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Apr 11, 2015 Early photographs of American Folk Art from the David A. Schorsch collection 
 
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Early photographs of American folk paintings constitute a unique archive of works by both recognized and unknown artists, frequently even preserving a visual record of otherwise unknown paintings. A large number of early daguerreotypists practiced this lucrative work at a time when photography afforded Americans their first opportunity to have accurate copies of works of art, especially much desired copies of portraits of family members lost to death or distance. These copy images vary greatly in quality and interest, from mere duplicates to works of art in their own right. Between 1840 and 1860 most were produced by three photographic methods—as daguerreotypes, ambrotypes, and tintypes, each of which produced a single copy. By 1860, negative-based cartes-de-visite, inexpensive and readily available in multiples, effectively wiped out the earlier techniques. Surviving advertisements, broadsides, trade cards, and labels document that photographers from itinerant practitioners to the most famous studios in major cities offered copy work. 
  
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Exhibition: Early photographs of American Folk Art from the David A. Schorsch collection 
  
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Apr 11, 2015 Structural Steel 
 
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Structural steel made skyscrapers possible, it provided the framework for the Eiffel Tower and the Marseille Transborder bridge so beloved by Modernist photographers including Herbert Bayer, Germaine Krull, Man Ray, Marcel Bovis, Brassai, François Kollar, André Steiner, Tim Gidal and László Moholy-Nagy. The contrasting voids of steel and sky and their height encouraged an upward vision and those changes in viewpoint became embedded in avant-garde and Modernist photography. 
  
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Exhibition: Structural Steel 
  
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Apr 11, 2015 The Haj 
 
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Exhibition: The Haj 
  
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Mar 28, 2015 The Next Phase 
 In the last Newsletter (Vol 9.01, March 27, 2015) the current scale of Luminous-Lint was outlined and it now includes:
 
58,000 photographs from all periods and regions of the world
2,600 public and private collections have supplied material
17,932 photographer names included for 7,428 different photographers
1,120 themes with their own continually improving histories of photography [Subscribers]
3,800 fragments with over 5,000 footnotes to support the themes [Subscribers]
8,254 references to books, articles and conference papers [Subscribers]
1,381 online exhibitions (online or in planning)
 
The real power is in the millions of interconnections throughout Luminous-Lint. The next phase will be the creation of Online Exhibitions that address some of the gaps in the overall framework. If you have a suggestion for a Theme do send it through. 
  
  
  
Dec 28, 2014 Jean-Gabriel Eynard 
 
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Drink a glass of Kirsch or Damassine to celebrate the birth of Jean-Gabriel Eynard... (1775, 28 December - 1863, 5 February) Early Swiss photographer who took Daguerreotype studies of his family and servants. 
  
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Dec 28, 2014 Ed Van der Elsken 
 Raise a glass to the memory of Dutch photographer Ed Van der Elsken...
(1925, 10 March - 1990, 28 December)
 
Highly respected Dutch photographer who produced a vast range of books and films covering his travels around the world. Between 1950 and 1954 he lived in Paris and documented the love life of Ann (the real life painter Vali Myers) and the photographs were published in the 1956 photobook classic "Love on the Left Bank" (Holland: Export printing office W. vonk). 
  
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Dec 26, 2014 Henri Le Secq 
 Raise a glass of absinthe to the memory of Henri Le Secq...
(1818, 18 August - 1882, 26 December)
 
Early French photographer who used waxed paper negatives. His finest works are the architectural shots he took for the ‘Commission des Monuments Historiques‘. 
  
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Dec 25, 2014 Louis de Clercq 
 
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Raise a glass of mulled wine to the memory of Louis de Clercq...
(1836, 25 December - 1901, 27 December)
 
French photographer who accompanied the 1858-59 expedition of the historian Emmanuel-Guillaume Rey to study sites in Syria and Asia Minor. He published 222 calotypes in his six volume work Voyage en Orient 1859-1860, villes, monuments et vues pittoresques (1860).
 
A Most Merry Festive Season to you all... 
  
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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 
      
      
      

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