Those only familiar with Cecil B. DeMille’s epic films, such as The Ten Commandments (1956) or Samson and Delilah (1949) are often surprised by the intimacy of his early work. The Golden Chance, which opened 100 years ago in New York City, at the Mark Strand Theatre, on January 16, is one of these films.
Eastman Museum held its first expeditionary workshops in Mexico last February. It was good timing since the worst winter in years hit the northeast while we were shooting collodion plates with temperatures in the mid-80s. We chose the small city of Merida in the Yucatan peninsula as our base because it had a small town feeling and the Mayan ruins of Uxmal and Dzibilchaltun were only a short drive from where we established our darkroom. . . .
After spending our first year of the Photographic Preservation and Collections Management (PPCM) graduate program at Ryerson University in Toronto, my classmate Andrew Murphy and I chose to move to Rochester, New York to spend our second year studying at George Eastman House. Upon arriving, we learned that we would be co-curating a rotation of the newly established exhibition series,A History of Photography ...
On display at George Eastman House through April 26, 2015, the installation Eyelids Leaking Light features two recent works by the London-based artist Aura Satz. Featuring close-ups of eyes from early experiments in color printing, Chromatic Aberration (2014) uses film elements from George Eastman House to explore the aesthetics of “color fringing.” Doorway for Natalie Kalmus (2013) is an audiovisual work that transforms a Bell & Howell lamphouse used for color grading into a grotto of prismatic lights and clanking doorways. The work pays homage to Technicolor’s color consultant Natalie Kalmus, whose name appears in the credits of hundreds of color films including The Wizard of Oz (1939), Gone With the Wind (1939), and The Red Shoes (1948) ...
The Dawn of Technicolor, 1915-1935, a new book by James Layton and David Pierce, is now available for purchase from George Eastman House and other online retailers. In addition to a historical account of Technicolor’s formative years, the publication features a comprehensive filmography of all two-color Technicolor films from 1917 to 1937. The filmography was compiled by myself and James Layton, with the help of a team of dedicated researchers including Daisuke Kawahara, Almudena Escobar Lopez, and Catherine A. Surowiec. I was constantly surprised by the collections we uncovered while researching this underdocumented subject ...
The Dawn of Technicolor, 1915-1935 is a new book written by myself and David Pierce, and published by George Eastman House. It is the cornerstone of the museum’s 100th anniversary celebrations of Technicolor—the pioneering company that successfully brought color to the movies.
December 28 marks the anniversary of the first-ever public exhibition of motion picture film in 1895. The film, a continuing advancement of image capture, production, and technology, was made of nitrocellulose base, referred to colloquially as nitrate. Close in chemical composition to gunpowder, this film was known to be inflammable, but was not considered dangerous ...
On October 14, 1884, George Eastman received his first "film" patent (#306,594) for Negative Paper. While this was a paper film (not very related to the transparent product most people think of today) and not very successful, it eventually lead to improved versions incorporated into the first Kodak camera introduced in 1888 - a milestone in the history of photography.
Next year will be the 100th anniversary of the Technicolor Motion Picture Corporation, whose revolutionary color processes transformed cinema from black & white into a brilliant rainbow of color. As caretakers of the Technicolor Corporate Archive, George Eastman House is planning a series of events and collaborations to celebrate Technicolor’s enduring legacy ...
“What’s in a name? That which we call a rose -- by any other name would smell as sweet.” Shakespeare wrote these lines for Juliet to speak in the play “Romeo and Juliet” and the question they pose is sometimes relevant to the cataloguing of a photograph.
Images such as “Migrant Mother,” “Powerhouse Mechanic,” and “Afghan Refugee Girl” are familiar to us by these acquired names, sometimes merely descriptive, sometimes alliterative and even poetic ones.
It has been 175 since Louis Daguerre introduced photography to the world. The Giroux daguerreotype apparatus is photography’s first camera manufactured in quantity.
On June 22, 1839, L.-J.-M. Daguerre and Isidore Niépce (the son of Daguerre’s deceased partner, Joseph Nicéphore Niépce) signed a contract with Alphonse Giroux (a relative of Daguerre’s wife) granting him the rights to sell the materials and equipment required to produce daguerreotype images.
As part of our studies through the L.
The experience of watching a silent film has never been truly noiseless. From the early teens well into the late 1920’s, silent films were almost always projected with some form of musical accompaniment, the nature of which varied according to the individual film and the scope of the theatre and clientele.
Tonight, the Dryden Theatre screens two of Les Blank’s most loving odes to culinary creativity, Werner Herzog Eats His Shoe and Garlic Is as Good as Ten Mothers. These two lighthearted yet meticulously composed masterpieces are as endearing as they are interesting.