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| 1. |  | John Loengard 2008, March Celebrating the Negative / Photographs by John Loengard (published by Etherton Gallery, Tucson, Arizona) [Celebrating The Negative] Portfolio, box cover Etherton Gallery |
| 2. |  | John Loengard 1863 (original image) 2008 (publication) Alexander Gardner "Abraham Lincoln" 1863 [Celebrating The Negative] Gelatin silver print Etherton Gallery National Portrait Gallery, Washington, D.C. Hands: Ann Shumard, 10.15.92 On August 9, 1863, the day before Alexander Gardner opened his new studio at 7th and D Streets, Abraham Lincoln came in to pose. Pictures from the session were used by the President in his 1864 campaign for re-election. Sometime in the 1870s, another studio owner, Moses P. Rice, acquired the 20 x 17 inch glass wet-plate. An original negative had commercial value because photographers sold pictures of celebrities directly to the public until the halftone method of reproducing prints was perfected in the 1890s. Rice applied tape to form a neat border when printing the picture in contact with photographic paper. (The tape may also keep the collodion emulsion from separating from its glass support.) Rice's granddaughter sold the plate to the National Portrait Gallery at the Smithsonian Institution in 1983. To avoid damaging its collodion surface, Ann Shumard at the Portrait Gallery put the negative out for me on a light box with its emulsion side up. Seen this way, the image is backwards. "A lot of 19th century glass was chemically unstable. It embrittles over time, becoming even more fragile than glass normally is," says William F. Stapp, who exhibited the plate in 1990 when he was the Curator of Photographs at the Portrait Gallery. "I held my breath till we got the negative safely into the display case we had spent weeks designing." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 1 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. |
| 3. |  | John Loengard 1869 (original image) 2008 (publication) Andrew Joseph Russell "Meeting of the Rails at Promontory Point" 1869 [Celebrating The Negative] Gelatin silver print Etherton Gallery Oakland Museum of Art, Oakland, California Hands: Marcia Eyerman, 11.9.93 In 1844, Asa Whitney, a New Yorker, suggested that the federal government sponsor a transcontinental railroad to speed travel to the East. Congress surveyed routes and listened to pitches from various towns and territories before deciding that the Central Pacific Railroad should build east from San Francisco while the Union Pacific would build west from Chicago. The rails met on the 10th of May, 1869, at Promontory Point, Utah, in a photo opportunity. California sent a golden spike, and A. J. Russell, who had made photographs as a captain in the Union Army, set up his camera with its 10 x 13 inch glass plates. After the speeches, according to historian Barry B. Combs, the Union Pacific's engine No. 119 (right) moved over the spot where the spike was placed, and close to the Central Pacific's locomotive, Jupiter, which sported a wide funnel designed for engines burning wood. Grenville M. Dodge (left) and Samuel S. Montague, the two chief construction engineers, shook hands. For most of a century, this picture was attributed to another photographer, but handwriting at the top of the negative clearly identifies the wet-plate as Russell's. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 2 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. |
| 4. |  | John Loengard 1877 (original image) 2008 (publication) Orlando Scott Goff "Chief Joseph" 1877 [Celebrating The Negative] Gelatin silver print Etherton Gallery Western History Department, Denver Public Library, Denver, Colorado Hands: Paul Harbaugh, 3.13.93 In 1877, Orlando Scott Goff, an itinerant photographer working at Fort Abraham Lincoln, in the Dakota Territory, photographed a Native American, Chief Joseph. For three months the 35 year-old leader of the Nez Perce had led 750 of his people in an escape from their Oregon reservation. After several battles with the U.S. Army during their 1,300 mile trek, the Nez Perce were captured at Bear Paw Mountain in Montana only 40 miles from the Canadian border and freedom. Postcard-size prints of celebrities like Chief Joseph (about whom there was interest back East) were profitably circulated. For ready identification, the subject's name was printed on onionskin paper which was affixed to the negative before the card was printed. Later, Goff sold his wet-plate negatives to his assistant, David F. Barry, and moved on to Haver, Montana, where he would serve in the state senate. In 1934, Barry, needing a few hundred dollars, sold all his negatives (and Goff 's) to the Denver Public Library. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 3 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. |
| 5. |  | John Loengard 1925 (original image) 2008 (publication) Imogen Cunningham "Magnolia Blossom" 1925 [Celebrating The Negative] Gelatin silver print Etherton Gallery Oakland, California Hands: Rondal Partridge, 8.17.93 Imogen Cunningham educated herself about plants and flowers after she began to photograph cacti and other succulents in her backyard in Oakland, California. "Her Magnolia Blossom is great, but she made a hundred magnolias literally one hundred negatives of magnolias that she threw away," says her son Rondal Partridge. "When we were kids we used to throw her rejected negatives into the fireplace the nitrate would explode hundreds, thousands. God, how I wish we hadn't." "For a long time I did not think my mother was a very good photographer. She was just a photographer. She did portraits and kids. She assumed her job was every day to make a photograph, but she photographed for the pure joy. She considered it not her work it was her occupation to make people see and be happy." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 4 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. |
| 6. |  | John Loengard 1926 (original image) 2008 (publication) André Kertész "Satiric Dancer" 1926 [Celebrating The Negative] Gelatin silver print Etherton Gallery Mission du Patrimoine Photographique, Paris Hands: Noel Bourcier, 3.31.93 André Kertész took Satiric Dancer in 1926, a year after arriving in Paris from Budapest at the age of 31. He was clowning around with some Hungarian pals in sculptor Istvßn Beothy's studio. Dancer Magda Förstner mimicked the host's statuary, and Kertész, with his small glass-plate camera, recorded her jest. Later in his life, Kertész became allergic to photographic chemicals. Igor Bakht, a Russian who grew up in Teheran, where his father was official photographer to the Shah, made all his prints after 1964. "If you are not careful printing Satiric Dancer, the dress goes black and has no detail," says the 62 year-old Bakht. "I give an extra bit of exposure to the right edge of the negative, and I'll burn in the arms and legs and the lower part of the sculpture with an even longer exposure in order to get a bit of tone and separation there." "André wanted rich prints, but not too rich. If I'd brought out the clouds too dramatically in a picture, he'd say, 'That's too crafty. I want it slightly on the subtle side.' " This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 5 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. |
| 7. |  | John Loengard 1929 (ca, original image) 2008 (publication) Man Ray "Femme avec Longs Cheveux" circa 1929 [Celebrating The Negative] Gelatin silver print Etherton Gallery Paris Hands: Lucien Treillard, 4.26.94 Man Ray, born Emmanuel Radnitsky in Philadelphia, once said his work was "designed to amuse, bewilder, annoy or inspire reflection, but not to arouse admiration for any technical excellence usually sought in works of art. The streets are full of admirable craftsmen, but so few practical dreamers." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 6 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. |
| 8. |  | John Loengard 1930 (original image) 2008 (publication) Edward Weston "Pepper #35 p" 1930 [Celebrating The Negative] Gelatin silver print Etherton Gallery Center for Creative Photography, University of Arizona, Tucson Hands: Dianne Nilsen, 5.15.92 A week after his friend Sonya Noskowiak brought Edward Weston a pepper from the market in Carmel, California, Weston wrote in his diary that it was beginning "to show the strain and tonight should grace a salad." He changed his dinner menu, however, and next day put the pepper inside a tin funnel to take its picture. "I have a great negative by far the best," he wrote after developing his film, adding that the picture had no "psychological attributes, no human emotions are aroused." This was an important point. Friends felt his photographs of vegetables were sexually suggestive, and their comments had annoyed the photographer. Weston developed several negatives that day, so it is impossible to know for certain which one he thought was the best. He made 25 prints of negative #30, but it is so blindingly anthropomorphic that it can't be the one. Not that it matters. As curator Dianne Nilsen pulled negative #35p (13 prints) from its envelope, I saw that light had arranged particles of silver on its surface with such beauty that it took my breath away. "It has been suggested that I am a cannibal to eat my models after a masterpiece," Weston wrote that week. "But I rather like the idea that they become part of me, enriching my blood as well as my vision." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 7 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. |
| 9. |  | John Loengard 1931 (original image) 2008 (publication) Lewis Wickes Hine "Icarus Atop the Empire State Building" 1931 [Celebrating The Negative] Gelatin silver print Etherton Gallery George Eastman House, Rochester, New York Hands: David Wooters, 3.4.93 In 1933 Lewis Hine sent photographs of the construction of the Empire State Building to Survey, a magazine that had published his work for 20 years. Its new art director, however, found his pictures old-fashioned. Hine wrote to defend himself against the woman's preference for abstract design: "I have a conviction that the design registered on the human face through years of life and work is more vital for purposes of permanent record than the geometric patterns of light and shadow that serve so often as mere photographic jazz." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 8 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. |
| 10. |  | John Loengard 1932 (original image) 2008 (publication) Henri Cartier-Bresson "Behind the Gare St. Lazare" 1932 [Celebrating The Negative] Gelatin silver print Etherton Gallery Paris Hands: George Fèvre, 5.11.87 Actually, I asked Henri Cartier-Bresson to let me photograph another negative showing two prostitutes in Mexico City. They lean through openings in their crib doors. The print is often published. "Oh, no! No! No! Think of their feelings! They might be grandmothers now. No, no! You can't publish that," he replied with intensity that surprised me. Instead, he let me photograph the negative to his most famous photograph. It shows a man leaping into a puddle in Paris. George Fèvre, who prints many of Cartier-Bresson's pictures, put it out on the light table. In The Decisive Moment Cartier-Bresson described taking it, "There was a plank fence around some repairs behind Gare St. Lazare. I was peeking through the spaces with my camera at my eye. This is what I saw. The space between the planks was not entirely wide enough for my lens, which is the reason the picture is cut off on the left." For safekeeping, the negative was cut from a strip of 35mm film at the start of World War II. Sprocket holes are missing on one side. Possibly the film was manufactured without them or possibly someone has cut them off. Asked about this, Cartier-Bresson replies, "I swallowed them." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 9 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. |
| 11. |  | John Loengard 1936 (original image) 2008 (publication) Walker Evans "Photographer's Window Display, Birmingham, AL" 1936 [Celebrating The Negative] Gelatin silver print Etherton Gallery Library of Congress, Washington, D.C. Hands: Jan Grenci, 7.8.92 Sometimes Walker Evans would cut up his negatives to indicate the cropping he intended. Other times he did so simply to fit part of an 8 x 10 inch negative into his 5 x 7 inch enlarger. "Stieglitz wouldn't cut a quarter-inch off a frame," he said. "I would cut any inches off my frames in order to get a better picture." Evans sliced up two of his 8 x 10 inch negatives of a photographer's display window, but a third lies uncut in Washington, D.C. All were taken for the Farm Security Administration. Evans said he took the pictures in Savannah, Georgia. The government is sure he took them in Birmingham, Alabama. In 1938 Evans used the photograph as the second picture in his landmark book, American Photographs. For $25 the Library of Congress still sells a print of it to anyone who asks for one. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 10 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. |
| 12. |  | John Loengard 1940 (ca, original image) 2008 (publication) Nickolas Muray "Babe Ruth" circa 1940 [Celebrating The Negative] Gelatin silver print Etherton Gallery George Eastman House, Rochester, New York Hands: David Wooters, 3.4.93 Nickolas Muray, a Hungarian Olympic fencing champion, came to the United States in 1913 and found work as an engraver for Condé Nast. In 1920 he opened a photographic studio of his own in Greenwich Village. For the next 45 years he took portraits of celebrities, (at the beginning he did many for Nast's Vanity Fair magazine), and photographed for advertising agencies. Muray had a business-like attitude toward photography, as this head-on portrait of his fellow athlete George Herman Ruth suggests. "It is always the photographer's job to make his pictures as attractive and dramatic as possible," he wrote, adding, "You dream it, we'll photograph it all in a day's work." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 11 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. |
| 13. |  | John Loengard 1941 (original image) 2008 (publication) Ansel Adams "Moonrise, Hernandez, New Mexico" 1941 [Celebrating The Negative] Gelatin silver print Etherton Gallery Carmel Highlands, California, 5.84 "I observed a fantastic scene as we approached the village of Hernandez," wrote Ansel Adams in his autobiography. "I steered the station wagon into the deep shoulder along the road and jumped outàyelling [at my companions], 'Get this! Get that, for God's sake! We don't have much time!" "After the first exposure I quickly reversed the 8 x 10 film holder to make a duplicate negativeàbut as I pulled out the slide the sunlight left the crosses and the magical moment was gone forever." It was October 31, 1941, just after four p.m. Halloween. Adams had his treat. "I knew it was special when I released the shutter," he said. "During my first years of printing the Moonrise negative, I allowed some random clouds in the upper sky area to show, although I had visualized the sky in very deep values and almost cloudless," he added. Shortly after Adams' death in 1984, his widow Virginia posed with the negative on a light box ( far left) along with the cloudy and relatively cloudless prints made from it. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 12 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. |
| 14. |  | John Loengard 1941 (original image) 2008 (publication) Yousuf Karsh "Winston Churchill" 1941 [Celebrating The Negative] Gelatin silver print Etherton Gallery National Archives of Canada, Ottawa, Ontario Hands: Yousuf Karsh, 2.16.94 "When I am with a camera, I feel I am the most important person in the world," says Yousuf Karsh, describing his first encounter with Winston Churchill, on December 30, 1941. Leaving the floor after addressing Canada's Parliament, Churchill was surprised to find Karsh in the Speaker's Chamber, prepared to take his portrait. The photographer stepped up to remove a freshly lighted cigar from Churchill's lips. "It was an act of reverence, as I would shoo a fly off a person's coat before I photographed him. By the time I was back at my camera he was looking as belligerently at me as if he could have devoured me," wrote Karsh, who took the picture anyhow. He adds, "I was very happy with myself when I left the building. I knew I had it." Karsh crops out Churchill's elbow in prints as well as most of the chair and the upper part of the wall. As a result, he says he's never noticed the three odd-looking black lines that appear on the negative, high above Churchill's head and to the left. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 13 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. |
| 15. |  | John Loengard 1945 (original image) 2008 (publication) Margaret Bourke-White "Buchenwald" 1945 [Celebrating The Negative] Gelatin silver print Etherton Gallery Time-Life Lab, New York City Hands: John Loengard, 3.4.92 "The sights I have just seen are so unbelievable that I don't think I'll believe them myself until I've seen the photographs," Margaret Bourke-White wrote in the captions accompanying her film sent from Germany in April, 1945. "Hundreds of dead naked bodiesàpiles of bones, a gallows, a row of incineratorsà. But worse than the actual dead are the living dead. And Buchenwald is still inhabited by thousands of these." "I had a deep conviction," she would write later, "that an atrocity like this demanded to be recorded. So I forced myself to map the place with negatives." Bourke-White used one 2A x 3A inch film pack and eleven #120 rolls of film that day taking about 150 pictures. On the pack's last sheet is the only exposure she made of inmates lined up at a fence outside the camp hospital (red masking has been applied to the negative's edges). Life magazine's sole story on the liberation of the death camps used two other Bourke-White pictures, both taken inside a barracks. This picture, possibly the most unforgettable taken that day, was first published in 1960 in an issue celebrating the magazine's 25th anniversary. "Using the camera was almost a relief. It interposed a slight barrier between myself and the horror in front of me," Bourke-White wrote in her autobiography. When she first saw prints of her pictures, she wept. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 14 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. |
| 16. |  | John Loengard 1951 (original image) 2008 (publication) Wynn Bullock "Child in Forest" 1951 [Celebrating The Negative] Gelatin silver print Etherton Gallery 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. |
| 17. |  | John Loengard 1956 (original image) 2008 (publication) Aaron Siskind "Pleasures and Terrors of Levitation (#63)" 1956 [Celebrating The Negative] Gelatin silver print Etherton Gallery Center for Creative Photography, University of Arizona, Tucson Hands: Amy Rule, 8.20.93 Beginning in 1953, Aaron Siskind photographed men sprawled against the sky as they dove or jumped into the water. The second frame from the bottom of this strip of negatives is #63 in the series he titled Pleasures and Terrors of Levitation. As the editors of Minicam magazine cautioned when printing a portfolio of Siskind's work, "Documentary pictures are as often a document to the singular point of view of the photographer as they may be to the scene itself." Or as Siskind put it in 1958, "The emphasis of meaning [in a photograph] has shifted shifted from what the world looks like to what we feel about the world and what we want the world to mean." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 16 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. |
| 18. |  | John Loengard 1958 (original image) 2008 (publication) Harry Callahan "Aix-en-Provence" 1958 [Celebrating The Negative] Gelatin silver print Etherton Gallery Atlanta, Georgia Hands: Harry Callahan, 2.10.94 "In 1956 I received a $10,000 grant from the Graham Foundation. It was really meant for architects, but none of them could leave their practice and take a year off. I took all my gear and went to Aix-en-Provence," says Harry Callahan, describing his leave of absence from teaching at the Institute of Design in Chicago. Callahan took his family along. "We had this unbelievably wonderful place to live in France. [It had] a gardener and his wife and mother, and they sort of adopted us. Everything was so picturesque it seemed you couldn't take a picture." Even so, one day he photographed a stalk of grass in a vase in the dining room. When making a print of the picture, Callahan exposes the negative long enough for the room's shadowy presence to disappear to black as he had planned it would. "In 1976 the Center for Creative Photography bought all my negatives. They agreed to pay $10,000 a year for ten years, but the negatives don't go there until after my death," says Callahan. "Two collectors in New York paid the same amount for vintage prints, which meant I could stop teaching for good, which was great! Still, when Tucson bought the negatives, it nearly killed me. You know you see the negative is all I have." This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 17 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. |
| 19. |  | John Loengard 1981 (original image) 2008 (publication) Richard Avedon "Ronald Fischer, Beekeeper" 1981 [Celebrating The Negative] Gelatin silver print Etherton Gallery New York City Hands: Richard Avedon, 5.3.94 Even before Richard Avedon started his project In the American West in 1979, he planned to photograph a man covered with bees. He advertised for a subject, and found Ronald Fischer, a Chicago banker and amateur beekeeper. After queen-bee pheromone was applied to his skin (to attract drones), the tall, shaven-headed Fischer stood patiently outdoors in Davis, California, while Avedon ran though a stack of 8 x 10 inch film holders, and they both got stung. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 18 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. |
| 20. |  | John Loengard 2008, March Celebrating the Negative / Photographs by John Loengard (published by Etherton Gallery, Tucson, Arizona) [Celebrating The Negative] Portfolio, box open Etherton Gallery |
| 21. |  | John Loengard 2008, March Celebrating the Negative / Photographs by John Loengard (published by Etherton Gallery, Tucson, Arizona) [Celebrating The Negative] Portfolio, page layout Etherton Gallery |
| 22. |  | John Loengard 2008, March Celebrating the Negative / Photographs by John Loengard (published by Etherton Gallery, Tucson, Arizona) [Celebrating The Negative] Portfolio, book Etherton Gallery |