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contents

Features

Columns

Appealing Subjects

pg. 21

A Gallery Of Political Firsts

Penelope Dreadful

pg. 35

Mini-Me

pg. 11

Shades Centerfold

pg. 39

A Gallery of Political Photographs

pg. 15

The Healing Brush

pg. 49

Behind The Camera

pg. 31

iAncestor

pg. 63

Woman’s Journal

pg. 43

In2Genealogy

pg. 71

In Every Issue

A Brief Illustrated Essay

A Dreadful Suffragette

Miss March/April

The Tale of Two Tintypes

Picturing Technology

A Call To Arms

Captured Moments

Returns Next Issue As A Gallery

On The Cover Photograph President John Quincy Adams

fM

pg. 5

Maureen Taylor Carte-de-Visites to Buttons C.M. Bell & Assassination Questions & Answers

From My Keyboard

pg. 2

The Exchange

pg. 5

Letter from the editor Your comments

The Last Picture Show

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

Download The Magazine

Back Cover


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

VICKIE EVERHART

JANINE SMITH

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 OLSON

SHERI FENLEY

CAROLINE POINTER

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 FENNING

CRAIG MANSON

FOOTNOTEMAVEN

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.


THE EXCHANGE

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.

Thank You!

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.

esy Court

rary o of Lib

f Cong

ress

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.”

note M

aven

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.

foot

“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 

  campaign 

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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3 Philip

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

5 “Hannibal

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

Lafayette Soper

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

Campaign Cards

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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APPEALING SUBJECTS

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

Fig. 3

Fig. 4


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: [1924]  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: [1925] 

• 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

his

own

studio

on

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

Charles

Yellowstone on the map; documenting the wonders

of

the

region,

and

utilizing

photography in his reports as early as 1868. His photographer was Bell. Most of the Indian delegations

to

Washington,

photographed by Bell.

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D.C.

were

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

President Garfield

Guiteau

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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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PENELOPE DREADFUL

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


Miss March/April


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 governor—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.

Bef

ore

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


iANCESTOR

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 isn’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 of 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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IN2GENEALOGY

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 

77 Shades MAGAZINE | Political 2011


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 ancestorartifacts@gmail.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.

79 Shades MAGAZINE | Political 2011


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 “About the Author� 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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Telephone

Telegraph

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.


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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.


March/April Issue of Shades