative. Elongation then gave the final measure of towering height, strength and dominance.
Data:
Camera: Makina 2 ¼ x 3 ¼
Lens: Plaubel Anticomar
Stop: f.8
Filter: Medium Dark
Exposure: 1/25 camera in hand
Film: Agfa Super Plenachrome
Transparency: 8x10 Eastman Commercial"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.03
accession number
146001
catalog number
4116.03

Lowering Clouds

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Although situated in the northern part of Germany, it reminds one of a typical old Dutch setting. The twin trees on the left, resemble two overgrown children looking peacefully at the windmill.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Although situated in the northern part of Germany, it reminds one of a typical old Dutch setting. The twin trees on the left, resemble two overgrown children looking peacefully at the windmill. The single dark tree in the center also looking over, breaks up the long stretch to the mill. The two-legged wheel, quite different from the usual mill, was turning quickly and broke the stillness of the otherwise quiet scene. Evening was nearing and the lazy clouds seemed to be trying to settle down on the landscape and go to rest for the night.
Composition:
Steelyard, but somewhat elongated. This adds to the simple setting and gives it a dramatic touch. The horizontal flow of the river conveys tranquility which is gracefully broken by its curve in the foreground. The reflections in the water break up the dangerously monotonous horizontal movement. Emphasis in the sky is centered near the mill to enhance the leading motive.
Technical Problems:
The film was light struck and had to be saved by local reduction. The clouds were utterly shapeless and had to be modeled while emphasis was put near the mill. The mill and the important trees were darkened to give them more importance. The wheel blades were almost invisible and had to be strengthened via retouching.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.11
Film: Agfa Super Plenachrome
Exposure: 1/25, in hand
Print: Tuma Gas, toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.39
catalog number
4116.39
accession number
146001

Onward

Currently not on view
Location
Currently not on view
date made
1937
Associated Date
1937
maker
Fassbender, Adolf
ID Number
2013.0327.0031
catalog number
2013.0327.0031
accession number
2013.0327

Finite...Infinite

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"The early morning mist has just lifted. The sea… so still and serene, is like a huge mirror before us. On the horizon hover the same bank of clouds we had seen there the night before.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"The early morning mist has just lifted. The sea… so still and serene, is like a huge mirror before us. On the horizon hover the same bank of clouds we had seen there the night before. For here, on the coast of Nova Scotia the land breeze and the breeze from the sea wage a constant see-saw battle that suspends cloud formations in almost the same position for days at a time. When the sea breeze wins out the clouds quickly mass and march inland, bringing rain. But today, the clouds seem to be moving away little by little, lowering over the horizon’s edge until they seem to almost touch the sea. The small fisher-boat and its crew seem infinitesimal in the middle distance against the great expanse of sea and sky, and the majesty of the great clouds.
Composition:
Balance, tone, and the placing of a few small objects in a large picture area, is the secret of the effectiveness of this composition. For once, although the rendering is in high key, the leading motif appears black against light. The clouds, however, mass large enough to hold the balance easily. The broken waves in the lower right hand corner also help the balance and give interest to the base of the picture.
Technical Problems:
The water, covering two-thirds of the picture space, was too even and monotonous. Therefore, light and shade was introduced and the ripples emphasized. Clouds and horizon had to be separated, because the almost uniform color between water and sky at the time made the filter useless.
High sky and strength is a difficult combination, therefore delicate groundglass work had to be done to keep the balance.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Anticomar
Stop: f.11
Film: Eastman Panatomic
Filter: Deep Yellow
Exposure: 1/25, in hand
Print: Defender Velour Black"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.38
catalog number
4116.38
accession number
146001

The Wet Road

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"It was seven o’clock on a rainy August evening at the Austrian-Tyrolian border. Looking back through the rear window of the car I saw this magnificent view. “Picture”, I shouted to my friend at the wheel.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"It was seven o’clock on a rainy August evening at the Austrian-Tyrolian border. Looking back through the rear window of the car I saw this magnificent view. “Picture”, I shouted to my friend at the wheel. “Impossible”! was his reply. “how could you take it in this rain and darkness”? I finally persuaded him to stop and I rushed back through the drizzling rain, quickly adjusting the camera. For I had seen something he could not as he kept his eyes on the road ahead. The setting sun had broken through an opening of the clouds, sending its last glorious rays down to the peaceful earth. It was a marvelous sight lasting only a minute. The wet road, catching and reflecting the light, seemed like a river disappearing around the hillside in the distance. The burst of sunlight overhead provided a dramatic climax for our ecstatic appreciation.
Composition:
Radiated. An array of dynamic lines all pointing in the direction of the leading motive, the sky, bringing the entire setting to a forceful and dramatic unity. The lower key rendering of church and house was necessary to avoid clashing with the intended center of interest.
Technical Problems:
Photographing against the light at such hours results in extreme contrast, a blocked up sky, and black silhouette-like shadows in the landscape. This, of course, is not what the eye sees. So, to produce a true to nature print, over-exposure and extensive reduction work in sky as well as additional balancing with groundglass was necessary. Seeing, remembering, imagining, then knowing the limitations of the material, and finally, the full application of technical media, are all essential to recreate a scene like the “Wet Road” on photographic paper.
Data:
Camera: Makina 2 ¼ x 3 ¼
Lens: Anticomar
Stop: f.6.3
Filter: Not needed
Exposure: 1/10 in hand
Film: Agfa Super Plenachrome
Print: 14x17 Tuma Gas"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.06
catalog number
4116.06
accession number
146001

Signs of Spring

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Blossom time—thin, graceful branches swaying in the gentle breeze, the little white flowers like thousands of fluttering butterflies, dance about, enjoying the first warm rays of spring.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Blossom time—thin, graceful branches swaying in the gentle breeze, the little white flowers like thousands of fluttering butterflies, dance about, enjoying the first warm rays of spring. They also warm the heart of the eager pictorialist who had exhausted his skill trying to photograph beautiful things in bleak winter. It is Dogwood in bloom, one of the most rewarding subjects with which to play in blossom time. Tiny, transparent, and bright green leaves were just sprouting, intermingling with the sparkling flowers.
Composition:
A delicate Japanese design against a soothing blue sky. The various treetops, a repetition in different shapes of other Dogwood flowers, were permitted in the lower part of the picture, first, to lend height to the real motive, and second, to provide for a base in the picture. Without them the composition would be top-heavy. The radiation of curved lines from the main stem forms the foundation of the charming design.
Technical Problems:
There were other branches interfering in the upper left section of the picture. They had to be removed by making a composite negative first, followed by additional retouching, etc., filling in the corner with plain sky. This gave the branch and design more freedom. The swaying of the tree would not allow a small diaphragm stop and long exposure. Waiting for the wind to abate was a trial on my patience. The exposure had to be made at the end of the sway, the dead point where momentum stops. Each white flower was emphasized by retouching.
Data:
Camera: Jewell A 9x12cm
Lens: Zeiss Tessar
Stop: f.11
Filter: Deep Yellow
Exposure: 1/5 of a second
Film: Agfa Superpan
Print: 14x17 Tuma Gas, toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.12
catalog number
4116.12
accession number
146001

Our collection database is a work in progress. We may update this record based on further research and review. Learn more about our approach to sharing our collection online.

If you would like to know how you can use content on this page, see the Smithsonian's Terms of Use. If you need to request an image for publication or other use, please visit Rights and Reproductions.