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.

Date: 1930s

In His Kingdom

Meet the King of Swans, on guard in all his militant beauty… gracefully alert to any approaching danger; for his Queen is nesting on the pond’s far edge, and he must protect her.At such a time the King looks his best, unaware that his very bearing and manner has made him the perf
Description
Meet the King of Swans, on guard in all his militant beauty… gracefully alert to any approaching danger; for his Queen is nesting on the pond’s far edge, and he must protect her.
At such a time the King looks his best, unaware that his very bearing and manner has made him the perfect subject for the camera pictorialist.
I was not along when I happened on the King of Swans. But because I knew from previous experience the requirements of cautious posing necessary to achieve a successful swan picture, I solicited the cooperation of my companions. I explained that I would take the King’s picture a hundred feet or so further on, where the sunlight silvered the leaves on the branch of a tree that dipped gracefully to the water’s edge.
All withdrew at my suggestion from the pond’s edge, with the exception of myself and one other, who was to follow certain prearranged signals unknown to the others. For I knew that as my fellow conspirator approached the water’s edge, the King would glide closer to shore ready to combat any encroachment on his domain. Likewise I knew that he would withdraw as the person withdrew, and follow suspiciously every move made.
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"By such maneuvering I made twelve exposures of the King in the setting I wished, maintaining all the time the illusion that the swan actually understood and followed my directions, as I would say—“Come along, Swan. Now turn around… No! No!... turn back again. Now come nearer to me. Turn to the side. Hold it! Thank you”.
It was all such fun. Later, when the picture-taking was over and I revealed the how and why of my “stage directions” hoax, everyone was greatly amused.
Composition:
Circular. The shore, the overhanging branch, the reflections, and the eddies are arranged so as to form a continuous movement rotating around the Swan.
Technical Approach:
The picture was taken against a low sun. The light was weak and contrasty [sic] because of the high trees. The depth of focus of the large camera was shallow, and an exposure of 1/25 was required. Accordingly, I had to anticipate any movement the swan might make. Contrast in the negative had to be corrected by local reduction. Excessive reflections were removed by etching.
Data:
Camera: Zeiss Maximar 9x12cm
Lens: Tessar 13.5cm
Stop: f.8
Exposure: 1/25 in hand
Film: Agfa Super Plenach"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.33
catalog number
4116.33
accession number
146001

Faith

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Eighty years old, but twice a day, down the road comes dear old great-grandmother making her feeble way to the little village church.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Eighty years old, but twice a day, down the road comes dear old great-grandmother making her feeble way to the little village church. A hard life with untold and bitter experiences behind her, yet there remains on her kindly face an expression of deep reverence, happiness and hope as she enters the ancient edifice. On her knees she will pray and meditate with her Lord—It may be her last tribute—such is Faith.
Composition:
An arrangement of things that have weathered the storm of time. The old church door, half open, the old trees, the time worn road, and the old lady grouped in perfect harmony. Everything so peaceful and simple—they belong together.
Technical Problems:
Passing through the village I saw the church and the old lady. Anticipating she would go there I made my camera ready and waited for the right moment. It never came because the old lady walked through the shade behind the tree. Realizing the impossible composition, I quickly stepped forward to open the church door for her. This gave me an opportunity to speak, and subsequently induce her to come back and walk up to the church along a path suitable for the composition. The picture was photographed in broad horizontal dimensions, but was later cropped to these more vertical proportions to simplify the detail and emphasize the center of interest. Extreme contrasts were overcome by local reduction on the negative.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Anticomar
Opening: f.8
Exposure: 1/50, in hand
Film: Agfa Super Plenachrome
Transparency: 8x10 Eastman Commercial
Paper Negative: Charcoal Black F
Print: 14x17 Defender Veltura P"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.30
catalog number
4116.30
accession number
146001

Pine Cone and Eucalyptus Leaves

Silver gelatin, mounted. Close up of pine cone surrounded by eucalyptus leaves. Detailed. Can see indentations and marks on pine cone and leaves. Signed, ink (recto: bottom right).
Description (Brief)
Silver gelatin, mounted. Close up of pine cone surrounded by eucalyptus leaves. Detailed. Can see indentations and marks on pine cone and leaves. Signed, ink (recto: bottom right). Verso: Adams stamp, title handwritten, ink.
Description
Ansel Adams (1902-1984) is one of the most well-known twentieth century photographers. His contributions to the field of photography include his innovation and teaching of the Zone System. The quality of his photographs set the standard by which many straight photographs are judged.
The collection in the Photographic History Collection consists of twenty-five photographs, all printed in or about 1968. All are gelatin silver, mounted, labeled and signed in ink by the photographer. The photographs include some of his most well-known images, but also portraits and objects. The selection of images was made in collaboration between the collecting curator and Adams.
negative made
1934
print made
1968
maker
Adams, Ansel
ID Number
PG.69.117.19
catalog number
69.117.19
accession number
282104

City Shell

Currently not on view
Location
Currently not on view
Date made
1944
1938
maker
Morgan, Barbara
ID Number
PG.69.217.16
accession number
288025
catalog number
69.217.16

man making the bed

Currently not on view
Location
Currently not on view
date made
ca 1940s
ID Number
2013.0327.0786
accession number
2013.0327
catalog number
2013.0327.0786

Iceberg Lake, Sierra Nevada

Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images.
Description (Brief)
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images. A leader in American photography of the 20th century, Weston's prints were first exhibited at the Smithsonian in 1947. Afterwards, he remained interested in the national photography collection. At times, Weston recommended photographers to curators for collecting opportunities, and eventually donated a selection of his work and several cameras to the Photographic History Collection.
Location
Currently not on view
date made
1937
maker
Weston, Edward
ID Number
PG.004976
catalog number
4976
accession number
210054

In Memoriam

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Far north on the Gaspe Peninsula (in the Province of Quebec), the people are mostly of French descent and very religious. Here one finds shrines everywhere on the hilltops.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Far north on the Gaspe Peninsula (in the Province of Quebec), the people are mostly of French descent and very religious. Here one finds shrines everywhere on the hilltops. It is soon a familiar sight to the traveler and one cannot help but feel the devout spirit of these simple peasant folk. This cross on the hilltop symbolically presents the drama of life and death. On the right side descends the valley of desolation. On the left, the posts seem like pilgrims struggling upwards, one by one, until they reach glorification in death at the Cross. Then darkness falls, thunder and storm, but the cross remains—In Memoriam.
Composition:
From all sides the directional lines of the composition converge on the cross avoiding any distraction of interest from this principal motif. The dramatic force of the entire picture area has been intensified by the sharply contrasting light and dark areas, particularly the bright white spot of sky behind the cross. Clawlike, sharply defined clouds reach out over the valley of desolation.
Technical Problems:
Because of the onrolling thunderstorm only part of the sky was suitable to the mood of the setting–the rest had to be introduced later. The original sky had all that was needed, but it did not reach the picture field. Light and tone balance was introduced by reduction and groundglass work. The posts going up the hill were only partly there and hardly visible. The upper row had to be put in, and the others emphasized.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Anticomar
Stop: f.11
Filter: Dark Yellow
Film: Agfa Superpan
Exposure: 1/5 second, on tripod
Transparency: 8x10 Eastman Commercial
Paper Negative: Velour Black N
Print: 14x17 Gevaluxe"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.17
catalog number
4116.17
accession number
146001

The Sentinels

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"The stability and strength of these old poplars is forcefully impressed upon our consciousness, as they tower in all their majesty above the quaint little white-walled farmhouse.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"The stability and strength of these old poplars is forcefully impressed upon our consciousness, as they tower in all their majesty above the quaint little white-walled farmhouse. How protecting these great trees seem… verdant sentries guarding the humble little farmer’s abode at the end of the road. But these great poplars are veterans of many a campaign… of nature’s wrath… of wind and storm, through the many years that they have valiantly stood at their posts. Now age is beginning to creep up their stems. See how silver threads are beginning to show in the husky leafy tresses. Yet, they sway and bend before the gentle breeze with the grace of youth. Live on, brave poplars! Guard with your strength, and charm with your grace… the double service of your magnificent creation!
Composition:
By placing the house well below the esthetic center of the picture field, greater height and power dramatize the interest of the trees. The light tone of the branches showing through the sparse areas of the dark mass of foliage is welcome contrast. Below the trees the S-curve of the road gracefully leads to the delightful little house. The converging lines of the fence on both sides of the road emphasize the directional lines already suggested, and prevents the interest from straying away from the motive.
Technical Problems:
A great deal of careful darkroom manipulation was required to make the most of the essentially fine pictorial elements of the picture. For example, there was a road in the original print running from left to right across the bottom of the picture area and leading out. The light tone and distracting directional line had to be corrected. So, the fence was “broken through” to permit the roadway to be turned into the picture. The continuing line of the original roadway to the right was eliminated by retouching, which completely unified the directional forces toward the house. High shrubs, which obscured too much of the house, were removed by retouching. The framing heights of the great trees completed the focusing of attention on the house. Part of the fence to the right of the roadway, including the gate, was introduced by retouching magic, so as to gracefully enclose the foreground.
Data:
Camera: Makina, 2 ¼ x 3 ¼
Lens: Anticomar
Stop: f.8
Filter: Dark Yellow
Film: Agfa Super Plenachrome
Exposure: 1/25, in hand
Transparency: 8x10 Eastman Commercial
Paper Negative: 14x17 charcoal black, F
Print: Defender Veltura, P"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.14
catalog number
4116.14
accession number
146001

Coney Island

Currently not on view
Location
Currently not on view
Date made
1930s
maker
Model, Lisette
ID Number
PG.69.210.05
catalog number
69.210.5
accession number
298689

Camp Marks Ruins

Currently not on view
Location
Currently not on view
date made
1932/7/29
ID Number
1986.3048.1503
nonaccession number
1986.3048
catalog number
1986.3048.1503

Leica IIIa

Accession no. 2011.0268, catalog no. 2011.0268.08. Note: Accession no. 2011.0268 covers a large donation of four Leica cameras more than 100 accessory items owned by John W. Hanes.
Description
Accession no. 2011.0268, catalog no. 2011.0268.08. Note: Accession no. 2011.0268 covers a large donation of four Leica cameras more than 100 accessory items owned by John W. Hanes. The Hanes Leica Accessories items are listed in the accessories section after the cameras.
The Leica IIIa was introduced in 1935 and differs from the Leica III in having a top shutter speed of 1/1000th second compared to 1/500th for the Leica III. The competing Zeiss Contax 35mm camera had had a top speed of 1/1250 since its introduction in 1932. This is one of the most common Leica screw mount models, over 90,000 were made, almost all in a chrome finish like the example in the PHC.
The 28mm f/5.6 wide angle Summaron lens on this camera is not contemporary with the camera body. Zeiss made a 28mm f/8 lens for the Contax in 1932 and in 1935 the Leitz 28mm f/6.3 Hektor lens was introduced to compete. However, the 28mm f/5.6 Summaron wide angle lens was not introduced until 1956 and about 6,000 were made up to 1963. All known examples are in Leica screw mount even though Leitz had introduced M series bayonet mount Leica cameras in 1954. Also included in the collection is a Leitz 28mm bright line viewfinder for use with Summaron lens. The viewfinder mounts in the camera accessory shoe.
Location
Currently not on view
date made
mid 1930's
maker
Ernst Leitz
ID Number
2011.0268.08
accession number
2011.0268
catalog number
2011.0268.08
serial number
250160

The Story

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Three hundred years ago this old medieval town of Zous on the Rhine had been relieved from the tyranny of a long and oppressive conquest during the Thirty Years War (1618-1648).
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Three hundred years ago this old medieval town of Zous on the Rhine had been relieved from the tyranny of a long and oppressive conquest during the Thirty Years War (1618-1648). Ever since, the inhabitants of the quaint old town have celebrated the anniversary of their freedom.
Now the festival is over. It had rained a bit, but this had not dampened the spirits of the villagers, as they re-enacted with dramatic pageantry the heroism and strife of the past. Men, women and children all participated and here we find a group of village maidens by a roof-covered well recounting their happy day.
Composition:
The grouping is such that the interest is concentrated on the girl with her back turned to the camera. There is an easy grace of expression and pose in the grouping of the girls. On a circular base, the figures are arranged in pyramidal fashion, topped off by the roof of the well. The aged setting and the youthfulness of the girls are a pleasant contrast.
Technical Approach:
During the play, the stage and setting were overcrowded. But after the performance, I was able to achieve careful posing. Because it was late in the evening a long exposure was required, which made a tripod necessary.
Figures in the background had to be removed by etching and retouching.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Anticomar
Opening: f.6.3
Exposure: ½ second
Film: Agfa Super Plenachrome
Print: 14x17 Defender Veltura"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.31
catalog number
4116.31
accession number
146001

Mt. Pisgah, N.C.

Currently not on view
Location
Currently not on view
date made
1933/1/30
ID Number
1986.3048.1688
nonaccession number
1986.3048
catalog number
1986.3048.1688

Lucius Washington and two mules plow the fields before the Dallas skyline

In 1938 photographer Carl Mydans set off on his travels around the United States once more, making stops in Alabama, Maryland, Virginia, and Texas.
Description
In 1938 photographer Carl Mydans set off on his travels around the United States once more, making stops in Alabama, Maryland, Virginia, and Texas. He captured images of farmers and cowboys, as well as passersby on sidewalks and women in department stores shopping for the latest fashions. This time, he was on assignment for LIFE magazine, instead of the Resettlement Administration.
In this photograph, Mydans accentuates the sharp contrast between the rural and urban lifestyles during the late 1930s in Dallas, Texas. In the background, high-rise buildings, billboard advertisements, and factories remind the viewer of progressive industrialization and how mechanized labor was replacing manual labor. Workers and farmers, such as Lucius Washington, faced hard times during this decade.
Location
Currently not on view
Date made
1939
photographer
Mydans, Carl
ID Number
2005.0228.047
accession number
2005.0228
catalog number
2005.0228.047

Kodak Beau Brownie

date made
1930-1933
maker
Eastman Kodak Company
ID Number
2005.0220.07
accession number
2005.0220
catalog number
2005.0220.07

Ferenc Molnar

Currently not on view
Location
Currently not on view
date made
1920s-1930s
maker
Muray, Nickolas
ID Number
2013.0327.1345
catalog number
2013.0327.1345
accession number
2013.0327

Photographic History Collection: Autochrome

date made
1907-1935
ID Number
COLL.PHOTOS.000023
accession number
282642
catalog number
3364.B
3364.C
accession number
282643
catalog number
3365
accession number
282644
catalog number
3366
accession number
67310
catalog number
3565.1 to 3565.41
accession number
69630
catalog number
3629
3630
3631
accession number
103458
catalog number
3882
accession number
107614
catalog number
3900
accession number
128483
catalog number
4021-0
4021R
accession number
136923
catalog number
4066.A -.C
accession number
242660
catalog number
6451.1 to 6491
accession number
270411
catalog number
67.89
accession number
1967.217
catalog number
67.217.1
accession number
282785
catalog number
69.168
77.22
82.545.620
accession number
1984.0044
catalog number
84.44.1 to 84.44.282
accession number
1990.0126
catalog number
90.126.19 to 90.126.34
accession number
1996.0231
catalog number
1996.0231.009 to 1996.0231.649

Leaves

Silver gelatin, mounted. Aerial view of approximately four different types of leaves. (Fern leaves, poison ivy are the two identified).
Description (Brief)
Silver gelatin, mounted. Aerial view of approximately four different types of leaves. (Fern leaves, poison ivy are the two identified). Signed, ink (recto: bottom right) Verso: Adams stamp, title handritten, ink, top center.
Description
Ansel Adams (1902-1984) is one of the most well-known twentieth century photographers. His contributions to the field of photography include his innovation and teaching of the Zone System. The quality of his photographs set the standard by which many straight photographs are judged.
The collection in the Photographic History Collection consists of twenty-five photographs, all printed in or about 1968. All are gelatin silver, mounted, labeled and signed in ink by the photographer. The photographs include some of his most well-known images, but also portraits and objects. The selection of images was made in collaboration between the collecting curator and Adams.
negative made
1933
print made
1968
maker
Adams, Ansel
ID Number
PG.69.117.12
catalog number
69.117.12
accession number
282326

No. 87 Direct projection of a feather

Currently not on view
Location
Currently not on view
date made
1937
maker
Feininger, Andreas
ID Number
1990.0160.105
catalog number
1990.0160.105
accession number
1990.0160

Ramsey MacDonald and Flandin at Shresa

Currently not on view
Location
Currently not on view
Date made
1935
maker
Aigner, Lucien
ID Number
1992.0101.02
accession number
1992.0101
catalog number
1992.0101.02

Grass and Burned Stump

Silver gelatin, mounted. Tall shoots of grass in foreground, bark on tree stump in background. Shoots of grass sparse, bark on tree looks like snake skin. Shadow across tree from top left center to bottom of stump. Signed, ink, bottom right corner (recto).
Description (Brief)
Silver gelatin, mounted. Tall shoots of grass in foreground, bark on tree stump in background. Shoots of grass sparse, bark on tree looks like snake skin. Shadow across tree from top left center to bottom of stump. Signed, ink, bottom right corner (recto). Verso: Adams, stamp, handrwritten title, top center.
Description
Ansel Adams (1902-1984) is one of the most well-known twentieth century photographers. His contributions to the field of photography include his innovation and teaching of the Zone System. The quality of his photographs set the standard by which many straight photographs are judged.
The collection in the Photographic History Collection consists of twenty-five photographs, all printed in or about 1968. All are gelatin silver, mounted, labeled and signed in ink by the photographer. The photographs include some of his most well-known images, but also portraits and objects. The selection of images was made in collaboration between the collecting curator and Adams.
print made
ca 1968
negative made
ca 1936
maker
Adams, Ansel
ID Number
PG.69.117.03
catalog number
69.117.3
accession number
282326

Migratory worker and family

While traveling through Texas capturing images for his photo essay, Mydans focused not only on the prosperous cowboys on the range, but also on the displaced population that was still struggling to find jobs amidst a national economic crisis.Migrant workers like this man, whom My
Description
While traveling through Texas capturing images for his photo essay, Mydans focused not only on the prosperous cowboys on the range, but also on the displaced population that was still struggling to find jobs amidst a national economic crisis.
Migrant workers like this man, whom Mydans found living with his family by the side of the road near Raymondville, Texas, were called "brush-hogs." It was estimated that this type of permanent migrant worker, without a home, voting privileges, or union representation, numbered more than 3 million during the 1930s. These laborers traveled from place to place, harvesting crops that needed to be picked as soon as they ripened, hoping to earn enough money to get by.
Location
Currently not on view
Date made
1937
photographer
Mydans, Carl
ID Number
2005.0228.038
accession number
2005.0228
catalog number
2005.0228.038

Hayloft

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"It reminded me of childhood days when we used to play hide and seek. There were plenty of haylofts in the neighborhood.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"It reminded me of childhood days when we used to play hide and seek. There were plenty of haylofts in the neighborhood. Up through the back stairs and up the ladder we would go, crawling along the huge beams, then hiding under a pile of straw and waiting to be detected—sometimes falling asleep.
Rich or poor, big or small, for hundreds of years, generation after generation, these storehouses represented the worldly worth of the household. Everything imaginable could be found in these great man-made caverns. There were the ghost stories, too. Who would dare, at dusk, to venture up there. What weird noises, and how penetrating were the eyes of the ugly owls. Then, too, it was always fun to discover a nest full of little mice. Yes… those were the days!
Composition:
Pyramid. To give the setting stability, which it must have, the house was kept close to the center. The cobbler was returning from the well with water, and I waited until he was in the correct position before making the exposure. He provided desirable human interest and helped to balance the composition. Emphasis is concentrated about the figure. Elongation was introduced to give more height and drama to the setting.
Technical Problems:
Many cameras of the smaller type lack rising fronts. This makes tall buildings tumble over and look distorted. We are told that it is modern, and so certain manufacturers get by with it. Enlarging equipment to correct this fault is still scarce so the straightening of lines becomes a grave problem to many pictorialists. Clouds had to be adjusted via retouching to provide for better balance. Telephone wires had to be removed, to avoid a disturbing element of modern life in a medieval setting.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.6.3
Filter: Medium Yellow
Film: Agfa Super Plenachrome
Exposure: 1/50, in hand
Paper Negative: Velour Black N
Print: Defender Veltura P"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.18
catalog number
4116.18
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

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