Editors Anna Auer and Uwe Schögl

530 Pages·2008·12.73 MB·English

Editors Anna Auer and Uwe Schögl

European Society for the History of Photography
ESHPh

JUBILEE – 30 YEARS ESHPh
Congress of Photography in Vienna
edited by Anna Auer and Uwe Schögl
Fotohof edition
Contents
The Changeable Picture in our Society
The Use and Manipulation of Pictures, Inventors and
Photographic Printing
Anna Auer and Uwe Schögl 2 R. Derek Wood
Opening Words from the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Fourteenth March 1839, Herschel’s Key to Photography,
the Way the Moment is Preserved for the Future . . . . . . . . . . . . . . 18
1 Prologue – How it All Began
Anna Auer in Conversation with L . Roosens and R .H . Krauss 3 Alistair Crawford
on the Foundation and First Years of the ESHPh . . . . . . . . . . . . . . 10 Robert Macpherson 1814–1872 . The Final Proof . . . . . . . . . . . . . . . 32
4 André Jammes – The most modern Collector of Photographs
Interview between André Jammes and Anna Auer . . . . . . . . . . . . . 48
5 Simon Weber-Unger
A Camera Obscura by Voigtländer & Son Vienna . . . . . . . . . . . . . 70
6 Adrian-Silvan Ionescu
Szathmari: from a War Photographer to a Ruling
Prince’s Court Painter and Photographer . . . . . . . . . . . . . . . . . . . . 80
7 Luke Gartlan
Wilhelm Willmann . An Austrian Photographer
in Nineteenth-Century Japan 1866–1874 . . . . . . . . . . . . . . . . . . . . 90
8 Carmen Pérez González
Hand Coloured Photography in the 19th Century in Asia:
Japan, India and Iran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
9 Dainius Junevicius
Anton Rohrbach: Rediscovering a mid-19th Century
Photographer of Railway Bridges . . . . . . . . . . . . . . . . . . . . . . . . . 110
10 Michael Ponstingl
The Engineer, his Bridge, the Children and their Photographer .
About Gustav Jägermayer’s Pictures of the Magdalenen Bridge
in Vienna of 1865 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
11 Emöke Tomsics 20 Matthew S. Witkovsky
The Authenticity of the Artist and the Accuracy of Information . Circa 1930: Art History and the New Photography . . . . . . . . . . . . 242
Mutual Influences of Creative Art and Photography in Event
Representation in Hungary in the 1860s . . . . . . . . . . . . . . . . . . . . 140 21 Vladimir Birgus
Eugen WiŠkovský and Czech Avant-Garde Photography . . . . . . . 254
12 Steven F. Joseph
Simonau & Toovey: The Introduction of Photomechanical 22 Ulla Fischer-Westhauser
Printing to Belgium, 1860–1873 . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 “I have always been independent!” Lilly Joss Reich –
a Forgotten Jewish Woman Photographer . . . . . . . . . . . . . . . . . . . 262
13 Michael Pritchard
Photographic Manufacturing and the British 23 Ben Baruch Blich
Patent System 1839–1910 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Photography and Photographers in Concentration Camps
and Ghettos during World War Two . . . . . . . . . . . . . . . . . . . . . . . 272
14 Michael Gray and John Falconer
James Waterhouse, Assistant Surveyor-General-Survey 24 Anton Holzer
Office of India: His Career in Process Printing . . . . . . . . . . . . . . 176 The Holocaust in Pictures . The Debate on the
Photographs from Auschwitz . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
15 Thomas Freiler
The Eder-Hecht Sensitometer and the Beginnings of the 25 Luc Deneulin
Standardization of Photographic Technology . . . . . . . . . . . . . . . . 190 Leni Riefenstahl . The Photographer of the Past . . . . . . . . . . . . . . 292
16 Rosina Herrera 26 Tamara Berghmans
Europe in Alfred Stieglitz’s Lantern Slides . . . . . . . . . . . . . . . . . . 202 Belgian Identity and Style in the
Photography of the Fifties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
17 Rolf H. Krauss
Karl May: “Empor ins Reich der Edelmenschen” 27 Margit Zuckriegl
Winnetou’s photographic Ascension . . . . . . . . . . . . . . . . . . . . . . . 212 On a New Aesthetics of Terror
Photography regards the Pain of Others . . . . . . . . . . . . . . . . . . . . 312
18 Katherine Hoffman
Art, Propaganda or Cultural Ambassador: The Russian 28 Monika Schwärzler
Photographs of Sergei Mikhailovich Prokudin-Gorskii, The Rhetoric and Pictorial Logic of Close-ups
Alexsandr Rodchenko, and Margaret Bourke-White . . . . . . . . . . 218 and their Use in Print Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
19 Mark Pohlad 29 Gabriele Hofer
The New Vision on Campus: Moholy-Nagy’s Nature, Culture and the Reflective View on the
Photographs of Oxford and Eton . . . . . . . . . . . . . . . . . . . . . . . . . 230 Landscape Photography of the Becher School . . . . . . . . . . . . . . . . 328
Models, Concepts and Strategies Interdisciplinary Photography
in the Private and Public Collections of Photographs Photography and its Contextualization in the Fine Arts
(Painting, Film, Video, Concept Art) and the Sciences
30 The Collection Fotografis and its Roots 34 Italo Zannier
Interview between the Collection’s founding Director The Myth of Photography
Anna Auer and Lisa Kreil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 From Panselinos to Daguerre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
35 Willem Elias
The Relationship between Painting and Photography as
31 Uwe Schögl Discussed through the History of the Philosophy of
Raoul Korty’s Collection and his Atelier Georgette . Photography between 1930 and 1980 . . . . . . . . . . . . . . . . . . . . . . 404
The Photographic Image as a Projection Screen between a
Collecting Mission and Creative Will . . . . . . . . . . . . . . . . . . . . . . 370 36 Giuliana Scimé
Luigi Veronesi .
32 Katalin Bognár The Essence of Experimental Avant-Garde Art . . . . . . . . . . . . . . . 414
A Repository of Socialism . The Photographic Postcard Archive
of the Hungarian Art Foundation’s Publishing House . . . . . . . . . 382 37 Liz Wells
Revisiting Photography as Art . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
33 Xavier Canonne
The Museum of Photography in Charleroi . 38 Christoph Schaden
The largest Photography Museum in Europe . . . . . . . . . . . . . . . . . 390 The Photobook . Comments on a Medium that has been
largely ignored by Photo-Historical Research . . . . . . . . . . . . . . . . 438
39 The Collection FG Simak
Interview between Fritz Simak and Anna Auer . . . . . . . . . . . . . . .446
40 Tim Otto Roth
This is not a Photograph .
Some Remarks on the Photogram as a Picture . . . . . . . . . . . . . . . 464
Chronology
41 Rolf Sachsse
The History of the ESHPh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .502
Marginal Notes on the Photographic Historiography
of the 1970s . The Reception of Photography as Technique,
The Board of the ESHPh 1978–2008 . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Medium, and Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Activities of the ESHPh 1978–2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
42 Johan Swinnen
Photohistorica
Last Supper . Darkness at the Edge of
Photoresearcher
the Aesthetics of Portraiture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
The International Letter
Symposia
43 Thomas Friedrich
Photography, Modern Times and Everyday Life
in the Big City Printed Pictures in the German Press
from 1892 to 1914 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .484
44 Andreas Spiegl Biographies of the Authors
Votography (2) Telephoning with the Eyes . . . . . . . . . . . . . . . . . . . 496
Biographies of the Authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
Opening Words from the Editors
8

s
or
dit
E
he More than 170 years ago, the medium of photography introduced a Copernican change
m t
o in perception (Silvio Vietta, Ästhetik der Moderne, 2001) into our visual reality . Since that
ords fr time, photography – more than any other innovation of the modern age – has propelled
W
g an uninterrupted development that has created a permanent change in our perception,
n
ni
pe investigation and understanding of reality . At the same time, the understanding of the
O
world and the further development of this reality through photography is a history of the
interaction between photography and science: The theoretical reflection on photography
as a realization model has always been a component in the historical development of the
imagination instrument known as photography .
The European Society for the History of Photography (ESHPh) considers itself an independent
scientific forum devoted to the investigation, in an international context, of the historical
developments in photography from its beginning to the present day . Today, the ESHPh is
engaged in a close international exchange of information between renowned photographers,
historians, art historians, philosophers, sociologists, media theoreticians, visual scientists
and private collectors, and counts important institutions in Europe and abroad among its
members .
This year, the ESHPh is celebrating the thirtieth year of its existence . This provides us with
the opportunity of providing new impulses on fundamental aspects of photographic research
in the form of a wide-ranging commemorative festschrift Jubilee – 30 Years ESHPh and a
three-day Congress of Photography in Vienna, 2008 .
This book provides a critical overview of the photographic understanding of the picture from
a contemporary, trans-disciplinary, perspective . Within the context of the visual inundation
of our globalized society, the concepts and effects of photographic images are analysed and