Post-Trip

And so it ends.

The course anyway. My trip isn't actually over for a few more days yet.

Coming to Paris has been quite the experience, and in so many ways. First and foremost, this course gave us the opportunity to see the history of photography in the flesh. Something I've also held by is that you can study and research a topic as much as possible, but seeing the real thing is something else. It allows you to truly see and appreciate the pieces for what they are, in image content and in materiality.

This course has given me a wake-up call as well. On occasion, the lovely and wonderful people that spoke to us during our many visits would speak French while Marta translated. I found myself more and more listening to the French version and frantically writing my notes in English. It's been good to discover that my French language skills aren't as forgotten as I thought they were. Walking around Paris has forced me to practice again, and to learn more to ensure I am understood. I can take this back to my life in Canada and maybe even my future career. My mom always told us that being bilingual would be an asset; this trip, and a larger career field may just prove her right.

Going back through my notes and pictures for this journal has left me with mixed feelings. A large portion of these are missing Paris and the wonderful experience she gave us. The rest has been a further understanding of everything we saw. Writing this journal has been very enlightening; I've had a chance to really look into what we were frantically scribbling while we were being shown so many beautiful works. The extra research to verify some numbers and historical facts has furthered my knowledge of what we saw. I feel I can talk more confidently now about photography, more than I already could.

This was always going to be more than just an excuse to go to Paris, and it always will be. I am indebted to Marta and Peter for their help and knowledge throughout the whole experience, and will never forget the three weeks of awesome that was the PP8205 course.



As a side note, the academic entries to this blog are more or less over, chiefly being due to the fact that the journal is due today. I will be adding a few personal entries after this one of the extra days I had in Paris, although mostly a photo dump from the Louvre visit : )

May the 23rd, Musée de Quai de Branly and the ARCP with Anne Cartier-Bresson

During the early 1840s, France was honing its skills in archeological and anthropological photography. During this time, the science world was organizing a study of man, which looked at all aspects of the known world. The idea was to take this research and create the museum of natural history. The new director of the project, a man named Serres, immediately asked for some reproductions to be made of the collection of bones and peoples within the current amassed collection. This could be done thanks to the newly invented Dageurreotype. The medium lended itself to scientific reproductions, since the objects were usually stationary and would allow for sharp details to be seen. Over time, part of this collection and works from the now closed Musée National de Arts D’Afrique and D’Oceanie, and the ethnographic department of the Musée de l’Homme came together as part of the newly formed Musée de Quai de Branly. Opened in 2006, MQB is a mix of art and enthography, and the collection features indigenous art, artifacts and research on cultures and civilizations from throughout Africa, Asia, Oceania and the Americas. Upon the arrival of collections from the Musée de l’homme, a mass rehousing project began to better care for the works that came in, since many were unhoused and unmounted. This projected included the aforementioned daguerreotypes, which are now housed in such a way as to show the publication information on the recto.

Daguerreotypes of the skulls in the collection.

Another view.

I guess I’m finding albums really interesting on this trip and with some similarities between them when you think about it. The collection’s curator, Christine Barthe pulled an album by a sailor named Auguste Houzé l’Aulnoit. Made in 1861 the album begins with personal subject matters, including his friends and other photographers he knew. The album then moves to portraits of the missionaries that he came across in travels. Like the Régnault album at the SFP and the Lartigue album at St Cyr, the photographs vary and change from personal to professional. In this case, l’Aulnoit begins with taking portraits of the locals in the exotic locations he came across. While we know that l’Aulnoit wasn’t an anthropologist by any means, their techniques had become widespread enough for him to be using them for his work later in the album. The locals he photographed and showcased in the album are posed twice, once with a frontal view and once with a side view. L’Aulnoit also produced a second album that focused on his professional works, specifically a series of royal portraits (not of the British royal family). This album further reflects the anthropological style of the day; each page has one photograph, each with its own, neatly written caption that incudes typographical notes. Having the two albums together provides a great comparison when looking at this man’s work and at the shift in his work from personal & local, to professional and international.

 Christine Barthe with an album by Auguste Houzé l’Aulnoit.

Barthe then pulled out some prints by Desire Charnay who was an archeologist. Despite the exciting life as an archeologist, as dictated by Indiana Jones, Charnay wanted to have adventures and travel, so he became an envoy photographer for the French government. Beginning with North America, Charnay traveled throughout the United States, Canada and Mexico, handily labeling his photographs as he went. An image of Montmorency Falls in Quebec initially caught my eye, especially for the angle of the shot. I have been to the falls, and almost to the same vantage point that this image was taken from. Knowing that almost 150 years have past since we were both there is somewhat humbling. The MQB also has Charnay’s paper archive from this time, including correspondence, images and planning for his travels. From this we know that Charnay traveled with almost a ton of supplies to photograph with, form the cameras, plates, chemicals and his own water supply. Charnay did occasionally use paper for photographs, although many places he visited had impurities in the water that would pollute the paper as a result. This was a big problem in Mexico, although it didn't deter him very much since he returned many times to the city he fell in love with.

 Montmorency Falls by l'Aulnoit.

 A scene in Mexico city.

As a side note, amongst the many things that Barthe showed us today, one of the slightly unrelated things that some of us were fascinated by was the book cradle Barthe was using. I have only ever seen them made from either archival boards or plastics, so to see the rolled fabric one that the MQB had was something different. I may try to make this in the future,since it's so adjustable it seemed perfect to seamlessly go from smaller to larger volumes.

We were way to interested in this thing than we should have been.

May the 23rd, part two, with Anne Cartier-Bresson.

Later in the day we arrived once more at the Maison Européenne de la Photographie, but this time we went straight upstairs. The Atelier de Restauration et de Conservation des Photographies began its life in 1983 with just two people. The focus was to protect, conserve and restore the photographic collections of Paris. Now, with a staff of 14 people, the ARCP works with all the municipal photograph collections in Paris, approximately 8 million artifacts. These come from 14 museums, 5 libraries, an archive and a smattering of other institutions, including the odd private consignment. Run by Anne Cartier-Bresson, the ARCP's staff are some of the most highly trained in their field. Cartier-Bresson herself teaches part of the conservation studies program at the Institut National de Patrimoine, a program that includes furniture, glass, paintings, textiles, ceramics and photography. This program is specialized from day one, allowing students to focus on one medium. 

The ARCP has had a major boost in arrivals in the recent past, and this is due mostly to the city's new Nitrate plan. Nitrate negatives are very much dispersed within the city's various collections, so a new, large project has been undertaken to identify, house and separate them from the rest of the collection. Since this project started, many have been found mixed in with acetate and other materials. Currently, there are roughly 1 million negatives that have been identified in this project, around two tons. The next hope in the project is to relocate them all to an off-site cold storage facility. In the meantime, many negatives are being digitally copied for an electronic archive. 

We're getting a demonstration in a montage évidée!

A montage évidée in progress!

Cartier-Bresson was not only nice enough to show us her studio, where we were privy to a montage évidée demonstration, but she also gave us a private tour of the exhibit downstairs in the MEP. The idea of the show was to show the public an idea of how the prints and photographs are made throughout history, and more importantly, that the materiality of the photograph is just as important as the image content itself. The mediums that were being showcased were all ones that are still being used currently, hence the modern pieces of historic process that were alongside the original historic processes. This private tour was a great chance to have some of the display choices explained and elaborated on, including the choice to show many unstable prints under curtains. Cartier-Bresson went on to show us some of the high-tech features this exhibit used to protect the historic material, including some very specific lighting features. LED is the light of choice, since the fear of heat and UV being given off is unnecessary. LEDs were used to light negatives from underneath, and were not only fully computer calibrated, they were attached to a motion sensor that would turn the lights off after people had left that part of the exhibit.

Having Cartier-Bresson's insight to the exhibit was invaluable to us. As a person within the field, being able to ask questions of the curator and organizers of a show can give fantastic insight. This visit was also one heck of a way to finish off the course.


All photographs by A Cook.

May the 22nd, Post Rapture day at Versailles

We had lunch at Versailles. I don't really need to say much more about it than that : )

The course graduation dinner was that evening, it was lovely.

 Let's get this picnic started!

 The girls enjoying some scenery.

 One of many, many fountains.

To Paris, with much love form PPCM 2011

All photographs by A Cook.

May the 21rst, Free day at the markets and some sex!

Another day at the flea markets! St. Ouen is unbelievably large, it actually encompasses about six or more markets, which are somewhat thematic. This came in handy since we could avoid the furniture markets. We did really well for photographs again! We found one booth that was stuffed to the brim with antique photographs, we easily spent a solid hour just looking through boxes. We each found some great tourist shots of Paris, including a beautiful shot of the Palais Garnier. None of my digital photos of the outside of the building turned out that great from that visit, so having the 3x4, black and white one was a nice treat. The girls did really well on autochromes at another booth, each went home with two or three very nice images.

After lunch we made our way back into town towards the Moulin Rouge. Next to it is the Museum of Eroticism, which just seemed like a fun way to spend an afternoon. There was a fairly good cross-section of work from various classical civilizations through to today, and in a variety of mediums. On one of the floors there was an entire wall covered with viewer submitted photos to an adult magazine. If the outfits and poses weren’t entertaining enough, the attempts at hitting the shutting themselves with brooms and fly swatters made them hilarious.

I figure that's about as elicit as my content can be from this visit.

This visit elicited one of my favorite quotes from the entire trip. Amongst myself and my two traveling companions throughout this trip, myself and another were the designated French-speakers. As a result, the third member of the party would frequently turn to us for translation help. At one point during the trip, the phrase “je ne sais quoi” became to mean “how do you say.” So, at a pause in the conversation at the museum, she turns to me and says, “Ashley, je ne sais quoi penis?” It made me glad I wasn’t drinking anything at the time since I would have spat out my drink in laughter at a painting I was looking at. Even now it still makes me smile.

All photographs by A Cook.

May the 20th, The Paris Opera House

The Paris Opera was the home of the primary opera company in Paris, formerly known as the Académie d’Opéra. Originally founded in 1669 by Louis XIV, the company itself is a unique combination of Royal splendor versus public access to the arts. While it may have had public access, it retained its royal status, and the authority of the king was decisive as the primary stakeholder. The Palais Garnier, where we had our tour, was originally designed as part of the Second Empire reconstruction initiated by the Emperor Napolean III that was happening throughout Paris. Construction began in 1862, and after many setbacks, including attempting to build on a swamp and the Franco-Prussian War, the Palais was completed in 1874 with its inaugural gala performance in 1875. In recent times, the theatre received a mass restoration effort to restore and preserve the décor throughout the building, the work only being recently completed in 2007. The theatre space itself has its own legendary status, since in 1896 the grand chandelier fell and killed a patron. This coupled with the building’s underground lakes and cellars aided in inspiring Gaston Leroux to write The Phantom of The Opera in 1910.

The famed chandelier.

The Grand Staircase from behind.

Looking up.

Pierre Vidal, the current director of the Paris Opera, took us on our private tour of the magnificent building. There will be quite a lot of pictures in this post as a result, if nothing else it will do justice to my sore neck from staring at the ceiling constantly. He walked us through the main theatre space, which was prepping for the upcoming performances of Rain, a new ballet. We then stared in awe at the great hall and the surrounding architecture before moving to Napolean’s wings and private box. Opulent doesn't even begin to cover it.

Yep. Pretty fancy.

Getting fancy with the point and shoot.

The Palais does have a museum that showcases many artifacts from the Opera’s history. However, sadly it has been closed for renovations recently with virtually all of the exhibits moved to another location in the building to keep them away from the ensuing dust. Vidal showed us some of the many thousands of dioramas that have been made to represent the sets that have been on displayed, each made by hand. They have been stored away for the renovation, but a few were in the archive and library space where we finished our visit. Vidal went on to pull out some of the many compiled albums within the Opera's collection, and the building's reputation for opulence was continued in the photographs. The pages were filled with images of the players in full costume, posing as their characters. Many of the photographs were cabinet cards that featured the roles and actor's name on the rear. Magnificent, Roman-themed costumes were on parade in front of us; they were stunning. The collection also features some of Garnier's personal archive, including original drawings and designs for the Opera.

Some of the dioramas is storage.

One of the many albums in the Opera's collection.

Some more recent additions.

The archive has had its issues over the years; currently, the oppressive heat in the Parisian summers is an archivists nightmare. The entire collection is still on site despite this, but the renovation should aid in keeping it safe. Also, around 25 years ago, a mass-remounting project occurred to restore the photographic collection. While the intentions were good, the project went ahead without recording the information on the rear of the photographs. A secondary project was undertaken later on to use an infrared camera to read the backs of the photographs. This secondary project got all of that recto information back and onto new pages. 

A remounted page.

And another one.

This collection for us was very much a visual one. I mean that in as much as the other collections we have viewed have been very historically based. This collection, while historical as well, is more about the content and the tradition of the Opera. I will now honour the building and the collection with a bit of a photo dump.

This should be self explanatory.

More of the view on the inside.

Tea is on the snack bar menu.

Quite the ceilings in this place.

All photographs by A Cook.

May the 19th, the Centre Pompideau, and an Evening with John Morris

Today was a busy day with two visits! Our first stop was the Centre Pompideau and as a small note, there will be no images of the collection. We were asked to not publish, or show publicly any of the photographs we saw during our visit. So, for the first part of this post, any images will be of the building itself, and very little else.

The CentrePompidou first opened its doors to the public in 1977, with the photographic department opening in 1981.  The Pompideau’s main mission to disseminate knowledge about all creative works and their creators from the 20th century is done through multiple exhibitions a year, a well-stocked reference library and an open, 20^th century inspired building.  The photography department has focused on materials form the 19020s and 30s, with a large portion of work featuring or by surrealists. The collection holds around 35,000 pieces, with many being negatives. Of these, 12,000 are negatives by Man Ray, along with around 200 vintage prints by the artist as well. The Pompideau holds five archives of artists, including Man Ray, Brassaï, and Constantin Brancusi. The Pompideau is gradually working on the latter half of the 20^th century, this being aided by a recent donation form the State Bank.

 The Centre Pompideau.

Clément Chéroux, the Pompideau’s photographic curator, began our day with some of Man Ray’s works. There is currently a book in the works for Man Ray’s portraiture, something the artist took up to make some money to stay in Paris. He also did photographic reproductions of other artists’ works. His portraiture didn’t require any advertising; his work became popular enough that people came to him. He priced according to his clientele, a mere 30 to 40 francs for the average sitter, and 1000 francs for the wealthier ones. Many of Man Ray’s portraits are quite simple with minimal lighting and ‘artsy’ settings. He wanted to have his works look like paintings hanging in the Louvre, and many of the works Chéroux showed us reflect this sentiment. During the late 50s upon his return to France from America, Man Ray started doing colour portraits of singers and actors. This is where he developed and patented a new process, one that still remains unnamed. He would photograph his subject with a colour transparency film and would subject it to too much light when exposing it. The resulting low density, thin film was displayed on white paper, which would show the image. The result was a 3D-like effect, mostly due to the space between the film and the paper, which allowed for depth and shadows to occur. I have to admit, my knowledge of Man Ray work prior to this trip was somewhat limited to his rayograms and ‘still life’ works (for lack of a better term), so to see the variety of portraiture he did throughout his career was quite educational. Seeing this work was a great way to fill in some holes in my knowledge of Man Ray’s body of work. His works are stunning too; the colour portraits are so vibrant and different.

 Clément Chéroux, showing us something that I can't show you.

The next group of work that Chéroux pulled for us was part of the Brancusi archive. Constantin Brancusi left his entire archive to the state upon his death, a collection of 700 photographs and roughly 1,2000 negatives. Brancusi began photographing his own work after never being satisfied with the results of the many other photographers were dispatched to copy his work. The main thing that needs to be known of his work, his that the photographs were his vision of his own sculptures. He was constantly playing with light, reflections and shadows on his work. He would sometimes wait till the right time of day where the sunlight would hit his work from a specific window before photographing it. He also printed his own photographs, further controlling how the image looked. When I saw these pieces, I got the distinct impression that these were an extension of his sculptural works. Many of Brancusi’s sculptures have details within them that catch the light to add depth to the works, and his photographs really highlight that aspect of his work. Also, in many cases the monolith-like aspect of his works is even further highlighted by the stark, almost singling out aspect of his portraiture. They are really quite beautiful. In some cases, they can be against some photographic notions, primarily the decisive moment. To document his work, “Endless Column,” Brancusi used cinematic film, and chose which frame he preferred once the reel was developed. He then printed the image full frame, which further aided in the impression of the column actually being endless. Brancusi’s photographic works provide a great visual extension to the museum’s collection of the very works he photographed, specifically in the view of the artist; we can view the works as he wished them to viewed. The Pompideau was an amazing way to be thrown into the 20^th century of photography.

Part two of May the 19^th, John Morris.

In a converted storefront space, hidden in Paris alley, lives John Morris, the now 95-year-old former photographic editor of LifeMagazine. Born in 1916, Morris has spent his life editing photographers and working with hundreds of photographers for newspapers and magazines. His work with Life magazine was followed by a postwar career with Ladies Home Journal, Magnum, The Washington Post and TheNew York Times. His move to Paris in the early 80s signaled a move towards free-lance writing and editing, along with frequent talks about his life and career.

 John Morris.

There’s nothing quite like meeting someone of this kind of legendary status in the photojournalism world, not to mention a personal friend and colleague of Robert Capa. Morris welcomed us into his home and treated us to a slide show and talk about some of the photographers he has come to know throughout his life. Beginning with Life Magazine, the early days of this publication had a humble photography department, a mere 4 staff photographers were on the payroll.  Upon a circulation peak of around ten to eleven million strong, there were 35 staff photographers. Life had very little competition during the early years, and didn’t disappoint, in many cases being able to cover stories and publish the next day. During his Life days, Morris edited many world events, including the attack on Pearl Harbour and the Hiroshima and Nagasaki bombing. Morris’ move to Ladies Home Journal and further move to Magnum led into a more political vein. Images from the Korean War, various presidential runs in the Oval Office and Kennedy assassination set the tone for the 50s and 60s.

 A cover of Life Magazine.

 An image from the Hiroshima bombing that was censored in publication for almost five years.

The afternoon we spent with Morris was almost like an afternoon with a friend. While his talk was educational, it was filled with personal stories and his take on many global issues throughout his career. It was quite something. In some cases, it was his decision that made photographic history, including saving the 11 remaining frames of the 4 rolls of destroyed images from Capa during the D-Day invasion. His work with Magnum produced an assignment where photographers shot 12 scenes of farmers washing in 12 different countries. The idea was that “people are people the world over,” so the similarities and differences of the subject matter was highlighted within these photographs. It was quite the honour to be invited in to the home of such a legend.

John Morris.

After the day’s visits, some of us decided to celebrate by doing something we thought to be very Parisian: a picnic dinner at the Eiffel Tower. After a quick trip to the grocery store for some cheese, bread and wine, we navigated the Paris metro and staked out our place on the lawns next to the tower. We arrived well in time for the evening light show to unfold before our eyes. It was a great way to end the day.

 The Eiffel Tower.

 Twinkle, twinkle etc.

All photographs and videos by A Cook.

May the 18th, Fort St Cyr

The long haul out to St Cyr from our hotel was well worth the wait. Fort St Cyr is an impressive, imposing place. Originally built in the 1870s after the Franco-Prussian war, the fort was designed to help protect the capital. Very isolated at the time, the fort could hold around 2000-3000 soldiers. After World War I, the fort began a civilian life as a meteorological station and school, and in the 1980s the fort began its current life as an archive. Thanks to the efforts of Henri Langlois, the French Cineclub archives were stored at the fort, all 40,000 of them. The fort is now split between a cinematic film wing and a photography wing, most of which are underground and have earth covered walls. This set up has its issues, steady temperatures and humidity readings are almost non-existent. 

 Bevan hanging out outside Fort St Cyr.

 

The fort is quite the facility, even on the outside. The inside features a lot of long hallways that hold four cold storage areas. The fort even has nitrate within its walls, although separated. There are roughly five to ten million objects within the collection, from negatives, prints, autochromes, plates (of varying sizes), and paper archives, such as bills, receipts and orders. Around 150,000 of the 800,000 digitized images have been put on the fort’s website. The archive uses digitization for the dissemination of images more so than the conservation of them, and their facilities reflect the demands from the public. The usual dpi the fort goes for from an image is 3072, although they do aim for 6044 if the negative is over a certain size. The fort does do its own printing for exhibitions, usually 40x50 cms or 50x60 cms. 

An 8x10 plate by Felix Nadar.

Marie Robert, one of the fort’s archivists gave us a walking tour of the facility. She showed us one of the conservation studios in which one of her colleagues, Patrick, is working on something really cool; the entire archive of negatives of Felix Nadar. There are glass plates everywhere in the room, many of which are broken. The fort is lucky to have Nadar’s business books as well, and that Nadar was a scrupulous writer. His records include who sat for him, their addresses in many cases, dates and how many prints the clients wanted. The fort is working on this inventory form the beginning of the studio’s existence, starting in 1850, all the way through to 1942. The studio was taken over by Nadar’s son Paul after his death, and closed altogether in 1948. The state purchased the studio’s inventory from Paul’s widow, and the collection was split. The negatives went to St Cyr and the prints went to the National Library. Despite the split, the collection was untouched for many years, and in 1980 was declared to be a national monument. It was then where it was inventoried and studied. At current count, the negative collection stands at 250,000, although that figure is being worked on.

 Some of Nadar's broken plates.

So many plates!

I am truly amazed by this room. The stacks of plates are fascinating; we can see little hints of images peeking out on the plates, and on the shards on the table. Patrick showed us some the registries that the collection came with, and how he’s been using them to identify the plates for the archive. I can only imagine how much of a godsend those registries are to the collection; it would be a nightmare to sort out these plates otherwise. He also pointed out some the archival materials that the cleaned and catalogued plates are going into. It’s quite the operation, especially for one man.

Archival envelopes!

After a quick lunch with the staff, we return to the archive to see a few more fonds, including Kertesz and Ronis. We then moved to the cold storage in the basement, where we saw even more Nadar! At first we were shown some of the other plates that are still being repaired and catalogued, still in the brown paper and strings they came in. It provided quite the contrast for the cold room that Robert showed us next. The archival paper enclosure and aluminum boxes are very well organized, and slightly different. I don’t think I’ve ever seen the boxes the fort was using for their storage.   

 Open!

Closed! 

 

The basement also featured something some of the second year students were very interested in from the get-go, photo albums by Jacques Henri Lartigue. The albums themselves were in amazing condition, along with the images inside, some of them looking as if they had been printed a week ago.  It was amazing to see this kind of work in such good condition. It likens a bit to the Régnaut album we saw the Société Française de Photographie, since the album is composed of images that Lartigue liked or was personally linked to. In some cases, the photographs featured events and people he was close to.

An album of Lartigue's.

 On the inside.

All photographs by A Cook.

May the 17th, Bibliothèque de Musée des Arts Décoratifs

Originating in 1864, the Bibliothèque de Musée des Arts Décoratifs is a mecca for researchers and art historians within the subject matter of the decorative arts. Its mandate was to celebrate the useful that is made beautiful and the culture within France that surrounded that. Previously known as the Union Centrale des Arts Décoratifs (UCAD) for several years, the name was changed to Les Arts Décoratifs. Despite the name change, the institution prided itself in staying true to its original aims of safeguarding the collections it held, promoting culture, and providing art education and professional training. The collection within the museum is one of the largest in Paris, combining a wide variety of items from various fields within decorative and applied arts.

The Louvre.

So. Many. Prints.

Béatrice Krikorian was our guide for today’s visit to the reading room of the museum, and she pulled out one of the collection’s main claims to fame with photographic context. The reading room boasts one of the largest collections of Henri Le Seqc works, a collection that was actually given to the museum by the Le Seqc family. Consisting of around 600-700 prints, negatives and cyanotypes, most of the collection has been digitized and placed in an online archive. The prints are not only massive, I can’t recall many that were smaller than a hefty 8x10, they were stunning. Beautiful, crisp images of church architecture and forest scenes were continuously pulled from boxes. The negatives were even more extraordinary, since I don’t think I had ever seen one that large.

So beautiful.

Peter, acting as a negative holder.

Ooo, nudes!

Obviously the reading room does have other photographers within their collection, Marville and Atget are two notable ones. The reading room’s collection is entirely done by subject and themes, rather than the photographers. In a way, it’s much like the Musée de Carnavalet prior to their reorganization into a specific photographic collection. When the reading room was being put together, the material that was coming into it was arranged by motifs, designs and themes that could be studied by artisans, designers and students alike. In recent times, Krikorian mentions that around 2000-3000 photographs were pulled form the collection to be restored and cleaned. This created a large debate since it was felt that the conservation efforts, which also segregated the works was contradicting the museum’s mandate of dissemination and having the works publicly available. Since the albums within the reading rooms are well used and well handle, the argument for conservation efforts is still strong, in the meantime new handling rules for patrons have helped a little.

A negative, housed in mylar and archival board.

A print, housed in mylar and archival board.

All photographs by A Cook.