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Jun 14, 2014 Newsletter 8.02 - June 14, 2014 has been emailed 
 
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The Luminous-Lint Newsletter 8.02 - June 14, 2014 has been emailed to all those on our mailing list and you can subscribe to these free newsletters if you haven't already done so.
 
Past issues of the newsletter are in the library on the Luminous-Lint website. Best, Alan 
  
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Mar 31, 2014 Funding Luminous-Lint 
 I’ve funded Luminous-Lint entirely by myself over the last ten years and it is now time I looked into how it will be supported in the future. Don’t stop reading at this point as it may affect how you and your institution will be able to use Luminous-Lint in the future. There are a number of options for this:
  • Advertising
     
    As Luminous-Lint has over 10 million page views a year this would appear the most obvious way forward. Advertising clutters the page and blurs the boundaries between a commercial and a community supported project. I said I would never do this and many of you have supplied materials on that basis so advertising is ruled out.
     
  • Selling products and services
     
    The aim of Luminous-Lint has always been to organize materials from vast numbers of institutions and private collections to establish and analyse those connections. On Luminous-lint there are over 40,000 internal links just for British calotypists which gives you a sense of the scale. The project has been and continues to be about pushing forward scholarship a step at a time. It is a long term project and inappropriate to the marketing of cameras and books. The Amazon links are included as a convenience to the community and provide minimal income. Selling products and services is not in my opinion the way forward.
     
  • Grants
     
    There are grants one could apply for and coming from university teaching and research I’ve been involved with those over the years. As I’m not affiliated with an institution this rules out most grants and they are generally a short term fix rather than a long term solution for a project of this scale. Last year I proposed a Kickstarter project and thanks to all those who offered support. Unfortunately the project did not achieve the required goal and I need continuity of funding.
     
    I applied for a Getty Research Scholarship Grant in 2013 for “The enhancement of digital publishing prototypes on the history of photography to determine the benefits of collaborative data collection, validation and sharing within the Getty and externally.” The proposal was not successful and you can read the Proposal and the Supporting document to get a sense of what I‘m planning.
     
    The intention of this project is to provide high quality Open Content for the benefit of all.
     
  • Sponsorship
     
    For almost six years Luminous-Lint was effectively supported by work I did on another photography project. This was, and continues to be, a fascinating project and I wish it well. Luminous-Lint requires financial support on its own to ensure continuation. If there is an organisation or individual interested in supporting photo-history then I would be interested and future plans will be adjusted accordingly.
     
  • Subscriptions
     
    Many thousands of people and organisations have provided content and the entire project is enriched daily by the extraordinary material that arrives. As Luminous-Lint is for a community of like-minded enthusiasts instituting a subscription may be the solution. Images and user-supplied content such as online exhibitions would remain free to all whilst the more detailed visual indexes, reading lists, texts with footnotes and a host of other parts would require a subscription.
     
    The subscription fee would be low enough that any student could afford it and pay for only the months when they are doing their studies. Those with a passion for the subject could pay a low monthly fee while institutions where there are photography cataloguers and curators would pay more. The intention of this is to support the project long term and I’m sure you appreciate the importance of that. There is no comparable resource in the arts on this scale and with the interconnectivity that is available on Luminous-Lint.
     
  • I will be making a decision over the coming months on the most appropriate way to proceed.
     
    All the best,
    Alan 
      
      
      
    Mar 30, 2014 Newsletter 8.01 - March 30, 2014 has been emailed 
     
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    The Luminous-Lint Newsletter 8.01 - March 30, 2014 has been emailed to all those on our mailing list and you can subscribe to these free newsletters if you haven't already done so.
     
    Past issues of the newsletter are in the library on the Luminous-Lint website. Best, Alan 
      
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    Jun 30, 2013 The next phase... camera obscuras, the portrait, art and a thousand other topics... 
     
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    I'll outline my thinking on the steps Luminous-Lint is going through.
    1. The raw evidence for photohistory is being collected - here the images and source materials are brought together to create a pool of information. This information has been organized into Online Exhibitions that mimic gallery exhibitions but with the important difference that they are continually improved. The Online Exhibitions may have an introductory text but they don't need to and one can be added in as necessary in the future.
       
    2. Next the images are cross-linked into Visual Indexes which are similar to subject tags. There is a distinction however as tags normally provide a collection of images and it is not the same as Visual Indexes include ordering so they can be displayed in ways that tell stories.
       
    3. Original source texts are the basis of research and so these are collected and organized. At this stage everything is like a vast melting pot of ideas swirling around before structures emerge.
       
    4. For each theme bibliographies and reference lists are prepared so you can locate the supporting evidence.
       
    5. The Contents pages, Visual Indexes and search tools are improving and they provide pathways through the material. These pathways can be fascinating as they can take one down unexpected routes many of which are not covered, or only tangentially, in the current literature. They provide the raw material for thinking about photohistory in ways that are novel and at times intriguing.
    What is next?
     
    Anybody who has been following Luminous-Lint over the years will have noticed that since June 2012 each theme is beginning to mature. At first the Theme pages look naive with a few example images, a bit of text, and maybe a few original sources - islands in a sea of information. Any specialist would look at a page and throw up their hands in despair! I'm okay with this as Luminous-Lint is not like writing a book where everything has to be perfect by the time the publishers' proofs are returned. The goal of Luminous-Lint is longer term and there are over a thousand themes in various states - none is complete and each is improving.
     
    Once the images and original texts are in place introductory texts will be added in - here the arguments and supporting evidence starts to come together with all the footnotes and references. These will be drafts initially and you can help out by pointing out any errors, supplying additional information, or preparing some text to get us started. There are no limitations here on the number of images or videos to include.
     
    So years after Luminous-Lint started the first draft texts are starting to appear on Luminous-Lint to test how it will all come together. These experimental texts are to check how the footnotes and referencing systems will work but they will give you an idea. Hint - click on the red links to get to the theme... clicking on the images will take you into details about the image.
     
    Camera Obscura
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    Portrait
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    Art
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    The Themes are accessible through the Contents page or Alphabetical indexes and are in flux but you will get a sense of the richness of the material. As gaps are discovered in the evidence further Online Exhibitions and Visual Indexes will be added and the texts will go through continual iterations.
     
    I hope you continue to enjoy Luminous-Lint and find it useful.
     
    All the best and thanks for your support, Alan 
      
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    Apr 22, 2013 Reed Brockway Bontecou 
     
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    Time to remember the birth of photographer Reed Brockway Bontecou
    (1824, 22 April - 1907)
     
    A New York surgeon who used photography to record injuries and their surgical repair during the American Civil War.
     
    John Pankhurst
    R.B. Bontecou
    John Parkhurst
    1865
     
    Albumen print, from glass negative
    Metropolitan Museum of Art
    Gift of Stanley B. Burns, M.D. and The Burns Archive, 1992, Accession Number: 1992.5131
     
    LL/50035 
      
    More about this photographer 
      
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    Apr 21, 2013 Eve Arnold 
     
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    Raise a glass of white wine to the memory of Eve Arnold who died last year.
    (1912, 21 April - 2012, 4 January)
     
    American photojournalist noted for her book ‘In China‘ and her work with Marilyn Monroe - particularly during the shooting of the film ‘The Misfits‘. In 1955 she became the first female member of the Magnum photo agency.
     
    Self-Portrait in a Distorting Mirror, 42nd Street, New York
    Eve Arnold
    Self-Portrait in a Distorting Mirror, 42nd Street, New York
    1950 (ca, taken)
     
    Gelatin silver print
    10 x 10 in
     
    Bonhams - New York
    Photographs (30 October 2012) Sale: 20064, Lot: 52
     
    LL/48921 
      
    More about this photographer 
      
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    Apr 19, 2013 William Klein 
     
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    Raise a glass to photographer and filmmaker William Klein
    (born: 1928, 19 April)
     
    If you haven't seen the wonderful satire on the French fashion industry - "Where are you Polly Magoo" you really should.
     
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    Note below courtesy of the Victoria & Albert Museum (London, UK)
     
    In just three months William Klein produced one of the most renowned books of the 1950's, Life is Good and Good for You in New York: Trance - Witness - Revels. This was intended, he said, "as a monster big-city Daily Bugle with its scandals and scoops that you’d find blowing in the streets at three in the morning." Klein had been a student of the painter Fernand Leger, whose advice had been to "get out of the studio into the streets...to be monumental." Klein’s work is monumental street art, far removed from the mainstream documentary style of the fifties. In 1958 Klein turned to film-making, only returning to photography in 1980.
     
    This biography is courtesy and copyright of the Victoria & Albert Museum and is included here with permission.
     
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    4 heads, New York
    William Klein
    4 heads, New York
    1954 (taken)
     
    Gelatin silver print
    36.2 x 26 cm (image)
     
    Van Ham Fine Art Auctions
    Van Ham - Photography (June 20, 2012) Lot: 118
     
    LL/48370 
      
    More about this photographer 
      
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    Apr 18, 2013 Wynn Bullock / John Loengard 
     
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    Late in the day here but still time to celebrate photographer Wynn Bullock
    (1902, 18 April - 1975, 16 November)
     
    Child in the Forest
    Wynn Bullock
    Child in the Forest
    1951
     
    Gelatin silver print
     
    Be-Hold
    Courtesy of Larry Gottheim - Be-Hold (50 / 89)
     
    LL/22494 =====
     
    Wynn Bullock: Child in Forest
    John Loengard
    Wynn Bullock "Child in Forest" 1951
    [Celebrating The Negative]
    1951 (original image) 2008 (publication)
     
    Gelatin silver print
    Etherton Gallery
     
    LL/28585
     
    Center for Creative Photography, University of Arizona, Tucson
    Hands: Dianne Nilsen, 5.15.92
     
    Long after Wynn Bullock's photograph of his daughter was used in the "Family of Man" exhibition, his wife Edna told photographer Donna Conrad, "We got letters and phone calls asking, 'What did you have in mind when you photographed that child? Was that child supposed to be dead? Was she a statue that fell off into the world? Was she just left there after being molested?' And all Wynn could say was that here was a virgin piece of forest and why not have a virgin child down there. He couldn't believe that people could think those things."
     
    This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 15
     
    All photographs copyright ® John Loengard. Gelatin silver prints printed by Chuck Kelton, Kelton Labs, New York City, under the direct supervision of John Loengard. Printed on Ilford Multigrade Warm Glossy paper. Design and portfolio box construction by Jace Graf, Cloverleaf Studio, Austin, Texas.
     
    Celebrating The Negative/Photographs by John Loengard was published by Etherton Gallery, Tucson, Arizona, in March, 2008, in an edition of eighteen portfolios, including fifteen numbered copies and three artist's proofs. 
      
    More about this photographer 
      
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    Apr 17, 2013 Sherrie Levine 
     
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    A Happy Conceptual Birthday to Sherrie Levine
    (born: 1947, 17 April)
     
    American photographer and conceptual artist. She has appropriated photographs and artworks to question the nature of originality.
     
    After Walker Evans: 2
    Sherrie Levine
    After Walker Evans: 2
    1981
     
    Gelatin silver print
    3 3/4 x 5 1/16 in (9.6 x 12.8 cm)
     
    Metropolitan Museum of Art
    © Sherrie Levine, The Metropolitan Museum of Art, Gift of the artist, 1995 (1995.266.2)
     
    LL/7153 
      
    More about this photographer 
      
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    Apr 16, 2013 T. Enami 
     
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    Raise a glass of saki to remember Japanese photographer T. Enami
    (1859, 17 February - 1929, 16 April)
     
    Trade name of the Japanese Meiji period photographer Enami Nobukuni - what the T. stood for in his trade name is not precisely known, but believed to have been "Toshi", a variant reading of the Chinese character "Nobu" from his first name. In any case, he never spelled it out, using only T. Enami during his entire professional career.
     
    Care should be taken not to confuse this photographer with his son Tamotsu who was not a photographer but took over his father's Yokohama studio printing and selling his father's works after the photographer died in 1929. The studio was destroyed first by earthquake in 1923, and then again by allied bombing in 1945.
     
    A Farmer and his Wife
    T. Enami
    A Farmer and his Wife
    1895 (ca)
     
    Stereoview, half, detail
    Private collection of Rob Oechsle
     
    LL/26515
     
    This same image was chosen for inclusion in "Odyssey: The Art of Photography at National Geographic" (1988), where it appeared in black and white as a full half-stereoview. 
      
    View exhibition 
    Title | Lightbox | Checklist 
    Exhibition: T. Enami: A rediscovered Meiji master 
      
    More about this photographer 
      
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