Сhildin the Image or Image of Achild : Russian Child Portrait in Painting and Photography of the Late 19 th − Early 20 th Century

The stylistics of the child portrait in Russia in the 1850s – early 20th century underwent significant changes due to the emergence of photography (light painting). From the very beginning of its era, the 1850s, early photography borrowed composition, means of expression, and attributes from painting. Towards the end of the century, artists began to pay attention to the achievements of portrait photography, striving to depict children not in a staged way, but rather in moments of play, studies and rest, taking heed of photographic effects, in particular, cropped and “blurred” compositions. Many Russian artists used photo sketches, rethinking and re-creating the image of a child in their works. At the turn of the 19th and 20th centuries, the child portrait turned into an expressive medium of the artist’s self. By contrast, child photography focused on a specific child, with an emphasis on the continued documentation of the stages of his or her growth and development. The art form experienced further technical improvement, which led to the flourishing of the child photo portrait in the subsequent periods.

Geomorphology from Earth Orbit 1957-2000

This chapter examines the technical capabilities of orbital earth observation sensors and considers associated geomorphic user requirements between 1957-2000. Early photography from space provides much promise which is followed by successive dedicated satellite missions. These produce data at ever greater spatial and spectral resolution as well as frequency starting with Landsat 1 in 1972. Users especially in the arid and polar community are drawing on this new technology. However, the wider uptake of data derived from passive systems such as Landsat and other such sensors by geomorphologists is sporadic, due to the mismatch between data requirements and systems specifications. Limitations to most geomorphologists would have included data cost, given that even Landsat data was not always freely available, as well as data volume and processing capabilities, which favoured governmental scientists. Active radar data on some levels fulfilled the geomorphic requirements such as retrieval of form, texture as well as height. Unfortunately processing of such image data required significant technical capabilities and was not easy to interpret, given numerous variables associated with the backscatter of the microwave signal. Early earth observation missions were deployed at a time when the full extent of global change, driven by anthropogenic activity had not been fully comprehended. However, older legacy data is now of profound value, since it provides a comparative baseline against which change can be quantified. The study period also saw the gradual transfer of military GPS capabilities to the civilian sector, which facilitated field activities and geometric correction of imagery.

The Matthew R. Isenburg collection: the dissemination of information on a private photographic collection, 1972-2012

This thesis examines how the Matthew R. Isenburg Collection of nineteenth-century photography and photographica, assembled between 1972 and 2012, was used by researchers, scholars, and photography-enthusiasts, and how information about it was disseminated to the public, prior to its sale to the Archive of Modern Conflict, Toronto, in 2012. The private collection focused on five areas from early photography (183.s-1860s): the Southworth & Hawes photography studio (Boston, 1843-1863), images of and information about the California Gold Rush (148-1855), photographic technology (including cameras, lenses, and studio equipment), daguerreotype and ambrotype cases, and nineteenth-century literature (featuring technical manuals and sales catalogues). This thesis features a literature survey, documentation of how Isenburg displayed his collection within his home, a description of the experience of visiting his collection, an annotated bibliography of publications that feature the collection, and an analytical chapter describing how the reputation of the collector and collection evolved.

The Matthew R. Isenburg collection: the dissemination of information on a private photographic collection, 1972-2012

This thesis examines how the Matthew R. Isenburg Collection of nineteenth-century photography and photographica, assembled between 1972 and 2012, was used by researchers, scholars, and photography-enthusiasts, and how information about it was disseminated to the public, prior to its sale to the Archive of Modern Conflict, Toronto, in 2012. The private collection focused on five areas from early photography (183.s-1860s): the Southworth & Hawes photography studio (Boston, 1843-1863), images of and information about the California Gold Rush (148-1855), photographic technology (including cameras, lenses, and studio equipment), daguerreotype and ambrotype cases, and nineteenth-century literature (featuring technical manuals and sales catalogues). This thesis features a literature survey, documentation of how Isenburg displayed his collection within his home, a description of the experience of visiting his collection, an annotated bibliography of publications that feature the collection, and an analytical chapter describing how the reputation of the collector and collection evolved.

The Matthew R. Isenburg collection: the dissemination of information on a private photographic collection, 1972 ‐ 2012

This thesis examines how the Matthew R. Isenburg Collection of nineteenth‐century photography and photographica, assembled between 1972 and 2012, was used by researchers, scholars, and photography‐enthusiasts, and how information about it was disseminated to the public, prior to its sale to the Archive of Modern Conflict, Toronto, in 2012. The private collection focused on five areas from early photography (1830s – 1860s): the Southworth & Hawes photography studio (Boston, 1843 – 1863), images of and information about the California Gold Rush (1848 – 1855), photographic technology (including cameras, lenses, and studio equipment), daguerreotype and ambrotype cases, and nineteenth-­‐century literature (featuring technical manuals and sales catalogues). This thesis features a literature survey, documentation of how Isenburg displayed his collection within his home, a description of the experience of visiting his collection, an annotated bibliography of publications that feature the collection, and an analytical chapter describing how the reputation of the collector and collection evolved.

Two 19th Century Japanese Souvenir Travel Albums At The Art Gallery Of Ontario

This paper analyzes two nineteenth-century Japanese souvenir travel albums from the Art Gallery of Ontario's collection of photography. The project includes: a literature survey discussing sources and researchers of early photography in Japan; contextual research on the introduction of photographic technology in nineteenth-century Japan and the influence that traditional woodblock prints may have had on the genre of commercial souvenir photographs of Japan; and a detailed description of both album with a potential attribution. Furthermore, the applied component of the project, which entailed documentation of both albums in the form of a catalogue of their 100 tinted albumen prints, is included as an appendix. The paper also provides recommendations for the optimal storage and preservation of both albums, as well as a housing solution. The cataloguing and housing of the two albums will enhance accessibility and facilitate future research of these albums.

The Matthew R. Isenburg collection: the dissemination of information on a private photographic collection, 1972 ‐ 2012

This thesis examines how the Matthew R. Isenburg Collection of nineteenth‐century photography and photographica, assembled between 1972 and 2012, was used by researchers, scholars, and photography‐enthusiasts, and how information about it was disseminated to the public, prior to its sale to the Archive of Modern Conflict, Toronto, in 2012. The private collection focused on five areas from early photography (1830s – 1860s): the Southworth & Hawes photography studio (Boston, 1843 – 1863), images of and information about the California Gold Rush (1848 – 1855), photographic technology (including cameras, lenses, and studio equipment), daguerreotype and ambrotype cases, and nineteenth-­‐century literature (featuring technical manuals and sales catalogues). This thesis features a literature survey, documentation of how Isenburg displayed his collection within his home, a description of the experience of visiting his collection, an annotated bibliography of publications that feature the collection, and an analytical chapter describing how the reputation of the collector and collection evolved.

Two 19th Century Japanese Souvenir Travel Albums At The Art Gallery Of Ontario

This paper analyzes two nineteenth-century Japanese souvenir travel albums from the Art Gallery of Ontario's collection of photography. The project includes: a literature survey discussing sources and researchers of early photography in Japan; contextual research on the introduction of photographic technology in nineteenth-century Japan and the influence that traditional woodblock prints may have had on the genre of commercial souvenir photographs of Japan; and a detailed description of both album with a potential attribution. Furthermore, the applied component of the project, which entailed documentation of both albums in the form of a catalogue of their 100 tinted albumen prints, is included as an appendix. The paper also provides recommendations for the optimal storage and preservation of both albums, as well as a housing solution. The cataloguing and housing of the two albums will enhance accessibility and facilitate future research of these albums.