THE MANY PHOTOGRAPHIC PAPER PRINTS
On the Presentation Forms of Film Stills
Film stills, meaning photographic images for which a film scene was reenacted, are the subject of numerous research papers. This genre of images allows a reflection on themes such as pose, movement and stillness as well as the long and complex interrelation between film and photography. This essay, however, adopts a new perspective on the film still by focusing primarily on the various forms of dissemination in print media and thereby considering them to be an essential part of the power of this genre. Following on from that, the question is raised of which of the film still’s inherent qualities enable such manifold dissemination and whether this new perspective on the film still ultimately opens up a specific understanding of the mediality of film and photography.
MEASURING AIR POLLUTANTS
IN THE PHOTOGRAPHY STORAGES OF
THE SPRENGEL MUSEUM HANNOVER
A Pragmatic Approach
In order to exclude the possibility of problems associated with air pollutants in the photography storages of the Sprengel Museum Hannover, we looked for a way of examining the relevant substances, namely ozone, sulfur dioxide, nitrous gases, acetic acid, formaldehyde, and volatile organic compounds (VOCs). Since such monitoring is normally very expensive when performed by analytical laboratories, an alternative idea was devised and subsequently tested to conduct these kind of measurements independently using a pump from the company Dräger together with the corresponding measuring tubes. In order to measure VOCs, passive collectors were deployed which were then examined by an external laboratory. The testing detected no alarming levels of air pollutants; however, the detection limits of the tubes employed were not as low as one would have wished for.
Kristina Lowis und Christina Stehr
“WHAT IN HEAVEN’S NAME
DO YOU MEAN BY
‘WORK PRINT – NO ORIGINALS’?”
Abisag Tüllmann’s Photographic Estate Striking a Balance
between Analog Archive and Digital Presence
The article describes the cataloging project of the estate of Abisag Tüllmann (1935–1996), which was conducted with the financial support of the Abisag Tüllmann Foundation from 2016 to 2019 in the bpk-Bildagentur (Prussian Cultural Heritage Foundation). The aim of the project was to consider the photograph both as an object and a visual source of information in order to highlight the material aspects more strongly and illustrate the contextualization of historical collections. During the course of the project some 56,113 silver gelatin prints, over 20,000 color transparencies and around 1,000 written documents were viewed. More than 3,000 were digitized and recorded individually while all 8,388 contact sheets were digitized. With the research website an online presentation has been created that aims to make the oeuvre in all its diversity better known and invites all those interested to take a more in-depth look at the photographic work of Tüllmann.
PHOTOGRAPHY AS A STRATEGIC ‘WEAPON’
Otto Wagner’s Use of the Medium in the Architectural Discourse of Modernism
Otto Wagner (1841–1918), the architect of ‘modern living’, is considered a pioneer thanks to his propagandistic call for a fundamental renewal of architecture. In his passionate advocacy of an approach oriented towards the functional requirements of the present day, he made use of the persuasive power of the photographic image. Unlike his colleagues, who saw photographs merely as technical aids, Wagner was one of the first in the trade to make use of their specific media properties. As a tireless campaigner for a modern approach to architecture according to his vision, he made use of photographic images in his publications, too. Taking as a starting point a recently discovered bundle of original prints previously owned by Wagner, the exhibition at the Photoinstitut Bonartes in Vienna analysed the strategic use of the medium in the early days of architectural Modernism.
TAKING PHOTOGRAPHS IN THE CITY
135 Years of Photo-(Hi)stories from Lucerne and Surroundings
The city of Lucerne is one of the most popular tourist destinations in Switzerland. However, the city’s surroundings, the canton, is not as well known. In the period from 1840 to 1975 it was largely shaped by agriculture and small businesses. This contrast is reflected by Lucerne’s photographic history, which Swiss photography historian and curator Markus Schürpf and a team from Historisches Museum Luzern present with the exhibition and book “Luzern. Fotografiert. Menschen und Maschinen – Berge und Bauern 1840 bis 1975” (Lucerne. Photographed. People and Machines – Mountains and Farmers) based on a “journey of discovery through the collections and archives of twenty institutions, firms and photographers”. The biographies of several male photographers and one female photographer, the emergence and disappearance of photographic studios and the produce of photographic work illustrate the diverse connections between the history of photography and the everyday history of a region.