Found 6,316 Learning Lab Collections
This is a small sampling of toy and souvenir camera from the Photographic History Collection.
For specific cameras, search collections.si.edu.
This is a small sampling from more than fifty photographs and objects related to photographer John Paul Caponigro that are included in the Photographic History Collection. The collection represents the scope of Caponigro's relationship with photography and digital tools, including some early equipment (an Epson printer he beta-tested, Photoshop 3.0), demonstrations of thought processes (pastel color studies, pen and ink composition studies), postcards (sent, unsent, iPhone camera used to manipulate images), and final works on paper and metal. One work is a collaboration with his father, photographer, Paul Caponigro. Also of note, is Caponigro's portrait of Jerry Uelsmann (2005.0096.05).
Copyright held by John Paul Caponigro.
Keywords: digital photography, manipulated images, digital print, pigment print, dye sublimation on aluminum, postcards, Georgia O'Keefe, Jerry Uelsmann
For additional materials, search collection.si.edu
The Greeks were famous for their skill at building,not only temples and palaces, but theatres and arenas too. They were also marvellous sculptors. The Romans copied Greek buildings and made improvements. The Romans imitated the Greeks in making lifelike figures in bronze,marble,gold and ivory. My collection contains buildings and sculptures from the Greek and Roman world and the stories behind them.
This collection details an art and community engagement project that the Smithsonian Center for Learning and Digital Access did with educators from the National Portrait Gallery and the Fairfax County Family Literacy Program. It includes assets and resources designed to help teachers, museum educators, and community-based informal learning educators recreate the program as is, or design their own, based on the specific needs of their classroom or learning community.
"Illuminating the Self / Illuminándonos" was a five-day bilingual program in which pairs of immigrant mothers and their middle school-aged children worked together to learn about portraiture from the 2016 exhibition of the Outwin Boochever Portrait Competition winning portraits. First we talked about portraiture in general, and then focused the discussion on light and shadow. Next, students took photographic portraits of each other and chose one to recreate. We projected the photographs in black and white onto a wall, and had the students trace the outlines of their photographs on their blank drawing paper. They they worked with charcoals to fill in their portraits and refine their drawings. Participants also visited the Outwin exhibition. Finally, their portraits were displayed at the National Portrait Gallery's Hispanic Heritage Month Family Day.
Program surveys indicated improved literacy, technology, and communication skills to share heritage, traditions, and talents; increased sense of empowerment and self-esteem, strengthened parent-child relationships and community bonds, and creation of a core of mentors. One mother reported that before the program she would never have entered an art museum because she wouldn't have known what to do, but that now she would not be able to pass by without stopping in. As well, several family participants have returned to the Smithsonian asking to volunteer at future Smithsonian events.
This program received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Political leaders and parties in the tense time after the Civil War proposed various plans for Reconstruction. By observing artwork of this period, students will learn how these plans affected the South (and North) and relationships between people of different races and geographic regions.
You will find guiding questions included in the additional text section of each artwork.
This is a sampling of cameras, photographs and documents related to panoramas and panoramic photography. Because of their scale, panorama images are often difficult to photograph. The Photographic History Collection has many more images than what is represented here.
Keywords: Panorama, panorama photography equipment, Friedrich von Martens, panorama photographs, photographic panorama Megaskop, Frederick Mueller
For additional material, search collections.si.edu.
This is a sampling of photographs in which the photographer's shadow is included in the image.
For additional images, search collections.si.edu.
Identify as many slopes as you can from each of the 10 images. There are 4 types of slopes: positive, negative, no slope, and undefined. Type your answers in the comments section of Google Classroom under the question.
This is a sampling of photographic self-portraits.
Professional and amateur photographers have been turning the camera on themselves since photography started. There are a number of strategies and tools that professional and amateur photographers have used, including mirrors, cable releases, timing devices, and simply turning the camera around at arm's length. Cell phones now allow almost effortless self-portraits, known as "selfies."
Keywords: self-portrait, self portrait, selfie, bulb release, string release, timed portrait, cable release, reflection in mirror
For additional images, search at collections.si.edu.
Gatewood W. Dunston (1908-October 18, 1956) was a motion picture projectionist and later, a collector and scholar of the history of motion picture technology who bequeathed his important collection to the National Museum of American History.
Keywords: motion picture history, motion picture equipment, motion picture apparatus, motion picture images, motion picture collecting, history of collectors, movie theater history, motion picture advertising, motion picture props, mutoscope, lantern slide, motion picture film
The Dunston accession, number 212314, included 864 items, comprised primarily of 294 theater slides, 162 stereo views, 150 lantern slides, 157 films, 59 early projectors, 6 editing machines, 6 posters, over 100 photographs and a mutoscope reel. Additionally, Dunston left his correspondence relating to the collection, which offers a look at this formative period in the historiography of motion pictures. The films, many of which were on nitrate, were transferred to the Library of Congress in the 1960s, but the remainder of the material was cataloged and is found at numbers 4994-5099 in the Photographic History Collection. The Dunston collection at the National Museum of American History remains one of the most complete and important showing the evolution and history of the motion picture projector, as well as the motion picture industry and art.
Dunston worked the projection booth at the Granby and Lowe’s Theaters in Norfolk, Virginia, where he lived until his death. He was a friend of the early Western star and actor, William S. Hart, and obtained a number of Hart films, posters and even a Civil War-era pistol used by the actor in his films. It appears that Dunston began seriously researching and collecting movie cameras, projectors and memorabilia in the early 1940s, through correspondence with film historians Merritt Crawford and Terry Ramsaye, early projectionist Francis Doublier and a number of movie personalities and machine manufacturers. He was disheartened by the deaths of many motion picture pioneers in the 1930s and 40s, and by his perception that the history of motion picture technology was fading into obscurity. Dunston collected 35mm and 16mm copies of notable silent films, old projectors and cameras, glass theater slides, a small number of mutoscope items and editing equipment as well as stereo views and optical toys. As his health deteriorated in the early 1950s, he was forced to sell off many of his films, which were on nitrate and posed a fire hazard, and he wrote a will that stipulated his collection be left to the Smithsonian National Museum’s Section of Photography, now NMAH’s Photographic History Collection.
This finding aid is one in a series documenting the PHC’s Early Cinema Collection [COLL.PHOTOS.000018]. The cinema-related objects cover the range of technological innovation and popular appeal that defined the motion picture industry during a period in which it became the premier form of mass communication in American life, roughly 1885-1930. See also finding aids for Early Sound Cinema [COLL.PHOTOS.000040], Early Color Cinema [COLL.PHOTOS.000039], Early Cinema Film and Ephemera [COLL.PHOTOS.000038] and Early Cinema Equipment [COLL.PHOTOS.000037].
This a collection of photographs by Arthur Leipzig.
This selection includes photographs of swamp loggers and swamp logging in the Everglades. He was on assignment for Argus Men's Magazine in 1954.
This selection includes two photographs of people using cameras, Zero Mostel, Joseph Welsh, and Ernest Rice McKinney.
Copyright Arthur Leipzig
For additional work by Leipzig, search collections.si.edu.
This collection was formed beginning in 2001 and over the next decade, though the PHC is still actively collecting photographs related to September 11, 2001.
There are a variety of formats by a variety of types of photographers that captured day of events, the days following, and reflections on the experiences.
Blog: Photographers and Their Stories by Michelle Delaney.
For additional materials search, collections.si.edu
We started by doing a close reading of Walt Whitman's "I Hear America Singing," followed by an analysis of two paintings using Project Zero Thinking Routines:
- Iceman Crucified #4, by Ralph Fasanella, using See, Think, Wonder
- Braceros, by Domingo Ulloa, using Step In, Step Out, Step Back
Returning to the poem, consider how different people we identified in the two paintings might react to the poem. Next, choose two perspectives from any of the texts (written or visual) we've looked at, and use the Two Voice Poem template to compare their points of view on work in America.
Reflection Question: What do we gain by considering multiple perspectives on an issue?
This collection was created for the 2019 CATE annual convention in Burlingame, California.
Charles Ruston is an American photographer that made portraits of New Mexico-based photographers between the years of 1980 and 1994. This particular collection consists of thirty-eight prints. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall, and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Copyright Charles Rushton
Keywords: photographs of photographers, people with cameras
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years Rushton sold some of his prints to the Albuquerque Museum of Art and History for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection), and Arnold Newman (depicted in the collection).
The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943, totaling 140 prints. There is some duplication between the groups. Accession 2002.0258 was acquired in 1965 from Salomon’s son, Peter Hunter. These prints were made from Salomon’s original negatives. Accession 2002.0259 was acquired in 1965 from Magnum Photos. Subjects in the collection are mainly photographs of politicians, diplomats, business magnates, royalty; European and American.
Keywords: photojournalism, journalism, visual culture, print history, media history, Holocaust victim
Dr. Erich Salomon (1886-1944) was born to a prominent Jewish family in Berlin, Germany. He became a lawyer before the outbreak of World War I but was drafted into service. When he returned, his family had lost its fortune and he needed to work. Salomon became interested in photography and soon specialized in taking photographs where cameras were not allowed and without his subject’s knowledge.
Salomon became famous in 1928 when his photographs from the Johann Hein murder trial in Coburg, Germany were published in the Berliner Illustrirte newspaper [see images PG*008164.42 and PG*008164.47]. From that point, Salomon became a freelance photographer, gaining admittance to even the most secure meetings and banquets. Salomon was labeled the first “candid cameraman” and called himself a bildjournalist, still the German word for “photojournalist.”
Salomon first used the common journalist’s camera – a 13 x 18 cm Contessa Nettel – but it was too cumbersome for his purposes. He soon switched to the Ermanox, a small plate-loaded camera perfect for photographing in low lighting. Salomon mastered the technique and used it until 1932 when he traded it for the Leica.
In 1933 Adolf Hitler came to power in Germany. As Jews, Salomon and his family were forced to flee to Holland, his wife’s homeland, for protection. Based in The Hague, he had greater access to the political conferences but he also began taking photographs of cultural events, such as concerts. Salomon traveled to Britain and the United States as well. In 1943, while on the verge of immigrating to America, Salomon, his wife and one son were forced to go into hiding when the Nazis overtook Holland. They were eventually deported and died at the Auschwitz labor camp in July 1944.
Salomon’s images survive to this day because of his foresight. In order to keep the negatives safe he hid them in three separate places in Holland during the war. The first group was placed in the Dutch Parliament library. The second, he buried in the chicken coup at a friend’s home. This group was critically damaged by the dampness, though many of the plates are still printable. The third was in the custody of son Peter Hunter. In 1952, the collection was consolidated in Amsterdam. Beginning in the 1950s, there were a number of exhibitions of his work, including a 1958 traveling exhibition which was acquired by the Smithsonian.
For more images by Erich Salomon search collections.si.edu.
Murray Becker was one of the key photographers of the Hindenburg disaster, the crash of a Nazi dirigible at Lakehurst, NJ on May 6, 1937. The Murray Becker collection consists predominantly of sixteen silver gelatin prints of the Hindenburg disaster. It also includes an oversized scrapbook of newspaper articles and photos covering the disaster, as well as a well-known photograph of a teary-eyed Lou Gehrig announcing his retirement from baseball.
Keywords: Hindenburg disaster, Associated Press, AP, Lou Gehrig, photojournalism, dirigible, flight disaster, photojournalism, media history, iconic photographs, scrapbooking
On May 6, 1937 Becker and a score of other photographers, including Sam Shere of the International News Photo (INP) and Charles Hoff of the New York Daily News, appeared for a routine night landing of the Hindenburg. As the dirigible pulled in, lines were dropped from the aircraft so that it could be safely reined in to the ground below. Without warning, an explosion was heard, and the entire aircraft was consumed by flame in about 47 seconds. During those 47 seconds, when other photographers present shot one photograph at the most, Murray Becker quickly took three slides using his 4x5 Speed Graphic camera. The following day pictures of the event were reproduced in thousands of newspapers around the globe.
The photographs of the Hindenburg exploding affected newspaper readers in a way that words could not. After those photographs were reproduced across the United States and around the world, many newspaper stories were not considered credible unless they had images to support the stories. Becker went on to produce a photograph of Lou Gehrig announcing his retirement in 1939 for which he also received awards. Becker served as Chief Photographer of the Associated Press for a full thirty-two years before he retired.
Photographic History Collection: Eadweard Muybridge
This is a small sampling of Eadweard Muybridge Collections in the Photographic History Collection. The collection contains stereoviews, a Yosemite portfolio printed by Chicago Albumen Works, collotypes, cyanotype proof prints, glass plate positives, Zoopraxiscope glass plates, lantern slides, a timing device, a patent model, shutter, and more.
For more, search collections.si.edu.
Keywords: stop action, stop motion, freeze frame, motion picture, cyanotypes, stereographs, Yosemite, Modoc Wars, California history, University of Pennsylvania, science and photography
See also the online exhibition at the National Museum of American History, Freeze Frame, https://americanhistory.si.edu/exhibitions/freeze-frame-eadweard-muybridge%E2%80%99s-photography-motion.
Expatriate Englishman Eadweard Muybridge (1830–1904), a brilliant and eccentric photographer, gained worldwide fame photographing animal and human movement imperceptible to the human eye. Hired by railroad baron Leland Stanford in 1872, Muybridge used photography to prove that there was a moment in a horse’s gallop when all four hooves were off the ground at once. He spent much of his later career at the University of Pennsylvania, producing thousands of images that capture progressive movements within fractions of a second.
By the 1860s, Eadweard Muybridge, born Edward James Muggeridge in Kingston-upon-Thames, England, had reinvented himself as Helios, one of San Francisco’s most important landscape photographers. His fame brought him to the attention of Leland Stanford, former governor of California, who hired Muybridge to get a picture that would settle a hotly debated issue: Is there a moment in a horse’s gait when all four hooves are off the ground at once? Muybridge took up the challenge in 1872. In 1878, he succeeded in taking a sequence of photographs with 12 cameras that captured the moment when the animal’s hooves were tucked under its belly. Publication of these photographs made Muybridge an international celebrity.
It took six years to produce the photographs Stanford sought. Muybridge’s experiments were interrupted in 1874 when he went on trial for the murder of his wife’s lover. Acquitted on grounds of justifiable homicide, he spent two years photographing in Central America before returning to Stanford’s farm. In 1878, Muybridge finally succeeded in photographing the horse in motion.
Muybridge used the wet plate process, a relatively slow method of photography. The resulting images were hardly more than silhouettes, but they showed what had never before been seen by the unaided eye.
Eadweard Muybridge traveled to Europe for a lecture tour in the fall of 1881. In Paris, Etienne-Jules Marey introduced him to the artistic and scientific luminaries of the age. This triumphal tour inspired Muybridge to seek additional funding to undertake an even more complex investigation into animal and human locomotion.
In the summer of 1883, the University of Pennsylvania agreed to fund such a project. University Provost Dr. William Pepper placed the grounds of the new Veterinary Department at Muybridge’s disposal, and a university committee was formed to oversee the project. Muybridge began making photographs in the spring of 1884.
Muybridge photographed his subjects moving in front of a black wall marked off with a grid of white threads. He used up to 36 lenses with 12 to 24 cameras, placed at 30-, 60-, and 90-degree angles to his subjects. The two cameras placed at 30- and 60-degrees were able to hold up to 12 lenses each. The 90-degree angle was known as the lateral, or parallel, view, while the others Muybridge referred to as the front and rear foreshortenings. With this set-up, a successful session could result in as many as 36 negatives.
Muybridge’s cyanotypes are working proofs, the contact prints he made from the more than 20,000 negatives he took at the University of Pennsylvania. Since the original negatives no longer exist, the cyanotypes provide us with the opportunity to see the pictures Muybridge really made, before he edited and cropped them for publication.
The Process Muybridge used up to 36 lenses with 12 to 24 cameras, placed at 30-, 60-, and 90-degree angles to his subjects. The two cameras placed at 30- and 60-degrees were able to hold up to 12 lenses each. The 90-degree angle was known as the lateral, or parallel, view, while the others Muybridge referred to as the front and rear foreshortenings. With this set-up, a successful session could result in as many as 36 negatives.
Muybridge contact-printed his negatives as cyanotypes, the working proofs.
Using these cyanotypes as his guide, he enlarged each negative onto a separate piece of glass and assembled these positives into large glass plate composites (C). From these composites, the Photogravure Company, New York, produced a gelatin negative. The final print, called a collotype, was printed in ink from a plate prepared from this negative.
Over 800 sets of proofs exist in the unique collection found in the Photographic History Collection of the National Museum of American History. Comparisons between Muybridge’s working cyanotype proofs and his final collotype prints prove that he freely reprinted, cropped, deleted, or substituted negatives to make the assemblage of 781 collotypes in the portfolio Animal Locomotion. The Muybridge cyanotypes may be found in the online exhibit Freeze Frame: Eadweard Muybridge’s Photography of Motion.
The collection also includes prints from Muybridge’s five-month trip to the Yosemite Valley in 1867, which yielded 260 published views, 160 of them stereographs. His were among the most celebrated images taken of the Valley. By the late 1860s, the widespread circulation of Yosemite images had made the region a mythic American landscape, redolent of the grandeur, expansiveness, and power Americans had come to associate with the West and, by extension, the nation as a whole.
For more information on Eadweard Muybridge in the Smithsonian Collection see:
This collection includes:
- Printable Activity Pages (Each on a single theme, include word and number games, art exercises, and fun quizzes. With each activity, kids learn about something new, from the anatomy of the giant squid to the history of chocolate.)
- Printable Coloring Sheets (Each with different museum objects from across the Smithsonian, including shells, flowers, beasts and more!)
Keywords: puzzles, vocabulary, presidency, elections, animals, play, crosswords, crayons, colored pencils, color
Discovery Theater is a pan-institutional museum theater dedicated to bringing theatre to young audiences and general visitors on and off the Mall since 1969. The world’s most dangerous half-Japanese/half-Scottish solo improvisational taiko drum artist combines this traditional form of powerful playing on huge “Taiko” (drum) with a modern vibe, creating participatory performances that rock the house and educate all the senses. Taiko players are their own instruments—the body dances as the music pours forth with massive sound and energy. Experience Mark and his music in a dynamic show that celebrates this fierce Japanese artform.