Photography

The 2009 World Series brings together two cities uncommonly rich in baseball history. Though you might guess which team NYPL is rooting for this year, we've posted a selection of images on The Commons on Flickr representing a variety of New York and Philadelphia ball clubs of yore.

Some of the game's earliest years are chronicled in over 500 photographs, prints, drawings, caricatures, and printed illustrations donated in 1921 to the New York Public Library by early baseball player and sporting-goods tycoon A. G. Spalding (whose name to this day is printed across every ball used in the National League).

As the contemporary Yankees and Phillies clash on the field, here you'll find Philadelphia Quakers, Athletics and Keystones in a gentlemanly mix with New York Giants, Knickerbockers and Metropolitans, and of course Brooklyn Excelsiors and Atlantics. Each one of these images of course has an enormous back story, which we hope the baseball history buffs among you will help fill in through comments, links, tags and annotations.

Also check out a smaller set, Proto-baseball, which gathers images of baseball's ball-and-stick forebears like cricket and Old Cat. Here's "Six boys with a ball and three bats, playing Three Old Cat":

We also invite you to explore the full Spalding Collection on the NYPL Digital Gallery and through this finding aid (PDF) from the Manuscripts and Archives Division.

Now let's just pray for the rain to stop so Game 1 can get underway...

***UPDATE*** Picked up by Gothamist!

The commercial strips of the neighborhoods of New York City are the lifeblood of the community and city at large. It is where the action is. People shop, stroll, and mingle on the street. In warm weather men often pull up chairs, to discuss the day’s events in front of their local barbershop, with the twirling barbershop poll acting as a beacon in the background. While bodegas with their blinking colored signs often seem to host a never ending domino game in front of their storefronts. And corner candy stores are magnates for youngsters, tossing balls or cruising on skateboards. Teenage hoods hang out too but at curbside with cigarettes in their mouths. The commercial strips of the neighborhood of the city are a microcosm of the city itself. You can feel the life and energy in front of many storefronts. The social community that is organized around the business district help gauge the health of the neighborhood. Commercial strips are fluid entities and change like a river. In one generation the street may be lined with mom and pop businesses: a bread store, dry cleaner and an Italian deli with meats hanging in the window, while in latter generations the street may change many times over. In Park Slope, where I live, I have witnessed one storefront after another close, because the next generation did not want to continue in the family business.

In the time that I have lived in my neighborhood, I have seen the closing of many storefronts. Some close up shop because storeowners want to make a big buck as developers greedily eye the strip and think of tearing down and building anew, while others can’t bear the thought of having an outsider running their business, choosing instead to shut down their business that was instrumental in supporting their family. Remnants of the old sign of the business are often buried under the new signage, sometimes it is visible: a shadow on the wall where the letters were once placed or painted words that peak out from under the new sign and sometimes you can even see hints of where the neon tubing was attached. Or in the case of Garry Jewelers on 5th Ave, in my neighborhood, it is the name Garry in a smooth mosaic tile on the ground, at the entryway. The neon of Garry Jewelers is still there, but now it is always dark and it is only a matter of time until this beautiful sign, established in 1951, finds its way to the junk heap.

Please join the authors of Store Front James T & Karla L. Murray as they present a slide lecture on the Disappearing Store Fronts of New York City on Monday, Oct 26th at 6:30 PM on the 6th floor of the Mid-Manhattan Library.

Images from: http://www.jamesandkarlamurray.com/JamesandKarlaMurraySTOREFRONT.html

Staff of the New York Public Library recently hand picked a set of nearly 500 images, collected from across our Digital Gallery, composing them as a curated set of images at the Commons on Flickr. They represent the Hudson River Valley through several hundred years of history and complement Mapping New York's Shoreline, 1609-2009, now up in the Gottesman Exhibition Hall at the Stephen A. Schwarzman Building.

The images depict landscape scenes in stereoscopic vision, a popular 19th century format; everyday and commemorative menus from restaurants and catering halls; postcards of scenic places and buildings; and engravings of important estates, prominent citizens and dramatic turning points in historical events. These images have been geocoded and are part of map-based bibliography, The Storied River, coming soon to the NYPL. Stay tuned, the launch will be posted on the NYPL's map blog...

In the meantime, enjoy the same photos at the Commons on Flickr, perused as a gallery of images... Mapping New York's Shoreline: The Storied River

...or, my favorite, pinned to a map on the Flickr website.

Learn more about the NYPL Map Division.

You have nothing to do this weekend? I wish I could say the same, but its the 4th Annual NYABF and 2nd Annual CABC all under one roof at PS1.

A free opening preview is tonight from 6 to 8pm. And things really kick off tomorrow at 10:30 with the opening conference session. The Fair is entirely free and the bound-to-be intellectually stimulating Conference sessions are an affordable $20 each (or $100 for all 6 session and other assorted goodies).

In addition a slew of performances, talks and general fun have been arranged to concurrently happen in the Classroom at PS1.

Now what were your plans again?

Oh how we love The Commons on Flickr, without question the best place on the web to explore treasures from the photography collections of the world's great museums, libraries and archives. NYPL became a partner in late '08 and has since added nearly 2,000 items from our Digital Gallery, and we plan to add thousands more — keep an eye out in the coming week for a new set of Hudson River Valley images connected to our Mapping New York's Shoreline exhibit, opening tomorrow.

To celebrate nearly two years of Commons goodness, next weekend (Oct 2-3) participating institutions are organizing Common Ground, an international series of near-simultaneous meetups featuring community-curated slideshows projected against the buildings (that's right!) of host organizations: a visual banquet of items voted up and “favorited” by Commons fans.

Next Saturday, October 3, 6-9:30pm, two of NYC’s great cultural institutions, the New York Public Library and the Brooklyn Museum, are joining forces for a combined Common Ground spectacle at the Brooklyn Museum’s Target First Saturday event. Location: Brooklyn Museum lobby. Directions here.

Come witness a beautiful nighttime parade of images gathered and transmitted from the global Commons network, meet staff from Brooklyn and NYPL, get your hands on some cool Flickr schwag and enjoy the surrounding First Saturday festivities. It’s a rare convergence of online and local communities, digital media and physical spaces. And... it’s free!

As we watch with astonishment the "restructuring" of two American automotive titans, take a look back at the first four decades of their history, a time which saw multiple breaking waves of innovation in both engineering and design, and a steady absorption of manufacturing brands into the conglomerates we now see in crisis today.

Over the years, General Motors Corporation donated photographs and related materials as a public service to contemporary and future researchers, and to create an ongoing record of the company's output. The Library, in turn, mounted these photographs and texts in albums. General Motors was one of several transportation corporations that donated public relations materials to the Library department that is now the Science, Industry and Business Library. The General Motors holding is particularly comprehensive. See here the first Oldsmobile (1897)!

NYPL's latest contribution to the Flickr Commons is a group of 425 images from these albums, ported over from our Digital Gallery and organized into six Flickr sets and one overall collection: G.M. and Chrysler Cars and Trucks, 1897-1938. Peppered through some of them you'll find the ghostly portraits of engineers long gone, and delightful staged shots of motorists in action.

Spread the word and enjoy!

Today marks the 115th anniversary of the birth of Anatol Josepho (March 31, 1894 - December 1980), Siberian immigrant and inventor of the photobooth. His patent for an automatic coin operated photographic apparatus was filed on March 27, 1925 and though similar devices existed at or around the same time it was Joespho who brought the photobooth to the masses via Times Square in New York City where people lined up for blocks to have their pictures taken.

Josepho’s is the classic immigration success story: he moved to The United States, struggled, found financial backing, sold the rights to his invention in 1927 for one million dollars (the equivalent of over $12.5 million today) and donated half the money to charity.

Over 80 years later photobooths still hold a special place in America’s culture. There is something about the intimacy and immediacy of the process, where individuals can be themselves and create an honest and telling self portrait, or where people can playfully act out and document their dreams and desires.

Photobooths today rely on digital processes rather than chemical ones but the basic idea behind the device and its enduring intrigue has remained relatively unchanged for all of these years making it a true cultural icon.

Most everyone has a photobooth story to tell. And all those untold number of photobooth photographs speak volumes. Lower Manhatten between the Jefferson Market Library and the lower east side probably has the highest concentration on photobooths in the city. Drop me a line to find out the closest one in your area.

For more information on photobooths check the Catalog. There are also some classic photobooth scenes in movies such as Amelie, Buffalo 66, and Superman III.

The photograph above is not Anatol Josepho. It is just one of the countless anonymous Photomatic photobooth photographs out there.

The NYPL Photography Collection has one of the largest collections of Farm Security Administration (FSA) photographs outside of the Library of Congress. I’m not sure what it is about these images—though given the economic times I’d say they are due for a resurgence—but they continue be some of the most popular and to present some of the most iconic images in American history: Dorothea Lange’s photographs of Okies newly arrived to their hardscrabble yet hopeful life in the interior valleys of California being perhaps the most prominent example.

The history, plight, and societal conditions of California agricultural workers (not farmers) has been told many times over. It is not a happy story, but it is story of necessity and one that is generally forgotten as the state has been transformed into two regional metropolitan hubs. It is a nice addition, then, to find a book like Richard Steven Street’s Everyone Had Cameras. Street chronicles the photographic documentation & representation of farm workers from grape-pickers on Leland Stanford’s estate in the northern Sacramento Valley in the late 19th century to the present day migrant workers who pick strawberries in Ventura County.

A little later this year, Powerhouse Books—an independent publisher in Brooklyn—will be bringing out a volume of William T. Vollmann’s photographs of the Imperial Valley. Vollmann is well known for blending fictional and non-fictional portrayals of marginal figures in American history & society. He will follow up this photographic work with a 1300-page historical account of the Valley. Perhaps not summer reading, but it’ll get you through next winter.

Also, be sure to check out some of the NYPL's FSA images on the Flickr Commons...

Chances are, if you spend any time online you've come across Flickr. Flickr is a wonderful site for storing, sharing and building community around photographs. It's similar to online photo services like Kodak Gallery or Shutterfly except with a greater social focus and tools and features reminiscent of Facebook.

About a year ago Flickr launched the Flickr Commons, a project dedicated to sharing and describing the public photo collections of the world's leading cultural heritage institutions. Starting this past January with The Library of Congress, and continuing with places such as The Smithsonian Institution, The Brooklyn Museum, The National Maritime Museum, The National Library of New Zealand, the Nationaal Archief of the Netherlands and numerous others, the Commons has grown steadily over the past year into a truly remarkable public photography resource.

We are delighted to be the latest institution to join in this endeavor, with an initial contribution of 1,300 images culled from various areas of our diverse photographic collections.

We think of this as a sort of appetizer course, a sampler of collections accessible in greater breadth and depth on the NYPL Digital Gallery, and on-site in our network of libraries. Lush images of modern dance pioneers; haunting early cyanotypes of algae (the first photographic works to be produced by a woman); majestic geographical surveys taken along the Union Pacific Railroad, iconic Depression-era images taken under the Farm Security Administration's famed photography program; Berenice Abbott's epic documentation of 1930s New York for the Federal Art Project; stunning 19th century vistas of the Egypt and Syria; scenes and portraits of Ellis Island Immigrants, the Statue of Liberty under construction... These and more are now available to view, tag and discuss in the Flickr Commons, and are offered as an invitation to explore further on our own site or in our actual libraries. After this initial road test, we expect to post many more images into the Commons pool.  read more »

Who doesn’t like old photographs? When I explain my responsibilities as a librarian here at the Milstein Division of the New York Public Library people seem most fascinated by my work with photographic prints. Perhaps this is due in part to the sense of history images capture that can elude written descriptions. This Fall I will be teaching a class on dating family photographs. Inspiration for developing this class came as I encountered undated and often times completely unmarked photographic prints. In this blog entry we’ll go through some of the steps one can take to approximate a date for a photograph looking at the example below:  read more »

I went to The Museum of Modern Art recently to check out some of the new photography exhibitions. In addition to the stark repetition the Bechers’ work and some of my favorites from Diane Arbus there was a wonderful exhibition of vernacular photography. The snapshots by anonymous photographers all depict the shadow of the photographer. The photos are hung salon style with a variety of different frames, bringing to mind a Victorian parlor or a page taken from a vintage photo album. Seeing all these photographs together also made me think of one of the downsides of the advent of digital photography: mistakes like these are now easily and instantly deleted.

Keep your back to the sun. This is one of the basic rules of photography for obvious reasons. Unfortunately (or fortunately, depending on your view of these things) this often led to the photographer inadvertently placing himself, or to be more specific, his shadow, into the picture. Sometimes it is apparent that this was intentional, with the photographer having a little creative fun by finding a way of inserting himself into the photograph while remaining behind the camera. The majority of the time though the shadow is unintentional, with the photographer concentrating on the subject in the view finder and not noticing the dark shape until after the prints were made. It’s kind of ironic, focusing on the subject and getting results that make the intended subject secondary. The shadow becomes the center of attention. The shadow becomes what the photograph is about. We no longer have a photograph of Sally playing in her own yard. We have a photograph of Sally being approached by a stranger in her own yard. The shadow of the photographer changes what is happening in the photograph. The results can be playful and lighthearted or an ominous and disconcerting dialogue between the subject and the unknown.

100 Shadows, an exhibition of anonymous photographs all depicting the shadow of the photographer, will be on display in the lobby of Jefferson Market through October.

Click through here for books on vernacular photography.  read more »

One of Calvin Tompkins' Bachelors has shuffled off stage left. As the New York Times obituary makes clear, Rauschenberg's impact on the Visual and Performing Arts is pretty much incalculable.

I can't remember when I didn't know of Rauschenberg's work, having probably been exposed to a few pieces in my teens on a weekend getaway to the Art Institute of Chicago, but one of my favorite experiences that encompasses Rauschenberg and his cadre of New York pals was seeing the Merce Cunningham Dance Company perform at Lincoln Center in 1999. There in one place--literally and figuratively--were Marcel Duchamp, John Cage, David Tudor, Merce Cunningham, Jasper Johns, Morton Feldman, Bob Rauschenberg and, as something of a weird bonus Mikhail Baryshnikov, Gavin Bryars and Jim O'Rourke.

The Library for Performing Arts actually has a DVD of one night that I attended in addition to other videos and printed material relating to Rauschenberg's work with the MCDC as well as his experiments in Performance Art. In addition, the Wallach Division of Art, Prints and Photographs has a plethora of material outlining Rauschenberg's entire career.

Goodbye 20th century!

For the past few months I have been working with a collection of photographs of various locations in the United States from the late nineteenth century to the mid twentieth century. The collection will be available on our wonderful digital gallery in the future and I’m looking forward to seeing these images uploaded – some of them are really amazing.

I wrote a while ago about Hilah Paulmier and of the trail of documents that led me to verifying her identity. Recently I discovered another photographer who sparked my interest: William M. Van Der Weyde who captured the above image which is part of the Photographic Views of New York City Collection. While working on the images from the rest of New York I found some amazing photographs from Camp Black, a recruitment center for the Spanish-American War, also by Van Der Weyde. I will write again when these are available digitally.  read more »

Want to see some amazing photographs of New York City in the 1940’s and 1950’s? We recently acquired Vivian Cherry’s Helluva Town, a book of black and white photographs with images of New Yorkers at street corners and fruit auctions, on the el train and on bocce ball courts. The photographs capture the kind of New York that always seems damp and chilly, kind of like today.

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The above photograph is part of the "By Popular Demand: Votes for Women," a digitized collection in the Library of Congress' American Memory Project. I love the details of this one: the ink well in the bottom left hand corner, the wooden ballot box, the look on the face of the voter to the right and how the photograph was taken just as the women in the middle is tearing her ballot.

Details like these are exactly what the Polling Places Photo Project are hoping to archive and share. "Polling Places" is a collaboration between the New York Times and AIGA. It is described as a "nationwide experiment in citizen journalism that encourages voters to capture, post and share photographs of this year’s primaries, caucuses and general election." I really like this one - A campaigner devoted enough to run into moving traffic.

So, don't forget to vote tomorrow and if you think to, bring your camera!

We all like a good challenge sometimes and one presented itself to me in these three images:

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The Astor Library was opened to the public almost 150 years ago. One reason it was not viewed as a success is expressed in the illustration below:

Most of us, I think, would agree that democratization of information is a good thing. Making books, art, music freely available to more people can only bring about societal enrichment. The New York Public Library has a history of doing just that.

Working with the idea of social collective knowledge, libraries seem to be pushing the boundaries further. Even the Library of Congress is considering the benefits of allowing patrons to manipulate and create content. Recently the LOC collaborated with Flickr, uploading two collections of photographs with no applicable copyright restrictions, and allowing other Flickr users to tag the photos with their own descriptions. It is an interesting idea and many of the photographs are great, especially the color transparencies.

Since we recently had a little dusting of snow it's probably a good time to mention photographer Ellie Ga and her current foray into the depths of the Arctic night as Artist-in-Residence aboard the Tara. The Tara is not Skowhegan, but a research vessel that has been locked in the ice of the Arctic Ocean since September 2006.

Ga, who joined the Tara in September 2007, has been keeping an online journal on the Alliance Francaise website and there is a little more information (in English) on the Tara's site regarding her Arctic projects. The Dispatch gallery (appointment only) has also been receiving audio missives from Ga that they make available to visitors.

You might remember the Tara from Pierre Huyghe's 2005 Antarctic voyage, which was the basis for a Central Park public art performance in October 2005. Also along for the ride with Huyghe was Brazilian photographer Sebastiao Salgado, who was working on project for the United Nations Environmental Program.