Life in gardens: more pink

Pink carnations via George Eastman Hse. on flickr“Girl with carnations,” ca. 1915, an autochrome by Charles C. Zoller, via George Eastman House Collection on flickr.

Click on the photo for a better view.

Zoller was an American from Rochester, New York, who worked in the first decades of the 20th century. The George Eastman House holds almost 4,000 of his autochrome plates.

Another wonderful photo of (April 1945) pink is here.

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Vintage landscape: pink flowers

Pink flowers via George Eastman Hse. on flickr“Glass dish with classical figures, ceramic bowl and vase of flowers,” ca. 1915, an autochrome by H. Wormleighton, via George Eastman House Collection on flickr.

I couldn’t find out anything about H. Wormleighton except that he or she was English and worked in the first three decades of the 20th century.

Pink flowers and bowl, detail, via Geo. Eastman Hse.Detail of first photo.

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Wordless Wednesday II: landscape plan

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Waxprint cloth, Kimironko Market, Kigali, Rwanda.

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Wordless Wednesday: baskets

Wordless Weds./enclos*ure: Rwandan baskets

Wordless Weds./enclos*ure: Rwandan baskets . . . of Gashora, Rwanda.

Wordless Weds./enclos*ure: Rwandan baskets

Wordless Weds./enclos*ure: Rwandan baskets

(Click on any thumbnail below to scroll through larger images.)

 

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Life in gardens: Rochester, N.Y.

Rochester, NY, c. 1910, via George Eastman House Collection“Schoolchildren with teachers under Magnolia trees on Oxford* Street,” c. 1910, an autochrome by Charles C. Zoller, via George Eastman House Collection on flickr.

Click on the photo to get a better look.  I like the outfits, particularly that of the little girl on the far right.

The Collection describes the process of making an autochrome like this:

After decades of wishing for a practical color process, photographers were thrilled when Auguste and Louis Lumière announced the invention of the autochrome process. . . in 1904. The process used a screen of tiny potato starch grains dyed orange-red, green and violet. Dusted onto a glass plate, the dyed grains were covered with a layer of sensitive panchromatic silver bromide emulsion. As light entered the camera, it was filtered by the dyed grains before it reached the emulsion. While the exposure time was very long, the plate could be processed easily by a photographer familiar with standard darkroom procedures. The result was a unique, realistic, positive color image on glass that required no further printing.

*Commenters on the image’s flickr page thought the cross street in the picture was either Harvard St. or Brighton St.

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