.
occasion of the independence celebrations of the centenary of 1910, the Mexican government conducted a census of all journalists and photojournalists to deliver a card access to the various memorial services, an indication of the exclusivity of the privacy of political entities love of personal safety that they wished to confer, and not just a camera was needed to be present, accreditation is needed, a reason for being and living, good relationship with the system, it would vary according to circumstances, it was not to attend the mass parade on September 16 that have a particular meeting with the President of the Republic, or attend the inauguration of the Column of Independence.
The independent and visionary Aurelio Escobar Castellanos took advantage of the infrastructure created by Heliodoro J. Gutierrez, marking its own way of doing things, which we see for the first time in 1910.
During the Centennial celebrations, the organization of the "HJ Gutiérrez Photography, The Chicago Photo Studio" produce a series of postcards recounting the day's events a día. Entonces uno o todos los fotógrafos de la empresa recibieron carnés de acreditación…
A la fecha no se ha localizado la lista de acreditados, por lo cual desconocemos cuantos y quienes fueron.
Por razones que desconocemos estas postales se producen sin rubrica y solo en algunos caso se coloca la numeración, el inicio de la Revolución puede ser un motivo para dejar de lado la temática y enfocarse en las nuevas circunstancias político sociales. La crónica oral de la familia Escobar, atribuye el trabajo a Aurelio Escobar C.; pero, como veremos aunque puede haber una participación domínate de él, es sobre todo un trabajo de equipo. (En varias de las postales conservadas aparecen handwritten notes of Aurelius, in front marking the date indicated on the back and other characters portrayed.)
Is "Photograph HJ Gutiérrez, The Chicago Photo Studio" works on the basis of photographic series bounded by different events, or creates a unique collection?
Having a limited database, we can not give an answer, it is a unique collection, consisting of material produced during the month of September but different event, speak of an approximate set of 300 images. In the case of independent series expect an exponentially greater number. According
we remove it, other findings, What means 300 images from the economic point of view?
The "Photo HJ Gutiérrez, The Chicago Photo Studio" opt for the 8x10 format, which subsequently drew reframes for printing as postcards. Each wooden frame with two glass photographic plates had an approximate weight of 680 gr., And a thickness of 1.5 cm. Yes we put the 150 chassis needed to reach a decision over the other 300 would have a tower of 225 cm. height and 102 kg in weight.
Each 8x10 glass photographic plate had a cost of $ 2.40 dollars per dozen, 25 dozens are needed to complete the required amount and the dollar at an exchange rate of 2.01 pesos per dollar, are $ 4. 82 pesos a dozen and $ 102.5 pesos only negative investment, excluding shipping charges and tariffs or intermediaries. Sure are dollars and pesos in 1910.
parades in 15 and September 16 HJ Gutiérrez neighborhoods rented one or balconies overlooking the San Francisco Avenue (now Francisco I. Madero), to the corner of the Holy Spirit Alley (now Motolinia). In the parade of floats 15 is caught the moment where it crosses a car carrying an allegory of Independence and the Founding of the Nation, the same car is seen in another shot on May 5th Avenue building reaching Mutual Bank today Mexico, after covering the entire San Francisco Avenue to turn the square of the Constitution and return on May 5.
Yes it is possible to leave the location of San Francisco and moved to May 5 in advance of seeing the same car, it is more logical to think that there are two photographers. Otherwise in order to recapture the same float will lose much of the parade from the elevated view of San Francisco, here is teamwork.
postcard taken from the balcony in San Francisco on Av 15 can be compared with similar shots of the "HJ Gutiérrez" day 16, where there is no variation relevant to the position of the camera. And gives rise to other analysis, comparing his time with impressions made by LV García, find a camera position seems like, as well as the type of lens used. This is determined by the vanishing and the visual horizon.
The simple answer is: they were two photographers on the spot where they had many. Taking
other material pertaining to LV Garcia, the same day 15 but at street level, and compared with those of the "HJ Gutiérrez" gives the following result: the shots of the "HJ Gutiérrez" are regular, all seem to belong at the same type of photographic equipment, while the LV García, samples made at street level would correspond to an SLR camera, and aerial shots from the balcony ...
not doing a test of overlapping images of the "HJ Gutiérrez "LV García and day 15 on Avenue San Francisco, there is an irregularity in the width of the parallel vertical architectural elements. While the horizontal angles and drain completely coincide. Giving the idea of \u200b\u200bthe leaf of a door opening from the right toward us. That alone can explain why the cameras were placed in parallel close to each other.
The space used by the "HJ Gutiérrez" Emilio is the study of Lange, who maintained a good relationship, while the other chamber may be in the same study or from the American Photo suplay, adjacent room.
Although both compared images are printed in postcard format 8.9x13.9 cm., That of the "HJ Gutiérrez" Reframing is a postcard of a 8x10 pre-formatted, and MF Garcia in a postcard format includes all vision of the 8x10 format. This means that not only agree on a location parallel cameras with little difference in distance, but also the use of a lens with a field of view of approximately 110 º.
To determine the angle of view with the following information: we know the width of the street and sidewalks. The sidewalk was located where the camera is 50% occupied by the Temple of the professed, and the rest is divided into three paddocks proportional, we can identify how many buildings are visible in print and compare the visual length of the scene, and to calculate an approximate angle.
The viewing angles can not vary interchangeably, depend on the format in proportion to the focal length of the lens, for example 56 °, 71 °, 16 °, and hence are called: normal, wide angle, telephoto. Zip format is not just smaller than the 8x10, is longer, so that when we go from 8x10 to 5x7 formats to postal, every time the space is more rectangular. The wider format theoretically have the capacity to accommodate a wider angle field of view, but it is also affected by the size of the format and not just the looks, and the focal length.
From the geometric point of view, a postcard format requires a focal length of 49.17 mm to create a horizontal viewing angle of 110 degrees, but to the photographic lens visual field is measured on the diagonal, then the lens focal length required is 58 mm, or 2 ¼ inches. Therefore
visual angles should be consistent with the glasses made, and publicly available, in this case in the 1910's. For example, Ross-Zeiss Tessar lens, using a focal length of 2 inches by ¾ 1x format, but with only a visual angle of 35 degrees. Ross himself argued that his lens proto series V, f 16, in a postcard format could generate an angle of 100 º, the lens was 90 degrees, forcing the distance to 3 ½. The series Orthostigmat Steinheil Beck IV, f/12 and viewing angle of 100 ° / 110 ° and focal length of 2 7 / 8 to 10 inches was another option, or Busch Pantoscopic 100 º / 110 º.
LV García So why use a format reprographics 8x10 and no original negatives for printing your postcards and also a careless manner?
Are they two or one photographer? LV García
"use two cameras with different lens sizes and at the same time?
Yes you are the creator of a negative image and has the reproduction would not use one to make a reduction, or yes ...
Like today's wide-angle or telephoto are sophisticated and expensive equipment, usually available professional small-format cameras are not interchangeable lenses, and a postcard printed with a viewing angle of 110 ° would indicate a professional, whether it is a print of an original or a reduction. But the more we use for reproduction would think that LV is not the author García, LV García documents only public events ...
the morning of September 16, 1910 was the inauguration of the monument to independence. Culhuacán background of the image we SINAFER No. Inv. 351933, author unidentified, negative, gelatin on glass 5x7 format. Beside her a postcard of the "HJ Gutiérrez Photography, The Chicago Photo Studio" No. 178.
Photographer of the "HJ Gutiérrez" sat in a perfectly aligned with the column, while the other photographer stood to his left and the same distance. We can see how the two images being represented in proportion between the two, the base of the spine is greater in the post, since it is a reframing of a larger format. Both
different moments of the opening of the column of Independence. In photography we SINAFER 13 photographers and a director with his assistant, in the post, 8 photographers and one assistant. Between the two we can only identify himself as a photographer, so we could say that there are 20 photographers plus the two executors of the images, 22 photographers. Of all of them to analyze their cameras only photographer "Photograph HJ Gutiérrez, The Chicago Photo Studio" used a 8x10 format. We can distinguish three photographers with SLR cameras, camera tripod and two 5x7, one with a monopede, five pocket cameras, etc. Proportionally talk about the third part of the professional photographer living in Mexico City and only one using the 8x10 format camera. There are other photographers in different events used 8x10 cameras, cameras or changed as needed, for example Augustine V. Casasola in this case we see with a camera pocket and most of the time he is seen with a 5x7 SLR.
Sunday September 11, 1910, 11 AM., Laying the first stone of the monument to Pasteur, a gift from the French colony.
Top
show a montage of two postcards, the superior credit of the "HJ Gutiérrez" and less anonymous in the collection belonging to the UACJ (# 1403700). Both cards match exactly in their assembly, with the image in the area of \u200b\u200bmaking it. So both cards were printed from the same negative. Of national holidays do not have any negative or 8x10 print and this finding supports the view of using 8x10 to reframe negative postcard size, the system used by the "HJ Gutiérrez" at other times. Of the UACJ is imprinted on the negative number "228", the other does not carry or rubric or numbers to back it reads your letter handwritten Palmer Aurelio Escobar C. in 4 lines: "Centenary of Mexico 1910, Mr. Porfirio, Mr. Creel, Mr. Landa y Escandon." Another postal Getty Institute (95.R.104.p.5v.4) of the same event, anonymously and with the number 253. Among the three is the same camera position, things like the table, the bucket and the sign of "Pasteur" remain unchanged in its vertical test of being an identical location; in the postal N º 253 is raised the camera to get a better visibility when the characters sit.
has been argued a lot about the limitations of large-format cameras in the first and second decade of the twentieth century by the photojournalism, but it is unclear to us as a very large proportion of photographers had chosen lightweight models maneuverable for 1910, and the choice of "Photo HJ Gutiérrez, The Chicago Photo Studio" should be based on principles of quality and aesthetic and not practical. Not only because it was in the system but also technical difficulties in production costs higher per unit produced.
in 1910 was the great festival of the photographers, there was much to portray and maintain a strong interest in visual records, every day of the month of September 1910 had public and private events, the country is full of monuments and public works ... Even the producer of postcards published postal Felix Miret-embossed gold lettering for labels. Today
column of Independence is the place chosen by the capital city to celebrate and demonstrate, is the symbol of Mexico City, one of the most beautiful monuments.
Postal September 1910 Author: Aurelio Escobar Castellanos.
hundred years later in Mexico City September goes to ... sadness, how different things are, probably in another hundred years we continue remembering the centenary celebrations of 1910.
occasion of the independence celebrations of the centenary of 1910, the Mexican government conducted a census of all journalists and photojournalists to deliver a card access to the various memorial services, an indication of the exclusivity of the privacy of political entities love of personal safety that they wished to confer, and not just a camera was needed to be present, accreditation is needed, a reason for being and living, good relationship with the system, it would vary according to circumstances, it was not to attend the mass parade on September 16 that have a particular meeting with the President of the Republic, or attend the inauguration of the Column of Independence.
The independent and visionary Aurelio Escobar Castellanos took advantage of the infrastructure created by Heliodoro J. Gutierrez, marking its own way of doing things, which we see for the first time in 1910.
During the Centennial celebrations, the organization of the "HJ Gutiérrez Photography, The Chicago Photo Studio" produce a series of postcards recounting the day's events a día. Entonces uno o todos los fotógrafos de la empresa recibieron carnés de acreditación…
A la fecha no se ha localizado la lista de acreditados, por lo cual desconocemos cuantos y quienes fueron.
Por razones que desconocemos estas postales se producen sin rubrica y solo en algunos caso se coloca la numeración, el inicio de la Revolución puede ser un motivo para dejar de lado la temática y enfocarse en las nuevas circunstancias político sociales. La crónica oral de la familia Escobar, atribuye el trabajo a Aurelio Escobar C.; pero, como veremos aunque puede haber una participación domínate de él, es sobre todo un trabajo de equipo. (En varias de las postales conservadas aparecen handwritten notes of Aurelius, in front marking the date indicated on the back and other characters portrayed.)
Is "Photograph HJ Gutiérrez, The Chicago Photo Studio" works on the basis of photographic series bounded by different events, or creates a unique collection?
Having a limited database, we can not give an answer, it is a unique collection, consisting of material produced during the month of September but different event, speak of an approximate set of 300 images. In the case of independent series expect an exponentially greater number. According
we remove it, other findings, What means 300 images from the economic point of view?
The "Photo HJ Gutiérrez, The Chicago Photo Studio" opt for the 8x10 format, which subsequently drew reframes for printing as postcards. Each wooden frame with two glass photographic plates had an approximate weight of 680 gr., And a thickness of 1.5 cm. Yes we put the 150 chassis needed to reach a decision over the other 300 would have a tower of 225 cm. height and 102 kg in weight.
Each 8x10 glass photographic plate had a cost of $ 2.40 dollars per dozen, 25 dozens are needed to complete the required amount and the dollar at an exchange rate of 2.01 pesos per dollar, are $ 4. 82 pesos a dozen and $ 102.5 pesos only negative investment, excluding shipping charges and tariffs or intermediaries. Sure are dollars and pesos in 1910.
parades in 15 and September 16 HJ Gutiérrez neighborhoods rented one or balconies overlooking the San Francisco Avenue (now Francisco I. Madero), to the corner of the Holy Spirit Alley (now Motolinia). In the parade of floats 15 is caught the moment where it crosses a car carrying an allegory of Independence and the Founding of the Nation, the same car is seen in another shot on May 5th Avenue building reaching Mutual Bank today Mexico, after covering the entire San Francisco Avenue to turn the square of the Constitution and return on May 5.
Yes it is possible to leave the location of San Francisco and moved to May 5 in advance of seeing the same car, it is more logical to think that there are two photographers. Otherwise in order to recapture the same float will lose much of the parade from the elevated view of San Francisco, here is teamwork.
postcard taken from the balcony in San Francisco on Av 15 can be compared with similar shots of the "HJ Gutiérrez" day 16, where there is no variation relevant to the position of the camera. And gives rise to other analysis, comparing his time with impressions made by LV García, find a camera position seems like, as well as the type of lens used. This is determined by the vanishing and the visual horizon.
The simple answer is: they were two photographers on the spot where they had many. Taking
other material pertaining to LV Garcia, the same day 15 but at street level, and compared with those of the "HJ Gutiérrez" gives the following result: the shots of the "HJ Gutiérrez" are regular, all seem to belong at the same type of photographic equipment, while the LV García, samples made at street level would correspond to an SLR camera, and aerial shots from the balcony ...
not doing a test of overlapping images of the "HJ Gutiérrez "LV García and day 15 on Avenue San Francisco, there is an irregularity in the width of the parallel vertical architectural elements. While the horizontal angles and drain completely coincide. Giving the idea of \u200b\u200bthe leaf of a door opening from the right toward us. That alone can explain why the cameras were placed in parallel close to each other.
The space used by the "HJ Gutiérrez" Emilio is the study of Lange, who maintained a good relationship, while the other chamber may be in the same study or from the American Photo suplay, adjacent room.
Although both compared images are printed in postcard format 8.9x13.9 cm., That of the "HJ Gutiérrez" Reframing is a postcard of a 8x10 pre-formatted, and MF Garcia in a postcard format includes all vision of the 8x10 format. This means that not only agree on a location parallel cameras with little difference in distance, but also the use of a lens with a field of view of approximately 110 º.
To determine the angle of view with the following information: we know the width of the street and sidewalks. The sidewalk was located where the camera is 50% occupied by the Temple of the professed, and the rest is divided into three paddocks proportional, we can identify how many buildings are visible in print and compare the visual length of the scene, and to calculate an approximate angle.
The viewing angles can not vary interchangeably, depend on the format in proportion to the focal length of the lens, for example 56 °, 71 °, 16 °, and hence are called: normal, wide angle, telephoto. Zip format is not just smaller than the 8x10, is longer, so that when we go from 8x10 to 5x7 formats to postal, every time the space is more rectangular. The wider format theoretically have the capacity to accommodate a wider angle field of view, but it is also affected by the size of the format and not just the looks, and the focal length.
From the geometric point of view, a postcard format requires a focal length of 49.17 mm to create a horizontal viewing angle of 110 degrees, but to the photographic lens visual field is measured on the diagonal, then the lens focal length required is 58 mm, or 2 ¼ inches. Therefore
visual angles should be consistent with the glasses made, and publicly available, in this case in the 1910's. For example, Ross-Zeiss Tessar lens, using a focal length of 2 inches by ¾ 1x format, but with only a visual angle of 35 degrees. Ross himself argued that his lens proto series V, f 16, in a postcard format could generate an angle of 100 º, the lens was 90 degrees, forcing the distance to 3 ½. The series Orthostigmat Steinheil Beck IV, f/12 and viewing angle of 100 ° / 110 ° and focal length of 2 7 / 8 to 10 inches was another option, or Busch Pantoscopic 100 º / 110 º.
LV García So why use a format reprographics 8x10 and no original negatives for printing your postcards and also a careless manner?
Are they two or one photographer? LV García
"use two cameras with different lens sizes and at the same time?
Yes you are the creator of a negative image and has the reproduction would not use one to make a reduction, or yes ...
Like today's wide-angle or telephoto are sophisticated and expensive equipment, usually available professional small-format cameras are not interchangeable lenses, and a postcard printed with a viewing angle of 110 ° would indicate a professional, whether it is a print of an original or a reduction. But the more we use for reproduction would think that LV is not the author García, LV García documents only public events ...
the morning of September 16, 1910 was the inauguration of the monument to independence. Culhuacán background of the image we SINAFER No. Inv. 351933, author unidentified, negative, gelatin on glass 5x7 format. Beside her a postcard of the "HJ Gutiérrez Photography, The Chicago Photo Studio" No. 178.
Photographer of the "HJ Gutiérrez" sat in a perfectly aligned with the column, while the other photographer stood to his left and the same distance. We can see how the two images being represented in proportion between the two, the base of the spine is greater in the post, since it is a reframing of a larger format. Both different moments of the opening of the column of Independence. In photography we SINAFER 13 photographers and a director with his assistant, in the post, 8 photographers and one assistant. Between the two we can only identify himself as a photographer, so we could say that there are 20 photographers plus the two executors of the images, 22 photographers. Of all of them to analyze their cameras only photographer "Photograph HJ Gutiérrez, The Chicago Photo Studio" used a 8x10 format. We can distinguish three photographers with SLR cameras, camera tripod and two 5x7, one with a monopede, five pocket cameras, etc. Proportionally talk about the third part of the professional photographer living in Mexico City and only one using the 8x10 format camera. There are other photographers in different events used 8x10 cameras, cameras or changed as needed, for example Augustine V. Casasola in this case we see with a camera pocket and most of the time he is seen with a 5x7 SLR.
Sunday September 11, 1910, 11 AM., Laying the first stone of the monument to Pasteur, a gift from the French colony.
Top show a montage of two postcards, the superior credit of the "HJ Gutiérrez" and less anonymous in the collection belonging to the UACJ (# 1403700). Both cards match exactly in their assembly, with the image in the area of \u200b\u200bmaking it. So both cards were printed from the same negative. Of national holidays do not have any negative or 8x10 print and this finding supports the view of using 8x10 to reframe negative postcard size, the system used by the "HJ Gutiérrez" at other times. Of the UACJ is imprinted on the negative number "228", the other does not carry or rubric or numbers to back it reads your letter handwritten Palmer Aurelio Escobar C. in 4 lines: "Centenary of Mexico 1910, Mr. Porfirio, Mr. Creel, Mr. Landa y Escandon." Another postal Getty Institute (95.R.104.p.5v.4) of the same event, anonymously and with the number 253. Among the three is the same camera position, things like the table, the bucket and the sign of "Pasteur" remain unchanged in its vertical test of being an identical location; in the postal N º 253 is raised the camera to get a better visibility when the characters sit.
has been argued a lot about the limitations of large-format cameras in the first and second decade of the twentieth century by the photojournalism, but it is unclear to us as a very large proportion of photographers had chosen lightweight models maneuverable for 1910, and the choice of "Photo HJ Gutiérrez, The Chicago Photo Studio" should be based on principles of quality and aesthetic and not practical. Not only because it was in the system but also technical difficulties in production costs higher per unit produced.
in 1910 was the great festival of the photographers, there was much to portray and maintain a strong interest in visual records, every day of the month of September 1910 had public and private events, the country is full of monuments and public works ... Even the producer of postcards published postal Felix Miret-embossed gold lettering for labels. Today
column of Independence is the place chosen by the capital city to celebrate and demonstrate, is the symbol of Mexico City, one of the most beautiful monuments.
Postal September 1910 Author: Aurelio Escobar Castellanos. hundred years later in Mexico City September goes to ... sadness, how different things are, probably in another hundred years we continue remembering the centenary celebrations of 1910.
0 comments:
Post a Comment