A Gallery Of Political Firsts
A Gallery of Political Photographs
The Healing Brush
Behind The Camera
In Every Issue
A Brief Illustrated Essay
A Dreadful Suffragette
The Tale of Two Tintypes
A Call To Arms
Returns Next Issue As A Gallery
On The Cover Photograph President John Quincy Adams
Maureen Taylor Carte-de-Visites to Buttons C.M. Bell & Assassination Questions & Answers
From My Keyboard
Letter from the editor Your comments
The Last Picture Show
The graphic image on the back of a carte-de-visite or cabinet card
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from my keyboard fOOTNOTEMAVEN
Politics & Old Photos Today, March 15, 2011, is Shades Of The Departed’s third blog anniversary. Shades @irst post was called “No Place For A Lady,” about my favorite female photographer, Evelyn Cameron of Montana. Much has happened since that post. I’ve learned a great deal about my favorite subject, “women wearing glasses,” and I’ve made some wonderful friends. But the true joy has been the addition of Shades Of The Departed The Magazine. Here’s to many more years of sharing the adventure with you the reader. The Family Tree Magazine 2011 Best Genealogy Blogs have been announced and Shades would like to congratulate our contributors, Denise Levenick, The Family Curator, for her award in the Research Advice Category and to Denise Olson, Moultrie Creek Gazette, for her award in the Technology Category. This issue debuts the @irst of the picturing technology columns in iAncestor by Denise Olson. A gallery of Captured Moments scrapbook pages designed by readers will be seen in the next issue of Shades along with a Brush With History’s @irst article on how to create custom stamps and brushes in Photoshop, Maureen Taylor’s Dressed To The Nines column, and Denise Levenick’s Ancestor ArtiFacts Question & Answer Column. See Pg. 79 for how to contribute. On April 1, Shades will republish the Civil War Issue in honor of the 150th Anniversary. Several additions have been made to the original publication. Oh, and there is a surprise in this issue. A new feature. Please, tell us if you liked it.
contributors PENELOPE DREADFUL
Penelope Dreadful is the alter ego of Denise Levenick. Denise authors the blog, The Family Curator and gives us something “Dreadful” every month.
Vicki is the author of Creative Moments. She also authors the blog BeNotForgot.
Janine is the new author of The Healing Brush Column. She also owns Landailyn Research & Restoration and is an award winning restorationist.
Denise is the author of The Future of Memories Column. She also writes the blog Family Matters and experiments with her iPad
Sheri writes The Year Was . . . Column. She also authors the blog The Educated Genealogist.
Caroline is the new In2Genealogy Columnist. She is also the author of the Family Stories blog.
Rebecca authors the Saving Face column. She also writes the blog A Sense of Face.
Craig authors the Appealing Subjects column. He also writes the blog Geneablogie.
Maven edits Shades Of The Departed The Magazine. She also writes the blog footnoteMaven and Shades of the Departed.
WE LEAVE A MESSAGE WITH OUR READERS AT THE EXCHANGE Sunny Morton’s Description of Shades For Family Tree Magazine: Shades of the Departed: Gorgeous antique images accompany regular posts on how photographs help genealogical researchers unpuzzle the past. Written by footnoteMaven (honored in the Everything category), the blog accompanies a free bimonthly e‐zine penned by multiple contributors and edited by the Maven.
First and foremost to all the loyal readers of Shades who went the extra mile to nominate us for a second year and to vote Shades one of Family Tree Magazine’s Top 40 for 2011 in the Research Advice Category. To the Expert Panel for honoring Shades as their selection in this Category. To Family Tree Magazine for promoting the online world of Family History Blogging. To the beautiful friends pictured to the left and to all those who have contributed to this magazine. This is your award. You are Shades. You and the professional work you do in every issue of this magazine are the reason for this award. Stand Up! Take A Bow! Nobody does it better! I can’t thank you enough! APPLAUSE! APPLAUSE! -fM
A Gallery of Political Firsts Every family historian understands that if you don’t get the answer you were looking for, the fault may lie in the question you asked. Such is the case with the Galley of Political Firsts. Who was the Cirst President photographed? Would that be sitting president or former president? Who was the Cirst President photographed with his cabinet? Who was the Cirst President photographed in the White House? So many forms of the “Cirsts” questions. And the “Cirsts” are equally intriguing for First Ladies, women Senators, and women Representatives, as you will see. Portrait photography arrived in America
Presidential Firsts THE MISSING DAGUERROTYPE
just in time to record the likeness of the newly inaugurated ninth president of the United States, William Henry Harrison. March 4, 1841, just after his ill‐fated inaugural address (Harrison developed pneumonia and died 31 days later), Harrison paused to have a formal photographic portrait taken inside the Capitol. The photographers were Justus E. Moore, a prominent Philadelphia dentist, and his partner “Captain” Ward. Unbelievably, the present location of the daguerreotype portrait of President Harrison is unknown. This is an extremely important historical photograph, as it is the @irst photograph of a United States president taken while in of@ice.
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The earliest known photograph of a president of the United States is this daguerreotype likeness of John Quincy Adams (President 1825‐1829). This portrait of the former President was taken at the gallery of Bishop and Gray, early August 1843, Utica, New York. President Adams was 76 years old. In his diary Adams remarked, “Four daguerreotype likenesses of my head were taken, two of them jointly with the head of Mr. Bacon. All hideous.” Adams continued his diary entry the following day, “At seven this morning Mr. Bacon came and I went with him to the Shadow Shop, where three more Daguerreotype likeness were taken of me, no better than those of yesterday. They are all too true to the original.”
White House Museum - http://whitehousemuseum.org/
This photograph of Polk and his cabinet (minus Sec. of State James Buchanan) is not only the first photo of a President and his cabinet, but it is also the first interior photograph of the White House. The photograph was taken by John Plumbe in the State Dining Room and shows new wallpaper and chairs purchased by the Polks. Reflected in the mirror is a crystal chandelier and behind the group is an ornate Italian mantle purchased by President James Monroe.
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First Lady Firsts Dolley Madison, three‐quarter length portrait, facing front, seated. Daguerreotype by Matthew B. Brady, 1848.
photographed @irst, Dolley Madison or Sarah Polk. Sarah Polk was the @irst First Lady to be photographed on the White House grounds and the @irst to be photographed with her husband.
Courtesy of The Library of Congress.
T h e re i s s o m e d i s p u t e a s t o w h o wa s
President James Knox Polk and First Lady Sarah Childress Polk.
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Mrs. Harrison’s Photographs Scarce. There is a large public demand for photographs of the incoming @irst lady of the land, and the ubiquitous photographer seems unable to meet demand. The fact of the matter is, that pictures of Mrs. Benjamin Harrison are very scarce and for the @irst time in many decades circumstances have stolen a march on the camera @iend.
rary o of Lib
At half a dozen sources in Philadelphia, where pictures of prominent people all over the world are for sale, it is said that there are but few of Mrs. Harrison’s photographs taken in recent years in existence, because as one dealer expressed it, “she was never struck on herself to have many taken.”
Mrs. Cleveland’s pictures are being sold indiscriminately, for in the goodness of her heart she once declared that all people could reproduce her photograph if they wanted to.
The ectio n Of Coll
Note: This would probably account for why I have a photograph of Mrs. Cleveland in my collection.
“Mrs. Harrison’s Photographs Scare.” Photographic Times, Volume 18. Scoville Manufacturing Co. : 1888. pg. 585.
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Senators Hattie Ophelia Wyatt Caraway (right) February 1, 1878 - December 21, 1950 Senator, 1931–1945, Democrat from Arkansas The first woman elected to serve as a United States Senator. Arkansas governor Harvey Parnell appointed Hattie Caraway to the vacant seat of her deceased husband. She was sworn into office on December 9, 1931. With the Arkansas Democratic party's backing, she easily won a special election in January 1932 for the remaining months of the term, becoming the first woman elected to the Senate. Hattie avoided the capital's social and political life as well as the campaign for woman suffrage. She recalled that "after equal suffrage I just added voting to cooking and sewing and other household duties."
Jeannette Rankin (Left) June 11, 1880 - May 18, 1973 Representative, 1917–1919, Republican from Montana Representative, 1941–1943, Republican from Montana The first woman elected to Congress, one of the few suffragists elected to Congress, and the only Member of Congress to vote against U.S. participation in World War I and the only to vote against World War II. She graduated from Montana State University in 1902 and
Courtesy of The Library of Congress.
attended the New York School of Philanthropy. After a
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brief period as a social worker in Spokane, Rankin entered the University of Washington in Seattle where she joined the woman suffrage movement, a campaign that achieved its goal in Washington State in 1910. Rankin became a professional lobbyist for the National American Woman Suffrage Association (NAWSA). Her efforts helped Montana women gain the vote in 1914.
Mini-Me Maureen Taylor explores Political Memorabilia and Lincoln’s Campaign A political candidate’s appearance is paramount these days due to the power of mass media, but this pictorial focus dates all the way back to the mid‐ nineteenth century when the tiny tintype reigned. Buttons to advertise a political campaign were in use since Andrew Jackson ran for president, but those didn’t feature actual photographs. John C. Fremont’s campaign in 1856 utilized a brass framed tintype medallion, but it is not as well‐known as Abraham Lincoln’s 1860 image (Right). His famous two‐sided brass framed tintype
medallion set the stage for future candidates utilizing small pinned buttons featuring portraits to advertise their political aspirations. Tintypes or ferreotypes were patented by Hamilton Lamphere Smith, a professor at Kenyon College in Ohio. While commonly known as tintypes, these images were actually created on a sheet of iron coated with light sensitive chemicals. After developing, the image was usually coated in varnish. They could be inexpensively produced in various sizes. The Lincoln tintype is only 2.5 cm in diameter.2 This piece of political memorabilia image utilized a card portrait taken by Mathew Brady on February 27, 1860. Brady opened his @irst studio in 1844 in New York City and sought to photograph the well known and famous from many different professions. This carte de visite portrait also appeared on the cover of Harper’s Weekly before being produced as a tintype. 3 According to an article in the New York Evening Post, Richard C. McCormick, who was part of a committee organizing Lincoln’s Cooper Union speech reported that the candidate 11 Shades MAGAZINE | Political 2011
arrived for this portrait in a wrinkled new suit.4 [You can read Lincoln’s speech in its entirety in the New York Herald (available on GenealogyBank.com)].5 In the campaign button, only Lincoln’s head and shoulders show. On the reverse is his running mate Hannibal Hamlin, of Maine. Hamlin was an experienced politician. Before becoming Lincoln’s Vice‐ President, Hamlin served in the Maine House of Representatives, the U.S. House of Representatives, as a U.S. Senator and was Governor of Maine.6 These double‐sided buttons with a candidate and his running mate are called jugates and are sought after by collectors. 7 Tintypes are considered very durable, but they are susceptible to scratches and bending which allows the photographic image to @lake off or for rust to form. A few years ago I had an opportunity to view an original 1860 Lincoln medallion and see how a photo conservator had painstakingly restored it to mint condition. If you have a damaged tintype, it may be able to be stabilized and restored. 8 In his re‐election campaign of 1864 Lincoln again used a tintype to promote his candidacy. The images used on pins, and badges were taken by Anthony Berger or by Mathew Brady. These are available for viewing on the Library of Congress [LINK] website in their Prints and Photograph collection. These teeny photos made a powerful political statement. Future candidates took note and the picture button remains popular today.
Maureen Taylor is the author of Finding Your Civil War Ancestor in Your Family Album (Picture Perfect Press, 2011). 1 Floyd Rinhart, Marion Rinhart and Robert W Wagner. The American Tintype ( Columbus, Ohio: Ohio State
University Press, 1999) 9. 2 Mary Panzer, Mathew Brady and the Image of History (Washington: Smithsonian InsFtuFon Press for the NaFonal Portrait Gallery, 1997) 17.
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B. Kunhardt III, Peter W. Kunhardt, and Peter W. Kunhardt, Jr., Lincoln, Life-Size (New York: Alfred A. Knopf, 2009) 34. 4 “The
Presidential Campaign Another Republican Orator on the Stump” New York Herald February 28,1860 p. 2
Hamlin” Maine Memory www.mainememory.net/bin/Detail?ln=28921 accessed February 4, 2011
6 Sally C. Luscomb, The Collector’s Encyclopedia of Bu>ons 4th ediFon ( Atglen, Pennsylvania: Schiﬀer, 1999) 33‐34. 7 The full condiFon and treatment report appear in Maureen Taylor, Preserving Your Family Photographs
(Westwood, MA: Picture Perfect Press, 2010). Available on Amazon.com.
Finding the Civil War in Your Family Album
Purchase The Book Here [LINK]
Maureen A. Taylor Maureen Taylor, the Photo Detective, turns her attention to portraits and pictures taken in the Civil War era to help you find wartime stories in your family photo collection. These images, whether it's a man in uniform or a woman posing with her children, tell the story of your family's involvement in a critical period of history. If you're not sure if your photo dates from that timeframe, this book will help you determine when it was taken.
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A Gallery of Political Photographs Carte-de-Visite A carte‐de‐visite used by Alexander Kennedy to run for County Treasurer of Albany County, New York, for a three year term 1872 to 1875.
Photo In The Collection Of footnoteMaven
Kennedy was the incumbent, having been elected as County Treasurer in 1869. He lost this election to Nathan D. Wendell.
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The carte reads “For County Treasurer, Alexander Kennedy, 1872, Assiduity, 1875. M.B. Davidson, Security.” A bond had to be posted for the election. Davidson may have been his bond holder. Bi-centennial History of Albany. History of the county of Albany, N.Y., from 1609 to 1886. New York : W.W. Munsell & Co., 1886.
Cabinet Cards Senators: Brown, Wetzel, Hoffman, Green, Eggleston, Smead, Steele, Power, Folsom, Leonard, Swift, Babcock, Cullen, Chandler, Hatch, Bronson, Ramsdell, Sligh, Cooper, Flowerree, Hurd. Governor: John E. Rickards (R) 1893‐1897 Lt. Governor: Botkin (Senate President) Chaplain: Combs Sgt. At Arms: Stockpole Secretary: Foster
1895 Cabinet Card ‐ THE FOURTH STATE SENATE OF MONTANA by Taylor, Helena, Montana. 26 individuals are pictured: 21 Senators, the Governor, Lieutenant Governor, Chaplain, Sergeant at Arms, and Secretary. The image of each Senator has his name and county labeled underneath. The others have name and title shown. Elected in 1894 they served from 1895‐1897. There were 13 Republicans, 5 Democrats and 3 Populists. Because the location of the State Capital was chosen in the same 1894 election (Helena over Anaconda), the State Capitol Building had not been constructed and the Legislature met in the Merchants Hotel, Helena. There were 21 Senators, one from each county (there are now 56 counties) and each county was allowed one Senator regardless of its population (today, Senate Districts are Shades MAGAZINE | www.shadesofthedeparted.com 14
Albums Many states compiled photographic albums of their representatives that included autographs. I purchased a beautiful album of Vermont State Senators for the year 1884. The oldest Senator is the Hon. Jon Curtis, of Bennington County. Hon. John Curtis, Dorset, republican, was born in Dorset, Dec. 24, 1819. He is a scientific and mechanical engineer. Was graduated from the University of Vermont in the class of 1847. He was postmaster in Dorset from 1876 to 1884, and has been superintendent of schools for about fifteen years. Religious preference, Methodist. P.O. address is North Dorset.
Jon Curtis, Bennington County
Chauncey W. Brownell, Jr.
Chauncey W. Brownell, Jr., Burlington, Secretary, republican, was born in Williston, Oct. 7, 1847. He is a lawyer, and located in Burlington in 1873. Is a graduate of the University of Vermont, class of 1870, and of the Law University of Albany in 1872. Was assistant secretary of the senate from 1874 to 1880, and succeeded to thee office of Jesse Stearns secretary in 1880, which position he also held in 1882. He is the state's attorney elect for Chittenden county. Religious preference, Congregationalist. Jesse Stearns, Middlebury, Reporter, republican, was born in Starksboro, Jan 21, 1859. He is a law student, and located in town in 1879. Was educated at Middlebury College, of which he is a graduate, class of 1883. Religious preference, Congregationalist.
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Photo In The Collection Of footnoteMaven
OFFICERS OF THE SENATE
Lafayette Soper, St. Johnsbury, Doorkeeper, republican, was born in Plattsburgh, N.Y., June 3, 1833. He is a weighmaster of the Fairbanks scale-works, and located in town in 1853. He received a common school education. He was orderly sergeant of Co. A, 11 regiment of Vt. Vols. He has been a justice of the peace. Religious preference, Congregationalist.
John E. Weeks
John E. Weeks, Salisbury, Assistant Doorkeeper, republican, was born in Salisbury, June 14, 1850. He is a farmer, and was educated at the common schools and at the Middlebury high school. He was a selectman in 1880, '82 nd '83, and has been a lister since 1883. Religious preference, Congregationalist.
Thomas C. Underwood
Thomas C. Underwood, Burlington, Page, republican, was born in Burlington, June 17, 1869. He is a student, and was a page in the senate of 1882. Religious preference, Episcopalian.
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Photo In The Collection Of footnoteMaven
J.B. Patton lost the 1908 election for County Treasurer Marion County, Ohio, to the Democrat William Wottring. Owen D. Connolly served as the Assistant City Attorney for Troy, New York in 1904. It looks as if he may have lost the election. In 1910 he was the Assistant City Corporate Counsel and in 1920 he was in private practice. Dr. R. H. Finefrock and Frank E. White were not researched.
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Buttons In The Collection Of footnoteMaven
Political Photographic Buttons
A memorial cabinet card of President William McKinley, First lady Ida McKinley , and their home in Canton, Ohio.
of the United States was the @irst President of the 20th Century. The card is crudely assembled and contains no information for the photographer.
Photo In The Collection Of footnoteMaven
President McKinley, the 25th President
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a brief illustrated essay OBSERVATIONS ABOUT POLITICS & PHOTOGRAPHY CRAIG MANSON
THERE is a Cield that is always fresh. New political stars are rising on the horizon daily, and they form the best kind of business material for the photographer—especially if he specializes and goes after the business in a systematic and businesslike manner.~W. Clement Moore,Brief Business Building Plans for Photographers [Bulletin of Photography, Vol. 11, No. 268, pp. 461‐462, Sept 25, 1912] Oh if only it were that simple‐‐the relationships between politics and photography, politician and photographer. And at @irst, it was. The earliest photographs of politicians were portraits, as the state of most photography at @irst consisted largely of portraiture. President St. Nick? The @irst sitting U.S. President during the age of photography was Martin Van Buren, a charter founder of the Democratic Party, who if he lived today would be considered a conservative Republican. [His is a name that has turned up in my life a couple of times: I attended Martin Van Buren Junior High School and I recently discovered a @irst cousin in Texas whose @irst and middle names are Martin Van Buren]. Van Buren was probably was the @irst President to be photographed, although it not clear that the photograph was taken during his term in of@ice.
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Martin Van Buren, 8th President of the United States "His eyes — how they twinkled! His dimples: how merry, His cheeks were like roses, his nose like a cherry; His droll little mouth was drawn up like a bow . . ." A Visit from St Nicholas,1823] Collect a number of the photos of leading politicians taken by some of the best photographers, and you will Cind the attitude in most of the cases is straight, chest extended, lips Cirm and eyes cold, in many cases almost expressionless. Now mind you, I am not saying that this is the best attitude for a political photograph, but rather the usual one.~W. Clement Moore Van Buren's photo‐portrait is interesting precisely because it belies Moore's truths about
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political photographs of the era. Could the author of the preeminent children's Christmas poem (coincidentally also named Clement Moore) have been describing his fellow New Yorker and then‐U.S. Senator when the poem was written in 1823? Compare Van Buren's portrait with that of Andrew Johnson, the 17th President. Johnson seems to be the model for Moore's (that being W. Clement Moore, the photography writer) take on political portraiture. Andrew Johnson, 17th President of the United States.
"[T]he attitude. . . is straight, chest extended, lips Cirm and eyes cold, . . . almost expressionless." ]
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Teddy Roosevelt Matures Political Photography The @irst national politician to make political use of photography on a large‐ scale basis had to be Theodore Roosevelt. The rough‐riding president made good copy and a photo being worth a thousand wo rd s , c e r t a i n ly m a d e exc e l l e n t photography. Here's a "Clashlight photo" of Teddy at the University of Chicago campaigning for the Progressive ["Bull Moose"] party in 1912.
And an "action shot" in stereo of TR during the 1912 campaign
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In TR's era, political photography started come of age, moving from portraiture to "candid" photography. ["candid" is placed in quotation marks, because there is nothing candid about any photograph of a politician, especially if the politician has anything to do with it]. Why Calvin Coolidge Had So Little to Say No scholar is willing to say for sure, but it may be that the "photo‐op" was invented by the Coolidge administration. And if Silent Cal did not invent the photo‐op he carried it to the status of high art. In the following montage, see Coolidge (1) speaking at all‐black Howard University in Washington, ( 2) laying a cornerstone at a Jewish community Center; (3) signing a bill for wounded veterans' bene@its on the White House lawn [yes, that's General John "Black Jack" Pershing next to the President and Grace Goodhue Coolidge behind her husband]; and (4) most improbably of all, meeting with members of the Sioux Indian Republican Club of the Rosebud reservation.
Fig. 1 Fig. 2
Ever after, Presidents have used such stage‐managed events to create images and impressions that they control instead leaving matters to the candid lens and random [and not so random] biases of the photojournalist's camera. That sort of control over images has sparked a backlash from photographers and now the game is afoot! Both photographers and politicians recognize the simple truth in a 2005 article by Germaine Greer: "Painted portraiture is understood to involve an element of idealisation; photography, on the other hand, is trusted as a record of the truth. The average reader of newspapers and magazines still believes that photographs are images of what was really happening, because the photographer is of necessity an eyewitness." Photography Can Make Leaders or Bring Them Down. Germaine Greer on Image, Power and Paranoia. The Guardian, Saturday 25 June 2005 [LINK] Greer's ultimate point is that the public, amazingly enough, seldom takes note of the propagandistic manipulation of photography by both politicians and photojournalists. Greer holds photography responsible, at least in part, for the popularity of both John F. Kennedy and Adolf Hitler. But politics and photography are not just about the pretty and the powerful. Photography and politics are essentially about people, regular people.
["The camera is an instrument that teaches people how to see without a camera." ~ Dorothea Lange] The stereograph opposite depicts a crowd in New York City awaiting election results at a time when the biggest name in wired communications was Western Union. And they didn't project winners or losers!
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[New York photo. caption:Watching the election returns‐‐great crowds before the Times Building and the Astor Hotel, New York, 1906].
This 1938 photograph from the Farm Security Administration, entitled Political Forum before Dinner, illustrates everyday Americans exercising their inherent right to political speech, during a time of great crisis in America.
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But the most poignant political photography is not just about people; in America, it's about the individual. I Am An American Photograph Taken by the greatest political photographer of all time, Dorothea Lange
San Francisco, California, March 1942. A store, at 13th and Franklin streets, on December 8, the day after Pearl Harbor. The store was closed following orders to persons of Japanese descent to evacuate from certain West Coast areas. The owner, a University of California graduate, was housed with hundreds of evacuees in War Relocation Authority centers for the duration of the war.~excerpted from the of@icial caption by the Farm Security Administration/Of@ice of War Information.
Photo credits: All courtesy Library of Congress 1. Martin Van Buren: Title: [Former President Martin Van Buren, half‐length portrait, facing right]
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• • • • • •
Date Created/Published: [photographed between 1840 and 1862, printed later] Reproduction Number: LC‐USZ62‐13008 (b&w @ilm copy neg. of detail) LC‐BH82401‐5239 (b&w @ilm copy neg.) Rights Advisory: No known restrictions on publication. Call Number: PRES FILE ‐ Van Buren, Martin‐‐Photos Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Accessible at http://www.loc.gov/pictures/item/96522273/.
2. Andrew Johnson: Date Created/Published: [between 1855 and 1865, printed later]
• • • • •
Reproduction Number: LC‐USZ62‐13017 (b&w @ilm copy neg. of detail) Rights Advisory: No known restrictions on publication. Call Number: PRES FILE ‐ Johnson, Andrew‐‐Photo‐‐Bust Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Accessible at http://www.loc.gov/pictures/item/96522530/
3. Theodore Roosevelt
• • • •
a. University of Chicago‐‐Date Created/Published: [ca. 1912] Reproduction Number: LC‐USZ62‐32741 (b&w @ilm copy neg.) Rights Advisory: No known restrictions on publication. Call Number: PRES FILE ‐ Roosevelt, Theodore‐‐Miscellaneous Political and Social Activities [item] [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
• Accessible at http://hdl.loc.gov/loc.pnp/pp.print b. TR in auto‐‐Creator(s): Keystone View Company, • Date Created/Published: Meadville, Pa. : Keystone View Co., c1923 June 2, from a stereograph taken earlier. • Reproduction Number: LC‐DIG‐stereo‐1s02389 (digital @ile from original) • Rights Advisory: No known restrictions on publication. • Call Number: STEREO PRES FILE ‐ Roosevelt, Theodore‐‐Campaign of 1912 • Other Number: J261970 • Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
• Accessible at: http://hdl.loc.gov/loc.pnp/pp.print 4. Calvin Coolidge A. Howard University Date Created/Published: [1924 June 6]
• • • • • •
Medium: 1 photographic print. Reproduction Number: LC‐USZ62‐111731 (b&w @ilm copy neg.) Rights Advisory: No known restrictions on publication. Call Number: LOT 12283, v. 3 Notes: • National Photo Company Collection. • In album: v. 3, p. 14, no. 30989. Accessible at: http://www.loc.gov/pictures/item/94509211/
B. Jewish Community Center Date Created/Published: [1925 May 3]
• • • • • •
Part of: National Photo Company Collection (Library of Congress) Reproduction Number: LC‐DIG‐npcc‐13705 (digital @ile from original) Rights Advisory: No known restrictions on publication. Call Number: LC‐F8‐ 35839 [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Accessible at: http://www.loc.gov/pictures/item/npc2007013704/
C. Signing Veterans Bill
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• • • • • •
Date Created/Published:  Reproduction Number: LC‐USZ62‐111372 (b&w @ilm copy neg.) Rights Advisory: No known restrictions on publication. Call Number: LOT 12283, v. 2 Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Notes: • National Photo Company Collection. • Item in album: v. 2, p. 2, no. 30959. Accessible at: http://www.loc.gov/pictures/item/94508212/
D. Meeting the Sioux Indian Republican Club Date Created/Published: 
• Reproduction Number: LC‐USZ62‐35252 (b&w @ilm copy neg.) • Call Number: PRES FILE ‐ Coolidge, Calvin, 1872‐1933‐‐with Indians • Notes: • No. 34605. • Accessible at: http://www.loc.gov/pictures/item/95500767/
5. New York Election Night Date Created/Published: Chicago : H.C. White Co., 1907.
• • • •
Reproduction Number: LC‐USZ62‐98435 (b&w @ilm copy neg.) Rights Advisory: No known restrictions on publication. Call Number: STEREO U.S. GEOG FILE ‐ New York‐‐New York City‐‐Street scenes Accessible at: http://www.loc.gov/pictures/item/89716041/
6. Political Forum before Dinner, Ohio 1938 Date Created/Published: 1938 Aug.
• Part of: Farm Security Administration ‐ Of@ice of War Information Photograph Collection (Library of Congress) • Reproduction Number: LC‐USF3301‐006611‐M2 (b&w @ilm dup. neg.) • Rights Advisory: No known restrictions. For information, see U.S. Farm Security Administration/Of@ice of War Information Black & White Photographs(http://www.loc.gov/rr/print/res/071_fsab.html)
• Call Number: LC‐USF33‐ 006611‐M2 [P&P] LOT 1032 • Other Number: F 9066 • Repository: Library of Congress Prints and Photographs Division Washington, DC 20540 USA http://hdl.loc.gov/ loc.pnp/pp.print
Accessible at: http://www.loc.gov/pictures/item/fsa1997018545/PP/
7. I am an American Creator: Dorothea Lange, photographer
• • • • • •
Date Created/Published: 1942 Mar. Reproduction Number: LC‐USZ62‐23602 (b&w @ilm copy neg.) Rights Advisory: No known restrictions on publication. Call Number: LOT 1801 Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Notes: • No. A‐35. • Original negative is at the National Archives and Records Administration, NARA # 210‐G‐A35. • Published in: Dorothea Lange : American photographs / Therese Thau Heyman, Sandra S. Phillips, John Szarkowski. San Francisco : San Francisco Museum of Modern Art : Chronicle Books, c1994, plate 87.
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Behind the Camera Charles Milton BELL, Indians and assassination politics in Washington, D.C. - fM Charles Milton Bell, 1843 - 1893 Charles Milton Bell was the youngest member of a family of photographers who operated a studio in Washington, D. C., from around 1860 to 1874. established
Pennsylvania Avenue in 1873 and it rapidly became a fashionable place. Shortly after it opened, Ferdinand Vandeveer Hayden became a patron, sending Indian visitors who were in Washington to the studio to have portraits made. Ferdinand Hayden was well known throughout America and Europe for his explorations of the American West. Hayden put
Photo In The Collection Of footnoteMaven
Yellowstone on the map; documenting the wonders
photography in his reports as early as 1868. His photographer was Bell. Most of the Indian delegations
photographed by Bell.
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Lucy Craig 1895
whose specialty was small claims and who had always been of questionable sanity. The President survived for eighty days, eventually dying of sepsis. The only photographer authorized by the defendant Guiteau and Washington authorities to visit the jail cell to take portraits prior to the trial was C.M. Bell. It is believed that Guiteau entered into an agreement with Bell for the sale of these portraits to raise funds for his defense. On February 8, 1882, Guiteau wrote to a prospective buyer, "Dear Sir: Photographs are one dollar apiece or $9 per dozen. . .The photograph is very @ine. Send for what you wish by money order." Bell chronicled everything associated with the trial. He took studies of the Baltimore and Potomac Rail Road Depot where the shooting occurred, the courthouse, the gun, the assassin, the victim, the doctors, defense attorneys, prosecutors, and various portraits of the jurors, including the sole African American juror. Guiteau went to trial on November 14, 1881. The verdict was
Courtesy of Heritage Americana
Courtesy of the Library of Congress
rendered January 25, 1882, and he was hanged at the jail in Washington, D.C. five months
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Courtesy of the Library of Congress Courtesy of the Library of Congress
President Gar@ield was shot twice by Charles Julius Guiteau, a failed New York attorney
Courtesy of the Library of Congress
But Bell’s most interesting brush with political photography came on July 2, 1881 when
A description of Bell’s Studio from the Photographic Times and American Photographer, 1883. THE STUDIOS OF AMERICA. ‐ No. 9. — C. M. Bell's Gallery, Washington, D. C. This palatial studio occupies the premises numbered 459, 461, 463, and 465 Pennsylvania Avenue, the most celebrated thoroughfare of the national capital. On either side of the entrance, which is nearly on a level with the street, are large plate glass windows, adorned with a tastefully arranged collection of cartes, cabinets, boudoir, and panel pictures. This array attracts the attention of passers by on the broad Avenue, who, after looking at the specimen photographs, are very much inclined to pass into the reception room, where they will at once be captivated by the elegance of its appointments. Encircling the center of this large room, 80 x 50 feet in size, is a counter, on which are placed handsome glass show cases @illed with examples of both wet and dry plate work. Within the enclosure are desks and chairs arranged for the convenience and comfort of the clerical force employed. Hung upon the walls, and supported by easels, are pictures in crayon, charcoal, india ink, and oil, from the bust to full life‐size @igures. Ascending an easy Might of quarter winding stairs, you are brought into view of a more elaborate display of art. The eye will rest on ornately painted ceilings and walls, lighted by full light French plate glass windows and a central dome skylight, from which gracefully depends a large chandelier. The @loor, it will next be noticed, is richly carpeted. In each corner of the room has been placed a beautiful life‐size female @igure in bronze, cast by Theo. A. Mills. Beneath the chandelier is a bronze statue of a hunter and dog. Interspersed among the easy chairs and articles of virtu are marble busts set on Aesthetically patterned pedestals. The walls are ornamented by more specimens of photographic landscape work appropriately framed. Amid the perfect blending of colors, surrounded by the evidences of a re@inement of taste, a feeling of ease and contentment steals over you, and, sotto voce, you murmur, "'Tis good to be here." Passing in due time to the back of the room, you enter one of the two well arranged dressing rooms, separated by a wide companion wav, through which you pass to the operators' reception room under the skylight. Here you are surrounded by a large array of backgrounds and accessories necessary to the works of art here made. The dimensions of this room are 30 x 40 feet. Light enters through ground glass from a north exposure. Still further back is a labyrinth of rooms devoted to the mechanical part of the business. Connected with and forming part of this studio, is the spacious gallery formerly occupied by Mr. Whitehurst, now deceased, under whose skylight has been posed Henry Clay, John C. Calhoun, Daniel Webster, and many other famous statesmen. We are informed that the great success of Mr. Bell is due to his suavity of manner coupled with high artistic ability, and to the gentlemanly deportment observed by his corps of assistants. The rule is, politeness to everybody.
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Washington, D.C. - photographing an Indian delegation,
Courtesy of the Library of Congress
in [C.M.] Bell's studio, for the government
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the dreadful suffragette WANTED! BY PENELOPE DREADFUL
Have you seen this woman? Marjorie Mullerschoen is wanted in connection with Subversive Activity, speci@ically Aiding and Abetting and Encouraging YOUNG girls, HAPPY Homemakers, and DUTIFUL Dowagers in pursuing the female independence of extending Woman’s Suffrage in our Great Nation. What the diminutive Miss Mullerschoen lacks in height, she makes up for in sheer Force of Personality, as can be attested by those who have fallen under the spell of her Even and Sane Argument and her Persuasive Power of Speech. Most often found mid‐day in the busiest boroughs of our fair city Miss Mullerschoen has made it her business to befriend the Common Woman and to educate the uneducated in Woman’s Potential should the Right to Vote be extended to our “fairer sex.” She is not intimidated by the burly butcher brandishing the tools of his trade when she stops to speak to his wife as she sweeps the walk in front of his shop. No, not this Jousting Joan, not this crusading Queen. Miss Mullerschoen has been observed to pull herself to her full height, tilt back her noble brow and look the surly Brute full in the eyes. With only a withering stare, he quickly backed down and retreated to the Shadows of his shop. In addition to her admirable qualities of Elocution and Education, Miss Mullerschoen displays a certain Elegance of person which is only seen in the rarest of young women. Her voice is never shrill or harsh, her manner never base. She has been observed assisting
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young mothers with an unruly brood, and soothing an old woman recently widowed and alone. Some Say they have seen Miss Mullerschoen brandishing crude signs and campaigning irreverently before the political of@icials of our City, but if this is true, surely it is for the Greater Good of Achieving a Most Noble and Honorable Goal. Some Say that her habitual lengthy overcoat conceals contraband goods, but only if placards of paper and pen have become prohibited by law. Citizens would do well to recall that in this Great Nation, women AND men are guaranteed the Right to speak freely. Some Say that Miss Mullerschoen oversteps the boundaries of propriety and decency by presenting her person before the public and proclaiming her personal preference for political power. Would that we all had her courage. Miss Mullerschoen is Inspirational to both Men and Women; those with power and prominence do not deter her. Would that each of us could be so brave. Miss Mullerschoen gives voice to the voiceless, gives dreams to those in desperation. Even the most junior of of@ice assistants can @ind hope for a better situation in Miss Mullerschoen’s courage. Some Say Miss Mullershoen is Subversive and Dangerous; approach this woman with caution. She has been known to steal a man’s heart.
Darling, See you tonight after the Rally. Good Luck as Always. Your devoted husband, Charles 14 February 1899 Copyright 2011, Denise Levenick Photograph Courtesy of the footnoteMaven
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Image courtesy of Library of Congress
Great Grandma Is A Centerfold Photo In The Collection Of footnoteMaven
Lookin' through Shades Magazine Found something tucked there in‐between My blood runs cold My memories have all been sold Great Grandma is a centerfold Great Grandma is a centerfold A part of me has just been ripped The ages from my mind are stripped That unnamed woman can't deny it footnoteMaven had to buy it! My blood runs cold My memories have all been sold Great Grandma is a centerfold Great Grandma is a centerfold
What began as an innocent remark by Diana Ritchie (Random Relatives) during Miriam Midkiff ’s (Ancestories) Scanfest; became the germ of an idea for the Shades Old Photo Centerfold. Yes, Great Grandma will be a centerfold in all issues of Shades starting with March/April. Thank you, Diana, it was a great idea! 41 Shades MAGAZINE | Political 2011
It's okay, we understand Not all heirlooms are in our hand We know that when this issue's gone Great Grandma’s centerfold lives on My blood runs cold My memories have all been sold Great Grandma is a centerfold Yes, Great Grandma is a centerfold
Image courtesy of footnoteMaven
WOMAN’S JOURNAL Woman's Journal was a women's rights periodical published from 1870‐1931. It was founded in 1870 in Boston, Massachusetts by Lucy Stone and her husband Henry Browne Blackwell as a weekly newspaper. This new paper incorporated Mary A. Livermore's The Agitator, as well as a lesser known periodical called the Woman's Advocate. It specialized in suffrage news. Woman's Journal refused to carry advertisements for tobacco, liquor, or drugs. The following is an excerpt of an article written by Henry B. Blackwell, the Journal’s editor for Our Day, A Record and Review of Current Reform, February, 1892. As interesting as the questions asked are the answers given. The article may be read in its entirety in Twice Told Tuesday, March 22, 2011 on Shades Of The Departed.
What are the chief objections now urged against Woman Suffrage, and what are the best answers to them: If women vote they must fight. (My personal favorite.) Women are the mothers of men. Lucy Stone says: "Some woman perils her life for her country every time a soldier is born. Day and night she does picket duty by his cradle. For years she is his quartermaster, and gathers his rations. And then, when he becomes a man and a voter, shall he say to his mother, 'If you want to vote you must first kill somebody? It is a coward's argument." Suffrage is not a right of anybody. To say so is to deny the principles of the Declaration of Independence and the Bill of Rights. "Governments derive their just powers from the consent of the governed"—women are governed. "Taxation without representation is tyranny"—women are taxed. "Political power inheres in the people "—women are people. To deny these principles is to justify despotism. "The men who refuse the ballot to women can show no title to their own."
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Courtesy of the Library of Congress
What eminent men have favored Woman Suffrage? Among others, Abraham Lincoln, Chief Justice Chase, William Lloyd Garrison, Wendell Phillips, Samuel G. Howe, John G Whittier, Ralph Waldo Emerson, Charles Sumner, Henry Wilson, President Hayes, Governors Banks, Boutwell, Claflin, Washburn, Talbot, Ames and Long. Senators Geo. F. Hoar and Henry L. Dawes, John M Forbes, Robert Collyer, Bishops Haven, Bowman and Simpson, Rev. Joseph Cook, Bishop Phillips Brooks, Neal Dow, George William Curtis, the republicans of Massachusetts in successive platforms since 1870. The national republican platforms of 1872 and 1876. The Democrats of Massachusetts in their platform of 1882. What eminent women have favored Woman Suffrage? Among others, Margaret Fuller, Lydia Maria Child, Frances D. Gage, Lucretia Mott, Florence Nightingale, Elizabeth Barrett Browning, Harriet Beecher Stowe, Julia Ward Howe, Mary A. Livermore, Louisa M. Alcott, Elizabeth Stuart Phelps, Clara Barton, Frances E. Willard, Abby W. May, Lucy Stone, Mary F. Eastman, Frances Power Cobbe, Harriet Prescott Spofford, Mary Clemmer. Only bad and ignorant women would vote. Our ten years' experience of School Suffrage for women proves the contrary. The twenty-two thousand women who have voted are admitted to have been good and intelligent. The demand
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for suffrage comes from the respected leaders and educated representatives of their sex. No woman can vote in Massachusetts unless she can read and write. It is contrary to experience. Not so. In England women have voted for twenty years in municipal elections. Hon. Jacob Bright has written to the Massachusetts Legislature that in England Woman Suffrage has proved "good for women, good for Parliament, and good for the country." It has worked so well there that it has just been extended to the women of Scotland. Are American women alone unfit to be trusted with political responsibilities? There is no precedent in this country. In Wyoming, women have voted for twenty-two years on all questions, on the same terms as men. Every successive governorâ€”the judges of the Supreme Court, the Senators in Congress, the presiding elder of the M. E. Church, the newspapers of both parties, all agree that Woman Suffrage works well and gives satisfaction in Wyoming. The State constitution guaranteeing equal suffrage to women has been ratified by Congress, and the women of Wyoming will vote in the next Presidential election. It would put our cities under Roman Catholic control. There are, in all our large cities, even in New York, more Protestant women than Roman Catholic women; more American women than foreign women. There are in Boston 91,367 women over twenty years old who can read and write; 52,608 of these are Americans,
Courtesy of the Library of Congress
38,759 are of foreign birth. (See Carroll D. Wright's statistics for 1875.) Women have not physical strength to enforce laws; therefore they should not help make them. One-half our male voters have not physical strength to enforce laws, yet they help make them. Most lawyers,
Edith Campbell Registering To Vote?
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judges, physicians, ministers, merchants, editors, authors, legislators and congressmen, and all men over forty-five years old are exempt from military service on the ground of physical incapacity. (See statistics of the late war.) Voting is the authoritative expression of an opinion. It requires intelligence, conscience and patriotism, not mere muscle. All the physical force of society is subject to call to enforce law, but cannot create law. Moral force, such as women possess, is as necessary as physical force to national well-being. It will make domestic discord when women vote contrary to their husbands. In cases where husbands and wives vote together it will be an additional source of sympathy and bond of union. In cases where they vote differently they will agree to differ, as they now do in religious matters. A man will not respect his wife the less because she has an opinion of her own and is free to express it. The polls are not fit places for women. Then they are not fit places for men. But if this were ever true, it is true no longer. The Australian ballot system has put an end to all disorder and removed every such ground of objection. Wherever women meet with men they are treated with respect. If the polls were as bad as represented they would not degrade women, but women would reform the polls. What good will it do women to vote? Just what it does for men. It will give women power to protect themselves in their persons, property, children, occupations, opportunities and social relations. It will enable them to get done what ought to be done, and to get undone what ought not to be done. As it has made certain classes of men, formerly treated as inferiors because disfranchised, more nearly equal with other men, so it will make all classes of women more nearly equal with men and with each other. What good will it do men for women to vote? Whatever enlarges the minds and hearts of women makes them more agreeable companions and better wives and mothers. The brains and conscience of an educated mother are the best inheritance of her children. Men will find it far pleasanter and more elevating to live with an equal than with an inferior in the home. There is no one so hard to manage as a fool. What good will it do society for women to vote? It will make government more fully representative. It will put an end to bribery in elections by doubling the number of voters and making it difficult to use money corruptly. Formerly when
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only a small class of men were allowed to vote, "every man had his price " and bribery was the rule. The wider the constituency the purer will be the political atmosphere. Candidates of better moral character will have to be nominated in order to secure the support of a majority of the women voters. Vice will be discouraged, poor and defenseless women will be better protected, and there will be a higher standard of public morals. Crimes against women will be more adequately punished, and children will be better cared for. Primary meetings will be made orderly, when women are expected to attend them. The manners and atmosphere of the smoking-car will be replaced by those of the lecture-room and the church-meeting. The caucus will be lifted to the level of the parlor.
It will only double the vote—women will vote as their husbands do. Then the family will cast two votes instead of one. But the quality of the voters changes the quality of politics. A political party of men and women will not be the same as a party of men alone. Women are more peaceable, refined, temperate, chaste, economical, humane and law-abiding than men. These qualities will influence the character of the government. The united votes of men and women will give the fullest, fairest, and most accurate expression of public opinion. Source:
Courtesy of the Library of Congress
The presence of women will purify politics as it has already purified literature and refined society.
Elizabeth Cady Stanton, seated, and Susan B. Anthony, standing, three-quarter length portrait. Two of the leaders in the suffrage movement.
Blackwell, Henry B. “Questions To Specialists.” Our Day - A Record and Review of Current Reform. Vol. 50. Boston : Woman’s Temperance Publishing Association, 1892. pg. 141.
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THE HEALING BRUSH
a tale of two tintypes AN INEVITABLE FACT BY JANINE SMITH
I love tintypes. Every time I’m brought one to restore, I hold it, oh so carefully, oh so reverently, and just gaze upon its awesomeness. An image on a piece of black painted metal (albeit, not tin)? The coolness factor is way up on this one! Seriously, you know they did something right with this photographic process, because tintypes generally just do not fade! They’d be nearly perfect if it weren’t for that pesky little varnish problem! What pesky little varnish problem? I’m glad you asked! Tintypes, also known as ferrotypes, used as their substrate what is known as japanned metal. A piece of metal was coated with a heavy black oil varnish and set using heat. The process was very stable, which is why so many survive today, however, many times, as varnish will over time, the surface darkened, discolored and cracked. But underneath the dark and the cracks, most are just as clear and sharp as the day they’re taken! The question remains, however, how to get beneath the grunge and grime of old varnish to the treasure below? Paint remover? A Sander? But you know I jest, right? First things @irst; scan that puppy onto your hard drive! A nice high resolution, 300 to 600 ppi is nice, and in color, please; if it’s not scanned in color, you’re cutting your restoration resources in half. [Note: This article was written for use in Adobe Photoshop CS4 or CS5, but can be modiCied in many image editing programs]
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We have here two tintypes, one very dark and the other darkened and discolored. One looks worse than the other, harder to @ix, but looks can also be deceiving. As with every photo, one restoration method does not @it all. Let’s take a quick look at a couple of ways to @ind the photos behind the discoloration. We’ll start with the darker of the two. Always try more than one color correction method on any given photo. You never know what will and won’t work, or what may be just slightly better than the last. I must admit, however, that my @irst inclination is always to start off with my trusty old friend, Curves. Not that I always stick with it, but it is a starting point.
Fig. 1 Curves - The Starting Point
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INTO THE LIGHT In this case we’ll go with a Levels adjustment, visiting each channel individually, moving the sliders to where the most information lies in the histogram. The result isn’t all that much better than Curves, but it is slightly better. It’s not nearly good enough, but we will keep it as a base for the next step. Why would we do that? Because while it looks pretty bad, what it does do is bring some depth back into the photograph; it’s just a better canvas to work on.
Fig. 2 Histogram
Fig. 3 Levels Adjustment
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The next step is why the tintype needed to be scanned in color in the @irst place. We’re going to explore the color channels. You can either go into the channels themselves, or you can go into Black & White Adjustment layers, the Blue, Green and Red adjustments, for the same result. Color Channels allow us to see the level of damage hidden in each channel. How does this work? Well, digital images are made up of pixels, and these pixels are a combination of the color mode they reside in. For instance, in CMYK color mode, there are four channels, one made up of Cyan pixels, one of Magenta, one of Yellow and one of Black pixels. In RGB mode, there are three channels, one each of Red, Green and Blue pixels. When a photo is damaged over time, some of the damage is due to the chemical makeup of the photographic process itself, such as silver nitrate, some due to atmospheric conditions, like smoke and light, and all sorts of combinations thereof. This sort of damage can reside more in one color channel than the next. Damage along the lines of deep scratches will reside in all the channels. Blue channels are typically darker and in many cases hold the most damage.
Fig. 5 Green Channel
Fig. 4 Blue Channel
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Fig. 6 Red Channel
The Green channels are typically better than the Blue, containing less damage, but usually more intonation than the Red, and can sometimes be your best choice. The Red channel is most often the best bet, albeit not always. In this case there was a surprise; remember when I said varnish cracked? Well here it is! You might tend to think that this was an unwelcome surprise, but it’s actually a wonderful discovery! If you look beyond the craquelure, you’ll see that a lot of the worst damage is gone. The tradeoff is that the depth of the detail is extremely faint, but that’s something you can work on later. But the best thing is that the cracking is huge! This makes the work of taking those crack lines out much, much easier! Since there’s still a lot of lines to take out, I recommend a combination of the Clone Tool, the Patch Tool, the Healing Brush, the Content Aware…in other words, use a combination of the close work tools you have at hand in whatever image editor and version you have. Using one tool in such a large area could all too easily lead to pixel repetition and smudging; not looks you want in your restoration.
Fig. 7 Tools
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After you get the cracking taken care of, it’s just a matter of getting some of the detail back in. DO this with dark and light tones, layers of black low lights and highlights partnered with layer blend modes, painting in, or out, areas on Curves Adjustment masks and (or) the Dodge and Burn tools. Make a duplicate layer and blur it slightly to soften it up some.
Fig. 8 Detail
Bring some the original tonality back into it; sample a bit of the color from the original and make a new, blank layer at the top of your layer stack; @ill with the sampled color and change the Layer Blend Mode to Soft Light. Bring some of the original color back into the cheeks by painting the cheek color, again sampled from the original, on a blank layer, softening with a light Gaussian Blur and the Same Layer Blend Mode.
Fig. 9 Tone
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COLOR ME OFF
Fig. 2-1 Before
The second photo looks a lot easier than the @irst, doesn’t it? On this one we’ll try a little different route and use a little used, mostly under‐appreciated tool in Photoshop, Variations. True, not many can see the value in Variations, but as a color correction tool, it can sometimes come in quite handy. When using Variations as a color correction tool, you need to do a lot of what I call “eyeballing”, checking one thumbnail against the other, against the original, to “eyeball” which looks best. There’s no multitude of sliders, very little in the way of tweaking the image inside of Variations, just your eyes. The one thing you must always remember to do when using Variations is to duplicate your original layer. Variations is not an a d j u s t m e n t l a y e r, b u t i s destructive, meaning it changes the layer itself. Duplicate your working layer and this, then, b e c o m e s y o u r V a r i a t i o n s adjustment layer. If you look at the Variations of the photo left, you can “eyeball” that the “More Blue” Variation is the best bet. If you go to the far right of the panel, you can see that the “Lighter” option is even better, still. This will be our base. Fig. 2-2 Variations
Fig. 2-3 Variations Light Next, we’ll do a little lightening and tonal correction with Levels; once again moving the sliders within each color channel to where the information in the histogram starts…
Fig. 2-4 Levels
…and lower the opacity of the levels layer down to around 60%.
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Now we’re going to introduce a little better color into the mix. In Photoshop CS5 and CS4, you’ll add a Photo Filter Adjustment layer; pre‐CS4 you’ll want to make a duplicate layer, or combine all your layer using keyboard shortcut Shift+Ctrl+Alt+E (PC) or Shift+Cmd +Opt+E (Mac), and use the combined layer as your adjustment layer, then go to the Image menu, Adjustments > Photo Filter. The color you decide on will be a matter of taste at this point. Different colors will, of course, give a different feel to the photo. I went with Warming Filter (81) and moved the Density slider up to 35%.
Fig. 2-6 Filters
Fig. 2-5 Levels 60%
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Fig. 2-6 Black & White Adjustment I want to brighten the photo up a bit, now. To do this, we’re going to take all the color out, and then bring some back in, with a Black & White Adjustment. Go through all the presets to see which looks the best and lightens up the overall photo while keeping all the detail; or darkens the detail if that’s what your photo calls for. The object is to make your photo look better with this step. If it does nothing to enhance the photo, or detracts in some way, skip it. I’ve used the High Contrast Red @ilter.
Now we’ll bring back most of the color of the original by using a Luminosity Layer Blend Mode on the adjustment layer. The biggest bene@it of this step is that the background is brighter and that the blue cast on the sleeve has lessened slightly. Now you can go ahead and do the regular restoration work.
Fig. 2-7 Luminosity
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Should you decide you don’t like the color of the @inished restoration, you can always throw another Black & White Adjustment over it and a Photo Filter over that in whatever tone you like. Lower the opacity on either or both layers. My point here? Experiment! Try different things and combinations until you like the result; something to remember in a case like this that has a distinct color in an area, such as in the cheeks, be sure to bring some of that color into the @inished restoration.
Fig. 2-8 Finished Shades MAGAZINE | www.shadesofthedeparted.com 60
Let’s go back a minute to where I said that this last photo was actually the harder of the two. There’s no visible reason that that would be the case. The answer is found zoomed in closer. Not only is the varnish cracking larger in the @irst photo, but there’s a lot less of it. Don’t you just love tintypes? Even under that pesky varnish, the darkening and the cracks, there’s almost always a beautiful, clear photo just waiting to come out!
Fig. 2-9 The More Difficult
Fig. 2-10 Comparison 61 Shades MAGAZINE | Political 2011
Fig. 2-11 The Beautiful Completed Project
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Introducing A New Shades Column
iAncestor Picturing Technology From Denise Olson
flipboard, flickr, & elizabeth cady stanton TRANSFORMATIONAL DEVICE BY DENISE BARRETT OLSON
The iPad is a transformational device. It is a delightful book reader that does so much more. In addition to my genealogy database and my family trees at Ancestry, I have some awesome tools for note‐keeping, reference, collaboration and even writing. I’ll be talking about these in upcoming editions, but today’s topic is photos. I am constantly amazed with the impact of photos on the iPad. Even the most mundane snapshot gets the royal treatment thanks to the high‐resolution color screen. People who have never touched an iPad instinctively swipe from one photo to the next and when they’re shown how to zoom in on an adorable smile with a simple pinch, they are astounded. It’s the ultimate brag book and mine is full of photos, photo documentaries, home movies and family history scrapbooks. And, photo junkie that I am, I have several apps on my iPad to connect me to Flickr so I can enjoy not only my own
c o l l e c t i o n b u t a h u g e a r c h i v e o f p h o t o s f r o m a r o u n d t h e w o r l d . Let me introduce you to photo heaven. Flickr is a photo‐sharing platform supporting a huge community of photo lovers. Amateurs, professionals and even institutions have taken to the site and their contributions have made Flickr an impressive resource for anyone interested in photos. I discovered Flickr while looking for a place to upload photos so family members could buy prints of the old family pics I was digitizing. I had neither the time nor ink budget to support their print requests and Flickr allowed them to choose the photos and sizes they wanted, then order and pay for them without my involvement. It didn’t take long for me to realize that the $25/year premium package was also a cost‐effective way to archive my photos as a hedge against disaster. Flickr’s organizational tools makes it easy to organize photos into sets and then arrange those sets into collections. Their group function is a great way for family photographers to share their photos. When there’s a family function planned, build a Flickr group for that function and invite all the photographers in the family to join. They still upload their photos to their own Flickr pro@ile, but one extra click will also share them with the function’s group. Now the family has one central location to @ind all the photos of the event, yet they still can see who took each one. Groups are being used for a lot more than just family functions. You’ll @ind a group for just about any subject imaginable. From people, places and events to hobbies, animals and even colors, there’s a group for that at Flickr.
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It’s also a very social platform. You can post your photos and include titles, descriptions and tags to describe each image. These entries make it easy for others to @ind your photos and even add their own comments. While you can join Flickr groups, you can also become friends with other Flickr users. These “friendships” make it easy to keep up with friends and family through the photos they share.
Some time back, the Library of Congress approached Flickr regarding an experiment to post some of their photo collection on the site and see if they could learn more about those images from comments and tags added by the community. Flickr supported them by building The Commons ‐ an area just for museums and archives. The result was amazing with a huge response that surprised everyone. Today, dozens of institutions from around the world are presenting photos to the public through The Commons. You can @ind amazing collections like Matthew Brady’s Civil War photos from The National Archives, a collection of Ansel Adams’ photographs also from the Archives and Brisbane Bridges from the State
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Library of Queensland. The Commons continues to grow as other institutions take advantage of the opportunities it provides. Which brings me back to my iPad.
There are any number of iPad apps that connect to Flickr, but my favorite is Flipboard. This app delivers news, Facebook updates, Flickr photos and more to my iPad, presenting it in a magazine format that is a joy to browse. Not only does it provide a beautiful platform to view this information, you are in complete control of the content delivered to you. And, you can change those sources any time you please. As you can see, my contents page is full of news from Google Reader, Flickr, Facebook and Twitter. I can even set up custom lists in Twitter to collect sources related to a speci@ic topic like local news or resources for veterans which can then become sections in my personal magazine.
TODAY "To be alive in such an age! With every year a lightning page Turned in the world's great wonder book Whereon the leaning nations look. . . . When miracles are everywhere And every inch of common air Throbs a tremendous prophecy Of greater marvels yet to be. O thrilling age!" ~ Angela Morgan ~ 67 Shades MAGAZINE | Political 2011
Here, I’ve opened the section I created from the Historic and Old Photos group at Flickr. By tapping the tiny down arrow to the right of the title, I can select another group, collection or set to view. I’m going to choose Groups, then tap Politician Portraits in my group list to see what’s happening there. As you browse pages of content in Flipboard, you will see a collage of photos or article excerpts similar to the photo arrangement you see here. When a photo catches your interest, tap on it to open a page dedicated to that image.
This photo of Elizabeth Cady Stanton caught my eye in this page of portraits and I had to check it out. The image, which has been scanned from a book or magazine, opens as an overlay above the Flipboard page. It includes any title and description included in the Flickr
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photo record. Notice the name of the user who uploaded the photo, Political Graveyard, is located above the image with a Reply link on the right offering the opportunity to add a comment. In the top right corner of the overlay are additional social functions related to this item. Tap the Close button at the top left to return to the Flipboard page to continue browsing here or in other content sections.
Combine the iPad, Flipboard and your choice of content from online news and photographic resources such as Flickr and you have a delightful reading experience that you can enjoy just about anywhere. One of the things that makes the iPad so special for me is the fact that I can do all this while enjoying the comfort of my favorite chair in the living room instead of glued to a computer screen in the den. I can be connected to my favorite news, photo and social networks and still a part of the family. Life is good!
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What are you doing with your family memories? Are you looking for new and creative ways to share your family history research with others? The Future of Memories [LINK] is an idea book showing you how you can put the applications you already have to work with new and affordable services to share your family history. Electronic publishing isnâ€™t confined to text and images. It covers a wide range of options from printed books to multimedia presentations with video and voice. This primer introduces you to these new technologies and shows you how to take advantage of the opportunities they offer to produce quality histories at a reasonable price. It discusses the skills needed to create production-ready projects and suggests resources to help you get started.
Download a free sample of the book.
Denise Barrett Olson, blogger, writer, scrapbooker, and editor ofÂ The Moultrie Creek Gazette, recently released The Future of Memories: A digital publishing primer for the family historian. Anyone who has sung the "I'll publish the family history some day" blues should read this book; it makes some day feel a lot like today. - Denise Levenick, The Family Curator
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a call to arms IT WON’T BLOW YOUR SOCKS OFF BY CAROLINE POINTER
Do you have a political issue that you are passionate about? Many of us do, and so did our ancestors. I believe Henry Brooks Adams said it best when he wrote in a letter to Charles Francis Adams, Jr. in 1858,
“There are two things that seem to be at the bottom of our constitutions; one is a continual tendency towards politics; the other is family pride; and it is strange how these two feelings run through all of us.”
Family historians have “family pride” down pat. Sometimes we have family pride when we start researching, and we want to @ind more of it, or maybe, we want to @ind out the “why” behind our pride. Sometimes, because our “present” family doesn’t give us much to be proud of, we begin researching to @ind family pride somewhere in our familial lines. However, whether you are trying to learn more about your ancestors by putting @lesh on the skeleton of your family, whether you’d like to know if your ancestors voted and/or how they voted, or whether you are trying to substitute for the loss of the 1890 census, politics, believe it or not, can help. There are records to be found and consulted both online and of@line to aid family history researchers in @inding out more about their ancestors’ political endeavors. The key to @inding them is knowing where to look, which may seem a little obvious, but family researchers can get stuck in looking in the same places at the same things in the same exact way. Therefore, the following guide to @inding your ancestors’ political
proclivities is nothing new. It’s not “earth‐shattering”. It’s not “blow‐your‐socks‐off” worthy. Perhaps, though, it’s more of a call to arms. A call to stop everything and go look right now for how your ancestors’ voted, for how and if they participated in civic activities, and for how they may have felt about particular issues of their day. While not everything can be found online, the internet is a good place to start. Following are online resources for learning about the politics of your ancestor’s time. Remember that your ancestors voted in their communities and some of them were voted for by their communities. Most of the time, the best places to look to see if your ancestor was a politician are in county histories and in newspapers. To @ind out about their voting habits, looking at voter’s registrations are best as well as biographical write‐ups. Ancestry.com’s Card Catalog [LINK] – ($$) Searching the card catalog at this subscription based site by keywords such as “voter”, “voters”, or “voting” will bring up their collections that involve these keywords, including those outside the well‐known collection, “Census and Voter Registration”. That’s right, the collection, “Stories, Memories, & Histories” comes up as well. You can then pare down the listing by @iltering the results by nation in the sidebar. Another way to search would be by location. From the main “Search” menu, scroll down to the map of the U.S.A., and click on your focus state. This will list collections for that particular state. FamilySearch.org’s Card Catalog [LINK](Free) ‐ This site also boasts a healthy card catalog. While there is an option to search by keyword, I was not able to bring up anything, and this may be because it’s still labeled as being in beta, and they aren’t done developing it. Therefore, the best way to look for political information is by location. Using place names on the card catalog search page, enter in the state (and the county, if known) and the states that have voter information will have it listed on their collections. If you are not able to visit the Family History Library, take care to note whether your selection is available at local Family History Centers. If so, you can order the micro@ilm at your local Family History Center for a nominal fee to be viewed at your local center when it comes in from the Family History Library.
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USGenWeb.org [LINK] ‐ (Free) This volunteer‐operated site can be extremely helpful in @inding out local history as well as @inding transcriptions of voter registrations. Select the state and then county that you are looking in and see what kind of information is offered. Because of its volunteer status, it can be hit or miss, but it’s well worth a look if you get a “hit”, and not much time will have been spent if it’s a “miss”. State Archives (Free) ‐ Take a look at the collections that the state you are researching in has available. For example, the Texas State Library and Archives Commission [LINK] has a collection entitled, Voters Registration, 1867 available. 1867 is an important year for those performing African‐American and Civil War research. What’s available is going to vary from state‐to‐state, but you might be surprised at what you @ind when you look. Google Books [LINK] ‐ (Free) If you’ve done any type of research online, then you’ll @ind searching on Google Books very easy, but the best part is that some of the books are available to view digitally. Here, though, you’ll need to be a little more creative in your keyword search in order to @ind what you are seeking. For example, a search with a keyword phrase such as “historical voting in southern Illinois” came back with some relevant books. Also, search for county histories and biographies here. Many times political events have been written about, and the political persuasion of your ancestor may be revealed in a biographical write‐up of them. Many, many familial gems can be found in these county histories. I have been very successful in @inding county histories and biographical write‐ups for my husband’s Ohio ancestors here. They’ve helped to clear up some very big family mysteries by @illing in some much‐needed details. Let me give you a word of caution, though. Take the time to try to substantiate what you @ind in a biographical write‐up. Think of it this way: if you were being interviewed for a biographical write‐up, would you tell them everything about yourself, warts and all? HeritageQuest Online (Free, if you have a library card) ‐ This database is made available usually by a local library, and it can be accessed from home with your library card. Its “Books” database can contain many people, family, and/or county histories. It’s searchable by person, location, and title, and the books are available to view digitally. Also while you
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Image courtesy of footnoteMaven
are here exploring Heritage Quest Online, don’t forget to take a look at their PERSI database, where you can look for periodical articles on people, places, and titles. Under “People”, I searched for “voters” under keywords, and 26 results came back with one of them entitled, “George Paul Harrison and registered voters of his congressional district, 1897”. (If only I had an ancestor name George Paul Harrison.) Don’t forget to look for county histories here as well. However, these articles cannot be viewed digitally, but can be ordered for a nominal fee by clicking on the “Request Form” link. Local Library or Genealogical Library or WorldCat.org [LINK] – When looking in an online catalog of a library, you’ll need to use the same search strategies as when searching in Google Books in order to limit the hits. If you are using an online catalog for a genealogical library, then using keywords such as “voters”, “voting”, and the county and state that you are focusing on should be enough to give you enough results for you to look at. If looking at whether or not your ancestor was in politics, looking at county histories and newspapers would be your best bet by entering in the county and the state (e.g.,” Johnson County, Illinois”). Google.com [LINK]– While Googling a topic such as “voter” can get tedious, try using the same search strategies as listed above for Google Books. Also, if have a found a title in a state archives and you are not able to get to it to look at it, try Googling the name of the collection. Someone may have transcribed it, digitally photographed it, or scanned it already. For example, when I Googled, “Texas Voters Registration 1867”, someone had, indeed, scanned this list. It’s available from Michael Hait Family Research Services [LINK] for nominal fees. It’s broken‐up by county. So, if you have a lot of research in a particular county in Texas in the post‐Civil War Era, procuring that county’s registration list for 1867 could be extremely bene@icial. As with everything else, you just won’t know until you look. CyndisList.com [LINK] – This website is always chock full of links, and when it comes to the topic of voting, this is no exception. Take some time to look it over. GenealogyToday.com [LINK]– This site is lesser known and is smaller, but if it helps you @ind what you’re looking for, then it will become your new best friend. It has a search
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feature for resources where you can enter in keywords, such as “voter”. Now, the listings that come up are for other database sites, but it does inform you as to what site it is and if it’s subscription based or not. Above were mainly online ideas that only required you get out of your house just a little bit, if at all. Below are a few of@line resources that can help you get out of the house for your research: The Genealogist’s Companion and Sourcebook by Emily Anne Croom. She covers quite a bit in @inding and using administrative records, such as voters’ registrations for research. However, the most poignant example of @inding these records is described on page 117, where Ms. Croom stumbles upon election returns for 1836 in a basement in Kentucky. I kid you not. This example, alone, should get you out of the house for your research. It’s not every day you @ind how your ancestor voted in a particular presidential election. The Public Record Research TIPS Book by Michael Sankey. While this book would be more applicable to your later ancestors, Mr. Sankey provides a listing of states and their voter registration authorizations. Some states’ voter registration information is unrestricted and some are harder to get. He provides some workarounds for these more restrictive states, though. The Family Tree Resource Book for Genealogists by Sharon DeBartolo Carmack and Erin Nevius. If you’ve noticed, I mention this resource book in almost every article I write. There’s a reason for this. It’s extremely helpful for many research problems. While it does not have direct information on records concerning voters and politics, in some cases, it can point you in the right direction. While @inding an abundance of these records easily would be nice, this probably will not be the case. It’s not always easy, but you won’t know until you try. In my own family research, I have a little bit of family lore that touches upon politics. It’s been passed down that my 3rd Great‐Grandfather, Nelson Martin, was one of only 40 votes in Johnson County, Illinois for Abraham Lincoln. Johnson County is located in Southern Illinois, an area that is referred to
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as the microcosm of the south because of the vast number of southerners that settled in the area, including my 3rd Great‐Grandfather. And back then, according to the family lore, the vote was made vocally in front of the community. The county ultimately went to Douglas by over 1500 votes. While I’ve not been able to substantiate this bit of family lore, I have not given up @inding the truth because if it is true, the incredible courage Nelson would have had to vote against the popular thought in his community gives me great pause, and it’s something I keep in mind every time I vote in one of the private voting booths in my community. Moreover, if I could substantiate it, what a wonderful glimpse of my 3rd Great‐ Grandfather in history it would be, especially since he lived so close to Cairo, Illinois, a known stop on the Underground Railroad. On the other hand, maybe it’s not true, but one fact remains. I’ll keep looking until I exhaust every possible resource. “Why pay money to have your family tree traced; go into politics and your opponents will do it for you.” Author Unknown
Sources: “There_are_two_things_that_seem_to_be…” Dictionary.com. Columbia World of Quotations. Columbia University Press, 1996. http://quotes.dictionary.com/There_are_two_things_that_seem_to_be (accessed: 5 Jan 2011). George Paul Harrison and registered voters of his congressional district, 1897, HeritageQuest Online, PERSI, database (http://0‐persi.heritagequestonline.com.catalog.houstonlibrary.org/hqoweb/library/do/persi/ results/articles : accessed 5 Jan 2011). Michael Hait Family Research Services, 1867 Texas Voters’ Registration Lists, website (http:// haitfamilyresearch.com/1867Texas.aspx : 5 Jan 2011). Croom, Emily Anne. The Genealogist’s Companion and Sourcebook. Cincinatti: Betterway Books, 2003. Sankey, Michael. The Public Record Research TIPS Book: Insider Information for Effective Public Record Research. Tempe: Facts on Demand Press, 2008. Carmack, Sharon DeBartolo and Nevius, Erin. The Family Tree Resource Book for Genealogists. Cincinatti: Family Tree Books, 2004. “Why pay money to have your family…” QuoteGarden.com. Unknown Source. (http://www.quotegarden.com/ politics.html : accessed 24 Jan 2011).
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Contribute To Shades ANCESTOR ARTIFACTS Great-Aunt Agatha’s treasures got you down? Are you confused about how to undo past preservation mistakes and best save your family heirlooms for the next generation? From photos stuck with hardened glue to funny-smelling movie film, from crocheted lace to crumbling newspapers, family historians are faced with a myriad of preservation problems. Caring for family treasures is a great responsibility, but it’s not hard when you are armed with Ancestor ArtiFacts. Shades of the Departed is delighted to announce a new column dedicated to helping you find answers for tough questions. Denise Levenick is our resident expert, but if she doesn’t know the answer, she’ll find an expert who does! Send your preservation, archiving, and restoration questions to email@example.com. Include your question, name, email, and the URL of your blog or web site if you have one. See below for submitting photographs. CAPTURED MOMENTS Do you have a beautiful digital heritage scrapbooking layout or artwork you'd like to share. Submit it to Captured Moments at Shades. We would like to feature the very best digital artwork from readers' submissions. You're the one who Captured The Moment. Show and Tell. Submissions are to be emailed to footnoteMaven@comcast.net with the words Captured Moments in the subject line. Please submit a brief paragraph telling us about your design, who is featured and why you were inspired. Include your name, email, and the URL of your blog or web site if you have one. This is not a how-to, but we would like to know the software photo editing program and products you used. Credit the commercial backgrounds, elements, brushes, frames, layouts, etc. you used; or yourself if they were your own creation. Also submit a high resolution image of your work. See below for submitting photographs.
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FEATURED ARTICLES Shades is always on the lookout for feature articles. Do you have an idea as it relates to old photographs? If so, we would love to hear from you. We are looking for authors for feature themed articles. Send your idea to footnoteMaven@comcast.net with the words "Shades Feature Article" in the subject line. Include your name, email, the url of your blog or website, and a short synopsis of your idea. Article length is flexible. Shades would also like a short bio of 50 words or less and a photograph of the author if your idea is selected. This will appear as â€œAbout the Authorâ€? at the end of each article. And don't forget, Shades is about old photographs. We encourage you to submit several for the article. Upcoming Shades issues will feature old photographs as they relate to occupations (due by 1 April) and toys (due by 1 June). See below for submitting photographs. SUBMITTING PHOTOGRAPHS When submitting photographs and digital artwork for publishing in Shades we ask that the image be 300 dpi and at least 8 inches wide for the scrapbooking layouts and digital art. Please send the image as a JPG or TIFF file. Please send the files via a free file transfer site such as yousendit.com or 4shared.com. Both have a free membership, require registration, and have limitations on file sizes. If you use yousendit.com, please register for the Lite account. Log in, choose Send File, browse your computer for the correct file, and attach. Yousendit will provide a secure link to your file. Cut and paste the link into your email, along with any other information that has been requested. (See categories above.)
We hope to see you in the pages of Shades The Magazine.
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Twitter A GATHERING of people assembled to promote
overheard on twitter
sociability and community activity.
@FamilyStories I'm Elizabeth and I'm addicted to buying other people's heritage. @FamilyStories Support group and quarantine. It's contagious. I'm pretty sure I caught it from @footnotemaven.
@littlebyteslife I'm Caroline & I'm addicted 2 buying other people's heritage. #SomeoneHas2 & yes, it's @footnoteMaven's fault. #oldphoto
@FamilyStories Admitting you have a problem is the @irst step. Buying archival boxes & sleeves is the 2nd.
Photograph indicates whoʼs speaking
@ indicates who theyʼre speaking to or talking about.
# indicates the subject. And it must be done in 140 characters. Short & sweet! A lot like a telegram.
Shades & Occupations Next Issue
On Digital News Stands 1-15 May Occupations & Photographs May/June 2011
THE LAST PICTURE SHOW
The Back Of A Campaign Card The Progressive Party of 1912 (nicknamed the Bull Moose Party) was an American political party created by a split in the Republican Party in the presidential election of 1912. It was named after the era of reform which people were already calling the Progressive Era. It was organized by Theodore Roosevelt after he lost the Republican nomination to William Howard Taft and pulled his delegates out of the convention. Roosevelt lost in 1912 and while a few local candidates were elected, by 1914 the party virtually collapsed. Mr. Porter did not win his bid for election as the Representative of the Pennsylvania State Legislature from the Progressive Party for the 12th District.
Clarence G. Porter, in the 1920 census a barber who owned his own shop. Born 24 June 1874, died 14 April 1944 Springdale, Pennsylvania, of pneumonia. Wife - Louie Porter.