Asahel Curtis captured everything from irrigation systems to the Denny Regrade. Now, the Washington State Historical Society is making his work available to all.

TACOMA, Wash. — From architecture in Sunnyside to the early days of Pike Place Market, Asahel Curtis seemingly captured an encyclopedic history of Washington state around the early 1900s. Now, his 60,000-photo collection is being digitized for all to enjoy.

Thanks to a $25,000 grant from the Pendleton and Elisabeth Carey Miller Charitable Foundation, the Washington State Historical Society is working to preserve and archive Curtis’ work. The museum purchased the collection in 1943, two years after the photographer’s death.

“I feel like we get to be an art detective every day,” said Margaret Wetherbee, head of collections at WSHS. “We see the plate, but then when it’s digitized, you can see what’s there.” 

Curtis was a paid photographer and captured irrigation systems, churches, schools, large events and more. Then, in his spare time, he captured smaller, but arguably just as important moments across the state.

So, why digitize his entire collection all these years later?

“We really feel like it can’t be that one person goes through a collection and says what’s important anymore,” Wetherbee said. “That’s not the standard. Our public expects to have free and public access to our materials and the 5,000 images that are currently digitized prior to the project were the work of one person’s view.”

Wetherbee also said the available collection is already heavily used by teachers, media and the public.

The museum will publish every single image in the collection. Even those that are starting to degrade or have been damaged in any way. 

Wetherbee described the collection as an “invaluable resource” to understand Washington state history. That is why the museum will preserve every image, but will not alter them in any way.

“It was very clear from the beginning of my time at the museum that this project needed to happen, not only for public access, but I can’t say to the public I have 50,000 unknown images,” Wetherbee said. “That’s not stewardship, that’s gatekeeping.”

How does the preservation and storage work?

Asahel Curtis shot on both glass plate negatives and nitrate negatives.

The nitrate negatives are more delicate and placed in a nitrate chamber every day and are cared for by a team of specialists. They are stored in the chamber because if the temperature or humidity around them changes too rapidly, they can explode.

Nitrate decays more rapidly than the glass plates, so they are the top priority in the project. 

The glass negatives, while also fragile, would have had to survive travel to Mount Rainier on horseback back when they were taken. 

The scanning process varies by size. On average, they only take three to seven minutes to scan per image. Wetherbee said staff members can typically scan around 100 images in a day.

So to account for a five-day workweek, the project is expected to be completed in 12 to 18 months.

Asahel Curtis’ impact

Curtis was known to capture more candid and authentic moments throughout a pivotal time in Washington state’s history.

“I feel that photography is a medium that captures so much and you never know in history what’s going to be important,” Wetherbee said. 

Wetherbee herself is a fifth-generation Washingtonian and says the vast collection is exciting for many reasons, maybe most importantly because it showcases a complete picture of Washington.

“It’s not just that people are excited about photos of the Denny Regrade; it’s that people are excited about families fishing in Pateros,” she said.

The $25,000 grant partially funds the project, but WSHS staff estimates they will need an additional $75,000 to complete their goal. To donate to this project, click here.

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In Jay Johnson’s new zine, the photographer captures life over one weekend in the guardianship he lived in in Manchester. “It wasn’t a normal house,” he says

January 03, 2024

While starting on a journey as a photographer can be both thrilling and challenging, it can also be quite nerve-racking for others. Whether you’re a novice capturing your first frame or an experienced enthusiast seeking to refine your skills, one aspect that plays a pivotal role in your success is confidence. Building confidence as a photographer is not just about mastering technical skills but also embracing creativity and self-assurance. Many of us face self-doubt and self-ridicule issues. Even as pros e are not immune to that itty-bitty shitty voice in our heads telling us we can’t do it, or we just aren’t that good. Don’t get to the end of the road full of regret…jump in now.

I’m not saying it’s easy, but let’s explore some practical tips to boost your confidence and enhance your photographic journey.

Master Your Equipment:

Understanding your camera inside out is fundamental to building confidence. Take the time to explore its features, experiment with different settings, and practice shooting in various conditions. Familiarity with your equipment eliminates the guesswork, allowing you to concentrate on composition and storytelling. Don’t be afraid of your camera, fiddling with settings and such usually won’t damage it. When all else fails there is always the factory reset.

Practice Regularly:

As the saying goes, practice makes perfect. Consistent practice hones your skills and instils a sense of familiarity with your craft. Dedicate time to capture a diverse range of subjects, experiment with different styles, and challenge yourself with new techniques. The more you practice, the more you’ll trust your abilities. Offer to help out on shoots with other photographers. Attend classes and workshops, photography or camera clubs can also help with knowledge and events to practice at. See the next point.

Learn from Others:

Photography is a communal art form, and learning from fellow photographers can be immensely beneficial. Join photography communities, attend workshops, and engage in constructive critiques. Seeing the work of others can inspire you, and learning from their experiences can provide valuable insights into your own development.

Set Achievable Goals:

Establishing realistic goals is a key component of building confidence. Instead of overwhelming yourself with lofty aspirations, break down your objectives into smaller, achievable tasks. Celebrate your victories, no matter how minor, as they contribute to your overall growth and confidence. Remember we often learn more from our failures than victories.

Embrace Constructive Criticism:

Feedback, whether positive or constructive, is a crucial tool for improvement. Don’t be afraid to share your work with others and seek feedback. Constructive criticism provides valuable insights and helps you identify areas for improvement. Remember, it’s not about perfection but continuous refinement. On the other hand, don’t listen to the negative nellies who just like to be nasty. Only listen to helpful constructive critique.

Document Your Progress:

Keep a visual record of your journey by creating a portfolio or a photo journal. Documenting your progress allows you to reflect on your development, reminding you of the strides you’ve made. Flipping through your own work can be a powerful confidence booster, showcasing your evolving skills and unique style. Often a 52-week challenge (or 365 challenge if you’re really keen) can be a way to stretch and grow over a year.

Surround Yourself with Supportive Communities:

Building confidence is not a solo endeavor. Connect with like-minded individuals who share your passion for photography. Online forums, social media groups, and local photography clubs can provide a supportive network where you can share experiences, seek advice, and find inspiration. Remember everyone was a beginner once, connecting with other beginners can be a great starting point too. Discuss your difficulties and concerns.

Step Out of Your Comfort Zone:

Challenge yourself by exploring new genres, techniques, or locations. Stepping out of your comfort zone not only diversifies your portfolio but also builds resilience and adaptability. Embracing the unknown fosters confidence in your ability to tackle unfamiliar situations. I truly believe that THIS is where the magic happens, just outside of our comfort zone.

Celebrate Your Unique Style:

Every photographer has a unique perspective and style. Embrace what makes your work distinctive, and don’t compare yourself excessively to others. Confidence grows when you recognize and celebrate the individuality you bring to your craft. It’s all fine and dandy to learn from photographers you admire, but eventually, everyone finds their own style. Be mindful that can sometimes take a while to define your own style.

Acknowledge and Overcome Setbacks:

Photography, like any art form, involves setbacks and challenges. Whether it’s a technical mishap or creative block, view setbacks as opportunities to learn and grow. Overcoming obstacles builds resilience and fortifies your confidence in your ability to navigate the ups and downs of your creative journey. Instead of panicking when things don’t go to plan, savour the moment and take it as a challenge to try something new.

Final thoughts:

Building confidence as a photographer is a continuous process that intertwines technical mastery with creative exploration. By embracing practice, learning from others, setting achievable goals, and cultivating a supportive community, you can unlock your full potential as a shutterbug. Remember, your unique perspective is a valuable contribution to the rich tapestry of the photographic world. Often we are our own worst critics, it’s about being the hero in your own story and ignoring the itty bitty voice in your head that says you can’t do it – because YOU CAN!

So, grab your camera, trust your instincts, and let your confidence soar through each click of the shutter.

French artist Jean Jullien is one of our favourite creatives working today. And if you’re yet to become acquainted with his work, here’s a perfect time to do so… whatever your age. That’s because his latest show is aimed specifically at kids but also instantly connects with any grown-up’s inner child.

It all takes place at the National Gallery of Victoria (aka NGV) in Melbourne, which was founded in 1861 and is both Australia’s oldest and most visited art museum. The museum is currently holding its Triennial, a large-scale celebration of the best of contemporary international art and design, which takes place every three years.

RIFIFI: Jean Jullien for Kids transforms NGV’s dedicated kids’ gallery into a multisensory experience that’s like being immersed in a big drawing. Inspired by the artist’s childhood trips to the beach and a passion for caring for the marine environment, it invites young visitors to engage with and explore an immersive and interactive underwater world.

Intense imagery

“For as long as I remember, the ocean has had a very strong impact on me,” explains Jean, who lives and works in Paris. “Rock pools and the intense imagery of the aquatic fauna and flora filled my imagination from an early age. With roots in Lesconil, a small fishing village in the west of France, I grew accustomed to documenting the seaside in my sketchbooks, then in paintings.

“RIFIFI is a fantastic opportunity for me to pour all these drawings onto the walls of the NGV to create what I hope will be a thrilling underwater installation with tailored activities to share my love of anything aquatic,” he continues.

“I have two kids, and we marvel together at what life lies beneath the blue drape of water, play in waves and enjoy sailing on my father’s fishing boat. I hope RIFIFI will engage our little sea explorers and teach them to love and respect the ocean.”

In line with this vision, the show, Jean’s first in Australia, features unique hands-on activities conveying how children’s actions can protect the ocean and marine life. These simple ways to interact with the exhibits are perfectly pitched for children, and the experience of visiting this show, which is Jean’s first in Australia, is likely to be anything but forgettable for many young minds.

The exhibition is accompanied by a new NGV Kids book, Who Lives in the Sea? which features some of the artist’s favourite ocean inhabitants, including sea squirts, sardines, squid and spotted eels.

RIFIFI: Jean Jullien for Kids is one of almost 100 projects commissioned by the NGV for the Triennal, which continues until April 2024, including more than 25 world premiere projects. Over 120 artists, designers and collectives are taking part in the event, which brings together art, design, and architecture into dialogue with one another across all four levels of the gallery.

Brushstrokes and block colour

The exhibition may be aimed at youngsters, but it still represents Jean’s distinctive illustrative style, characterised by black brushstrokes and bold block colours. It’s a singular aesthetic that’s garnered him a cult-like following, including more than 1.2 million followers on Instagram.

His practice encompasses painting, illustration, photography, video, costume, installations, books, posters, and clothing. In 2016, he launched Nounou with Jae Huh, a Korea-based label producing various items, including clothing, graphic objects, rugs and dolls.

He graduated from Central Saint Martins in 2008 and the Royal College of Art in 2010. His work has been exhibited extensively around the world, including presentations in Paris, London, Los Angeles, New York and Berlin.

Recent exhibitions include a large-scale public installation of sculptural and graphic figures at Le Jardin des Plantes in Nantes, France (2020); a joint exhibition with his brother, Nicolas, at Tokyo’s Nanzuka Underground Gallery (2023); and a major retrospective at Dongdaemun Design Plaza in Seoul (2022). He has created popular illustrations for The New Yorker, The New York Times and The Guardian and recently published his first self-titled monograph with global art book publisher Phaidon.

“Over the past two decades, Jean Jullien has established a bold graphic style that shares his observations of the world around him with wit and humour,” says Tony Ellwood, director at the NGV. “RIFIFI: Jean Jullien for Kids is the largest and most ambitious kids’ exhibition the NGV has ever staged and reflects our ongoing commitment to collaborating with artists and designers at the top of their fields to create world-class art experiences for our young visitors.”

In a captivating fusion of visual and literary art, writer Timothy O’Grady and photographer Steve Pyke have reissued their collaborative work, I Could Read the Sky. This new edition harmoniously balances prose and photography to evoke the memories of an aging Irishman, exploring themes of Irish emigration and memory.

The Genesis of a Collaboration

The seeds of this collaboration were sown by Pyke’s evocative photographs of Ireland and Irish life. These sparked O’Grady’s creativity, leading to the creation of a narrative about Irish immigrant life, primarily in London. O’Grady had harbored initial reservations about the blend of words and images, inspired by John Berger’s work and others, he came to realize the potential for a mutually beneficial relationship between text and images.

The Voice of the Narrator

O’Grady’s vivid understanding of the emigrant experience, having himself left home to live abroad, shaped the narrative’s authenticity. The story is structured as the reminiscences of an aging Irishman, a voice that came to O’Grady in a moment of inspiration, allowing him to pen the book swiftly. The challenge lay not in writing the narrative but in ensuring that the images did not merely illustrate the text.

Finalizing the New Edition

Filmmaker Nichola Bruce, who later adapted the book into a film, played a crucial role in arranging the photographs to complement the text. The new edition was crafted in a single day, with O’Grady and Pyke working together to more effectively showcase the photographs and enhance the storytelling. The result is a masterful blend of literary and visual arts that resonates strongly with readers.

This collaboration has led to subsequent projects, marking a significant achievement in the amalgamation of the literary and visual arts. The reissue of I Could Read the Sky stands as a testament to the power of storytelling when two different mediums converge to create a unified whole.