Tag Archives: Uriah Hunt Painter

Two Gilded Age Gentlemen

2 May 2016 By in Reading old photographs Tags: , , , , , , 2 Comments

Two dressed-up men smile into the camera on a spring day. One holds a Kodak camera.
Two men in high silk hats breathe the style of the times.  The year is 1889.  They are old enough to remember the century’s watershed event, the Civil War, which is long in the past, it being more than two decades since Appomattox.  These gentlemen, and millions of others, have moved on.  They are Gilded Age creatures, inhabitants of a rapidly modernizing society enjoying ever-increasing wealth.  Their era was empty of historical grandeur: in that respect, the 1880s, with their intense but under-examined social problems (including widening economic inequality), were somewhat similar to today.

Formally attired, but looking like they are often so, the two men smile into the camera of Uriah Hunt Painter.  Painter and the man on the left may be engaged in a mutual photo-shoot, for each has a Kodak camera, a new invention that became the era’s most fashionable ‘toy.’  This picture captures how people had begun to use it—not too differently from how people use their cell phones now.

The sun is shining on this Easter Monday, as all Washington gathers for the first-ever Easter egg hunt on the White House lawn.  The watch-chain of one man snakes along the surface of his taut belly, a symbol of the symbiosis between efficiency and attaining plenty.  He and his friend both sport the flamboyant facial hair that was a hallmark of the Gilded Age—the vast mustaches and expansive mutton-chops that would prevail even it Teddy Roosevelt’s time, the mutton chops first popularized by General Burnside, and eventually leading to the coinage of the enduring term, ‘sideburns.’

Image from this source.

Girl with a Kodak on a Winter’s Day

8 Mar 2016 By in History Tags: , , , , , , , , 2 Comments

A girl holding a Kodak camera and standing in a snowy Washington DC smiles for an unknown photographer.

George Eastman (1854-1932) had been on a tear.  He had dreamed up a series of innovations that, when realized, transformed photography and its role in society, so much so that we may credit him with inventing this photograph and the two-Kodak family who arranged themselves around a slushy curb to take it in Washington DC.  Thanks to Eastman, private life gained a new means of preserving its own history, an advance that marked the birth of modernity, in a visual sense at least.

Before the ‘Kodak revolution,’ a family’s ability to record its own existence, its own specific reality, was limited indeed.  It helped if one were literate or could draw or paint, for art was the only direct means of capturing the look of one’s child’s face or the cut and color of the clothes one’s beloved wore.  Photographers were professionals who wrangled obdurate equipment and understood the complex alchemy of developing the imagery.  Either such a one, or a professional artist, could capture the look of a freak snowstorm as it was melting.  Without photography of an accessible kind, one’s only hope of chronicling the weather or family life was to write a lot of letters or keep a careful diary.

Eastman’s genius was mechanical and conceptual, too.  He invented a new camera and new film processes, while also envisioning a whole new social role for photography, which he realized by assuming all the burden of developing the photographs that Kodak customers made.  “You press the button—we do the rest.”  With that notion, Eastman transformed the relationship between the would-be photographer and the medium.  He gave the world the snapshot, empowering amateurs to practice photography.

Eastman’s Kodak camera hit the streets in 1888.  It was lightweight, small, and easy to work.  Instead of sensitive or messy plates, his affordable camera was the first to employ roll film (another of his inventions).  Once the pictures were taken, customers sent the film back to the company for developing.  The very earliest Kodak prints were round, like the one above.

The new technology brought an immediacy to photography that, before, it seldom achieved.  It eliminated the middleman, allowing a relationship-driven photography.   The girl in this picture epitomizes the change, as she stands stock still, grinning, hugging a new Kodak camera close to her body.  The wind lifts her coat hem.  Her style and the swing of her mother’s skirt are just as they were in that earlier century.  In the street, her father, Uriah Hunt Painter, presses a button, capturing his willowy wife and daughter as they half-stop and smile, a two-Kodak family on a winter’s day.

Image from this source.