Storyville portraits · E.J. Bellocq

E.J. Bellocq (1873-1949) ~ [Storyville Portrait], New Orleans, 1911-1913. Gold toned printing out paper, printed 1973 by Lee Friedlander | src Bonhams

Ernest Joseph Bellocq was a native New Orleans French Creole photographer, whose Storyville portraits captured the vibrant scene in Storyville, the city’s red-light district, circa 1912. The glass plate negatives were not discovered until after his death in 1949, which is why so many of the images are cracked, scratched, and damaged. It is said that some of the damages were deliberately inflicted by Bellocq while the emulsion was still wet, in order to protect the identity of the sex workers.

Ernest Joseph Bellocq (1873-1949) ~ [Storyville Portrait], New Orleans, 1911-1913 | src Swann & the photographers’ gallery

A lifelong resident of New Orleans, Ernest J. Bellocq was a commercial photographer who undertook a personal quest to photograph the prostitutes of Storyville. In these frank and intimate photographs, women are not portrayed as prey to the camera’s gaze, but rather seem to participate willingly and confidently in the photographic act. Rumored to be eccentric and reserved, Bellocq told only a handful of acquaintances about these portraits, which primarily date from 1912 (the negatives were later discovered and printed by photographer Lee Friedlander). This photograph of Bellocq’s desk, therefore, provides an unusual glimpse into his mysterious personality and life. The cluttered arrangement of images of women, juxtaposed with floral wallpaper and languidly posing marble figurines, coheres into a dotingly composed shrine to femininity, hinting at the artist’s admiration for women. | text: AIC

Ernest Joseph Bellocq (1873-1949) ~ Storyville Portraits, ca. 1912. Gelatin silver printing out paper print | src AIC

Photogenic drawing, 1830s

William Henry Fox Talbot :: Adiantum Capillus-Veneris (Maidenhair Fern), probably early 1839. Photogenic drawing negative. Courtesy of Hans P. Kraus Jr., New York. | src diptyqueparis
William Henry Fox Talbot :: Adiantum Capillus-Veneris (Maidenhair Fern), probably early 1839. Photogenic drawing (salted paper negative). Courtesy of Hans P. Kraus Jr., New York. | src diptyqueparis

This image of a fern was an experiment by Englishman William Henry Fox Talbot. It probably dates back to 1839, the year in which he publically announced his invention of paper photography. But back then, this did not mean taking a snap using a camera in the sense that we understand it today. This was a photogram. Talbot took a small object with delicate contours like a piece of lace or a plant specimen and exposed it to light on a sheet of paper that had been bathed in a solution of salt and silver nitrate. When the object was removed after having been exposed to sunlight (a trial and error process to determine how long it should be exposed to best effect), a clear silhouette would emerge from the darkened background of the paper.

Talbot is the English inventor of photography, just as Niépce and Daguerre were the French inventors of the same. While Daguerre was working alongside Niépce and fine-tuning the daguerreotype process, Talbot, who didn’t have a clue about their research, was experimenting with photography on paper himself in his property at Lacock Abbey in Wiltshire. His early interest in botany, maths, travel and a meeting with the great scientist John Herschel in 1824 fuelled his passion for the physical and chemical sciences. His light bulb moment came in 1833 when on honeymoon at Lake Como. His idea was to chemically fix the images produced by the camera obscura used by artists at the time to create sketches from nature. He succeeded around mid 1830. It was the first time that an image had been created without human intervention, hence the word photogenic drawings followed by the expression photography, a word created from two Greek words meaning «written with light».

The story goes that these delicate little silhouettes that look like herbarium plants or sketches by naturalists became the first manifestations of the invention – and great revolution – of photography. [quoted from src]

Le Soleil au Zénith, 1856

Gustave Le Gray (1820-1884) :: Le Soleil au Zénith – Océan (nº 22) / [The Sun at Zenith, Normandy], 1856. Albumen silver print from glass negatives. No Copyright. [partial view]
Gustave Le Gray (1820-1884) :: Le Soleil au Zénith – Océan (nº 22) / [The Sun at Zenith, Normandy], 1856. Albumen silver print from glass negatives. | src The J. Paul Getty Museum

Beatrice Baxter by Käsebier

Gertrude Käsebier ~ The sketch (Beatrice Baxter Ruyl), 1902 | src Rijksmuseum
Gertrude Käsebier (1852-1934) ~ The Sketch, 1903. Platinum print. | src The Met

A frequent model for Käsebier and F. Holland Day, Beatrice Baxter Ruyl, who posed here, made illustrations for children’s books and the Boston Herald.

Gertrude Käsebier ~ The Sketch (Beatrice Baxter), 1903. Platinum print
Gertrude Kasebier ~ The Sketch, posed by Beatrice Baxter in Newport, Rhode island, 1902. Glass negative | src Library of Congress
Gertrude Käsebier ~ The Sketch (Beatrice Baxter), 1903. Platinum print. | Collection of George Eastman House

Constance Stewart-Richardson

White Studio ~ Lady Constance Stewart-Richardson, 1913. Glass negative. Bain News Service | src Library of Congress
White Studio ~ Lady Constance Stewart-Richardson, 1913. Glass negative. Bain News Service | src Library of Congress