Sepia Saturday 279: Looking for the Bonanza

In the introduction to last week's edition of Sepia Saturday, Alan Burnett asked whether the meme is becoming old and tired, perhaps prompted by a recent reduction in the number of participants. Personally, I find the stimulus of a fresh sepia image chosen by someone else each week is just what I need to keep me blogging regularly, that is when I'm not too submerged in work or other projects to find the time. Following the theme is not a requirement, which gives me plenty of leeway to sail off on another tack when the mood takes me, or on the odd occasion that I fail to be inspired by the chosen image.

Many of my Photo-Sleuth articles are weeks or months in gestation, perhaps searching for that extra bit of information, cosidering the right angle to tackle a particular photograph, or waiting for the right image prompt, so always having images from a couple of weeks ahead to work on at the same time suits me well. My first SS contribution appeared four years ago (SS 64) and my 93 subsequent contributions have been made as and when the opportunity presents itself. I'm very grateful to Alan and Marilyn for the time and effort that they put in to making Sepia Saturday happen. I'd also like to acknowledge the body of fellow Sepians for the inspiring photos they post and thoughtful feedback regularly provided here. Without it, I fear that my blog would have fallen into disrepair long ago.


Unmounted paper print, 61 x 89mm
Image © and collection of Brett Payne
On the face of it, these two snapshots might appear a strange purchase for my collection of old photographs. Of unknown provenance, all contextual information apart from the captions handwritten on the backs has gone, leaving us with few clues to the identity of the subjects, even to where they were taken. It wasn't the challenge of sleuthing, though, that attracted me, but rather the content of the first image.

Even without the brief annotation on the back describing it as "The Mill," I recognised it as a three-stamp mill of the type commonly used in the nineteenth and early twentieth centuries to process gold ore, complete with heavy timber frame, driving wheel, cam shaft with tappets, stamper stems, mortar box with discharge screen, tables and amalgam plates. When I first started work as an exploration geologist in the Midlands of Zimbabwe during the mid-1980s, I came across a few of these antiquated but effective pieces of equipment still being used in remote bush locations, usually by equally aged smallworkers in a forlorn quest for their own bonanza.


Reverse of paper print
The caption identifies the subjects as 'Hamish,' with his back to the camera, 'January,' the mill foreman and presumably one of the two black men standing either side of the tables, and the two children 'A & J.'. The mere fact that January and the other gold mill worker are black doesn't necessarily mean that the photograph was taken in what was then called Southern Rhodesia (it became Zimbabwe after independence in 1980), but the countryside and vegetation depicted in the second of the two snapshots are very familiar to me, and I think it highly likely.

In 1945, after the end of the Second World War, the Southern Rhodesian government set up an ex-serviceman's rehabilitation scheme, whereby returning white soldiers were provided with training in small-scale mining at a former air force training facility at Guinea Fowl, near the town of Gwelo, now called Gweru. (As a sidebar, I might note that black soldiers also returning from the same war got absolutely nothing.) After completion of their training, they were given soft loans to re-open old gold mines closed during the war or start up new operations. With 221 men trained and 279 mines re-opened, the scheme was regarded as successful (Dreschler, 2001), and it seems quite likely that 'Hamish' could have been one of these smallworkers.


Unmounted paper print, 83 x 60mm
Image © and collection of Brett Payne
The second photo shows 'Joan, Heather & Andrew, on lawn, 1950, May' (resumably from right to left), so it was taken about four years later. Now there are three children, all wearing wide-brimmed hats to ward off the harsh African sun, and playing on a manicured lawn, rather than hanging around the dangerous mill site. The wide variety of toys suggests that Hamish had achieved at least some success at the mine.


Reverse of paper print
The snapshots are both roughly 2¼" x 3¼", equating to the 620 roll film format that was introduced by Kodak in 1931, and rapidly replaced the similarly sized 120-format film which used a slightly larger spool. By the mid-1940s various versions of the Six-20 Brownie box and Six-20 Kodak folding camera were probably the most popular options available to casual amateur photographers. Many of the folding models used an eye-level viewfinder by this time, and it looks to me that these shots were taken from the lower, waist-level view point characteristically employed with the box Brownies. In the first shot, the eyes of the older girl are on a level with Hamish's waist.


Kodak Six-20 Popular 'Brownie' box camera, 1937-1943
Image © and courtesy of Tauranga Heritage Collection
I suspect they were taken with something like the Kodak Six-20 Popular 'Brownie' which was manufactured from 1937 until 1943. It also seems safe to assume that the children's mother was both the photographer and the person who annotated the prints once they had been printed. Presumably Joan, Heather and Andrew were children of the said Hamish, and there is a remote chance that some member of the extended family of Scottish origin (after all, who else would have the name Hamish) will recognise them and get in touch.


Visiting smallworker gold claims, Munyati River, Zimbabwe, 1985
Image © and collection of Brett Payne
You might have thought the scene of such a rudimentary mining operation might have long gone by the 1980s. I don't have photos of the mill - which were indeed very much like the one depicted above - but I do have a snapshot that I took of my sister and a friend visiting Uncle Bob Huntly's smallworking near the Munyati/Umniati River south of Kadoma in 1985. The equipment at the head of the mining shaft consists of nothing more than a bucket suspended on a rope around a hand-operated windlass - not even a ratchet in case the hands slipped. I can't believe it, but I went down there, probably without even a hard hat.


The Stamping Ground, Rocky Creek Railway
Working Model by Glen Anthony
I'll close off with this entertaining video of an incredibly accurate working model mine, made by a very clever man in Christchurch, New Zealand. Once you've finished watching that I'm sure the rest of this week's Sepia Saturday participants will keep you entertained a while longer.

Sepia Saturday 278: Ghostly images

While I have plenty of damaged and decaying photographs in my collection to fit with Sepia Saturday's image prompt this week, I'm going to instead focus on another "flaw" that occasionally appears on photographic prints and negatives, and in particular has surfaced in two sets of early amateur photographs that I've blogged about recently: A Grand Tour of Europe and Summer Holidays in Derbyshire.


"Haddon Hall Terrace," August 1903
Unmounted silver gelatin print, 75 x 101mm (rotated)
(Page 3, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
Bill Nelson pointed out that one of my 1903 Derbyshire album prints had what appeared to be a "circle with a '3' in it" in the lower right corner (lower left in the rotated image above).


Detail of image on Page 3
Even with some enlargement and enhancement of the image, I couldn't be absolutely sure of what it was.


Ship and tugboat arriving in unidentified harbour, 1904, Ref. #10c
Nitrocellulose negative film, 3¼" x 4¼", 118-format
Image © and courtesy of Bill Nelson
However, when Bill sent me a scan of a slightly over-exposed frame from his 1904 Grand Tour negative album it had a very similar, but much clearer, artifact.


Detail of image #10c, inverted & normal (with some enhancement)
In this case, the number "5" in a circle is accompanied by a line on each side. Knowing what to look for, I think I can now see similar bars either side of the "circled 3" in the enhanced image of my own print.


Extract from manual for No 3 Folding Pocket Kodak
Courtesy of Mike Butkus' Camera Manual Library
The number in a circle is very similar to the numbers that were printed on the outside of the film's paper backing, which show through the little red window in the back of the camera to indicate when to stop winding on the film (see image above extracted from a No 3 FPK manual). In this case, by contact between the reverse of the backing paper and the side of the nitrocellulose film which has the photographic emulsion, my theory is that some transfer of the ink has taken place while the film was still rolled onto the spool, either before or after exposure.

In the case of my 1903 print, the "circled 3" is dark, and if it was brought through from the original negative - and, from careful examination of the print, I believe that it was - the implication is that it was reversed, and therefore showed lighter than the surrounding emulsion on the negative. The mechanism by which the ghostly "circled 3" was produced cannot have been a physical transfer of ink, and is more likely to have been a chemical alteration of the silver salts in the photographic emulsion by contact with the acidic compounds in the ink, thus bleaching the parts of the negative that were in contact with the ink on the adjacent paper backing.


No 3 Folding Pocket Kodak, Model A, 1900-1901
Tauranga Heritage Collection, Donation of Alf Rendell
Image © 2015 Copyright Brett Payne
The only reservation I have with this explanation is that I would have expected, by comparison with the window on the back of the No 3 FPK that I, quite by coincidence, photographed this week, for the number to have been lower down, closer to the bottom edge of the negative. The position is correct on my 1903 print, but is more centrally placed on Bill's 1904 negative.

Although the No 3 FPK was by far the most popular folding camera of this size, the No 3 Ensign Carbine was another which used 3¼" x 4¼" film (Ensign E18 format), but from what I can tell the window on this model was also located close to the bottom edge. What I'm now searching for to test my theory, but haven't yet found, is some examples of early roll film.


No 3 Folding Pocket Kodak, Model A, 1900-1901
Tauranga Heritage Collection, Donation of Alf Rendell
Image © 2015 Copyright Brett Payne
Since I have the opportunity, I'll share a little more about this recent donation by retired Tauranga commercial photographer Alf Rendell to the Tauranga Heritage Collection. This particular example of a No 3 Folding Pocket Kodak was produced some time between Oct 1900 and Jun 1901, and still has the original red cardboard bellows. The serial number 27421, as is usual on Kodak folding cameras, is engraved on the silver foot which folds out of the base plate and serves as a stand to support the camera when taking photos in the "portrait" position.

Cloth-lined bellows were fitted as standard from June 1901 onwards, since the older versions tended to tear, and from 1910 they were supplied with black instead of red bellows. Many older cameras were later retro-fitted with black bellows, and it is rare to find an old model still with the original red bellows in such good condition.


Eastman Kodak Co. advertisement for the No. 3 FPK
From Munsey's magazine, c.1901
Courtesy Duke University Advertising Ephemera Collection, Item K0560
George Eastman wanted "a camera in every household," and in the 15 years after the first Kodak was produced in 1888 managed to amass over 60 different models. The first in the series of Folding Pocket Kodaks was brought out in 1897, using the then brand new technology of daylight loading film. The No 3 FPK was introduced in April 1900 and rapidly became the most popular of the range, particularly in the United Kingdom, possibly since the negative size was identical to the already popular quarter-plate format used in many glass-plate cameras. Between 1900 and 1915, when production of this camera ceased, about half a million cameras were sold. The camera was produced with a wide variety of lens and shutter options, and went through a number of developments until production ceased with the Model H in 1914, it being replaced by the No 3 Autographic Kodak.

The construction of this camera "set the pattern for the design of popular roll-film cameras for the next fifty years." (Coe, Cameras, 1978) A smaller version, the No 0 Folding Pocket Kodak, eventually morphed into the Vest Pocket Kodak, the soldier's camera which became so popular during the Great War.

References

Standard Film and Plate Sizes, on Early Photography

Coe, Brian (1988) Kodak Cameras: the First Hundred Years, East Sussex, United Kingdom: Hove Foto Books, 298p.

Gustavson, Todd (2009) Camera, A History of Photography from Daguerreotype to Digital, New York: Sterling, 360pp.

Sepia Saturday 275: Summer holidays in Derbyshire, an early Kodak album

My contribution for Sepia Saturday this week has nothing whatsoever to do with the image prompt, I'm afraid. It does, however, follow on from my article last week, which featured an album of nitrocellulose negatives taken during a grand tour of Europe in 1904. Regular readers will recall that series of images as having been taken by an experienced and skilled photographer using a fairly sophisticated modern folding camera, possibly with a view to eventual commercial exploitation.


Cloth-covered Kodak photograph album, dated August 1903
Collection of Brett Payne
Today I'm featuring an album from my own collection which, although superficially similar in that it contains a series of 3¼" x 4¼" 118- or 119-format prints taken during a summer holiday in Derbyshire, England, is actually quite a different set in many ways. The album has 12 white card leaves bound in a light brown cloth-covered stiff card cover, now slightly grubby and showing slight wear on the edges, with "Kodak" printed in large black decorative writing on the front. Each of the leaves has paper sleeves on each side, designed to hold 3¼" x 4¼" paper prints.


Cloth-covered Kodak photograph album, dated August 1903
Image © Copyright & collection of Brett Payne
The inside front cover has "Kodak, Ltd. London" printed on the lower right, as well as the following inscription handwritten in black ink:

Summer holidays -
August 1903
Derbyshire (Matlock & Buxton)

I've been unable to find this specific album design advertised in Eastman Kodak Co.'s (U.S.) catalogues for the late 1890s and early 1900s. During this period they appear to have changed from albums with thick card leaves and standard-sized paper slots for different print formats, to loose-leaved albums with a higher number of pages constructed of thinner grey or black card, onto which the prints were intended to be glued with Eastman's Photo Paste ($0.25 per 5 ounce tube). Presumably this was in response to the rapidly increasing variety of print formats being introduced, and the large proportion of amateur prints perhaps not being mounted on card.

However, this particular paper slot-style album with 12 pages, designed to hold two 12-exposure films' worth of prints, was sold (and perhaps manufactured) by Kodak Ltd. at one of their six branch outlets in London, and may have been of a design not offered in the United States.



Each of the 24 sleeves in the album contains a print, some of which are trimmed rather roughly. Although the average size is around 3¼" x 4¼" (82 x 108mm) they range in size from 67 x 98mm to 97 x 113mm. The prints can be separated into three groups, based on size, printing characteristics and subject matter.


Locations photographed in Derbyshire, August 1903
The first ten prints (pages 1-10) have been roughly trimmed and are slightly smaller (78 x 102mm) but more varied in size. The black and white prints were taken at Buxton, Tideswell, Monsal Dale, Dovedale and Haddon Hall.


"The Crescent, Buxton," August 1903
Unmounted silver gelatin print, 98 x 67mm
(Page 6, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
This image shows a group boarding a horse-drawn carriage at The Crescent in Buxton, perhaps for a day excursion to Tideswell and Monsal Dale. Baedeker's 1901 guide to Great Britain describes it thus:

The Crescent, the most prominent building in the town, has the Tepid Baths (1s.-2s. 6d.) and the Chalybeate Wells at the W. end and the Hot Baths (1s. 6d.-3s. 6d.) at the E. end. In front is the Pump Room.

"The Cathedral of the Peak, Tideswell Church," August 1903
Unmounted silver gelatin print, 77 x 103mm
(Page 4, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
Kelly's 1899 Directory of Derbyshire gives the following:

The church of St John the Baptist is a cruciform building of stone, belong almost exclusively to the Decorated style of the latter half of the 14th century, consisting of an unusually large chancel, clerestoried nave ... a lofty embattled tower at the west end, with battlemented turret-like pinnacles at the angles, terminating in crocketed spirelets ... the old chancel screen ... has been successfully restored.

"Nab's Dale," Dovedale, August 1903
Unmounted silver gelatin print, 80 x 95mm
(Page 7, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
Baedeker's guide gives details of the new railway from Buxton to Ashbourne, opened in 1899, which allowed the holidaymaker to travel the 23 miles in under an hour:

... afford[ing] the most convenient approach to the beauties of Dovedale. Passengers should alight at Alsop-en-le-Dale, walk down the valley, and rejoin the railway at Thorpe Cloud ... Alsop-en-le-Dale is the station for the head of Dovedale, a picturesque and narrow limestone valley, hemmed in by fantastic rocks, freely interspersed with woods ... The prettiest part of the valley begins at the Dove Holes ...

Nab's Dale, shown in the photo above, is close to Hanson Grange and Alsop-en-le-Dale and appears to be the point at which our photographer and party alighted from the train and entered Dovedale.


"Below Reynard's Cave," Dovedale, August 1903
Unmounted silver gelatin print, 79 x 104mm
(Page 2, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
This very much overexposed shot is taken from Reynard's Cave, further down the valley and overlooking the path next to the River Dove, along which several members of the party can just be seen, and down which I myself enjoyed a fine walk with friend and fellow Sepian Nigel Aspdin about 18 months ago.


"Peveril of the Peak Hotel & Thorpe Cloud," Thorpe, August 1903
Unmounted silver gelatin print, 105 x 80mm
(Page 5, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
Upon reaching the southern end of Dovedale, marked by the characteristic peak of Thorpe Cloud, they arrived at "... the stepping-stones ... where donkeys and refreshments are in waiting ... and, a little farther on, a foot bridge leading to the Izaak Walton Hotel, a favourite angling resort," frequented by my great-grandfather and which I wrote about in The Compleat Angler. Rather than crossing the footbridge, however, our party appear to have chosen the course which Nigel and I took "... a path to the left ascend[ing] from the stepping stones to the (½ M.) Peveril Hotel, not far from the village of Thorpe and railway station Thorpe Cloud." Embarking at the station, they either returned to Buxton or proceeded to Matlock.


"Haddon Hall," August 1903 (digitally enhanced)
Unmounted silver gelatin print, 108 x 82mm
(Page 11, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
The next nine prints in the album (pages 11-19) have been trimmed somewhat more accurately, and all are within a couple of millimetres of the standard 82.5 x 108mm. They were also processed slightly differently from the first batch, and are all slightly to moderately overexposed, also show a distinct sepia tone. The borders of the negative are partly visible in 7 of the prints; none were in the first set.

They were taken at Haddon Hall (above), Chatsworth House and at several locations in the vicinity of Matlock and Matlock Bath, all of which were popular destinations for Edwardian tourists.

Haddon Hall, picturesquely situated on a slope rising from the Wye, is an almost ideal specimen of an old English baronial mansion, and, though unoccupied, is still in fair preservation (adm. 4d.)

"Haddon Hall Terrace," August 1903
Unmounted silver gelatin print, 75 x 101mm
(Page 3, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne

... the S[outh] facade and the terraced gardens [date] from the end of the 16th century.

"In the Model Village - Chatsworth," Edensor, August 1903 (digitally enhanced)
Unmounted silver gelatin print, 83 x 83mm
(Page 13, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
Baedeker again gives a detailed description of the route and the sights to look out for:

... To reach Chatsworth from Haddon by carriage ... we follow the road from the bridge [over the River Wye] to Bakewell [where] we turn to the right and proceed by a circuitous route to Edensor, a model village, on the outskirts of Chatsworth Park. The church contains a memorial window to Lord Frederick Cavendish (assassinated in 1882), who is buried in the churchyard.

"Chatsworth House," August 1903 (digitally enhanced)
Unmounted silver gelatin print, 108 x 82mm
(Page 12, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
This is one of the better known views of Chatsworth House, captured by local photographer William Potter for his commercial carte de visite landscapes as early as the 1870s. In this shot, an open horse-drawn brougham carrying four passengers is driven down the road, presumably on their way to visit the grand house in the middle distance. I wondered at first if they were waiting for the photographer, but since the carriage is slightly blurred, and the nearby tree sharp, I think they were moving at the time of the exposure.

Chatsworth, the magnificent seat of the Duke of Devonshire, is a striking contrast to Haddon, the one being as redolent of modern, as the other of medieval state ... the Gardens (small fee, to the gardener), which are fine but formal, with artificial cascades, fountains, surprise waterworks, etc. The Emperor Fountain throws a jet 265 ft. high.

"High Tor, Matlock," August 1903 (digitally enhanced)
Unmounted silver gelatin print, 83 x 107mm
(Page 19, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
Six of the remaining photographs were taken in and around the towns of Matlock and Matlock Bath, including this well known view of High Tor, Matlock Dale and the River Derwent. The postcard publishers James Valentine & Sons registered a very similar photograph in 1892, which I featured in an article on Photo-Sleuth two years ago (Before the humble postcard).

Kelly's 1899 Directory informs us:

Matlock Bath ... is a modern inland and fashionable watering place, with a station on the Midland railway, and is situated in a deep and lovely valley ... The place is celebrated for the romantic character of its scenery and the purity of its medicinal springs, and in the summer season this beautiful locality is frequented by visitors from all parts of the kingdom.

"High Tor from Lovers' Walk," Matlock, August 1903 (digitally enhanced)
Unmounted silver gelatin print, 108 x 83mm
(Page 17, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne

Among the attractions of Matlock ... Immediately opposite the High Tor is Masson Hill, nearly 800 feet high, from which and from the Heights of Abraham, about 650 feet high (to which a winding ascent has been made), an extensive view is afforded of the scenery of the surrounding country ... The Lovers' Walk, on the opposite side of the river, is another favourite place of resort; paths leading to different points from which the dale may be advantageously seen have also been cut through the wood in various directions.

"Mother & a piece of Monica!" August 1903 (digitally enhanced)
Unmounted silver gelatin print, 108 x 82mm
(Page 16, Kodak album, Summer Holidays)
Image © Copyright & collection of Brett Payne
A single photograph in this album is directed specifically at members of the holidaying party. Two female figures (Mother and Monica) are seated outdoors on a bench reading newspapers, umbrellas at the ready should the sun prove too hot or a shower present itself. Sadly, it is overexposed - the image above has been digitally enhanced, but even this is not sufficent to reveal Monica's features, obliterated by a careless flash of sunlight or perhaps by some light leakage into the body of the camera. The bench is situated in front of a tree, and what I think is the River Derwent through a gap in the branches immediately to the left of Mother.

In 1887 an iron bridge of 85 feet span was constructed ... connecting the Promenade with Lovers' Walk, and at the same time the Promenade was laid out ...

Detail of "Mother & a piece of Monica!"
There is, however, enough in the image to show three umbrellas leaning against the bench, and a valise or case which may be for the camera. The three umbrellas imply that there were only three in the party on this particular day: "Mother," Monica and the photographer, who could be the husband of either "Mother" or Monica, a son of "Mother" and brother of Monica, or indeed Monica's sister.


Composite of Derbyshire holidaymakers
Click image to enlarge
Fortunately we have a better image of Monica, taken on the Terrace at Haddon Hall (see lower left, above). The enlarged detail from several photos show several other people, and there may or may not have been more in the party at other stages of the holiday. It is even possible that one of the elderly men with luxurious white beards (at right) may have been "Father." Unfortunately, none of them appears carrying a leather case which would have held the camera, and I suspect that the photographer never appears in the photographs.

The last five prints (pages 20-24) were taken in Wiltshire the following year. While I have included them in the slideshow at the beginning of this article, they appear to have been inserted later to fill up empty slots in the album, and I'll leave discussion of them for another time.


Kodak Developing and Printing Outfits, from 1903 Kodak Catalogue
Image courtesy of the Digitized Kodak Catalog Project
The Derbyshire snapshots appear to have been taken in two sequences, the first of ten images, the second of nine. It is my belief that they were probably prints from two consecutive rolls of film, each containing 12 exposures, five of which were discarded as being of too poor quality to print or preserve in the album. The uneven trimming of the prints suggests to me that they were developed and printed by an amateur at home using one of Kodak's readily available kits, rather than taken into a chemist or other processing facility.


"Take a Kodak with you"
Eastman Kodak Co. advertisement featuring "The Kodak Girl"
From the Ladies' Home Journal, 1901
Courtesy Duke University Advertising Ephemera Collection, Item K0034
The Kodak folding cameras of the late 1890s and early 1900s were specifically marketed towards women, the design intended to mimic a purse or pocketbook, although one would be hard pressed to fit a No 3 Folding Pocket Kodak in any standard pocket.


No 3 Folding Pocket Kodak, from 1903 Kodak Catalogue
Image courtesy of the Digitized Kodak Catalog Project
Constructed of aluminium covered with black morocco leather, the No 3 Folding Pocket Kodak (like its smaller cousin, the No 1) was designed to be compact and simple to use. Costing only $17.50 (and an extra $1.25 for a black sole leather carrying case, with strap), it was the cheaper version of the No 3 Folding Pocket Kodak DeLuxe camera featured in last week's 1904 Grand Tour article, but it used the same 118-format film, and therefore produced a print of the same size, 3¼" x 4¼".


"All Out-Doors Invites Your Kodak"
Eastman Kodak Co. advertisement from Life magazine, 1911
Courtesy Duke University Advertising Ephemera Collection, Item K0443
With the standard Rapid Rectilinear lens and Eastman Automatic shutter, and in the unsteady hands of an amateur new to framing a photograph, assessing lighting conditions, etc., the quality of of the resulting pictures is likely to have been variable at best. Judging from these prints, I feel it most likely that the camera was hand-held, in stark contrast to the 1904 Grand Tour series, the majority of which are likely to have been taken using a tripod. An unfamiliarity with the equipment may also have meant that the film was loaded with enough care, perhaps even with some exposure to bright sunlight, resulting in what appear to be "light leaks" on many of the prints.


Nigel at the start of the walk down Dovedale, 13 September 2013
Image © 2013 Brett Payne
As amateurish as the photographs in this album are, I was delighted with the purchase since, as suggested earlier, the route taken by the party was very similar to the very enjoyable 15 kilometre walk that Nigel and I took from Hartington down Dovedale to Thorpe Cloud, and then to Tissington in September 2013. It's also an area which my great-grandfather Charles Vincent Payne, as a keen trout angler, must have known well. I hope you've enjoyed the journey of discovery too.

Sepia Saturday 220: Making Calotypes in the Desert

Given this week's Sepia Saturday photo prompt of a statue, I've decided to feature the work of an amateur photographer who pioneered the use of the calotype photographic process to illustrate travel. During the 1840s most photographic views of landscapes were made using the daguerreotype process introduced and rapidly popularised by Louis Daguerre and others. Daguerreotypes produced landscapes with wonderfully fine detail, but the only way that such one off photographs could be replicated for publication was to transform them into engravings.


Camera style used for calotypes, c.1845
However the calotype process, patented by William Henry Fox Talbot in 1841, had a significant advantage in that multiple prints could be produced from a single paper negative. In addition, the ability to prepare several days' worth of negative paper in advance considerably lightened the load of equipment that a photographer had to carry.


Maxime Du Camp (1822-1894)
Maxime Du Camp, a French writer of independent means, learned the calotype process from the innovative and influential Gustave Le Gray in 1848, and late the following year accompanied his friend Gustave Flaubert on a tour of the "Orient." His official mission from the Ministry of Public Education was ostensibly to record the details of monuments and their inscriptions.


Westernmost Colossus of the Temple of Re, Abu Simbel
Salted paper print from paper negative by Maxime Du Camp, 1849-1850
Courtesy of the Metropolitan Museum of Art, Acc # 2005.100.376.149
Both DuCamp and Flaubert wrote journals of their experiences, and excerpts have been used in Steegmuller's Flaubert in Egypt: A Sensibility on Tour. Stegmuller has also published a collection of Flaubert's letters, a portion of which can be read online, and from which I took the following extracts about DuCamp and his photographic exploits.

Cairo, Saturday night, 10 o'clock. December 1, 1849.
Behind the partition I hear the young Maxime, preparing solutions for his negatives.

Vue du grand Sphinx et de la grande pyramide de Menkazeh (Mycerinus)
Salted paper print from paper negative by Maxime Du Camp, Dec 1849
Courtesy of the Metropolitan Museum of Art, Acc # 2005.100.376.149

Max's days are entirely absorbed and consumed by photography. He is doing well, but grows desperate whenever he spoils a picture or finds that a plate has been badly washed. Really, if doesn't take things easier he'll crack up. But he has been getting some superb results, and in consequence his spirits have been better the last few days. The day before yesterday a kicking mule almost smashed the entire equipment.

Intérieur du Temple de Khons, à Karnac, Thèbes
Salted paper print from paper negative by Maxime Du Camp, 1849-1850
Courtesy of the Metropolitan Museum of Art, Acc # 2005.100.376.20

I have seen Thebes: it is very beautiful. We arrived one night at nine, in brilliant moonlight that flooded the columns. Dogs were barking, the great white ruins looked like ghosts, and the moon on the horizon, completely round and seeming to touch the earth, appeared to be motionless, resting there deliberately. Karnak gave us the impression of a life of giants.

Colosse restauré d' Aménophis III, à Thèbes
(Statue vocale ou Colosse de Memnon)
Salted paper print from paper negative by Maxime Du Camp, 1849
Courtesy of the Metropolitan Museum of Art, Acc # 2005.100.376.76

I spent a night at the feet of the colossus of Memnon, devoured by mosquitoes. The old scoundrel has a good face and is covered with graffiti. Graffiti and bird-droppings are the only two things in the ruins of Egypt that give any indication of life.

"Coiffure des Femmes de Nazareth," Palestine
Salted paper print from paper negative by Maxime Du Camp, 1850
Courtesy of the Metropolitan Museum of Art, Acc # 2000.118
After a couple of months in Egypt they moved in to Palestine, Syria and Lebanon, where DuCamp's output was unfortunately far less prolific. Upon his return to France later that year he showed his prints to Blanquart-Everard, who published 125 of them in an elegant edition of approximately 200 leather-bound copies entitled Egypte, Nubie, Palestine et Syrie, probably the world's first photographic travel book, as well as individual prints.

The artistry in Ducamp's calotypes is not held in particularly high regard:

Ducamp's photographs ... reflect his working purpose and follow the pattern of earlier documetary etchings and lithographs ... (He) moves from a distant overall view to an closer one, at times honing in on a detail or two, always positoning his subject in the center of the frame. The overall effect is straightforward and banal. The poor quality of photographs printed by DuCamp himself also indicate his lack of concern for aesthetics. The one original aspect of his work is his use of a Nubian man, ostensibly as a measure of scale, but who is often almost invisible, posed in odd nooks and crannies of the ancienty tombs and temples.

Hannavy, 2008

"Vue générale des ruines de Baâlbek, prise à l'Est," Lebanon
Salted paper print from paper negative by Maxime Du Camp, Sep 1850
Courtesy of the Metropolitan Museum of Art, Acc # 2005.100.376.155
On the other hand his pioneering status is widely respected. Many photographers would follow in his footsteps to the Middle East, among them the far more well known Francis Frith, Felix Bonfils, Antonio Beato, and even his former mentor Gustave Le Gray, but DuCamp was among the first, showing what was possible with the crude technology available at the time.


Eastern Facade of the Temple of the Sun, Baalbek, Lebanon
Kodachrome positive transparency, taken 25 May 1997
Photo Copyright © 1997 Brett Payne
From my own experiences of trying to photograph monuments in the desert (see image above), managing the harsh sunlight is very tricky, and I have the greatest of admiration for DuCamp's efforts with rudimentary equipment under very difficult conditions.

References

Ballerini, Julia (2008) DuCamp, Maxime (1822-1894) French photographer and writer,in Encyclopedia of nineteenth-century photography: A-I, index, Volume 1, John Hannavy (ed.), Taylor & Francis, on Google Books.

Meltzer, Steve (2012) The birth of travel photography: Du Camp and Flaubert’s 1849 trip to Egypt, North Africa and the Middle East, on Imaging Resource, 30 October 2012.

Rosenblum, Naomi (1984) A World History of Photography, New York: Abbeville Press.

Stegmuller, Francis (1972) Flaubert in Egypt: A Sensibility on Tour, Boston: Little Brown.

Stegmuller, Francis (ed.) (1979) The Letters of Gustave Flaubert, 1830-1857, Volume 1, on Google Books.

Maxime Du Camp, Wikipedia article

Sepia Saturday 217: A Camping Trip to Rival Any Other

My contributions to the weekly Sepia Saturday theme have suffered a little this summer, mainly due to the run of good weather that we've had, of which I've taken full advantage with plenty of hiking and other outdoors activity, following on from my rather lengthy excursion walking the Camino in northern Spain last year.

I could not resist Alan's image prompt this week, a black and white photograph from the Bergen Public Library's Flickr photostream depicting three classical composers Julius Röntgen, Frants Beyer and Edvard Grieg on an excursion on Mount Løvstakken in June 1900. Another image in the same sequence, and presumably taken on the same day, shows Beyer and Grieg indulging in light refreshments after their exertions.


Roosevelt on Glacier Point, Yosemite Valley, 1903
Stereographic print publ. by Underwood & Underwood
These reminded me very much of one of my favourite photographs which has been reproduced many times, but is shown here in its original format as a stereocard print published by Underwood & Underwood in 1903 (click the image for a larger version). Few of my readers will need to be informed that this was the 26th President of the United States, Theodore Roosevelt (1858-1919) at Glacier Point, Yosemite, with the Yosemite Falls in the background. I haven't yet been able to determine who took the original photograph - and there were quite a number of adventurous glass plate photographers working in the area, right back to 1859 [2] - but I did discover several similar scenes which appear to be part of the same series, and were presumably taken on the same day.


Roosevelt on Glacier Point, Yosemite Valley, 1903
Stereographic print publ. by Keystone View Company
A second pose, very similar to the first but published by Keystone, shows Roosevelt again standing on an overhanding rock at Glacier Point, with the Yosemite Valley and the Yosemite Falls forming a magnificent backdrop to the north-west. The stereophoto is titled, "President Roosevelt's Choicest Recreation - Amid Nature's Grandeur - On Glacier Point, Yosemite, Calif."


Roosevelt on Glacier Point, Yosemite Valley, 1903
Unmounted print, unknown publisher
A third version shows Roosevelt seated, rather than standing, on the overhanging rock, with the photographer facing east and the charcateristic outline of Half Dome just visible at the right hand edge of the view.


Roosevelt and Muir on Glacier Point, Yosemite Valley, 1903
Unmounted stereographic print, unknown publisher
A fourth image, also widely published as a stereophoto, shows Roosevelt and another man - the identity of that man holds the clue to why the President was there, and why this series of images has become so widely known. Much has been written about the relationship between Roosevelt and John Muir, the bearded man to his left, and I don't intend to repeat it here, except to quote some of Roosevelt's own words:

It was my good fortune to know John Muir. He had written me, even before I met him personally, expressing his regret that when Emerson came to see the Yosemite, his (emerson's) friends would not allow him to accept John Muir's invitation to spend two or three days camping with him, so as to see the giant grandeur of the place under surroundings more congenial than those of a hotel piazza or a seat on a coach. I had answered him that if ever I got in his neighborhood I should claim from him the treatment that he had wished to accord Emerson. Later, when as President I visited the Yosemite, John Muir fulfilled the promise he had at that time made to me. He met me with a couple of pack mules, as well as with riding mules for himself and myself, and a first-class packer and cook, and I spent a delightful three days and two nights with him.

Roosevelt's party at the Grizzly Giant, Mariposa Big Tree Grove, 1903
Photograph by Joseph N. LeConte

The first night we camped in a grove of giant sequoias. It was clear weather, and we lay in the open, the enormous cinnamon-colored trunks rising about us like the columns of a vaster and more beautiful cathedral than was ever conceived by any human architect ...

President Roosevelt and party, Inspiration Point, Yosemite Valley

All next day we traveled through the forest. Then a snow-storm came on, and at night we camped on the edge of the Yosemite, under the branches of a magnificent silver fir, and very warm and comfortable we were, and a very good dinner we had before we rolled up in our tarpaulins and blankets for the night ...

Roosevelt and Muir with two Rangers, Yosemite Valley

The following day we went down into the Yosemite and through the valley, camping in the bottom among the timber ... John Muir talked even better than he wrote. His greatest influence was always upon those who were brought into personal contact with him.

Muir's three nights with Roosevelt at Yosemite in May 1903 has been referred to in a rather grandiose fashion as perhaps "the most significant camping trip in conservation history," with some justification. Muir, an ardent conservationist, prolific author and activist, had been visiting and writing about Yosemite for three and a half decades. He was the first to suggest that Yosemite's U-shaped valleys were carved out by glaciers, in stark contrast to the contemporary view of their origin as the result of catastrophic earthquakes. He had befriended naturalist author Ralph Waldo Emerson, was a co-founder and first president of the Sierra Club, an associate of literary naturalist John Burroughs, and was a close friend of influential scientist Joseph LeConte.

"Only by going alone in silence, without baggage, can one truly get into the heart of the wilderness. All other travel is mere dust and hotels and baggage and chatter." – John Muir in a letter to his wife Louie in July 1888

"There! empty your heads of all vanity, and look ... Yes, I pottered around here ten years, and you think you can see it all in four days." - John Muir to John Burroughs in 1909


John Muir on a 1964 U.S. commemorative stamp
Ranger-naturalist Richard J. Hartesveldt wrote, in an article published in Yosemite Nature Notes in 1955:

This unusual meeting of two great conservationists had a strong influence upon the formulation in our government's land and resources policy ... The prelude to this meeting began a few years earlier when forests which had been set aside by Presidents Harrison and Cleveland were endangered by pressure from commercial interests who wanted the Congress to release them from Federal control. To John Muir, through his vivid writings, goes much of the credit for preventing the passage of such legislation.

John Muir, Preservationist
Celebrate the Century U.S. commemmorative stamp, 1998

The President became interested in the conservation attitudes of John Muir by reading Muir's enthusiastic writings. He indicated to the famed naturalist through California Senator Chester Rowell that he desired to make a trip to Yosemite for the express purpose of "talking conservation" with him ... After receiving a personal letter from Roosevelt, [Muir] wrote ... "An influential man from Washington wants to make a trip into the Sierra with me, and I might be able to do some forest good in freely talking around the campfire."

The President arrived dressed for the business at hand in his rough hunting clothes. He and Muir left the main party of dignitaries and slept on the ground at night, once in the snow, which delighted the President. The conversations around their Sierra campfires would probably fill several volumes, since both were prolific talkers. Although we shall never know all that transpired on this memorial outing, there is much evidence of the good which resulted from it.

John Muir featured on the California state quarter, 2005

John Muir was emphatic about the need for legislation to prevent archeological ruins from being destroyed by "pot hunters" and other collectors. The Petrified Forest and the Grand Canyon were foremost among specific areas mentioned. Perhaps it was at this time that the two conceived a workable plan which would vest the President with the necessary power to set apart as national monuments areas deemed nationally significant. The purpose was, of course, to save time when areas were in immediate danger of invasion, and also to circumvent opposition in Congress which might prevent many such areas from being established. The legislation was enacted in 1906 and is known today as the Antiquities Act.

Redwoods at Muir Woods National Monument, November 2013
Image Copyright © Brett Payne
Sadly I didn't have enough time during my recent brief stay in California to visit Yosemite, as it's been on my bucket list far longer than the term has actually been in existence (i.e. 2006). I felt it deserved more than the couple of days I had available, so it will have to wait for another time. I did, however, get a chance for a quick visit to Muir Woods National Monument - declared as such by Roosevelt in 1908, and named after John Muir at the request of the donors, William and Elizabeth Kent - an old-growth coastal redwood forest close to Mount Tamalpais, with my long time friends Bob and Veronique. Thanks, Bob and Vero, next time we'll do Yosemite.

References

Underwood & Underwood (Copyright, 1903) Theodore Roosevelt and John Muir on Glacier Point, Yosemite Valley, California, in 1903, stereograph (unmounted), Library of Congress, Prints and Photographs Online Catalog (PPOC)

The First Yosemite Photographers / Yosemite Photographers In The Early Days ... Incredible Challenges But Amazing Results, including A Thousand Words by Bill and Mary Hood, by undiscovered-yosemite.com.

President Roosevelt and party, Inspiration Point, Yosemite Valley, California, photographic print, Library of Congress, Prints and Photographs Online Catalog (PPOC)

Muir, John (1871) Yosemite Glaciers, New York Tribune, 5 December 1871, reproduced online by the Sierra Club.

Roosevelt, Theodore (1913) In Yosemite with John Muir, from An Autobiography (1913), excerpted from Chapter IX. Outdoors and Indoors, reproduced online by the Sierra Club.

Roosevelt, Theodore (1915) John Muir: An Appreciation, Outlook, vol. 109, pp. 27-28, 16 January 1915, reproduced online by the Sierra Club.

John Muir and John Muir's Influences, by the National Park Service.

John Muir (1838-1914) and Theodore Roosevelt (1858–1919), The National Parks, America's Best Idea, a film by PBS.

Geologic Map of Yosemite Valley, from Geologic Map of Yosemite National Park and Vicinity, California, U.S. Geological Survey Miscellaneous Investigations Series Map I-1874 by N. King Huber, Paul C. Bateman, and Clyde Wahrhaftig, publ. 1989, from the United States Geological Survey.

Sierra Club Historic Photographs, from the Sierra Club William E. Colby Memorial Library.

Barrus, Clara (1920) John Burroughs - Boy And Man, Chapter XVII: Work And Play In Later Years, from The Catskill Archive

Hartesveldt, Richard J. (1955) Roosevelt And Muir - Conservationists, in Yosemite Nature Notes, Vol. XXXIV, No. 11 (PDF from Yosemite Online Library), p.132-136, November 1955, article reproduced by undiscovered-yosemite.com.