Marking time on reviews
Two recent dealings with Australian companies have left a sweet taste in my mouth, and a feeling that there are still some businesses that stand behind their products.
The little lighthouse
The other day I was in Caloundra to talk to the Friends of the Caloundra Lighthouses. I am working with local architect Roger Todd on an updated conservation management plan for the old and new lighthouses (built in 1896 and 1968) that stand side by side at Caloundra. The Friends are doing this work with a heritage grant from the Sunshine Coast Council, augmented by pro bono contributions from Roger and me.
The Friends have recently had a part in producing a children’s illustrated book about the lighthouses, and I was delighted to be given a copy. It reminded me of reading to my daughters—it brought fond memories of that special pleasure of reading stories together, and of the countless times we read one or other of our favourite books.
An atlas of photographic processes
The Getty Conservation Institute has released a terrific resource for collectors and custodians of historic photographs.
The Atlas of Analytical Signatures of Photographic Processes is intended for practicing photograph conservators, curators, art historians, archivists, library professionals, and anyone responsible for the care of photograph collections. Its purpose is to aid in the formulation of analytical questions related to a particular photograph and to assist scientists unfamiliar with analysis of photographs when interpreting analytical data. The Atlas contains interpretation guides with identification of overlaps of spectral peaks and warnings of potential misidentification or misinterpretation of analytical results.
It’s published as a set of free pdf documents—an Introduction, plus separate chapters on the Albumen, Carbon, Collodion on paper, Collotype, Cyanotype, Halftone, Photogravure, Platinotype, Salt print, Silver gelatin, and Woodburytype processes—with the promise of more to come. Each of these chapters has an historical account of the development and use of the process, and a guide to identifying photographs made by that process. The identification methods include looking at the print with the naked eye (which I can do), low-magnification microscopy (which I can manage, sort of, with hand lens and scanning), and using XRF and ATR-FTIR spectometry (not possible for me, but interesting to read about).
The grand tour: travelling the world with an architect’s eye
In this pleasing and quirky book Harry Seidler lays out a collection of his travel photographs. He has been an ardent traveller, photographer and observer of architecture since he was a student.
My photographer brother, Marcell (1919-1977) gave me simple advice when I started to record architectural sites “Only use Leica cameras and Kodachrome film, which is archival”. I have adhered to this in taking all images in this book, some over 50 years ago.»more»