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contents

Features

Columns

Saving Face

Finding Relative Nobodies

pg. 6

The Future of Memories

pg.. 13

The Healing Brush

pg. 30

In2Genealogy

pg. 40

A Plain Brown Wrapper

My Ancestral Daughters Of The Dust

Where The Belong

Penelope Dreadful

Dreadful Darjeeling

pg. 52 pg. 58

The Year Was . . .

pg. 68

The Year Was 1925

Appealing Subjects

On Hiatus - Returns April Issue

The Humor Of It

On Hiatus - Returns April Issue

pg. 16

a woman Behind The Camera

pg. 36

Janine Smith On The Path To Restoration Part I Mrs, E. N. Lockwood, Ripon Wisconsin

In Every Issue

From My Keyboard

pg. 4

The Exchange

pg. 5

Letter from the editor Your comments

Captured Moments

Who Will Speak Their Names

All Photographs Are History

Smile For The Camera

pg. 57

The Last Picture Show

Back Cover

Tina Lyons - WWII Valentine

The graphic image on the back of a carte-de-visite or cabinet card

Download The Magazine On The Cover Card mounted photograph. See Penny Dreadful’s column for the story.

contributors PENELOPE DREADFUL

VICKIE EVERHART

GEORGE GEDER

Penelope Dreadful is the alter ego of Denise Levenick. Denise authors the blog, The Family Curator and gives us this month’s “Dreadful Darjeeling.”

Vicki is the author of Creative Moments. She also authors the blog BeNotForgot. Her column this month is “Who Will Speak Their Names”

George is the author of The Healing Brush Column. He also authors the George Geder blog. His column this month is “My Ancestral Daughters Of The Dust.”

DENISE OLSON

SHERI FENLEY

CAROLINE POINTER

Denise is the author of The Future of Memories Column. She also writes the blog Family Matters and gives us this month’s column, “A Plain Brown Wrapper.”

Sheri writes The Year Was . . . Column. She also authors the blog The Educated Genealogist. Her column this month highlights the year 1925.

Caroline is the new In2Genealogy Columnist. She is also the author of the Family Stories blog. Her column this month “Where They Belong.”

REBECCA FENNING

CRAIG MANSON

DONNA POINTKOUSKI

Rebecca authors the Saving Face column. She also writes the blog A Sense of Face. Read her column this month, “Finding Relative Nobodies."

Craig authors the Appealing Subjects column. He also writes the blog Geneablogie. Craig’s column is on hiatus and will return with the April issue.

Donna authors The Humor Of It column. She also write the blog What’s Past Is Prologue. Donna’s column is on hiatus and will return with the April issue.

from my keyboard fOOTNOTEMAVEN

Women’s History Month It’s March and Shades has a lot to celebrate this month. First, Shades Of The Departed was voted one of Family Tree Magazine’s 40 Best Genealogy Blogs. Thank you, to all those who voted and to Family Tree Magazine. Shades is honored to be in such esteemed company. And thank you to those who write for Shades, the regular columnists and those who contribute feature articles. They are Shades. Shades is all about the fascination with old photographs and our connection to them. We love what we do. The next cause for celebration is Shades’ Blogiversary. March 15, Shades will have been presenting, Twice Told Tuesday, Web Wandering Wednesday and Many Things Thursday for two years. And this year Shades dream of becoming a Digital Magazine came true with the November 2009 Inaugural Issue. Thank you to all who read and comment. Those of us who work to create Shades thank you for your support. March is Women’s History Month and we are asked to write women back into history in 2010. But Shades is all about the old photographs and so we’re celebrating Women’s History Month by Giving Their Face A Place. We celebrate woman by showing their lovely faces and directing you to all the places where you can research their pasts. Join Us as we celebrate in the month of March.

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THE EXCHANGE

LEAVE A MESSAGE WITH THE EXCHANGE For this issue of Shades the Exchange is being used to send messages.

GET WELL SOON CRAIG! CONGRATULATIONS! To our very own Saving Face Columnist Rebecca Fenning. Rebecca has just gotten engaged!

We know you’re enjoying all that attention, but we miss you. The Shades Gang

SAVING FACE

in the library or archive ILLUMINATING YOUR RELATIVE NOBODIES REBECCA FENNING

Most  of  us  are  related  to  non‐famous  people,  folks  who  may  have  made  it  into  the  newspaper  when they were born,  married,  sued,  graduated high  school  or died,  but who  otherwise did not make much of a dent in the archival record.   However, just because you’re  not related to the @irst female Presidential candidate Victoria Woodhull [Link]  like a friend  of  mine  is  doesn’t  mean  you  have  to  despair  of  ever  @inding  anything  relevant  or  illuminating  about  your  relative  nobodies  in  the  library  or  archive.    There  are  plenty  of  places to @ind tidbits about average people, even if there aren’t @inding aids out there with  their names on them. Because March is  Women’s  History Month, we can take those sometimes elusive and quite  average female relatives as an example.  It’s not for nothing that genealogy publications and  educators  often  dedicate  whole  sections  of  their  pages  and  presentations  to  researching  female  relatives.    From  the  dif@iculties  of  connecting  maiden  and  married  names  to  the  simple fact that women were often excluded from the formal historical record in the past, it  can  be  hard,  to  say  the  least.    However,  new  efforts  at  inclusion,  equality  and  historical  practice make it much easier to @ind information about women in the archives  than it may  have been previously.   Larger cultural movements concerned with civil rights and feminism  aside,  revolutions  in  the  practice  of  social  and material  history  have  made  the  everyday  documents  produced  by  women  of  the  past  –  such  as  diaries,  cookbooks,  letters  and  needlepoint patterns – valuable resources in the libraries of today. 

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Tidbits about average people.

Specialized libraries focused on the history  LOC American Memory Collection

of women – the Schlesinger Library on the  History  of  Women  in  America  [Link]  is  a  notable example – may  hold the papers  of  famous  women  like  Julia  Child  and  Charlotte  Perkins  Gilman,  but  they  also  hold the papers and documents of average,  non‐famous  women,  and  those  of  the  groups,  organizations,  and  schools  these  women  made  part  of  their  everyday  lives.   The diaries  and letters of ordinary  women  can  be  a  treasure  trove  of  information  –  and not only if you happen to @ind the diary  Courtesy of the Author

or  correspondence  of  a  woman  you’re  related to.  Papers of women from the same  towns,  working  in  the  same  jobs  or  from  the  same  religious  group  may  provide  helpful  background  and  context,  even  if  your relative’s name doesn’t appear at all.  

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The archives of women’s (and co‐ed) colleges, universities and charitable organizations can  also  be a good place to  look.   The Schlesinger  Library, for instance, is also the home of the  Cabinet Card of two young women reading letters.

Radcliffe College Archives, which holds a rich array of  documentation  on  former  students,  faculty  and  school  history. 

  A  digitized  collection  of 

photographs  searchable  through  Harvard  University’s VIA catalog [Link] depicting everyday  student  life  in the  20th century  (which  I  helped  work  on  as  a  library  school  intern)  is  a  particularly  fertile  place  to  @ind  pictures  of  former students, or to simply get a sense of life  at  a  women’s  college  during  a  speci@ic  time  v oteMa

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Other woman‐focused libraries and archives 

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–  like  the  Jewish  Women’s  Archive  [Link]  Iowa  Women’s  Archive  [Link]  or  the 

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Archive on Woman Artists  at the National  Museum  of  Women  in  the  Arts  [Link]  –  focus  even  more  closely  on  speci@ic  subgroups  of  women.   Of course, institutions don’t  need to  focus  exclusively  on women 

to  have  signi@icant  and helpful  collections  of  material  about  women’s groups,  schools and  individual  women  –  both  famous  and  ordinary.    Some of  my  library’s  largest  collections  [Link] are dedicated to famous men, yet we have important material about women writers  like  Hannah  More  and  Dollie  Radford  as  well  as  notable  items  by  ordinary  women,  who  have actually become somewhat  famous in our present  day because of the signi@icance  of  the papers they’ve left behind. Though women and collections dedicated to them are the focus here, this holds true for any  group of people, whether they are medical professionals, social workers, Asian‐Americans,  African‐Americans, Catholics, Muslims, lesbians or socialists. There are specialized archives 

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and collections  out there for nearly any  group under the sun,  and it doesn’t take an  archives  or library degree to  @ind them.   Even just a simple search engine query for  “women archives library” will bring you a list of relevant institutions, collections and 

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resources. Even if a library doesn’t have digital collections or even a webpage, 

Left - A diary entry. Above - Cabinet Card of women reading letters.

The diaries and letters of ordinary women can be a treasure trove of information – and not only if you happen to find the diary or correspondence of a woman you’re related to.

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chances  are  that  someone  somewhere  has  perhaps  written  something  describing  that  library’s holdings and that can be a helpful starting point. To be sure,  it might be a lot easier to be, like my friend Jennie, related to Victoria Woodhull  – a woman about whom many books  have been written,  @ilms  and stage shows have been  produced  and  a  respectably  detailed  Wikipedia  entry  has  been  compiled  –  but  there  is  something to be said for the thrill of the hunt, and the satisfaction knowing you discovered  something new.  

All three images Duke University - Emergence of Advertising

Cookbooks and a 1917 Almanac that includes hints for the Home Doctor. All great sources of information.

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LOC: American Memory - Records of the National Woman's Party

Suffragists picketing in front of the White House. Harris & Ewing. 1917

An amendment to the Constitution guaranteeing women the right to vote in the United States was first introduced in Congress in 1878. That amendment was defeated, and for the next 40 years it was reintroduced — unsuccessfully — in every session of Congress. Women finally won the right to vote in August 1920.

Women Winning The Vote 1869 - Wyoming (territory) 1870 - Utah (territory) 1893 - Colorado 1896 - Idaho 1910 - Washington 1911 - California 1912 - Kansas 1912 - Oregon 1912 - Arizona 1914 - Montana 1914 - Nevada 1917 - New York 1918 - South Dakota 1918 - Michigan 1918 - Oklahoma 1920 - 19th Amendment Ratified

THE FUTURE OF MEMORIES

a plain brown wrapper CUSTOMIZED PACKAGING BY DENISE BARRETT OLSON

Although  I love all  kinds  of wrapping  paper,  ribbons  and all the  paraphernalia associated  with presents, I just don’t have the room or the budget for it. Instead of spending a couple  bucks  on  a  roll  of patterned  paper  that’s  only  good for one  type of  occasion,  I  spend  my  money on digital graphics and scrapbooking elements which can be used over and over. I do  keep a stock  of gift bags made of brown craft paper and there’s always a roll of postal craft  paper  stashed in  the bottom  drawer  of the  buffet  along  with some  tissue paper  in  a  few  basic  colors.  By  combining these  with the  graphics and  an old  family photo  or  two,  I  can  quickly create a pretty package customized for the person and occasion. Have you seen those expensive cards that use old photos with catchy captions inside? How  often have you said to yourself, "I have photos like that in my collection"? Why not put your  photos to use and make your own cards and package decorations.  For the price of one roll of wrapping paper,  I can buy a downloadable package of digital art  for just about any occasion. Using those graphics and some custom text, I’ll create a custom  @lyer to glue to the front of my brown gift bag. I can use some of those same graphics ‐ with  or without photos ‐ to create a coordinated card to go along with the gift.

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HOW DO YOU PULL THESE GOODIES TOGETHER?  You’ll need some basic supplies.  I use card stock for both the cards and the @lyers  glued to  the gift bags. I keep a supply of card stock in neutral colors ‐ gray, tan and white. My recent  discovery  of  5”  by  8”  card  stock  (Remember  the  funeral  fans?)  has  been  handy  for  a  growing  number  of  projects.  The  photos  on  the  cards  are  printed on  photo  paper.  I  use  double‐sided tape to glue everything together We  all  have  old family  photos  that offer  any  number  or  possibilities.  The toughest  part is  @inding  catchy  captions  to  match  the  photos.  Since  it’s  dif@icult  for  me  to  walk  past  a  greeting cards  display,  I  can  justify  my  visits  as  research.  I’ve  even been  known  to  buy  a  card or two on occasion. When I see a card I like, I mentally inventory my photo collection 

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to  see what similar image I might have.  I also  keep cards I’ve received as inspiration and I  have a page in my notebook just for captions and quotes. Not  all  occasions  can  be  managed with  old  photos.  That’s  why  my  graphics  collection  is  event‐oriented.  I  have  graphics  suitable  for  birthdays,  baby  showers,  anniversaries  and  holidays.  Some,  like the  @ishing graphics  used for  a  birthday  package,  are purchased from  online  sources.  Others, like  the sailboat,  are  found in old books and magazines  now in the  public domain.   For  cards, I just size and print the photo to @it,  then tape it to the card.  I usually  just write  the  caption  myself.  The  package  decorations  take  a  bit  more  effort.  I  use  Photoshop  Elements to size the graphics and add text. The amount of effort is usually minimal, but the  results speak for themselves.  My  not‐so‐plain  brown  wrappers  have  become  a  signature  style  and  fun  topics  for  conversation. It’s just a fun and simple way to show you care.

RESOURCES The fishing graphics on gift bag are from Hugware by pcCrafter. The sailboat graphic came from an old Scribners magazine. The photographs are from the author’s collection.

Dover Image

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All Photographs Are History Janine Smith leads us down the path to restoration. PART I

Yes, all photographs are history. Your family photos tell the story of life, a literal snapshot in time of what the world was like, at that very moment. That moment may not depict a major global historical event, but it is nonetheless, a historical event. It depicts a moment in the history of you, your family, their world, their lives. It's precious, it's irreplaceable and it matters! Unfortunately, however, just as our photos depict a moment in time, time will eventually catch up and reclaim them. In 100 years, that shoebox of old photos that sits on top of your closet will, in all likelihood, be a box of dust. Preserving them today, by digitizing and restoring them is the only way your photo collection has a chance of surviving into the 22nd century.

Photos give us a glimpse into the life and times of those who come before us. But what does a badly damaged photo tell us? About all they can tell us is that the photograph hasn't held up well or hasn't been cared for properly. A damaged photo puts the emphasis on the state of the photo, not the content of the photo. Therefore, it's distracting to the viewer who is focused on the damage contained in the photo, not the actual content. Do you have boxes and boxes of old family photos, most of which just need a tweak here and a tune up there? Far too many to think about a really good, professional digital photo restoration? Aside from using the “$5, no matter the damage!” or “send your photo's to us and we'll send them to India, cheap!” restoration sites, (which I heartily discourage you from doing), what's a body to do? Restore them yourself, of course! “Pishaw”, you say! “I couldn't do that! I wouldn't even know where to begin!” Well, I'm here to tell you that you can, and how to go about it! The first and most important thing you'll need is the desire to learn. If you really don't have a smidgeon of interest about doing your own minor restorations, then you might as well stop here. I'll be writing, at a later date, about what you need to know when you're looking for professional

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restoration, so perhaps we can meet back here, then? For those of you that do have at least an inkling of desire to do the work yourself, read on!

THE RESTORATION TOOLKIT You have the inclination to learn some restoration basics. Where do you start? Start with what I call your Restoration Toolkit. Like any good toolkit, you add tools as you go along, but you need to start with the fundamentals.

SCANNER You have the computer (we're just going to assume that one), you have the photographs. You need to get the photos into the computer, and for that, you need a scanner. There are scanners available in a very large price range, from the under $75 cheapies to the multiple thousand dollar professional quality variety. The difference, of course, will be in image quality and features. You probably don't want to go with the cheapest scanner you can find, but you don't need to most expensive, either. If you can afford it, a nice, low to mid-level model is more than sufficient. You can read all the specs for the scanners all day long, but when it comes down to it, the only way you're ever going to know how good that scanner is is by looking at the same image scanned on all the scanners side by side. Since that's probably not going to happen, here's a couple things to look for: RESOLUTION – This is very important, but even the cheapest scanners will be be capable of resolutions higher than you'll need. I've never scanned an image higher than 1200 dpi, and that very rarely. I usually work in the 300 to 600 dpi range. At the same time, you want a higher resolution to scan your original for an archive copy. The copy of the original, in it's current state of decay, to archive onto digital media (CD, DVD, internal or external hard drive, etc), so try to opt for the scanner that allows for up to 9600 dpi, but at least 4800 dpi. DIGITAL ICE – This is a technology, made by Kodak but available on a wide range of scanners, that will make your life a lot easier. By shining an infrared beam through the print and

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determining the thickness of it. Thinner spots are determined to be scratches and thicker spots are determined to be dirt. The scanner then mathematically removes the defects – I don't know how, so it must be magic! ICE gets rid of damage that's minor, but very time consuming. ICE is very nice! BIT DEPTH – Most scanners are equipped with 48-bit color which is what you should be scanning at, especially if you want to enlarge the photo. Some scanners have 96-bit color, but that's a better depth for, say, original paintings, rather than photos. IMAGE EDITING SOFTWARE – I don't include this as a must have, but most scanners have it, so I'll speak to it. This falls in the “magic bullet” category; the software that supposedly can restore your photo in the scanner. While some of it does an adequate job of fixing some minor things, it just can't do what a person with skills can do. Personally, I'd leave this to those who aren't serious about learning to restore, and stick to ICE and skills!

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So, what if you have an older scanner, or a cheaper model that doesn't have some of the things you'll need to get a good base scan to work on, and you don't have the money or the inclination to purchase a newer / more expensive model? It's possible to buy or download scanning software that replaces your scanners drivers and, in some cases, makes a more high end scanner out of a lower end model, especially in terms of features. One such software is VueScan [LINK] that really does make a great scanner out of a good one! As with all things that have many settings and features, play with them all to get the best scan you can. The scan is your base, what you will work from. A bad scan can make the restoration work harder, while a great scan will make everything much easier and undoubtedly more pleasant!

SOFTWARE The essential piece in your toolkit, the thing all else will be based upon, will be your photo editing software. It's the “digital� in digital photo restoration. Without it all you could do is view your photo. Whether you use a highend application, such as Adobe Photoshop, a free offering, such as paint.net or Gimp, or something in between, your PES is the key to editing, or restoring, your photos. Your ability to do certain things could be limited depending on the software you choose, but the very basic's of restoration should be possible from most, if not all, applications. I'm not personally familiar with all the photo editing software available in the universe, and am, in fact, prejudiced

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towards Adobe Photoshop. This is not an opinion, as, again,

A Group of Librarians in Glacier Point, Yosemite National Park, California, 1911

I'm not knowledgeable enough about other applications to have formed an educated opinion, but a prejudice, it being the only application I know well, having worked in it for over ten years. PHOTOSHOP – [LINK] The premiere photo editing software is Adobe Photoshop. It's the Bugatti Veyron of photo editing software, the big dog, the Grand Poobah – both in terms of features and price. The current

panel that puts all your adjustments on their own layer where you can edit, and re-edit, to your hearts content. One feature of Photoshop that you won't get with most (any?) other photo editing software is Channels. Channels is a breakdown of the individual color channels of your photo (if scanned in color, even your black and white photos!)

UI Urbana Library Digital Collections

version,CS4, has wonderful restoration-friendly adjustment

that can show you which channels (Red, Green or Blue if working in the RGB color space, which I daresay most of you will be, whether you know it or not) hold the most damage. Without getting too deeply into Channels, a great deal of the time damage will be worse in one (or two) and better in another. This gives you a wide range of options when analyzing your photo for repair. Channels is a rather sophisticated area for the novice, however, and is mostly utilized by the professional, be they photographer or photo restoration expert. If you just plan on doing a small repair here and a little correction there, Photoshop is probably overkill. At around $600, you'll mostly be keeping the Bugatti in the garage. Since Photoshop is the software most professionals use, and it's interface closely resembles that of Photoshop Elements, this is the application I'll most refer to in this article. PHOTOSHOP ELEMENTS – [LINK] Elements could arguably be called “Photoshop Lite”. It has the fundamental tools, but lacks a real Photoshop powerhouse – Channels. It's probably just

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GIMP – [LINK] The premiere open source (as in free) editing software. A bit more powerful than Elements, but still not quite Photoshop, it would be a wonderful way to begin in restoration, at least until one decides just how deep they'd like to get into learning restoration skills! SPLASHUP – [LINK] A free online application that has a very Photoshop Elements-like interface. All the essential tools, excepting channels, this is a good application to try because you not only don't have to pay for it, you don't have to download (or load, period) anything on to your hard drive! All you have to do is upload your photo from your hard drive and you're on your way!

OF MICE AND PEN There are two ways to go about doing your work: using a mouse or using a pen tablet. Now, before I go any further, just let me say that I've seen some incredible graphic work that was done using a mouse, in fact, I daresay there are some people who can just do anything with a mouse! I'm not one of them. Before I got a pen tablet, I tried using the mouse. Let's just say it wasn't pretty. It's my belief that digital photo restoration is a very detailed process and that a mouse is just to bulky, in general, to handle that precision. Plus, aside from the imprecise, in my opinion, nature of the mouse, the strain on your wrist would be horrific! Since I don't, can't, use a mouse to the detail work needed, I can't speak to the benefits of using one. Frankly, I can't see any. You see, I'm a faithful convert to the

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graphics tablet, a true believer, and like any good fanatic, I'll try to foist my opinion on the matter upon you now:

CONTROL - Never underestimate the control! Trying to draw a portrait with a hamster: that's sort of what it felt like, to me, when I first worked in Photoshop – pre-tablet. We draw using pencils, brushes, perhaps charcoal, but almost always the implement we use is held between the thumb and the first finger, not in the palm of our hand. So the pen tablet stylus feels natural and affords the control we need. LESS STRAIN - With the pen you'll use your wrist less. Period. Sure, if you sit for hours doing extremely detailed restoration work, you will feel the strain. In fact, your whole hand, sometimes your arm will go numb. This usually happens when you lose yourself in your work and have no idea that six hours of your life has gone by without your knowing – I don't recommend anyone trying this at home. I'd be willing to bet my Wacom tablet, though, that you wouldn't be able to even work a fraction of that time, doing that level of detailed work, with a mouse without experiencing the mother of all Carpal Tunnel events! CONVENIENCE – Graphics tablets can be customized so the things you usually do by going manually to menus, or using keyboard shortcuts, can be done in the press of a button, either on the pen itself, on the tablet or both. You can also erase by simply turning the pen upside down and using the bottom, exactly like (gasp!) and eraser! I kid you not! Taking a few minutes to customize your graphics tablet can save you more time than you realize, over time! Is there a downside to graphics tablets? In various discussions I've had (or observed), the two main reasons given against taking the plunge into working with a graphics tablet are price and the learning curve. Most people see a tablet as being too expensive and, yes, they can be! It all depends on just how much tablet you buy! The premiere graphic tablet maker, Wacom [Link], has a full line of tablets which are excellent and the tablet of choice for most artists. The choices can be roughly broken down like this: The super fancy models that show the screen directly on the tablet, the Cintiq line, can set you back a couple of thousand dollars. The median range

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tablets, the Intuos line, are in the $250 - $500 range, depending on the size. But there's another option, the Bamboo, that start at just $70, the perfect thing for the beginner! There are other tablets out there besides Wacom, of course, such as Monoprice [Link], DigiPro and Aiptek [Link]. I have never used these products, however and haven't even heard much about them, so I can't speak to how good they are or aren't. In fact, I couldn't even find a website for the DigiPro tablet. If you want to further investigate alternatives to Wacom, my advice would be to go online and read reviews from actual users! When you first pick up your pen and try to draw while looking at the computer screen instead of the 'paper', in this case the tablet, it's the graphics equivalent of patting your head and rubbing your stomach at the same time. However, the approximate time it takes to get used to it is roughly the amount of time it takes for you to quit thinking about it. You'll literally realized, all of the sudden, that you're no longer thinking about, you're doing it! Just like that. My 78 year old mother began using a tablet and within a couple of hours was using the pen like she'd been born to it. So, basically, the two main obstacles to using a graphics tablet are mostly perception, not reality based objections.

The image program toolbar.

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TOOL TIME There are a number of tools with in your photo editing software that you'll use again and again while restoring photos. They are the clone stamp tool, healing tool, patch tool, curves adjustment, levels adjustment and, arguably the most powerful tool of all, layers. Most, if not all of these tools are available in all photo editing LOC - LC-USZC4-3598 [P&P]

software, with varying degrees of ease of use. In the end, it'll all come down to how comfortable you are with your particular choice, which you use the most. A word of caution, however. Take care not to fall into the one tool

trap! Learn all the tools and what they can can do for you and your work. Using only one, even two of the tools – like trying to do all your home improvement work with only a hammer, will severely limit the scope of your work. The Clone Tool is very good for fixing small areas, or fixing large areas broken up into smaller areas, the patch tool comes in handy when fixing areas with texture, like trees and grass, the healing brushes are good for fixing small blemishes...these are not, of course, hard and fast rules or the only ways these tools can be used, but only mentioned by way of example, and to show you need to use a number of different tools, sometimes more than one in the same areas! The Photoshop toolbox is divided into four sections by separating lines. These sections can be roughly labeled the selection, retouch / paint, type / shape and the view / move categories. The main focus of digital photo restoration will be, due to it's nature, the retouch / paint tools. These include the Clone Stamp, the Healing Brush, the Spot Healing Brush and the Patch tools, the

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A bad clone job! HEALING BRUSH TOOL – The Healing Brush, while somewhat similar to the Clone Stamp in that you sample one area to heal another, it's main differences are that you can only use it on a layer that holds actual pixel information, the photo layer itself or a duplicate thereof, this tool will not work on a blank layer, and that the Healing Brush takes note of things like color and texture of the sampled area and merges it seamlessly into the destination area. One way it creates this seamless merge it by spreading the area out by about ten pixels, which is why it's a good idea to use a hard edged brush while using this tool. SPOT HEALING BRUSH TOOL – This tool began it's life in Photoshop Elements and was added to Photoshop CS2 because it was just that cool! Unlike it's cousin the Healing Brush, it heals without sampling an area, using the surrounding area as it's reference. This is wonderful on wide open, same color / texture areas, but also presents a lack of control. In future versions of Photoshop, we have reason to hope that there will be smart healing, that actually 'looks' at the areas your are wanting to heal and 'sees' what ares it needs to sample from. The benefits of this could potentially be astonishing for digital photo restoration, among other workflows.

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PATCH TOOL – Like the Healing Brush, this tool has been a part of the Photoshop toolkit since Photoshop 7.0 and is now a tried and true staple. With this tool you don't only sample an area to heal a destination, you actually define the selection you use by 'drawing' around the area and dragging it over the destination area, by selecting the Source option. You can also select the destination area itself and move it to an undamaged area by choosing the Destination option. As with anything, the only way you will ever learn to use these tools is by using them. Play and experiment with these and all the tools in your photo editing software. That's the wonderful part of digital photo restoration; playing with all the various tools, no matter how at odds they may seem to what your doing, can result in new ways to do that very thing! Masks, curves, levels, text, gradients, paths, all these and more can and probably will be used in your restorations as you become more comfortable with your software.

SKILL SET

Undoubtedly the most important thing you can do when learning the basics of digital photo restoration is just that: learn! Read everything, find and follow tutorials, study others work; like anything worth doing, you can't expect to sit down in front of the computer and just like that be able to do competent photo restoration! Nor should you expect to. There's much to learn, more than you can imagine. While it may seem incredibly easy to fix a few blemishes here and a small rip there, it's not – if it's done the right way. There's a plethora of bad photo restoration all over

the Internet that stand as proof that many people think they can scan a photo onto their hard drive and become an instant photo restoration artist. Some disregard the basic training of the tools of the trade, using the clone tool in a haphazard manner, leaving little trails of redundant pixels in their wake, some “fix� the photo by painting in the missing areas in a sort of Andy Warhol meets Salvador Dali mashup that defies explanation, some even ignoring the basic laws of physics when replacing body parts, bend arms in unnatural ways or flipping eyes giving their ancestors an oddly cross-eyed countenance. Like the arm-chair quarterback who can't throw a football to save his life, or the closet fashion designer who can't sew a stitch, some things are best left to those who know what they're doing. Yes, you may save a few bucks, you may even really believe you're doing a wonderful job, but you're doing a huge disservice, not only to your ancestors, but to history itself. What if that photo you're attempting to restore, with the intent of putting on the web for all to see, is the only photo in existence of that person? Future generations may well believe their 8th great-grandfather Herbert really was cross-eyed with a backwards arm and painted in hair!

In the April Issue of Shades, Janine Smith continues her Path To Restoration with Part II - More Important Things. Janine Smith, is a professional genealogist and award winning photo restoration artist, with over 15 years experience in analysis and family history research and over 30 years experience as a portrait artist. She's coowner, with her mother, Caroline, also a genealogist, of Landailyn Research and Restoration in Fort Worth, Texas. Janine is the 2008 winner of the Photoshop User Award for Photo Restoration, an International competition with over 700 entrants, and is proud to be numbered among the premiere photo restoration artists.

Giving Their Face A Place In History Women’s History Month

THE HEALING BRUSH MY ANCESTRAL DAUGHTERS OF THE DUST BY GEORGE GEDER

"Daughters  of  the  Dust,”  directed  by  Julie  Dash,  is  one  of  my  absolute  favorite @ilms of all time. It continues to  be  a  lyrical  and  cinematic  movie  of  a  family  of  complex,  independent  African  American  women.  To  honor  and  celebrate  2010's  W o m e n ' s  H i s t o r y  month,  join  me  in  taking  a look  at  some  of  the  women  in  my  f a m i l y .  T h e s e  pictures  you  may  have seen already,  but  here  I  want  to  put  them  in a  matriarchal timeline.

Mrs. Emeline Jeter  (1807‐1881),  spouse of my 2nd great grandfather John R.  Jeter,  gave  birth to  13 children;  10 of which were sold from her during  slavery times. So  far,  I  only  know  about  two.  James,  my  great  grandfather  had  three  sons  and  one  daughter.  Jeremiah, my great granduncle, had three daughters.

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Iantha  Melvin  (1804‐1893)  is  also  my  2nd  great  grandmother.  Her  daughter,  Harriet  (1845‐1891),  married  James  Jeter  and their  daughter  was  named  Isabelle  (1872‐1933).  Emeline  and  Iantha  were  noted  as  domestic  servants  and  Harriet  became  a  laundress. Isabelle was able to break that cycle, go to  Freedman's  Hospital,  graduate  and  become  a  nurse  in 1898.

Iantha Melvin  (1804‐1893)

Harriet (1845‐1891)

Harriet's sister, Emma Jane Melvin (1848‐1925),  would also become a laundress before owning and  operating a boarding house. She would also change  her surname to Melville.

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Isabelle (1872‐1933)

Jeremiah Jeter's daughters were as pretty as their mother, Annie Ghant­Jeter (1856‐1924).  Annie,  Emma  (1878‐?)  and  Anna  (1888‐1977)  would  become  wives  and  domestic  servants, while Elizabeth (Bessie, 1879‐?) would become a teacher and marry late in life. Annie Ghant‐Jeter (1856‐1924)

Annie, Emma (1878‐?)

Anna (1888‐1977)

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Elizabeth (Bessie, 1879‐?)

Emmett Moore Jeter,  my grandfather,  would marry Beulah Stevenson (1886‐1910).  Their  children  would  include  my  father,  William  Emmett  Geder,  and  my  Aunt  Julia  Stevenson  Geder  (1908‐1970).  I  didn't  see  her  that  often when  I  was  growing  up.  She  passed away  before I could really get to know her.

Beulah Stevenson (1886‐1910)

Right: Julia Stevenson Geder (1908‐1970)

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My  grandmother,  Willa  Lenard­Hancock  (1881‐1975),  married  Jack,  became  a  schoolteacher  and  had  four  boys  and  two  girls.  Pearle  Hancock­Geder  and  Aunt  Sayde  Hancock­Carter­Fortenbach  (1907‐2002).  My mother,  Pearle, was responsible for getting  the  racist  children's  story  'Little  Black  Sambo'  out  of  my  elementary  school  curriculum  besides raising four children. Aunt Sayde, as a child in Williston, South Carolina,  was thrown in a holding cell for staring  too long at a dress in a 'For Whites Only' storefront window. When she was grown, she had  her own seamstress shop in Queens, New York. She never had children.

Willa Lenard‐Hancock (1881‐1975)

Pearle Hancock‐Geder

Sayde Hancock‐Carter‐Fortenbach

(1911 - 1975)

(1907‐2002)

The Women ~ My Ancestors. I'm blessed to have these pictures and many more. They continue to 'speak' and inform me through their images and the stories I continue to gather.

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a woman

PHOTOGRAPHY is especially adapted to a woman's artistic taste and delicate touch.

Behind the Camera

~ Frances E. Willard ~

During the Victorian era, American women from divergent social backgrounds and circumstances took up photography. They ran commercial studios independently or in partnerships with family members. In the early years, women gained their photographic experience serving as photographic assistants and colorists in their husband’s or father’s studios. Often when the husband or father died, our woman photographer would take over the work in the photographic studio to support herself. Photographic equipment of the time was cumbersome relegating most women photographers to work in the studio. Their specialties revolved around those subjects considered appropriate for women of the times; women and children. By the 1880s, with easier to use processes and equipment, women entered the field as amateur art photographers participating in photographic societies and exhibitions.

Not a  great deal  is  known of many  of the pioneering  woman  who  made  a living  as studio  photographers.  Those  who  were not famous,  recording  ordinary people  and ordinary life.  Many  worked  under  their  husband’s  names  and  were  listed  as  artists  rather  than  photographers.  Some  identi@ied  themselves  in  their  imprints  using  only  initials  with  nothing to indicate they were a woman.  Often the only way we know of their work is from  names printed on early CDVs and cabinet cards.

Emergence of Advertising in America - K0129 Duke University Libraries

One such  woman  photographer was  Eunice  N. Lockwood. Eunice had been working with  her  husband,  a  well‐known  photographer,  named Prof. William M. Lockwood of Ripon,  Wisconsin.  Eunice  had  worked  for  her  husband  in  his  studio for many years when in 1883, Mr. and  Mrs.  Lockwood  did  the  unthinkable.  They  got a divorce.  Mrs.  Lockwood  established her  own studio  and  specialized  in  portraits  of  children,  an  appropriate undertaking for a woman alone.  The photographic  community was  at  a  loss  as  to  how  to  handle  the  divorce  of  two  prominent  photographers,  as  demonstrated  in the  following  notice in The Photographic  Times of 1883:

A  Dissolution  of partnership of  a  nature  previously  unknown  in  the photographic  world has  been brought under  our  notice.  The  well‐known photographic author and artist, Mrs.  E.  N. Lockwood,  announces  to  us  and  her  patrons  of  the  past  twenty‐@ive  years  that having been, by mutual consent, divorced from her husband,  Wm.  M.  Lockwood,  she will  remain in the photographic  business  in  Ripon,  Wis.,  and  will  erect  a  gallery  in  the  early  spring.  Her  studio  is  at  present  at  her  mother's  residence.  There  being  no  precedent  to  establish  a  code  of  etiquette,  we  are  at  a  loss  whether  we  ought to  offer our condolence  or  congratulations  to  our brother and sister, but will venture upon the latter. ~ The Photographic Times ~ 1883

After  the  divorce,  Eunice  expanded  her  photographic  horizons  and  began  to  author  articles for the commercial photography trade.  Several  of  her  articles  were  published  in  the  Photographic  Mosaics  Magazine  By  Edward  Livingston Wilson. Below  is  one  of  her  articles  discussing  her  specialty,  Egyptian  Photos;  no  they  are  not  photographs  of people  on  vacation in  Egypt  or 

inneso

ta Histo

rical S

ociety

riding on a camel.

Purcha

sed - M

Right: An example of Mrs. Lockwood’s work. Children of Joseph A. Gilfillan posed with toys Photograph Collection, Cabinet photograph 1885.

HOW TO MAKE " EGYPTIAN PHOTOGRAPHS." BY MRS. E. N. LOCKWOOD, Ripon, Wis. FEW years ago we recommended the making of what we styled " Egyptian photos.," as a good way to keep up prices when others were making the usual styles for very low rates. We received $6.00 per dozen while others were only getting $4.00 per dozen for cabinets; and we have found it helps us now to maintain $4.00 and $5.00 when others in the same place and adjoining towns are getting only $5.00 per dozen. People come from far and near for these photos., and are better pleased, as a general rule, with dark-background pictures than any other. First, because less common. Second, more flattering (especially for light-complexioned and light-eyed people). Third, more durable and effective.

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We are glad to note the fact that a vignetter has lately been placed in the market for making these pictures, and we have found it very simple and convenient, and also that everywhere we go, where fine photos, are on exhibition, there is a large increase of the dark grounds each year. We must urge upon you all not to lower them in the estimation of the people, or lower yourself and your finances by lowering prices on this style of photos, even if you do on the full-length or the light grounds. They look so different from the others that the question is often asked, "You charge more for this kind, don't you?" and I know, from five years' practical experience along this line, that people are willing to pay good prices for good work, and also for that which can be seen to be different from cheaper grades of work. Let us, then, do all we can to maintain the respect of people, by respecting our own art and selves enough to keep up good, fair prices; if not by doing as we have, then use some other method, but don't go down, down to destruction in any sense. Let "onward and upward " be our motto in business as well as in our home life.

This is an Egyptian Photograph A photograph with a dark background that accentuates the face and eyes of the sitter.

Colle

ction

Of Th

e Auth

or

Also referred to as a Rembrandt photograph.

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A Woman Photographer and Publisher

"The  St.  Louis  Practical  Photographer"  was 

established in January, 1876, by J. H. Fitzgibbon, a  well known photographer.  It was an illustrated monthly magazine, devoted  to  photography,  and  thought  to  be  the  second  oldest  photographic  periodical  published  in  the United States at the time.  The  magazine  became  "The  St.  Louis  Canadian  Photographer,"  under  the  direction  of  Mrs.  Fitzgibbon‐Clark,  when  Mr.  Fitzgibbon died on  a  trip  back  east.  Mrs.  Fitzgibbon  returned    to  St.  Louis  and  became  the  publisher  of  the  magazine  and  the  proprietor  of  the  photographic  studio.  She  remarried  and  maintained  both  businesses  as  M r s .  F i t z g i b b o n ‐ C l a r k .  T h e  magazine  employed  the  famous  Abraham Bogardus as a columnist.

And  just  when I’m  sure Mrs.  Fitzgibbon‐Clark  was  thinking  she has  made inroads  for  the  women of her profession, The Chicago Banker, a leading @inancial magazine of the time, said:

The  St.  Louis  and  Canadian  Photographer,  a  monthly  j o u r n a l  fo r  b o t h  p ro fe s s i o n a l  a n d  a m a te u r  photographers,  will  begin  its  24th  year  of  successful  publication  with  the  January number. Mrs.  Fitzgibbon‐ Clark,  the  publisher  and  proprietor,  is  a  talented  woman, and has made  a  trade paper  acceptable  to the  library—a  rare  thing.  Any  boy  with  a  camera  would  appreciate a subscription for Christmas. ‐ 1901

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CAPTURED MOMENTS

who will speak their names REMEMBERING AUNT LAURA BY VICKIE EVERHART

Because we care, because we can, because we live, we speak their names. . . .

As we acknowledge and celebrate our female ancestors during Women's History Month, let us not forget those women who left this world with no living descendants of their own to remember their names . . .

We are gathered here to speak your names We are here because we are your daughters as surely as if you had conceived us, nurtured us, carried us in your wombs, and then sent us out into the world to make our mark . . . ~ Pearle Cleage ~ There  are going to be  a number of females in each of our personal family trees who  never had children of their own, or  whose child or children predeceased them. One  of ours  is a lovely lady we  always knew as  Aunt Laura, but  who was actually a  1st  cousin to our grandpa.

One hundred years ago this month ‐‐ in the year  1910 ‐‐  this  Laura,  a  young  granddaughter  of a  mid‐19th  century  Irish  immigrant,  was  excitedly  thinking  of what  surprises  she  might  be receiving  for her 12th birthday  on the 22nd  of March.

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A CHRISTMAS WEDDING IN BETHLEHEM

  Laura's parents ‐‐ James David Hamilton and Ella May Henry ‐‐ had married in December of  1894 in a small Texas community once known as Bethlehem. This Ella was a younger sister  to our great‐grandpa, Edgar Henry.   A   lengthy write‐up [LINK] in the local newspaper gave a list of the wedding guests as well  as the gifts presented to these newlyweds. Ca.  1902  little  Laura  (left)  shyly  posed  for  a  studio  portrait  with  her  older  sister,  Minnie,  and  younger  brother,  James.  This  little  James  would  die  shortly  following  Laura's  seventh  birthday.

James David Hamilton and Ella May Henry

LAURA'S CHILDHOOD

  Laura Hamilton was born to this couple in March of 1898, the second of seven children.    Laura and her siblings grew up in a house built before the turn of the 20th century. Family  tradition  states  that  the house was  constructed with  square  nails  and lumber  hauled by  wagon to central Texas from Houston.    Laura graduated from high school, fell in love, became engaged, and dreamed of becoming a  wife and a mother.   She had just  celebrated her 24th birthday  when her name was  mentioned in an article  in  the local newspaper. It was April of 1922, and a 13‐year‐old neighbor had been accidentally  electrocuted while playing in a chinaberry tree in the Hamilton yard. Laura was mentioned  as one of the adults assisting in retrieving the lifeless body of the little girl from the tree.    

DEATH OF LAURA'S FATHER

  Less  than  two  weeks  later,  death  would  visit  her  childhood  home  once  again.  During  a  late  night  Texas  storm,  Laura's  49‐year‐old  father  was  killed  while  trying  to  get  home  from  the  SAAP RR Depot.    The local newspaper reported rather gruesome  details  of  the  weather‐related  accident  that  was  described  as  electrocution  by  a  downed  power line. The baby  of the family was  not yet  nine  when  J.D.  died,  and Laura's  widowed mother needed  her.  So  Laura  unsel@ishly  put  her  own  life  on  hold, and took care of family @irst . . . and the 

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seasons of her life, they came and they went  . . . and by the time of her death at  the age of  89,  Laura had never  been  married.  Her  obituary  stated  that she  had spent  more  than 40  years of her life working at local department stores in her small Texas hometown.  

LAURA REMEMBERS HER GRANDPA

  Laura was not  quite fourteen when her Grandpa Henry died in 1912,  but she remembered  him well, and the stories he would tell. In her later years, on an undated piece of notebook  paper, Laura wrote out her memories of her Grandpa.   Those brief notes ‐‐ visible in the background of the collage image ‐‐ provided just enough  detail  to  enable  us  to  follow  Grandpa's  family  roots  back to  Kentucky  and beyond,  and to  @inally result in the identi@ication of his long‐elusive parents.

Benson,  Buford,  Calloway,  Cleggett,  Early,  Henry,  Kirtley,  Lewis,  Roberts,  Thomison ‐‐ those are just a few of the  ancestral names we were able to make  a  connection with  ‐‐  thanks  to  Laura's  notes.    And these are among the family names  called to mind on a daily basis, as a list  of  family  events  ‐‐  dates  of  birth,  marriage,  death,  et  al  ‐‐  is  regularly  compiled  and  posted  to  our  family  timeline blog [LINK] .

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WE WILL REMEMBER YOUR NAMES

  Many years ago,  I read somewhere that a good way to really get to know my deceased kith  'n kin  might  be to  spend  quality time  with each  of  them on  the anniversary  date  of  their  birth or  death.  That  quality time  might  include writing  up a short  biographical  sketch  on  each such individual,  or scanning  their  photos  or documents  on  that date,  or cleaning up  the sources in their @iles. Being a lover of timelines, I really liked this idea.   Over  the  years,  I  have  experimented  with  various  methods  of easily  remembering  those  dates,  but the one I am using now seems  to  be the best  suited (so far) to  my way of doing  things. For the past year, near the end of each month, I have exported an updated GEDCOM  @ile from my  Family Tree Maker [LINK]  program.  This  is  easily done at  the same time I am  creating  my  monthly  backups  as  per  the  Data  Backup  Day    reminders  courtesy  of  the   Geneabloggers calendar [LINK].   Using that GEDCOM @ile,  I create an up‐to‐date database in a free genealogy program called   GeneWeb [LINK].  Within GeneWeb I am able to easily generate a monthly list of births and  deaths  and marriages  from the  information I have entered in my personal  family  history  @iles. I am then able to just copy and paste those lists into a blog‐post on a daily basis.  Note  ­­ I do not  post the names and birth­dates of any living individuals in this on­line listing.    This method provides a means of getting almost every single name in my database (except  the living) online  and searchable,  as  well  as  serving  as  a  remembrancer  of  all  those who  came before . . . 

We are here to speak your names because of the way you made for us. Because of the prayers you prayed for us. We are the ones you conjured up, hoping we would have strength enough, and discipline enough, and talent enough, and nerve enough to step into the light when it turned in our direction, and just smile awhile.   ~ Pearl Cleage ~

HOW DID YOU DO THAT IN PICASA?

The photo  of  Aunt  Laura  on  the  left  is  the  original  as  delivered by  email  from  her  niece,  Peggy.  To produce the image on the right,  the photo  on the left was @irst  cleaned up using  the  Picasa  "retouch"  tool  under  the  "Basic  Fixes"  tab.  Once  that  was  done,  then  several  options  under  the  "Effects"  tab  were  applied,  including  sepia,  warmify,  and  glow.  The  border around the sepia portrait of Laura was added by creating a grid collage as described  in the November 2009 issue of Shades.

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The two  postcard images  on the  left  are  an original  postcard from  my  private collection.  Using the "retouch" tool in Picasa,  the words,  "A Happy New Year" were removed from the  postcard,  and  a  little  cleaning  up  was  done.  Then  Laura's  name  was  added  in  Picasa,  yielding the postcard image you see in the lower right corner, as well as in Laura's Collage.  Adding text to images in Picasa is described in the November 2009 issue of Shades.   The  plain  white  photocopy  of  Laura's  handwritten  notes  about  her  Grandpa  Henry  was  "antiqued" by creating a multiple‐exposure collage using the white copy along with with a  vintage‐looking  textured  image  of  choice.  This  method  is  described  in  detail  in  the  November 2009 issue of Shades.  

GIVING CREDIT WHERE CREDIT IS DUE ::

  Picasa [LINK]   Picasa for the Mac [LINK]   From the private collection of Laura's niece, Peggy Skeeters ‐‐ Original photos of Laura, and her siblings, and their parents Original photo of William Paschal Henry Photo of handmade quilt created by Laura and several of her female relatives From the private collection of the author ‐‐ 1930 envelope addressed to Laura, the birth announcement of Robert E. Henry, Jr.  (1930‐1997) Copy of Laura's handwritten notes regarding William Paschal Henry Laura postcard   Free Erin postcard is from [LINKS]   Free Fonts ‐ copper‐altcaps.ttf and FramesandBorders.ttf   Free textures from Flickr [LINK] &  Graphics Fairy [LINK]   Background texture from Alphabets & Ornaments by Anna Corba   Excerpts from the poem, We Speak Your Names by Pearl Cleage. In her introduction, the  poet shares: "My sisters, here, there, and everywhere, this poem is for you. Use it, adapt it,  pass it on. . . . "  

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Shades, January 2010 [LINK] “The Year was 1910” by Sheri Fenley   Shades, December 2009 [LINK] Captured Moments tells how to create a grid collage in Picasa   Shades, November 2009 [LINK] Captured Moments tells how to use Picasa to create a grid collage, add a border, resize an  image, add text and dingbats

PENELOPE DREADFUL

dreadful darjeeling FATE IN A TEACUP BY PENELOPE DREADFUL

Two young men walked briskly along the sidewalk enjoying the warm spring day and their  view of a group of young women clustered in front of a shop window. "Looking at hats, I'd say," remarked the taller of the two. "Just listen to the din." "I'd agree,  Tom," his companion replied, "except that’s no hat shop. That's the shutterman's  studio  window  they  are  studying.  And  look,  that  new  girl  Mabel  is  with  them.  She's  a  stunner." "Don't  get  your  hopes  up,  old  boy,  I  hear  she's  a  very  well‐travelled  girl,  much  too  sophisticated for the likes of us. But now that pretty girl with the dark hair. . ." With that, the men bumped elbows and their course veered in the direction of the young  women. "Mornin' ladies," Tom and Samuel offered, lifting their hats in greeting. "Nice day, isn't it?"  A  handsome girl wearing glasses turned from  the window  to  greet the  young men,  "Why,  hello Tom, Samuel." "Hello  Cousin Ann." Tom replied,  "It IS a lovely day." Greeting the other  girls, he paused as  his cousin nodded to the girl Sam had indicated earlier. "Have you met our newcomer? "Ann said. "Mabel Jensen, may I introduce Thomas Akins, my  cousin, and his friend Samuel Nelson."

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Mabel  smiled brightly,  her  clear  blue eyes looking directly at Sam,  who  returned her  gaze  with a smile.  The  other  girls  greeted  the  men  in  turn  and  Tom  mentioned  something  more  about  the  weather.  Mabel and Sam remained shyly quiet. "What's this you are all examining," Tom said at last. "A photograph of the latest fashion?" Ann sighed. "Really, Tom, you are impossible. Women can think of much more than hats and  gowns." She turned to the studio  window  and indicated a large photograph propped on an  easel. "What does this look like to you two?" Sam  moved  to  stand  next  to  Tom  and  tipped  back  his  back  for  a  better  view.  The  photograph showed in sepia tone the same young women who  stood before them in living  color.  Their  dresses  were  different,  to  be  sure,  but  their  hairstyles  were  much  the  same,  and  truly Sam thought, they are much more attractive  standing  here warm  and lovely beside  them.  He  looked  again  at  the  photograph.  Tom's  Cousin  Ann was seated at a small tea table and held out  a cup of tea to one of the girls. Each woman held  a cup and saucer. Sam recognized Mabel  and the  pretty  brunette examining the inside of a teacup  as they stood at the back of the group. The men exchanged a glance but neither smiled nor winked. We had better tread softly  here, their expressions seemed to say. Tom, who could never remain serious for long, stroked his chin and suggested, "Hmmmm.  Well, Ann, it looks to me like some sort of an antique appraisal. Perhaps you are all  examining the china for maker's marks." He looked up at her with a mock‐serious  expression.

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"Not a bad answer," Ann replied, much to his surprise. Now completely baf@led by a photo that to him looked remarkably like a ladies' tea party,  Tom nudged his friend and shrugged his shoulders. Ever  the  diplomat,  and  with  his  eyes  locked  on  Mabel's  blue  orbs,  Sam  seized  his  opportunity, "Ladies, you challenge our wits. This is most certainly no ordinary tea party?" His comment was accepted with nods and murmurs. I'm on the right track, he thought.  But  what the devil could it mean? "And while I do not doubt you are each a @ine judge of china. . ." his voice drifted off, and the  girls nodded. "I will give you a clue," offered Ann. "We have been learning from Mabel how to read our  future in the tea leaves. . ." "and not only our future beaus," interrupted a tall haughty young woman, adding a smug  smile.  "Yes," added small girl with rich dark hair piled high under her tidy hat. "Mabel has been in  England, and she knows all about reading tea leaves." "And exactly how does this work," Tom inquired innocently, looking at the brunette with  interest. Ann took a deep breath and explained, "The tea must be loose in the pot. After it is poured  into the cup, one swirls it a bit, drinks the tea, and then examines the bottom of the cup for  various symbols." "such as?" "Whatever one sees. A globe, for instance, indicates world travel is in your future. A gate or  door, new opportunities."

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"It's ever so exciting," added the petite young woman, "To think of all the possibilities. . ." "I don't suppose," Tom said with a sly glance at his friend, "the tea leaves could reveal which  fella might ask a girl to the town dance next Saturday?" The tall haughty girl sniffed, but Mabel moved forward and smiled, as did the enthusiastic  petite brunette. "It's  true,"  Mabel  said  softly,  with  a  smile.  "Most  often  the  leaves  reveal  events  and  situations,  but  one  can  also  look  for  initials  near  symbols  of  friendship  or  new  acquaintance." As she uttered the last,  her eyes again rested on young Sam,  who  returned  her gaze thoughtfully. "For that reading, of course," she continued, smiling, "I would only use Darjeeling."

Images Google Books

Book

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"Twist the empty cup three times around. Make a wish. If a leaf remains near where you place your lips, the wish will come true."

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SMILE FOR THE CAMERA TINA LYONS Fort Wayne, Indiana Tina  Lyons  is  a  substitute  teacher  in  Fort  Wayne,  Indiana.  Two  years  ago  she  went  hunting  for  a  hobby  to  keep  her  busy  over  the  summer  months.  Even  before  the  summer  began,  she  was  addicted  to  genealogy.  She  loves  being  apart  of  the  online  genealogy  community  through  Twitter  (@genwishlist),  Facebook, and her blog "Gen Wish List" [LINK].

20TH EDITION - VALENTINE

Do you think Tina’s Grandfather sent a Valentine to his truck? - fM

Gen Wish List ‐‐ WWII Valen0ne Where Genealogy Goals Meet Reality My entry comes from my grandfather's WWII collection.

Marie Beckman Grucz Hanceville, Alabama United States

I don't know who my grandfather, Roy Suckling, asked to be his valentine that year, but I know it wasn't my grandma. Roy Francis Suckling (21 Sep 1922 - 31 Dec 1993) was in the Army Signal Corp during World War II. He spent 3 1/2 years in the army and was stationed for much of that time in the Aleutian Islands of Alaska. (This is Tina’s submission to the 20th Edition of Smile for the Camera.)

Do you Smile For The Camera? Read More:

Writing For Blog Carnivals Submission Form

If a picture is worth a thousand words, why can't words be worth a thousand pictures? That's the premise behind Smile For The Camera ~ A Carnival of Images. Smile is a monthly showcase of articles that feature the very best of family photographs or those orphan photographs contained in your collection. The goal of this carnival is to provide a regular showcase of the best of those cherished photographs and articles based on word prompts. Smile is a feature of ShadesOfTheDeparted.com. The word prompt for March is Give Their Face A Place! Visit Shades to submit your post. Deadline is the 10th of each month, midnight Pacific Time.

IN2GENEALOGY

where they belong DON’T LEAVE THEM LONELY IN YOUR FAMILY TREE BY CAROLINE POINTER

As she  sat  there  in  her garden with  her favorite  rosary wrapped around her right  hand  and  intertwined  through her Ningers,  she  prayed  to God for strength. Strength to  make it through  another day. Strength to love and care for her eight children. Strength to go to work. Strength  to put up with her mother who had lovingly volunteered to live with her and help take care of  her  children.  Strength  to  put  a  smile  on  her  face  to  welcome  war­weary  soldiers  home.  Strength  to listen  to another soldier's harrowing account  of what  he'd  been  through  on  the  battleNield.  Strength  to  tell  yet  another  family  that  their soldier  was coming  home,  but  not  alive. Strength to place her younger sister's life in God's hands and ask Him to take care of her  as she performed her duties in the United States Navy. And most of all, she prayed for peace. Mary  Alice  (Truitt)  Blacketer  was  a  mother,  a  daughter,  a  sister,  a  provider,  and  a  USO  volunteer during World War II. She was also  my grandmother.  However, if you were to look  her up in the census, her volunteerism would not be listed. In fact, if my mother had not told  me about her service,  I would have never  known.  Such a huge contribution to  her  country  during World War II simply forgotten, or the knowledge of it allowed to die. No one knows  how many lives she touched while volunteering at the USO at Ft. Sam in San Antonio, Texas,  and  really  the  number  is  not  important.  It's  the  fact  that  she  did  touch  lives  that's  important. That was her contribution to the war effort.

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And what of her younger sister and her duties in the United States Navy? Well,  looking at  Anne Josephine (Truitt) Etie's tombstone, which is located in Houston National Cemetery in  Houston,  Texas,  one might guess that she was the wife of Joseph Ronie Etie,  a United States  Army veteran of World War II, and  t h e y ' d  b e  r i g h t .  J u s t  n o t  completely  right,  for  Anne  was  a  2nd  Class  Seaman  in  the  United  States  Navy  according  to  U.S.  Veteran's  Affairs.  She  was  one  of  86,000  women  who  joined  the  Navy  and  were  a  part  of  World  War  II's  groundbreaking,  or  perhaps  “oceanbreaking”  would  be  a  better  term,  W.A.V.E.S.  ‐‐  Women Accepted for  Volunteer Emergency Service.  According to  Aunt Anne,  she drove an  ambulance  in  France.  One  can  certainly  imagine  her  prayers  for strength and  peace were  said in between picking up and delivering wounded soldiers from the @ield hospitals to the  hospital ship.  Though more hurried, they were no less fervent and heartfelt than her older  sister's prayers at home. These  two  women  wore  many  “hats,”  and  if  they  were  like  modern‐day  women,  they  probably  didn't  think  about  all  they  had  to  do  in  a  day.  They  just  did  it.  However,  this  attitude,  while admirable,  is  one  of  the reasons  it  is  so  hard  for  a  researcher to  @ind  out  what impact a female ancestor had in history. Whether big or small, they had an impact that  usually goes unnoticed. As the founder of the Red Cross, Clara Barton, once wrote,

“From the storm lashed decks of the  MayNlower...to the present hour; woman has  stood like a rock for the welfare and the glory  of the history of the country, and one might  well add...unwritten, unrewarded, and almost  unrecognized.”

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For  the  family  history  researcher,  the  word “almost” that Clara Barton used is  a  word  of  hope.  Hope  that  female  ancestors  can  be  placed  back  into  history  where  they  belong.  Hope  that  their great works will be recognized and  is the thought behind National  Women's  History  Month  [LINK]  whose  March  2010  theme  is  “Writing  Women  Back  Into  History.”  A  theme  that  the  family  history  researcher  is intimately familiar  with. As  touched  upon  before,  this  is  usually  easier said than done. For many reasons,  female  ancestors  are  dif@icult  to  track  down, much less the things they did that  impacted history.  However,  it's not  completely  impossible.  There  are some  steps  you  can  take  to  help  uncover  your  female  ancestors'  impact  on  history.  Likewise,  there  are  resources the researcher can consult to help in this task.

•    

•            

TAKE AN INVENTORY Find out who they were. What did they do? Where were they living and at what age?

INTERVIEW Talk  to  some  of your  oldest  living female  ancestors,  if possible.  Videotape  it,  voice  record it, and/or write it down,  even if it's a vague memory,  an impression, and/or  an opinion. You never know what will be important when researching.

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•        

•        

ANALYZE Look  at  any  family  stories  passed down in  your  family.  Really “break” them  apart.  Put them in a time and place. Look for sources to back them up.

ON THE RECORD If you've not already done so, @ind your female ancestors in census records, probate  records, and/or land records. Make a timeline of what you do know.

LOOK AT THEIR LIVES AGAINST THE BACKDROP OF HISTORY Compare their timeline with a timeline of history keeping in mind that this includes  world  history,  American  history,  state  history,  regional  history,  and  local  history.  They may not have contributed to a big event, but may have contributed in a big way  to their local  history.  Also remember that being a mother and wife was contributing  to history, and taking a look at their local history may give you an idea of what their  lives were like at the time. 

DID THEY CONTRIBUTE TO THE WAR EFFORT When looking at their timeline, don't forget to look at a  timeline  of  wars.  If  a  war  occurred  during  their  lifespan,  they more than likely contributed something  to  the  war  effort.  It  may  not  have  been  in  a  formal  manner,  but taking  a  look  at  the war's effect  on  their  local  history  may  give  you an idea  of  what they  went  through at the time.  Remember they contributed their  fathers,  their  mothers,  their  brothers,  their  sisters,  their  husbands,  their  wives,  their  sons  and  their  daughters. What kind of impact did that have on them?

NOW WRITE IT I knew my grandmother very well, and she was a devout Catholic lady who said her 

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prayers several times a day  in her  garden with her rosary  in her  right hand.  I  even  remember  her  garden.  It had  this  path that  led to  the  small  chapel  of the  convent  that was located next door to her house. Rain or shine, my Gran prayed. I don't know  exactly what her prayers were during World War II,  but I do know what  I would've  prayed.  In addition,  until I looked it up, I thought the USO in World War II was  only  about  troop entertainment  and dances with soldiers.  I don't know  exactly what she  did,  but  after  reading  about  everything  the  USO  volunteers  did  in World War  II,  I  realized what she must have gone through in addition to the stresses of her job and  her  family.  All  of  them  immense  burdens  she  had  at  the  time,  and  I  know  she  would've prayed about them. So, I wrote her back into history where she belongs. Likewise, I knew my grandmother's sister, Anne had driven an ambulance in France.  Her  tombstone is  misleading,  but once I looked her  up in the military  database  on  Ancestry.com, I found that she had a more overt historical role in World War II giving  me more resources to @ind out what she went through during World War II and also  giving me the tools to write her back in history where she belongs.

SPECIAL NOTE De@initely spend some time looking at women's roles in military history, speci@ically  in  the  history  of war.  You  will  be  surprised  at  the  participation  of  women  in war.  Take  the  Civil  War  for  example,  you've  probably  heard  about  the  women  spies  during the Civil War, but did you know that it is estimated that at  least 750 women  were  in  combat  during  the  Civil  War?  This  amazing  account  is  documented  in  an  article in Prologue  Magazine [LINK],  a publication of the  National  Archives.  I highly  recommend it  for  your  reading  pleasure.  Not  only  read  it,  but  take  a  look  at  your  Civil War era female ancestors. How did they contribute to the war effort?

In conclusion,  this  type of research should not be any different than what a family history  researcher already  does. The difference is making March the month you write your female  ancestors back into history where they belong. Don't leave them hiding in census records, 

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probate records, and/or land records as a wife, sister, daughter, and/or mother.  Don't leave  them lonely in your family tree with just their vitals. Find out what their lives were like. I'll  never know  why my  grandmother never  told me about  her  volunteer  work at  the USO  during World War II,  even though I had interviewed her. I can only guess as to why she did  volunteer.  I  suppose  with  her  eight  children,  that's  what  she  felt  she  could  do  for  her  country.  Her  contribution  going  “unwritten”  until  now.  Her  contribution  going  “unrewarded” until now. Her contribution “almost” going “unrecognized” until now.

PLACES TO LOOK •

Tombstones ‐ While sometimes tombstones can be misleading, like in my Great Aunt  Anne's case, they can also  tell a story. For example, quite by accident, I once found a  tombstone  of a  World  War  I  veteran  of  the  Army  Nurse  Corps  named  Mary  Ellen  (Coleman) Riley.  I found that her story chronicles  the beginning of women's history  in the military. The of@icial beginning, that is. So  make an effort to  @ind and see your  female ancestors' tombstones.

Local  genealogical  and  historical  societies  –  Consult  one  near  where  your  female  ancestor lived, and @ind out what resources they have for local history.

Local libraries and archives for books pertaining to women in history and/or the  military.

LINKS TO ONLINE RESOURCES: National Women History Month Website [LINK] Library of Congress, Women's History Month [LINK] 

History Channel's Site on Women's History Month [LINK] ‐ includes videos, too.  Women In Military Service For American Memorial Foundation, Inc. [LINK]  National Archives [LINK]  Timeline of United States Military Operations [LINK] located on Wikipedia with links to  more resources.  Colonial Era History Timeline [LINK]  Timeline of Legal History of Women in the United States [LINK]  One Hundred Years Towards Suffrage: An Overview [LINK] ‐ a timeline of Suffrage provided  by the Library of Congress  Timeline of United States History [LINK] ‐ provided by Wikipedia with links to more  resources. Colonial America [LINK ] ‐ overview of colonial history with links to more resources.  USO (United Services Organizations) [LINK]  Military Womens “Firsts” [LINK] Army Nurse Corps (ANC) [LINK] Navy Nurse Corps (NNC) [LINK] The Women's Army Corp (WAC) [LINK] Women Air Force Service Pilots (WASP) [LINK] Women Accepted For Voluntary Emergency Service (WAVES) [LINK] WAVES Online Exhibit [LINK] Women's Reserve of the Coast Guard (SPARS) [LINK] United States Marine Corps Women's Reserve (USMCWR) [LINK] Women in the Military During World War II [LINK] USGenWeb [LINK]

BOOKS: Our Mother's War: American Women at Home and at the Front During World War II by  Emily Yellin [Has a great overview of the beginnings of women in the military as well as  excerpts of letters from them to home.] American Women During World War II: an Encyclopedia by Doris Weatherford Women Pilots of World War II by Jean Hascall Cole Four Jills in a Jeep by Carole Landis [book is out of print but available used; also made into a  movie]

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Making WAVES: Navy Women of World War II by Evan Bachner Mother Was a Gunner's Mate: World War II in the WAVES by Josette Dermody Wingo In Defense of a Nation: Servicewomen in World War II by Jeanne M. Holm and Judith  Bellafaire To Serve My Country, To Serve My Race: the Story of the only ANican­American WACS  Stationed Overseas During World War II by Brenda L. Moore First Generations: Women In Colonial America by Carol Berkin They Fought Like Demons: Women Soldiers in the Civil War by De Anne Blanton and Laura M.  Cook America's Women: 400 Years of Dolls, Drudges, Helpmates, and Heroines by Gail Collins The Source: A Guidebook to American Genealogy Edited by Loretto Dennis Szucs and Sandra  Hargreaves Luebking [especially Chapter 11, “Military Records”] With Courage and Cloth: Winning the Fight for a Women's Right to Vote by Ann Bausum

SOURCES: Clara Burton to Mary S. Logan, June 16, 1911, container 73, Clara Barton Papers, Manuscript Division, Library  of Congress (http://lcweb2.loc.gov/ammem/awhhtml/awmss5/index.html). Anne Josephine (Truitt) Etie tombstone photograph; digital image 2009, privately held by Caroline Martin  Marshall Pointer, Texas, 2009. Mary Ellen Riley tombstone photograph; digital image 2010, privately held by Caroline Martin Marshall  Pointer. Texas, 2010. The “Women In History” montage created by Caroline Pointer from the following photographs: Library of Congress, “Selected Images from the Collections of the Library of Congress: Slavery,” digital image,  Library of Congress (http://lcweb2.loc.gov/cgi‐bin/query/i?pp/PPALL:@@ield(NUMBER+@band(cph +3a10453 : accessed 19 Feb 2010), Harriet Tubman, digital ID cph 3a10453; citing b&w @ilm copy neg. Library of Congress, “Votes For Women: The Struggle For Women's Suffrage,” digital image, Library of Congress  (http://lcweb2.loc.gov/cgi‐bin/query/i?pp/ils:@@ilreq(@@ield(NUMBER+@band(cph+3g05585)) +@@ield(COLLID+cph)):displayType=1:m856sd=cph:m856sf : accessed 19 Feb 2010), Suffrage Parade New  York City May 6, 1912, digital ID cph 3g05585; citing color @ilm copy transparency. Library of Congress, “Frances Benjamin Johnston Collection,” digital image, Library of Congress (http:// lcweb2.loc.gov/cgi‐bin/query/I? fsaall,brum,detr,swann,look,gottscho,pan,horyd,genthe,var,cai,cd,hh,yan,lomax,ils,prok,brhc,nclc,matpc,iucpub ,tgmi,lamb,hec,krb,:1:./temp/ ~pp_ulOW::displayType=1:m856sd=cph:m856sf=3b29775:@@@mdb=fsaall,brum,detr,swann,look,gottscho,

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pan,horyd,genthe,var,cai,cd,hh,yan,lomax,ils,prok,brhc,nclc,matpc,iucpub,tgmi,lamb,hec,krb : accessed 19 Feb  2010), Susan B. Anthony, 1820‐1906, digital ID cph 3b29775; citing Frances Benjamin Johnston. Clara Barton National Historic Site, “Clara Barton Photo Gallery,” digital image, National Park Service (http:// www.nps.gov/archive/clba/photos/wcbfranc.htm : accessed 19 Feb 2010), Clara Barton, ca. 1871. Library of Congress, “Farm Security Administration – Of@ice of War Information Collection,” digital image,  Library of Congress (http://lcweb2.loc.gov/cgi‐bin/query/I?fsac:1:./temp/ ~pp_GUbQ::displayType=1:m856sd=fsac:m856sf=1a35371:@@@fsa : accessed 19 Feb 2010), Operating a  hand drill at Vultee‐Nashville, woman is working on a “Vengeance” Dive Bomber, Tennessee, digital ID fsac  1a35371; citing Alfred T. Palmer, photographer. Naval Historic Center, “U.S. Naval Historical Center Photographs”, digital image, Department of Navy (http:// www.history.navy.mil/photos/images/h52000/h52960l.htm : accessed 19 Feb 2010), The Sacred Twenty,  digital ID NH 52960; citing. Army Nurse Corps Emblem in the public domain found in Wikimedia Commons at http://en.wikipedia.org/ wiki/File:NursesCorpsBC.gif WAVES Recruitment Poster in the public domain found in Wikimedia Commons at http://en.wikipedia.org/ wiki/File:WAVES_recruitment_poster.jpg Ancestry.com. U.S. Passport Applications, 1795­1925 [database on‐line]. Provo, UT, USA: Ancestry.com  Operations, Inc., 2007. Original data: Passport Applications, January 2, 1906‐March 31, 1925; (National  Archives Micro@ilm Publication M1490, 2740 rolls); General Records of the Department of State, Record Group  59; National Archives, Washington, D.C. (http://search.ancestry.com/Browse/view.aspx? dbid=1174&path=Passport+Applications%2c+January+2%2c+1906+‐+March+31%2c+1925+(M1490). 1920.Roll+1338+‐+Certi@icates%3a+83000‐83375%2c+19+Aug+1920‐20+Aug+1920.689&sid=&gskw=Alice +Blacketer : accessed 19 Feb 2010. Ancestry.com. U.S. Passport Applications, 1795­1925 [database on‐line]. Provo, UT, USA: Ancestry.com  Operations, Inc., 2007. Original data: Passport Applications, January 2, 1906‐March 31, 1925; (National  Archives Micro@ilm Publication M1490, 2740 rolls); General Records of the Department of State, Record Group  59; National Archives, Washington, D.C. (http://search.ancestry.com/Browse/view.aspx? dbid=1174&path=Passport+Applications%2c+January+2%2c+1906+‐+March+31%2c+1925+(M1490). 1917.Roll+0395+‐+Certi@icates%3a+63101‐63400%2c+22+Aug+1917‐24+Aug+1917.309&sid=&gskw=Mary +Ellen+Coleman : accessed 19 Feb 2010.

THE YEAR WAS . . .

the year was 1925 IF YOU KNEW 1925 LIKE I KNEW 1925 BY SHERI FENLEY

On  January  5,  1925    Nellie  Tayloe  Ross  became  the  @irst  female  governor  in  the  United  States. She was  the 14th governor of the state of Wyoming from 1925 to 1927 and to date  remains the only female to have governed Wyoming.    Later,  Nellie became the  director  of  the National Mint.  A position she held for 20 years. Nellie was nominated for re‐election by  the  Democrats,  however  her  position  on  Prohibition  and  the  fact  that  she  refused  to 

photo from wikimedia commons

campaign for herself were the most likely reasons for her defeat by Frank C. Emerson.

Nellie Tayloe Ross from the Nellie Tayloe Ross Papers, American Heritage Center. University of Wyoming.

F.  Scott  Fitzgerald's  book,  "The  Great  Gatsby"  was  published  on  April  10,  1925.    The story is  set  in  the summer  of  1922  on  Long  Island's  North Shore  and in New York City amidst the riches  and glamour of the Roaring 20's.

LOC P&P Online LC-USZ62-118643

F. Scott Fitzgerald

s ac om mo n edi im wik fro m to ph o

LOC P&P Online MN0133

F. Scott Fitzgerald House, 599 Summit Avenue, Saint Paul, Ramsey County, MN

There  were  32  American  @ilms  released  in  1925.    Although  they  were    "silent"  @ilms,  they  played  to  packed  theaters  all  over  the  United States.    Among them were "Go  West"  starring Buster Keaton,  "The  Eagle"  starring  Rudolph  Valentino  (sigh!)  and  "Phantom  of  the  Opera"  starring  the  man  of  1000  Faces  Lon Chaney.

mons edia com m wikim o fr to o h p

 In 1925,  people were  singing  along to  popular  music  such  as  "If  You  Knew  Susie",  "I'm  Sitting  On  Top  Of  The  World"  and  "Has  Anybody  Seen  My  Gal?"

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Life Magazine

photo from wikimedia commons

The @irst hockey game to be played at Madison Square Gardens in New York City happened  on  December  15,  1925.    The  Montreal  Canadiens  played  the  New  York  Americans  and  outscored them 3 to 1.

 Calvin  Coolidge  becomes  the  @irst  President  of the  United States  to  have  his inauguration broadcast on radio.

Shades The Civil War In The Month Of April ď  

Past Issues

January

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February

December

THE LAST PICTURE SHOW

The Imprint Or Logo - Mrs. Vreeland Whitlock of McPherson, Kansas, advertises the highest grade of work. “Our Motto Is To Please” her imprint tells us. She hopes for future work by preserving the negative and will do any style of Picture Enlargement. Below are two more of her imprints.

Mrs. Vreeland Whitlock. She uses the Mrs. in all of her imprints, front and back.

 No information was found on this woman p h o t o g r a p h e r. I t i s possible Vreeland is her maiden name and she has used it in place of her given name. Perhaps a reader will know.


March Issue - Shades The Magazine