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A Photographic Truth

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Program Information

A Photographic Truth

Program information

Mark Osterman—Process Historian, Kay R. Whitmore Conservation Center, George Eastman House, International Museum of Photography and Film—discusses the origins of photography and the history of manipulation. Using rare examples from the George Eastman House's collection as well as his own artwork, he illustrates the historical methods used by many photographers.

Recorded October 14, 2012

Part of a Sunday at the Met program held in conjunction with the exhibition Faking It: Manipulated Photography Before Photoshop, on view October 11, 2012–January 27, 2013.

The exhibition is made possible by Adobe. The catalogue is made possible by The Andrew W. Mellon Foundation.

James Nares: <em>Street</em>

James Nares: Street
(00:02:17) 17992 views

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Henri-Jean-Louis Le Secq  (French, Paris 1818–1882 Paris)

Date:
ca. 1851
Medium:
Salted paper print from paper negative
Dimensions:
6 3/4 x 8 9/16
Classification:
Photographs
Credit Line:
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Accession Number:
2005.100.1089

This artwork is not on display

  • Signatures, Inscriptions, and Markings

    Signature: Signed in ink lower right: "H. Le Secq"

  • Provenance

    [François Braunschweig]; Gilman Paper Company Collection, April 3, 1978

  • Notes

    Information from Braunschweig: "Arcs-Boutants de Chevet (côté Sud), papier ciré sec, procédé Le Gray, tiré sur papier salé. 1851 ou 1853, dates des deux campagnes photographiques de Le Secq à Notre-Dame de Paris, mais très probablement 1851 car la signature à l'encre sur l'épreuve est l'indice des premiers travaux de Le Secq. Sa présentation, son montage sur canson, sont les témoignages de la vénération quasi religieuse que Le Secq portrait aux recommandations de Le Gray, et que nous a signaleé Eugenia Janis."

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    In the Museum
    Heilbrunn Timeline of Art History
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