by Suzanne L. Flynt
Pocumtuck Valley Memorial Association Distributed by University
Press of New England, Hanover New Hampshire 03755.
Reviewed by Carole Glauber, copyright 2002.
Glauber is a photographer, photo-historian, lecturer, and author.
Allen Sisters: Pictorial Photographers 1885-1920 presents a revival
of photographs by Frances and Mary Allen whose lives straddled the turn
of the 19th century and the heyday of Pictorial photography. Between
1896 and 1916, visitors flocked to the quaint village of Deerfield,
Massachusetts where the Arts and Crafts movement flourished as did Frances
and Marys photographic work. In the same genre as Myra Albert
Wiggins, the Allen sisters employed a routine Pictorialist approach
to their work. We can count on seeing soft-focus images of mothers with
children, workers in fields, sheep out to pasture, children dancing
in a circle on a forest edge, reflections of trees in ponds, and females
in Dutch attire. The public loved this imagery and its popularity provided
professional opportunities for talented and ambitious photographers.
Frances and Mary Allen took advantage of the system utilized by other
photographers: the salon competitions, the keen interest in reproducing
photographs in magazines, potential corporate support from Kodak, and
the immense popularity of the Arts and Crafts movement. The Allen sisters
were in the right place at the right time. Deerfield became a center
of this movement, attracting tourists and curiosity seekers lured by
reminders of bygone days. Frances and Marys charming family home
housed their studio/darkroom where they created photographs befitting
this trend with great success.
Frances was born August 10, 1854 and Mary, May 14, 1858. They seemed
to have a happy childhood filled with music lessons, family picnics,
dances, sugaring parties, and sleigh rides. Both completed boarding
school and then teacher training at the State Normal School. Frances
spent 1876 to 1886 teaching, but Mary suffered from poor health, curtailing
her teaching career. Their hearing deteriorated between 1883 and 1891,
cutting short both their careers in education, but likely strengthening
their dependence on each other and fostering their second career in
Like a surprising number of women during this period, they managed to
support themselves with the new business of photography. Beginning with
portraits of their students, they soon received commissions for buildings,
landscapes, and street scenes of picturesque New England towns. They
participated in the rise of amateur photography competitions but their
appearance in the Washington [DC] Salon and Art Photographic Competition
sponsored by the Camera Club of the Capital Bicycle Club in 1896 caught
the attention of well known photographer and writer, Frances Benjamin
Johnston whose friendship provided a boost to their career. She included
their work in her Paris exhibit of American women photographers and
in a Ladies Home Journal article, The Foremost Women Photographers
Illustrating books and periodicals brought their work to a broader audience.
For example, their photographs appeared on covers of Good Housekeeping
and The Craftsman, as well as inside Country Life in America,
The Delineator, and numerous photography journals. Mary also
became a portraitist, and a steady influx of customers added to their
Despite their deafness, the sisters traveled to England, Scotland, and
Wales in 1908 and to California in 1916.
World War I made their professional lives difficult when photographic
supplies became scarce. In 1930, Frances lost her eyesight and learned
to communicate by using an alphabet glove. Still, they carried
on despite a devastating flood invading their house and general declining
health. As interest in Pictorialism and the Arts and Craft movement
waned, so did national interest in Frances and Mary. The Allen sisters
were relegated to obscurity along with similar photographers from that
era. Frances and Mary died within four days of each other in 1941 at
ages 86 and 82.
The Allen Sisters is a thoughtful, well-designed book presenting
their lives and work in a respectful manner. It is a welcome addition
to the growing number of publications dedicated to women photographers.
Following a well-researched essay by Suzanne Flynt, are 100 tritone
plates. Some of the reproductions are modern prints from glass negatives,
but most are from original platinum prints. A foreward by Naomi Rosenblum
positions the Allen sisters within the history of photography and women
photographers in general. Flynt does bring up issues that require further
inquiry. For example, the concept of female collaboration in photography
is relevant to the Allen sisters story, as is Flynts statement,
Like many Deerfield women active in the Arts and Crafts movement,
they remained single. Both are tantalizing (was there a culture
of women artists remaining single?), yet remain unexplored here. However,
Frances and Mary Allens combination of hard work, talent, and
a business sensibility have survived the test of time and Suzanne Flynt
has done a fine job of presenting them today.
The Allen Sisters accompanies exhibits at Memorial Hall Museum
in Deerfield, Massachusetts in 2002 and Winterthur Museum, Winterthur,
Delaware in 2003.
Hardcover: 208 pages; Dimensions (in inches): 0.94 x 11.60 x 9.56
Publisher: Pocumtuck Valley Memorial Assn;
ISBN: 1882374045; (May 2002)
Foreward by Naomi Rosenblum
by Carole Glauber, copyright 2002.
Allen Sisters: Pictorial from Amazon
A Complete Visual Guide for Creating SX-70,
Transfer, and Digital Prints
by Kathleen T. Carr
the properties of Polaroid film into fantastic and mysterious images
has become a favorite in the recent resurgence of alternative photographic
processes, and Kathleen T. Carr is a master at it. Her new book,
Polaroid Manipulations: A Complete Visual Guide for Creating SX-70,
Transfer, and Digital Prints (September 2002, Amphoto Books)
is the first book that thoroughly explains a wide variety of approaches
to SX-70 manipulation with illustrated, step-by-step procedures and
a stunning collection of works by over 30 Polaroid artists and photographers.
This is a companion volume to Carrs successful Polaroid Transfers:
A Complete Visual Guide to Creating Image and Emulsion Transfers
now the definitive guide to transferring these images onto alternative
surfaces and enhancing them by hand coloring and other means. Polaroid
Manipulations expands on these themes with more creative transfer
techniques, and introduces the additional possibilities available by
manipulating Polaroid SX-70 film. Carr also responds to the explosion
of interest in digital imaging by including specific information for
scanning, Photoshop enhancements, enlarging, and various options for
printing the images digitally.
Polaroid Manipulations is a mother lode of new ideas for
photographers and artists interested in expanding their visual vocabulary
and extending the possibilities in many of the media they already work
with. The gallery section of the book is instructive both for the range
and caliber of work being done in this medium and for the explanations
of how each artist achieves their own effects.
manipulations are an easy and uncomplicated way for professionals to
expand their options, says Carr, because they are relevant
to both abstract and representational forms, and the range ofmedia extend
from handcoloring to sculpture, collage, book arts and beyond.
Bio: Kathleen Thormod Carr, BFA, Photography, is a fine art photographer,
author and teacher whose award winning work has been widely exhibited
and collected. As a Creative Uses Consultant for Polaroid, Carr has
been teaching workshops in these processes since 1993. Her photographs
have been published in National Geographic Traveler, Outdoor
Photographer, Islands, Decor, and Esquire.
Carrs first book, To Honor the Earth (HarperSanFrancisco,
1991), was published internationally. She is represented by the Alinder
Gallery in Gualala, California, and the Edward Carter Gallery in Lewes,
Note: Women In Photography International is proud to announce that eight
images by WIPI Director of Exhibitions Joanne Warfield are featured
in Kathleen's book.]
Kathleen is also the author of the very successful Polaroid Transfers:
A Complete Visual Guide to Creating Image and Emulsion Transfers
(Amphoto Books, 1997), which features her own work along with a selection
of pieces from over 20 international transfer artists and photographers.
Manipulations: A Complete Visual Guide for Creating SX-70, Transfer,
and Digital Prints
208 pages, 8-1/2 x 11, 335 color photographs.
Amphoto Books, July 2002.
Photographs are available for use and the artist is available for
Manipulations from Amazon.com
Kathleen T. Carr
(707) 829-5649 voice
(707) 824-8174 fax
Please visit our June Quarterly Professional Gallery and enjoy the
exceptional photographic talent of Kathleen T. Carr
T. Carr is a Professional Member of WIPI See her featured GALLERY
images in Archive 11.
Also read her interview
in the October issue.
by: Heidi Hollinger
Written by: Jonathan Sanders & Heidi Hollinger
Preface by Mikhail Gorbachev
Review by Nancy
Note: "Were it not for the great love I have for
what I personally know of Russia, and it's people, I doubt if my review
would have been so intense in nature. What I am discovering, as I spend
more time with this very ambitious publication and read more of the
text, is that Heidi shares this love. In reading, it also become obvious
that her life experience in Russia is extensive, vibrant and filled
with intrigue! The opportunity she has had to mingle with all classes
of Russians is enviable." -Nancy Clendaniel
Given Heidi Hollinger's unique affiliations with Russia, it's obvious
that she has made very specific choices as to what images she wishes
to bring to the fore as representative of Russians today. Like any other
artist, Heidi incorporates her own spirit, values and sense of humor
into her work. So it must, of course, be acknowledged that a good part
of the negative reaction I initially encountered, was specifically due
to her photographic style and personal interpretation. Heidi's use of
props, contrived poses, nudity and symbols of a decadent lifestyle to
evoke emotion seem to degrade the very people she is wanting to lift
up! Always subjective, Heidi's images seem to strip even the most elegant
of her subjects of their humanity, honor and sense of belonging. Rather
than sensing humor in this "lighter" side of Russia, where
individualism and personal expression is finally and understandably
surging, I sensed isolation, sadness and chaos.
The Russian community that I've come to know and love over the past
decade are hardworking, fun-filled, family-oriented and extremely creative.
But yes, they are all Christians. They share a history that is overshadowed
with stories of oppression, persecution and personal pain - yet they
are neither cold nor sad nor hopeless. As the newfound "freedom
to worship" must surely be impacting life in the former Soviet
Union, it seems a glaring omission in Heidi's chronicles.
receiving the book for review, I have shared it with nearly a dozen
people from all walks of life - a retired Boeing design engineer, a
poet, a university dean, a homemaker, a college student and a Russian
pastor and his wife, along with two photographers, an espresso shop
owner and a radio announcer! I must say, that I have not taken such
an interest in a new book for ages!! (Being a photojournalist myself,
I should think this is GOOD news to an artist and her publisher!!) The
responses have been very thoughtful and it's been wonderful to see the
time everyone has taken in evaluating the large book.
The most prevailing opinion is: everyone wishes the photos in the BACK
of the book (ILLUSTRATED NOTES) had been selected for the FRONT! These
smaller images have evoked far more reaction than any of the larger
portraits that make up the bulk of the book. All who viewed the book
felt that they got a much better sense of Russia today, upon examining
the first and final section of the publication.
Hands down, the text by Jonathan Sanders was voted brilliant! Personally,
I learned more about the history of Russian Photography from Mr. Sanders
commentary than I'd ever known before!
PREFACE NOTES are very informative and reflect her dedication to capturing
the new Russian Society. Upon reading her text, everyone who viewed
this book, opted for a second look! But I can't help but wonder how
many will take the time to do this? There seems an elusive quality to
Heidi's portraits; a quality that leaves even the most interesting of
her subjects lacking in vulnerability and warmth. Often the warmth only
comes through AFTER reading the text, which is always a fascinating
What you must applaud about this volume is the dedication and perseverance
of the photographer! This collection reflects years of hard work, enormous
photographic talent and evidence of taking considerable personal risk
to effectively document all aspects of the new Russian Society.
To echo the words of Mikhail Gorbachev in the Foreword of this book:
"I believe that the creative attempt to capture the living faces
of our contemporaries in artistic images deserves support and attention."
Perhaps the NEXT volume of Heidi's work will incorporate more of her
documentary images, providing a comprehensive backdrop for a wider spectrum
of the Russian people as they emerge.
by Nancy Clendaniel
WIPI Charter Member
Photography by Heidi Hollinger
Text by Jonathan Sanders and Heidi Hollinger
Preface by Mikhail Gorbachev
175 photographs, 140 in full color
9 1/2 x 13 3/8"
Stock Number: 07575
The Russians Emerge from Amazon.com
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