Visitors from the Past

Found Photographs from the Late 19th Century

For a brief span of only a few decades, from the late 1860's to the dawn of the twentieth century, ordinary people were photographed in a way that often yielded extraordinary results.

The durable, card-mounted albumen photo prints that were so popular during this period can still be found in antique shops. The larger size prints (usually 6.5" x 4.5") were known as "cabinet card" photographs and were often mailed to relatives for display in their homes. To fully appreciate the magic of this, you have to take yourself back to those days and imagine the wonder and excitement of seeing a photograph of a loved one for the first time! 

Unlike modern photographs where the moment of exposure is nearly instantaneous, these images were recorded on glass plate negatives that required long exposure times, sometimes as long as five minutes. Compared with sitting for a painted portrait, this may not have seemed like such a long time, but it still required that the subject find a facial expression that could be held comfortably for the duration of the exposure. 

In the best of these photographs, this requirement helped to create natural, truthful portraits that have an uncanny feeling of presence. These long exposure times captured a succession of moments — almost like a short video — during which the person remained still, but also very alive and present. 

There is something in these pictures that is not found in later photographs. They capture light, but they also capture presence. This is a distinct subjective feature, and it gives these portraits their striking combination of immediacy and timelessness.

If the subject maintained good eye contact with the camera during the exposure, the resulting photograph would then convey the impression that he or she was actually looking out into the room from the cabinet card print when it was put up for display! The presence of the individuals in these pictures is not diminished by time. Even though we now have almost no information about who they were, we can still feel who they were. 

This means that we can feel their qualities of character. This feeling can grow over time, and perhaps even tell us something about the wisdom of their day. As members of the human family, we are all related to the people in these pictures — they are all our "relatives."

In spite of their durability, most cabinet card photos have suffered significant deterioration over the past hundred years. Painstaking digital restoration is very much like cleaning a window. It gives us a clear view into the past, undiminished by spots, scratches, fading and discoloration. Given the nature of the original process, these photographs often contain rich detail, which allows the making of large life-size prints.

This would not be possible without high-resolution digital scanning and today's image editing software tools. These finished pieces thus represent an unusual bridge across time that is anchored at each end by very different, but uniquely complementary, possibilities.

SFHQ offers an exciting selection of artwork celebrating America's Favorite City by San Francisco artist, Stephen C. Wagner. Whimsy and humor abound throughout Fog City in the SFarOut series of digital prints. The essence of San Francisco cool-hunters is captured in the SF Hip digital prints on kraft paper. Color explodes all over San Francisco in the SFab series of screen-prints on vintage wallpaper. Close-ups of San Francisco street signs, cable cars, and tracks highlight the SFocus series of sepia-tone photographs.

BIOGRAPHY Stephen C. Wagner has studied art since the age of six, including workshops at the Witte Museum, Trinity University, and private study, all in San Antonio, TX. During his early years, Stephen showed his works in many venues, including juried shows, art fairs, coffeehouses, and galleries. He obtained his Bachelor of Fine Arts from the University of Texas at Arlington in painting and graphic communication. Stephen has exhibited and sold his artwork in galleries in London, Chicago, Dallas, Beverly Hills, Santa Monica, Laguna Beach, San Diego, Seattle, New Orleans, Palm Springs, and Kauai. His artwork is included in the permanent collections of the Riverside Art Museum and the Museum of the Living Artist, and in the corporate collections of Johnson & Johnson and Kaiser Permanente. His artwork has been featured in the film "Antwone Fisher" directed by Denzel Washington, and was featured on the set of the Bravo TV show "Boy Meets Boy."

Mike Kimball is an artist in love with the city. His works depict urban and industrial landscapes that inhabit the worlds of both representation and geometric abstraction simultaneously.

As an artist, I attempt to put on paper, those things that interest me. I choose from within my space-a path from a morning's walk, a vegetable or a fruit from the market, flowers, weeds, trees, animals, a rock or a flowing creek. I transcribe these forms with pencil or charcoal, or a needle on copper or zinc in etched or drypoint line.

I often start with a figurative painting or a portrait. Then I adapt to the particular situation by subverting the picture plane in a variety of ways. Usually I either contract or expand the depicted space using one or more floating, intruding, or incongruous objects or subjects. My aim is to develop the classic genre of figurative work or portraiture into something more psychologically expressive and amusing. I chiefly work in pastel, oil pastel, or watercolor.

The works shown here are part of a current series inspired by fairytales and legends. Although several pieces, such as "Girl in a Box", have strong political elements, the series is primarily an exploration of visual art as an aspect of storytelling. All story-telling is participatory--you must have a teller and a
listener. Art is participatory--you must have a maker of art and a
viewer. In the moment of interaction between the artist’s act of making art and the viewer's act of responding to the art, a new piece of art is produced, something unique that may only last for that moment of looking. According
to Maya Angelou “There is no greater agony than bearing an untold
story inside you.” That is very true but, I would add, speaking of my
own art-making, that there is no greater joy than to have told a good
story.

Drawing and painting portraits has always been at the core of my artwork. In my portraits I strive to express the passion and personality of my subjects and capture an inner aspect of who they are. My portraits evolve like improvisational dance. I sculpt in color and form, continuously transforming and remolding my image, like working with wet malleable clay. I am influenced and inspired by great Impressionist and Fauvist painters such as Monet and Matisse.

"What the eye beholds
the tongue need not explain."

I view my work as a cultural intervention that utilizes formal strategies as a means of engaging a range of very personal historical and social issues.