Group portrait by Flodin

Ferdinand Flodin (1863-1935) :: Titel saknas, u.å. | Untitled, nd | src Moderna Museet ~ Helmer Bäckströms fotografisamling
Ferdinand Flodin (1863-1935) :: Titel saknas, u.å. | Untitled, nd | src Moderna Museet ~ Helmer Bäckströms fotografisamling
Ferdinand Flodin (1863-1935) :: Titel saknas, u.å. | Untitled, nd | src Moderna Museet ~ Helmer Bäckströms fotografisamling
Ferdinand Flodin (1863-1935) :: Titel saknas, u.å. | Untitled, nd | src Moderna Museet ~ Helmer Bäckströms fotografisamling
Ferdinand Flodin (1863-1935) :: Titel saknas, u.å. | Untitled, nd | src Moderna Museet ~ Helmer Bäckströms fotografisamling

A Cameron card and the original

"Summer Days" (1866) by Julia Margaret Cameron. Postcard
Marni Sandweiss (Amon Carter Museum) postcard sent to Carlotta Corpron. January 28, 1981. From Carlotta Corpron Papers
The photograph is a reproduction of “Summer Days” (c. 1866) by Julia Margaret Cameron printed by George Eastman House.
Back of the postcard is viewable here as a pdf file
Julia Margaret Cameron :: 'Summer Days', ca. 1866. Albumen print from wet collodion glass negative. A photograph of two young women (May Prinsep and Mary Ryan) wearing straw hats, two young children (Freddy Gould and Elizabeth Keown) are seated in front. | V&A
Julia Margaret Cameron :: ‘Summer Days’, ca. 1866. Albumen print from wet collodion glass negative. A photograph of two young women (May Prinsep and Mary Ryan) wearing straw hats, two young children (Freddy Gould and Elizabeth Keown) are seated in front. | V&A Museum

In late 1865, Julia Margaret Cameron began using a larger camera. It held a 15 x 12 inch glass negative, rather than the 12 x 10 inch negative of her first camera. Early the next year she wrote to Henry Cole with great enthusiasm – but little modesty – about the new turn she had taken in her work.

Cameron initiated a series of large-scale, closeup heads that fulfilled her photographic vision. She saw them as a rejection of ‘mere conventional topographic photography – map-making and skeleton rendering of feature and form’ in favour of a less precise but more emotionally penetrating form of portraiture. Cameron also continued to make narrative and allegorical tableaux, which were larger and bolder than her previous efforts.

Cameron’s ability to capture large groups improved with experience as well as with the use of her new, larger lens. Her friend and photographic advisor, the scientist Sir John Herschel, wrote that this picture was ‘very beautiful, and the grouping perfect.’ quoted from V&A

Group photos (back to camera)

De dos. Des photos anciennes anonymes chinées | Old anonymous vintage photos. Vernacular photography, ca. 1890-1950 (mostly). Coll. Michel F. David. | src éditions Sur la Banquise
De dos. Des photos anciennes anonymes chinées | Old anonymous vintage photos. Vernacular photography, ca. 1890-1950 (mostly). Coll. Michel F. David. | src éditions Sur la Banquise
De dos. Des photos anciennes anonymes chinées | Old anonymous vintage photos. Coll. Michel F. David. | src éditions Sur la Banquise
Group of people on a porch, sitting on railings, undated. | src eBay
Group of people on a porch, sitting on railings, undated. | src eBay (broken link)
Musée de la photographie de Charleroi: expo En dilettante, les petites histoires de la photo amateur / Ode aux photographes du dimanche

Blind children at Revere Beach

Perkins School for the Blind students in the water at Revere Beach on June 11th, 1928. bathers, beach scene
Perkins School for the Blind students in the water at Revere Beach on June 11th, 1928. | src Digital Commonwealth
Perkins School for the Blind students in the water at Revere Beach on June 11th, 1928. | src Digital Commonwealth
Perkins School for the Blind students having a picnic on Revere Beach on June11th, 1928. | src Digital Commonwealth
Perkins School for the Blind students having a picnic on Revere Beach on June11th, 1928. | src Digital Commonwealth

Lion, Dietrich and Karlweis, 1928

Zander & Labisch :: Foto von Margo Lion mit Marlene Dietrich und Oskar Karlweis in "Wenn die beste Freundin…" [If your best friend...] aus der Revue "Es liegt in der Luft" [It is in the Air] , Berlin, 1928. From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Zander & Labisch :: Foto von Margo Lion mit Marlene Dietrich und Oskar Karlweis in “Wenn die beste Freundin…” [If your best friend…] aus der Revue “Es liegt in der Luft” [It is in the Air] , Berlin, 1928. From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin

Jules Antoine group portraits

Jules Antoine (1863-1948) :: Groupe d’enfants avec une nourrice devant un filet de tennis, raquettes à la main. Positif couleur transparent; Support verre; Procédé Autochrome, 1905-1912. | src Les Fonds de la MAP
Jules Antoine (1863-1948) :: Groupe devant une cabine de plage, Marthe Antoine en arrière-plan, le second mari de Marie-Louise Roussel-Bruyère à gauche, 1905-1912. | src Les Fonds de la MAP
Jules Antoine (1863-1948) :: Groupe assis sur une dune : Marthe Antoine à droite, Jean Antoine à gauche, un petit garçon au centre entre deux femmes, 1905-1912. | src Les Fonds de la MAP
Jules Antoine (1863-1948) :: Groupe portrait. Marthe et Jean Antoine avec leurs cousins devant une cabine de plage. Positif couleur transparent; Support verre; Procédé Autochrome. 1905-1912. | src Les Fonds de la MAP

Dancers at Trümpy dance school

Alfred Eisenstaedt :: Costumed dancers at Truempy Dance School looking at themselves in studio mirror, Berlin, 1930, for Life Magazine. | src Google Arts & Culture
Alfred Eisenstaedt :: Dancers at Truempy Dance School, Berlin, 1930-1931. | src Google Arts & Culture
Alfred Eisenstaedt :: First lesson at Truempy dance school, Berlin, 1930, printed in 1995. | src Sotheby’s

After the Carnival, 1924-1926

Jaromír Funke :: After the Carnival I (from 12 Avant-Garde Photographs portfolio), 1924-1926; printed 2014. Gelatin silver print on Foma paper, printed from original glass negative. | src Robert Koch Gallery

Jaromír Funke :: After the Carnival I (from a portfolio of 12 Avant-Garde Photographs), 1924-1926. | src Howard Greenberg Gallery
Jaromír Funke :: After the Carnival I ~ Nach dem Karneval I, 1924–1926 © Miloslava Rupešová-Funková | src l’œil de la photographie

Bauhauslers, ca. 1929

Erich Krause :: Four intertwined people [Bauhauslers on the terrace of the Bauhaus canteen with Hermann “Sven” Gautel (top) and Hin Bredendieck (bottom)], ca. 1929. | src Bauhaus Dessau
Untitled (Portrait of Elsa Franke and Gerhard Kadow at the Bauhaus Dessau), 1929. | src Stiftung Bauhaus Dessau