Blog

Submitted by Mark Osterman,

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. . . .

Submitted by Bruce Barnes,

Dryden Theatre

The Dryden Theatre serves primarily as our museum’s venerable exhibition gallery for screening motion pictures that represent the entire history of the medium, from the Lumière brothers to Pixar. Since the Dryden’s opening in 1951, our museum has regarded each of its more than 16,000 screenings as a “cinematic event.” Few film theaters of its kind remain.

Submitted by Bruce Barnes,

Michael Douglas holding the George Eastman Award

May and June were particularly eventful for George Eastman House, as we celebrated creativity and its preservation and, in turn, received honors for leadership and contribution in preservation efforts.

Submitted by Anonymous,

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 ...

Submitted by Bruce Barnes,

Staff photo

It is essential for any institution to seek out and welcome talented new colleagues. Different perspectives and fresh ideas help to assure the ongoing vitality of a museum.

Submitted by Rachel Pikus,

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) ...

Submitted by Crystal Kui,

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 ...

Submitted by Bruce Barnes,

Portrait of George O'Keeffe

George Eastman House has been entrusted with one of the world’s leading collections in the fields of photography and cinema, including the foremost collection of photographic and cinematographic technology. We are also the stewards of George Eastman’s historic estate, many of its furnishings, and a large collection of his personal and business papers. Preserving these treasures for future generations is our fundamental responsibility.

Submitted by James Layton,

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.

Submitted by Stacey Doyle,

One of the joys of processing paper collections in the Moving Image Department is seeing some of the truly astounding work that was done before a film made it to screen (for example, the conceptual artwork above). But occasionally the story of a movie ends with this pre-production work ...

Submitted by Bruce Barnes,

Image from Technicolor

George Eastman House is deeply committed to film preservation and to advancing the understanding and appreciation of both the art and science of cinema. For the centennial of the Technicolor Motion Picture Corporation, our museum has organized a multifaceted project celebrating the company’s important contribution to the history of the medium.

Submitted by Anthony Labbatte,

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 ...

Submitted by Bruce Barnes,

Dryden Theatre

As we head into the holiday season, I am reminded of the tremendous support that you, our valued members and donors, bring to George Eastman House. During the 65 years since the museum opened its doors, our members have ensured that countless visitors, students, and researchers continue to be inspired and educated by our world-class collections.

Submitted by Todd Gustavson,

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.

Submitted by Jesse Peers,

Far be it from me to compare myself to George Eastman, but there’s at least one thing we have in common: We both had stages of our lives in which we were enthusiastic about bicycling ...

Submitted by Rachel Pikus,

"Around 1 p.m. we were overcome with the paranoid notion that we were waiting for a train that would never come. We threw on our packs and headed out into the wasteland of abandoned buildings to find answers ..."

Submitted by James Layton,

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 ...

Submitted by Bruce Barnes,

Dryden Theatre

George Eastman House is, above all, committed to the preservation of the treasures with which we have been entrusted. It has been more than 25 years since we completed the construction of our archive and gallery building and restoration of George Eastman’s historic house and gardens. This transformational project was undertaken primarily to assure preservation of our world-class collections and to restore Mr. Eastman’s landmark home as a historic house museum. After a quarter century, the state of our facilities now requires comprehensive evaluation.

Submitted by JoeStruble,

“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.

Submitted by Todd Gustavson,

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.

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