Does photography tell the truth?

Use the Visual Thinking Strategies approach to guide students in their viewing: What is going on in this photograph? What evidence do you see to support that? What else can you find? Explain that the photograph is of Mary Todd Lincoln, taken around 1870, by American “spirit photographer” William H. Mumler (1832–1884). Q: Why did the context of the U.S. Civil War make Spirit Photography so popular?

An American Spiritualist, 1885 H.E. Chase, USA Spirit Photograph, 1890 Left: Anonymous, USA; An American Spiritualist, 1885; Tinted tintype; Quarter plate size (3 1/8” x 4 1/8”); Drapkin Collection Right: H.E. Chase, USA; Spirit Photograph, 1890; Albumen carte de visite; 2 x 3.5”; Drapkin Collection Carte de visite: Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons. Q: Why do you think the carte-de-visite format was so popular? Anonymous, USA An American Spiritualist, 1885 H.E. Chase, USA Spirit Photograph, 1890

Suggested by Sr. David Brewster, England Left: William Mumler, USA; Bronson Murray in Trance Spirit of Ella Bonner, 1872; Albumen carte de visite; 3.75 x 2.25”; Drapkin Collection Right: Suggested by Sr. David Brewster, England; Ghost in the Stereoscope, 1850s; Albumen stereo card hand tinted; 7 x 3”; Drapkin Collection Q: What is a stereoscope? How might that medium provide for an even ghostlier image? Suggested by Sr. David Brewster, England Ghost in the Stereoscope, 1850s William Mumler, USA Bronson Murray in Trance Spirit of Ella Bonner, 1872

Brig on the Water, 1856; Gustave Le Gray (French, 1820–1884); Albumen silver print from glass negative; 12 5/8 x 15 15/16 in. (32.1 x 40.5 cm) rig on the Water was among the most famous and widely distributed photographs of the nineteenth century, enjoying enormous success in England as well as in France.  In this and in later seascapes such as The Great Wave (1857), Le Gray would famously resolve the problem of capturing both ocean and clouds by printing his seascapes from two negatives—one exposed properly for the shore and sea, the second for the sky. Q: Why do you think Brig on the Water was one of the most widely distributed photographs of the 19th century?

John Reekie (American, active 1861-1865); Printed by Alexander Gardner (USA, born Scotland, 1821-1882); A Burial Party, Cold Harbor, Virginia, 1865; Albumen; 9x 7”; Drapkin Collection Q: When do you think this is taking place? What are the men doing?

Alexander Gardner (USA, born Scotland, 1821-1882); Home of a Rebel Sharpshooter, Gettysburg, 1863; Albumen; 9 x 7”; Drapkin Collection Q: This is a staged photograph. Is there anything in the composition of the photograph that suggests this?

Singing Girl and Mirror Image, 1880 Anonymous (Japan); Singing Girl and Mirror Image, 1880; Albumen tinted; 8 x 11”; Drapkin Collection Q: What similarities can you find between this image and selfies today? Anonymous (Japan) Singing Girl and Mirror Image, 1880

Anonymous, USA; Niagara Falls Montage Family Portrait, 1910; Silver emulsion; 8 x 10”; Drapkin Collection Q: What is going on in this photograph? What evidence do you see to support that? What else can you find? What current-day images are similar to this one?

Arthur Rothstein (USA, 1915-1985) An abandoned farm. Cimarron County, Oklahoma, 1936; silver emulsion; 15 x 16”; Drapkin Collection Q: This was a staged photograph. How does the composition of the photo add to the drama and tragedy of the Dust Bowl?