The page, http://www.vintag.es/2015/11/rarely-seen-autochrome-photos-of-new.html , claims to display

Rarely Seen Autochrome Photos of New York in the Early 20th Century .

The images themselves span 18 years, from the earliest one dated with the year 1900, to the last, a photo of buildings with banners and signs exhorting the public to buy war bonds, with the date given as 1918. Not all of them are from New York City, several are attributed to places in Upstate New York. Though they are lovely to look at, and a few provide a glimpse of what everyday life for everyday people looked like in the thick of NYC, some people who have written into the comments section have revealed that the provenance of the images is not in all cases what the site represented them to be: some are not genuine Autochrome images at all, but colorized photos or lantern slides, and the one of two men playing chess was reportedly taken in Germany, not New York. Here are the comments, correcting some of the attributions of the images:

Some of these are not original autochromes but colorised black and white photos, e.g. the couple in Saratoga Springs, which is a detail from a colorisation by Sanna Dullaway: http://sannadullaway.com/0r…


A number of critical errors. Image #1 (from the top down) is not an autochrome. Images #2 & 3 are autochromes by Charles Zoller (Rochester, NY). Image #4 is not an autochrome. Image #5 ( Foolish House) is an autochrome by Zoller. Images 6, 7, 8, & 9 are not autochromes. Image #10 (rooftops) is an autochrome in the collection of Wm. B. Becker and should be credited to him. Images 11, 12, 13, & 14 are by Zoller. All the Zoller autochromes are owned by the George Eastman Museum and should be credited to them. Image # 15 (chess players) is probably by Alfred Stieglitz or possibly by Edward Steichen and was taken in Germany. The last image (war bond rally) is an autochrome by J. D. Willis from the collection of Mark Jacobs.
Nearly all the non-autochrome images identified in this post are actually black & white lantern slides that have been digitally colored


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    Right! 6-7-8-9 are not color photographs at all, but Photochrom prints made from black and white negatives. You can see the originals online at the Library of Congress — the process is explained here: http://www.loc.gov/pictures…

    And if you’re interested in real Autochromes, including the rare New York rooftops image (#10 above), see the original postings online at the American Museum of Photography: http://photographymuseum.co…




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Landmarks votes to create the Morningside Heights Historic District


A major preservation triumph in northern Manhattan

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Neighborhood Movie Nights 2016-2017

Every month, 7-9pm; doors open at 6:30pm
St. Paul’s Chapel (Broadway and Fulton Street)
You’re invited to take a cinematic stroll down New York’s memory lane at St. Paul’s Chapel, which is celebrating its 250th anniversary on October 30. Each movie will be accompanied by a brief talk about New York and St. Paul’s Chapel during the time period of the monthly featured film.
Admission and snacks are free.  Films are suitable for general audiences – most are rated PG13.

Friday, October 28: The Cameraman (1928)

Friday, November 18: Mr. Deeds Goes to Town (1936)

Friday, December 16: Remember the Night (1940)

Friday, January 27: Funny Face (1957)

Friday, February 24: The Odd Couple (1968)

Friday, March 24: Love Story (1970)

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Retronaut’s New York

A pop-up exhibition of historic panoramas of New York City

“Greetings fellow time-travellers – my Retronautic time-machine is touching down on New York City’s 5th Avenue, and it will be delivering an extraordinary cargo of panoramic pictures of NYC – of more than one hundred years ago.” – The Retronaut, Wolfgang Wild.

That’s right, from February 25th, for a limited time, visitors are able to see the exhibition, Retronaut’s New York, in the lobby space of Premier Exhibitions 5th Avenue at 37th Street, New York; and even better, this special “pop up exhibition” is free to the public.

1902: The Sunday Parade, Fifth Avenue (Library of Congress)

Retronaut’s Wolfgang Wild has selected a set of extraordinary panoramic photographs capturing New York City more than a hundred years ago to create an exhibition that is unique. Each photograph has been painstakingly digitally cleaned and restored from the versions held by the Library of Congress, the results wiping away the decay of time and rendering the scenes of New York City into contemporary monochrome. These widescreen images should not, our minds tell us, exist – they are not the small, sepia and faded snapshots of the past that we expect to see. The images we see are on the same scale as our present, and – extraordinarily – over a century old.

1902: A scene in the ghetto (Library of Congress)

At the centre of the historic panoramas is a quite extraordinary image – a “Timescape” of Times Square created by Dynamichrome’s Jordan Lloyd. Lloyd has woven together fragments from Times Square’s hundred year history into a seamless and spectacular image where decades cascade into one another. The hypnotic result is a beautiful and surreal panoramic photograph, simultaneously instantly familiar and disconcertingly anachronistic at once.

1902: Manhattan Beach (Library of Congress)

Come along, and witness history before your very eyes!

Retronaut’s New York is presented in co-operation with Mashable, and produced by SC Exhibitions. For more about Retronaut visit: mashable.com/category/retronaut. And for Dynamichrome, see: dynamichrome.com

This pop-up exhibition of extraordinary, digitally restored photographs captures New York City at the turn of the 20th century. It’s only open until May 15, so be sure to get down there before it’s gone.

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from the NY Times: Seeing Red: Photos of NYC in the 1970s by Frank Fournier

For Frank Fournier, 68, who began photographing in New York in 1976 after moving from France, the color red emerged as a surprise message rising from the city’s fabric. At the time, he was just learning to work with color film, walking the city and experimenting with the sensual properties of Kodachrome stock. “I was following the light,” he said the other morning. “I didn’t realize I was following red.” Decades later, when he was editing images from that period, he noticed the recurrence of red shades. Red could be flashy or low-key, as bright as neon or as staid and solid as faded bricks. “It really popped out intensely,” Mr. Fournier said. “You would think in New York yellow was the color to catch, because of the cabs.”

On the other hand, yellow is the color of maybe. Red is a statement, often made in defiance of prudence or good sense. No one puts on a red dress or buys a red sports car to stay home. In the late 1970s, when the city was teetering on fiscal collapse, red signaled both solidity and a veneer of bravado. For Mr. Fournier, new to the city, this was its romance. “You come from Europe, where everything is in order, everything is quite clean and nice and organized and proper,” he said. “In New York, I found the chaos to be visually incredibly exciting. Of course you had consequences for many people, and I was aware of that. But I found in New York, if you succeed it’s because of you, and if you fail it’s because of you, more than other places in the world. The energy was fantastic.”

In his four decades of living here, he said, the novelty of shooting New York has not diminished, because every day it’s a new city. “It’s constantly on the move,” he said. “I don’t understand why people go to Broadway shows. Take a ride in the subway. That’s tremendous theater. You can’t invent anything better than that.”

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Slideshow from the New York Times

On Aug. 8, 1966, The New York Times ran an article about how many Harlem residents wished more white people would visit to see for themselves their community’s reality. The article, by McCandlish Phillips, detailed in an almost anthropological way the Harlem of 1966 to Times readers.

“A curtain of fear, about as forbidding as a wall of brick, has made the black ghetto almost psychologically impenetrable to the white man — at a time when many in the ghetto sense that it needs the white man to help it save itself from a kind of psychological secession from a white society,” Mr. Phillips wrote.

Hence the publication followed of a photo essay showing ordinary people doing ordinary things in Harlem.…

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You may have never heard of a newspaper called PM. But it was one of several daily newspapers which New York City used to support in the mid-20th century. Surviving issues, some of which feature now well-known writers and photographers, provide a window into the lives and concerns of people during the 1940s, when the paper ran.

According to Untapped Cities, “the Steven Kasher Gallery in Chelsea is pulling the paper back into the spotlight with the exhibition “PM New York Daily: 1940-48.” Until February 20th, the gallery will show pictures from PM, taken by the biggest photographers of the ’40s including Lisette Model, Margaret Bourke-White and Weegee.

The paper was founded by Ralph Ingersoll, the managing editor of Time-Life publications who was known for his daring and defiant character. In 1941, when Stalin made an interview with Ingersoll off-the-record, the editor ran a detailed illustration of the Kremlin and pointed out the gate where Ingersoll had entered – proof that the interview had indeed happened.

In an age of press corruption, Ingersoll was adamant that PM would not publish ads. It survived on donations and subscriptions alone. Or rather it limped by. In 1946, its owner, Chicago bank millionaire Marshall Field, declared that the paper would begin accepting ads. Ingersoll resigned.

But PM‘s first five years were glorious. The paper supported President Roosevelt’s New Deal and preached the plight of the working class. From abroad, it exposed the fascism of World War II. PM reporters were writing about the mass murder of Jews as early as 1941.

You can see these articles at the gallery, where each photo is paired with a copy of the newspaper page that it appeared on. The white walls are a medley of pristine prints in elegant black frames and taped-up photocopies of newspaper articles. It’s the best and biggest scrapbook you’ve ever seen.”

I’m going to go to the exhibit if I can.…

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