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The George Eastman Museum now offering virtual Photographic and Moving Image Process Workshops

https://www.eastman.org/george-eastman-museum-now-offering-virtual-photographic-and-moving-image-process-workshops -
Rochester, N.Y., March 01, 2021—
The George Eastman Museum has been providing artists, educators, and enthusiasts ways to explore photographic and moving image processes for decades through its on-site Process Workshops. From how to make a tintype to turning digital negatives into prints, these in-person workshops drew people from around the world to learn from the museum’s experts. This year, the Eastman Museum is offering new ways to experience its workshops from wherever you are located. The virtual Historic Process Demonstrations, Online Workshops, and Private Virtual Tutorials will all be led by Historic Process

ONLINE—35mm Silent Film: Demonstration & Preservation

https://www.eastman.org/event/talks-workshops/online-35mm-silent-film-demonstration-preservation -

Process Demonstration: Historic Process Specialist Nick Brandreth will demonstrate the process of creating 35mm motion picture film. Then, Anthony L'Abbate, preservation manager in the Moving Image Department, will discuss why so many films from the silent era have disappeared, and the methods that we use today to preserve and restore these films.

Nick Brandreth making 35mm film

ONLINE—Gelatin Dry Plates & George Eastman: Demonstration & History

https://www.eastman.org/event/talks-workshops/online-gelatin-dry-plates-george-eastman-demonstration-history -

Process Demonstration: In this webinar, George Eastman Legacy Curator Kathy Connor will share Eastman’s story, early trials and challenges. Then, Historic Process Specialist Nick Brandreth will demonstrate how gelatin dry plates are made, showing the features that make them superior to wet collodion.

Pouring a gelatin emulsion onto a glass plate

ONLINE—Stereocards: Demonstration & History

https://www.eastman.org/event/talks-workshops/online-stereocards-demonstration-history -

Process Demonstration: In this webinar, Historic Process Specialist Nick Brandreth will give a demonstration, showing how stereocards are made using albumen prints and basic materials found at your local art store. Boyer Cataloger in the Department of Photography Lilyan Jones will share a brief history of this fun and unique technology, sharing examples from the museum’s Boyer Collection.

Two people holding up stereocard examples

The George Eastman Museum launches new virtual artist’s talk series

https://www.eastman.org/george-eastman-museum-launches-new-virtual-artists-talk-series -
Rochester, N.Y., March 08, 2021—
The George Eastman Museum is launching a new series of virtual talks, Future/Present, featuring early- to mid-career photographers and artists who are exploring some of the most pressing issues of our time and pushing the boundaries of image-making and visual culture today. The series will kick off online with visual artist and storyteller Citali Fabián on March 18 at 6 p.m. The event is free for museum members and $10 suggested ticket for non-museum members. Future/Present: Citlali Fabián “Who We Are: Decolonizing Visual Narratives” Thursday, March 18, 6 p.m. $10 suggested | Free to members
Work by Citlali Fabian

Orson Welles’s Too Much Johnson now available online with voice-over commentary and musical accompaniment

https://www.eastman.org/orson-welless-too-much-johnson-now-available-online-voice-over-commentary-and-musical-accompaniment -
Rochester, N.Y., March 11, 2021—
One of the landmark projects of the George Eastman Museum’s Moving Image Department was the preservation of Orson Welles’s 1938 comedy, Too Much Johnson. The film, once thought lost, can be viewed at eastman.org/TooMuchJohnson. The digitized version of the film includes new recorded voice-over commentary by Anthony L’Abbate, preservation manager, and Caroline Yeager, associate curator, of the George Eastman Museum. The online film also includes a new musical score provided by Philip C. Carli and inspired by Paul Bowles’s score for the original Mercury Theatre stage production. “For the first

Daguerreotype Likenesses

https://www.eastman.org/daguerreotype-likenesses -
00:00 Introduction by Nick Brandreth, Historic Process Specialist, George Eastman Museum 01:48 Daguerreotype Likenesses Daguerreotype Likenesses (US ca. 1949) Director: James Card Cinematographer: James Card Production company: George Eastman House Length (in feet): 200 ft. Length (in reels): 1 (16mm) Sound: silent Color: black & white Running time: 6 min. Preserved with funding from the National Film Preservation Foundation Preserved at Cinema Arts Laboratory Digitized by Eastman Film Preservation Services

Negatives on Paper: Talbot’s Process

https://www.eastman.org/negatives-paper-talbots-process -
00:00 Introduction by Erin Fisher, Technology Collection Manager, George Eastman Museum 02:47 Negatives on Paper: Talbot’s Process Negatives on Paper: Talbot’s Process (US ca. 1949) Director: James Card Cinematographer: James Card Production company: George Eastman House Length (in feet): 149 ft. Length (in reels): 1 (16mm) Sound: silent Color: black & white Running time: 4 min. Preserved with funding from the National Film Preservation Foundation Preserved at Cinema Arts Laboratory Digitized by Eastman Film Preservation Services

The Wet Collodion Process

https://www.eastman.org/wet-collodion-process -
00:00 Introduction by Nick Brandreth, Historic Process Specialist, George Eastman Museum 02:06 The Wet Collodion Process The Wet Collodion Process (US ca. 1949) Director: James Card Cinematographer: James Card Production company: George Eastman House Length (in feet): 127 ft. Length (in reels): 1 (16mm) Sound: silent Color: black & white Running time: 4 min. Preserved with funding from the National Film Preservation Foundation Preserved at Cinema Arts Laboratory and Colorlab Digitized by Eastman Film Preservation Services

A Cinematic History of Photographic Technology

https://www.eastman.org/cinematic-history-photographic-technology -
Daguerreotype Likenesses (US ca. 1949) Negatives on Paper: Talbot's Process (US ca. 1949) The Wet Collodion Process (US ca. 1949) When the George Eastman Museum opened to the public in 1949, its focus was to celebrate the legacy of George Eastman through the science and art of photography. The museum’s founding director, Oscar Solbert, made several crucial decisions in 1948 that had a profound impact on the developing profile of the fledgling institution. Solbert hired James Card (1915–2000), then an executive at the Eastman Kodak Company and a great cinephile, to assist curator Beaumont