Columns Features
Saving Face
pg. 6 Hairsteria
pg. 28
A Personal Archival Discovery Maureen Taylor Reads Clues In Ancestral Hair
In Every Issue
Penelope Dreadful
pg. 34
A Dreadful Christmas
In2Genealogy
pg. 36
What Do You Call A Donut? From My Keyboard
pg. 3
The Year Was . . .
pg. 46 Letter from the editor
The Year Was 1866 The Exchange
pg. 4
Your comments
The Future of Memories
pg.. 50 Smile For The Camera
pg. 82
Release Your Inner Ken Burns Your comments
Appealing Subjects
pg. 62 The Last Picture Show
Back Cover
Art, Photography, and Law The graphic image on the back of a carte-de-visite
or cabinet card
The Healing Brush
pg. 74
Reconstructing a Community Download The Magazine
On The Cover
Waters
144 E. 63rd St.
Chicago
Welcome to the Holiday Edition of Shades Of The Departed The Magazine.
This month Shades adds Smile For The Camera to every issue. One
submission will be selected from every carnival to be featured in the
magazine. A man and his machine grace this Holiday Edition.
Shades would like to thank Tamura Jones of Modern Software Experience,
creator of the GeneaBlog Awards, for honoring Shades with the award for
Best Looking Magazine. Thank you!
Enjoy what we have to offer, as we share our knowledge and skills with
you. Thank you for taking the time to be a part of our holiday celebrations.
f M
~3~
Shades
THANKS YOU!
THE EXCHANGE
This is just a sample of the response we received to the Premier Issue of Shades the Magazine. The women of
The Exchange have never taken so many messages! Thank you everyone for taking the time to read and write
about Shades on Twitter, Facebook, your blogs, in emails, and in the comments. Everyone at Shades enjoyed the
challenge of developing this new digital magazine and the thrill of seeing the finished product. We hope you will
join us in many more adventures in our Fascination of Old Photographs. And Ask Questions, PLEASE!
“The camera folded flat in
storage position, and
with the bellows
expanded in picture-
taking mode.”
SAVING FACE
BY REBECCA FENNING
In honor of December, the month in which
my place of employment shuts down for
two weeks, I thought it would be
appropriate to take a break from talking
about the business side of archives and
instead look at a personal archival
discovery that happened because of a
mixture of serendipity and research.
~ 7~
With the help of the internet, I was able to Sigure out that the camera in my hot little hands
was a Kodak Vest Pocket Autographic produced sometime between 1915 and 1926, not too
dissimilar from the Kodak Autographic advertisement featured in the last issue of Shades. As
I learned, autographic cameras used a special kind of Silm (autographic Silm, naturally) that
included a very thin piece of carbon paper between the Silm and its paper backing.
Autographic cameras had a special door on the back near the Silm counter window that you
could lift and, with the metal stylus included with the camera, write whatever you liked
underneath the image you’d just taken.
~8~
(opening the autographic window let in too much light and blurred the overall image
because of this increased sensitivity), and production of the autographic family ended by
the mid‐1930s.
I had started researching autographic cameras simply hoping that I would learn more
about the camera in my hand, not realizing that this research might make a difference in
other places, too. However, reading about the autographic system, I realized that I actually
had an example of it at work in my
family photograph collection in a
picture whose clearly handwritten
caption seemed to be part of the
printed image had always bafSled
me. Now I had an answer as to
Unknown photographer. [Image of Ethel Kalisch]. 1929? In possession of Rebecca Fenning. ]
what it was!
~ 10 ~
The fact that an autographic camera will work with regular Silm and take regular pictures
was a good thing in my case, since autographic Silm has existed in a long time. Even though I
couldn’t try out that very exciting aspect of my autographic Vest Pocket camera for myself, it
certainly didn’t stop me from trying to take regular pictures with it. The camera I have uses
127 Silm, a standard size used in lots of consumer‐grade cameras until the 1960s. It isn’t a
common Silm size anymore, but there are actually still companies that make it (one in
Croatia manufactures widely distributed black‐and‐white 127; another in Canada makes
color 127) and I usually have some in my freezer since I have several other cameras that
use it. I shot several rolls of Silm with the Vest Pocket, with somewhat mixed results. It
deSinitely works, but all of my images had the same blurry and ghostly impressionistic
quality to them, a result of minute cracks and light leaks in the camera’s bellows. Because of
this as well as some other difSiculties with advancing the Silm through the camera, I don’t
use it very often, but at least I gave it a noble try.
None of the
photographs I took may
~ 11 ~
From The Camera
The moral of the story is simple.
Librarians and archivists know that
specialized knowledge concerning
the subjects you catalog, describe or
answer questions about makes you
better at your job. This anecdote of
mine proves that you never know
where this knowledge is going to
come from.
REBECCA FENNING
Rebecca is the author of the Saving Face
column. She also writes the blog A Sense
of Face. This is her December column, “A
Personal Archival Discovery."
~ 13 ~
THE HUMOR OF IT
DONNA POINTKOUSKI
Ah, Christmas…it’s the most wonderful time of the year! Or is it? For some children,
it’s the time of year to be scared to death. First, there’s the whole threat of “being good” or
else! The mere thought of not getting any presents is certainly scary, but there is something
about Christmas that isn’t all happy and jolly. In fact, it instills more fear in young children
than a Halloween haunted house – it’s Santa’s Little Workshop of Horrors and the annual
photo with Santa!
Santa has a reputation of being a happy and fun kind of guy. After all, he brings you toys for
no apparent reason. That’s a guy any child would love, right? Then why is that big fat guy
with a bushy beard so absolutely terrifying for so many children? It’s the terror that makes
the annual “photo with Santa” such a delight for adults. Parents, determined to get that
holiday photo no matter what, gratefully accept the photo even if the child has an
expression of fear and terror and tears Slowing like a river. Years later these photos are
funny, but one can only imagine that it wasn’t that funny at the time for all involved – the
scared child, the parent who has to calm them, and poor Santa who has to withstand the
screams. I hope the malls provide ear protection with the red suit.
~ 14 ~
Here’s an exasperated
Santa from 1977 who
is wondering if it’s
time to go home yet
(or if the eggnog is
nearby).
From The Collection of Alleah Bucs Pointkouski
~ 15 ~
But, by now Grandmom
knew the tricks to a
happy photo – candy
canes for all! Or maybe
it was Santa himself who
learned this trick over
the years – if the kids
have something to put in
their mouth like a
By the time we reach adulthood, we really seem to forget how to think like a child. This
may be why the child’s fear of Santa comes as such a surprise to the parents. If you’re a
parent who will be taking a little one for the annual Santa photo, let me remind you of a few
things. First, no matter how happy or friendly Santa actually looks with that whole jolly
persona and twinkle in his eye, there is something menacing about him. Think about it…he
sees you when you’re sleeping? He knows when you’re awake? That’s a bit stalkerish, don’t
you think? For years we tell our children not to talk to strangers, but there’s this apparently
omnipotent dude that you see once a year and have to be nice and smile for the camera.
Mark my words – children pick up on this incongruity!
~ 16 ~
From The Collection of Alleah Bucs Pointkouski
It must be quite a challenge to be a photographer for Santa. Even if you manage to get a
nice, happy expression on the faces of the children, there’s always the distinct possibility
that Santa himself may screw up your holiday photo. After all, which is the worse or the
two? Being the frightened child who has to sit on Santa’s lap, or being Santa? Santa, who,
hour after hour and day after day, has lines and lines of children who want to see you. Well,
most of them want to see you…but then there are the few, the screaming, the scared. It
must be far worse to be Santa with a headache from all the high decibel screams than it is
to be the crying child. The children get over it with age and perhaps some therapy, but
Santa has to put up with hundreds of screaming children every December.
WANT MORE?
Also, there is a
collection of photos in a
book called Scared of
Santa: Scenes of Terror
in Toyland by Denise
Joyce and Nancy
Watkins. (Harper
Paperbacks, 2008)
ouski
s Pointk
eah Buc
n of All tio
e Collec h
From T
~ 18 ~
From The Collection of Alleah Bucs Pointkouski
~ 19 ~
CAPTURED MOMENTS
VICKIE EVERHART
Memories of writing letters to Santa help to capture the moments of a childlike faith
in the magic of Christmas.
~ 20 ~
In our childhood home, we knew without a doubt that Santa would receive our letters
because our Daddy was the mailman! In years past, children have used a variety of creative
delivery systems for getting the traditional letter to Santa.
Dear, dear Santa:
I have written you a letter which I sent
up the chimney. I do hope you received
it, for in it I asked for quite a number of
things, but I have changed my mind
about the box kite. I would like a little
lawn mower instead.
~ 21 ~
As evidenced by the 1899 date on the letter from little Alfred, newspapers have been
publishing letters to Santa for well over a hundred years.
One little boy wrote, "Don't forget Jimmie,
he is 2 years old, and will take just any old
thing he can get;" while another child
asked for a bulls eye Kodak for his Mama.
~ 22 ~
Dear Santa Claus:
Little Nellie asks Santa to not forget like Daddy
does :‐ "Oak Cliff, Tex.
Dear Santa Claus:
Please don't forget like papa does, will you?"
Remember, Santa ‐‐ don't forget!
~ 23 ~
CHRISTMAS 1956
Well, I don't either, but ‐‐ knowing the date of
the following photo, and knowing our baby
sister was born very shortly after New Year's
Day 1957 ‐‐ this image suggests the contents
of a letter to me, and this is what I imagine I
might have penciled ‐‐ IF I actually knew how
to print when I was Sive.
Dear Santa
I am taking dancing lessons & I would like to
CHRISTMAS 1958
have a pretty ballerina doll. My sister wants a
baby doll because Mommy is having a new It is December 1958 in a small town in
In a little two‐bedroom house on a dirt road,
the Mom is brushing the 2‐year‐old's short
blond hair while the older girl with the long
dark curls practices her printing skills as
only a 5‐year‐old can do. The photographer
from the newspaper arrives at the house
before the oldest sister gets home from
school, and quickly snaps a few shots while
the two little girls make their lists for Santa.
~ 24 ~
TUTORIAL
When I began working on the December image in the selection tray by clicking on
collage featured here, I knew only that I the green map pin. I then selected the
wanted to use the image of my two little image you see below and clicked on the
sisters writing their letters to Santa Claus. collage button.
the only version of that image I had to suggest to you that this image ‐‐ scanned
clipping shown above! p rov i d e a p e r fe c t f r a m e fo r t h i s
newspaper clipping by yielding the look of
It has been my experience that scanning an old photo once the collage is created.
photographic images from newspapers (Do you have old books in your house?
does not usually give satisfactory results. Imagine what a treasure chest full of
A little image manipulation created the textures might be hiding right under your
vintage photo used here, and I am rather nose!)
pleased with the end result.
I scanned the original newspaper clipping
in color at 200 dpi, which produced a 5
~ 25 ~
TUTORIAL
Back to the collage ‐‐ choose the grid Using the grid option, choose texture #1
option and adjust the slider bar to the and texture #2. Right click #1 and set as
right. Right click on the background texture background ‐‐ with #2 being used for the
and "set as background" and then right top layer. Remember to right click and
click on the smaller version of the same remove the extra lighter green image, and
image and remove it. I chose the square then adjust the grid for the margins you
format for this Sinished collage and want. Click on create collage.
adjusted the grid spacing to get a look that
Using the grid option again, chose the
was pleasing.
collage you just created plus texture #3
Then click on "create collage." which will be the texture on the bottom of
the stack
HOW TO CREATE THE LAYERED
B A C KG R O U N D U S E D I N T H E Right click on the 3rd texture and choose
COLLAGE
"set as background." Remember to right
Creating the triple‐layered background click and remove the extra copy of the 3rd
image for the Dere Santey Claus collage texture, and then adjust the grid for the
requires creating two separate collages. margins you want. Click on create collage.
~ 26 ~
TUTORIAL
Right click on the 3rd texture and choose "set as
background." Remember to right click and
remove the extra copy of the 3rd texture, and
then adjust the grid for the margins you want.
Click on create collage.
SNOWFLAKES & TOYS & CHILD‐LIKE
HANDWRITING
The fonts used in the Dere Santey Claus
collage include:
SOURCES * Blu's Holiday Dings
* Caterpillar
About.com ‐ vintage Christmas postcards * KR Christmas Dings 2004 Six
Deviant Art ‐ background textures * KR Christmas Jewels 2005 5
Flickr ‐ vintage Christmas postcards * Toys'4U
Google Image Search ‐ "old book texture" ‐ "free
background textures" ‐ "vintage Christmas postcards" All are free fonts found via a Google
Kodak Collector ‐ 1899 cameras search. See the November 2009 issue of
Mark Twain's Letter (to his daughter) from Santa Claus Shades for detailed information on
‐ optional link adding fonts and dingbats to your
New York Times ‐ archives Santa news items Sinished collage.
Resources for Editing Photos
Santa's Letter Box 1899 ‐ 1899 letters to Santa from
Dallas, Texas children
Vintage Holiday Crafts
1956/1958 Photo/Newspaper Clipping ‐ collection of
author
~ 27 ~
The identity of this
man is unknown, so
we’ll always wonder
did he intend to
mimic female hair or
was it a result of his
hat flattening out the
hair on the top and
letting his side curls
stick out. It’s
definitely an odd
combination of
feminine puffs and
masculine sideburns.
Hairsteria Maureen Taylor Reads Clues in Ancestral Hair
In 1844 Priscilla Pritchett Cresson posed for a portrait seated between her mother and her
mother‐in‐law. She’s the epitome of a young wealthy wife with her striped silk dress and
long sausage curls gathered behind her ears. On either side of her sat the older generation
with their hair covered as was respectable for a Quaker woman and an older married lady.
Behind them stood Priscilla’s husband with his 1840s longish hair combed over his
growing bald spot. His comb‐over is a classic repeated throughout the generation. This
picture is an example of how hair (and beards) can provide hints about a person’s life and
personality.
~ 29 ~
What Style is it?
Every decade had a wide variety of hairstyles for men and women and that can be
confusing. Young women adapted the latest styles, older women often held onto their
youthful coiffures and then there were creative individuals who styled their hair to suit
themselves. However, in every decade there were some common styles. For instance, in the
1840s the majority of women wore their hair looped over their ears, while in the 1880s it
was severely pulled back. Men’s hair in the 1850s and 1860s was longish but by the 1890s
their short styles resemble what’s being worn today. Bangs Sirst appeared in the 1870s.
(Library of Congress Dag no. 271)
precedents. In the 1850s men wore their hair
combed up in a wave on the top of their head.
They kept it in place by using copious amounts of
hair products. Lack the curly locks? No problem.
Use a curling iron. They were available for men and
women. Also in the 1850s women wore their hair
full on the sides of their head in big puffs. The
identity of this man is unknown, so we’ll always
wonder did he intend to mimic female hair or was
it a result of his hat Slattening out the hair on the
top and letting his side curls stick out. It’s
deSinitely an odd combination of feminine puffs
and masculine sideburns.
Study the waves, curls and decorations in the hair
of both sexes then compare your images to the examples in Fashionable Folks: Hairstyles
18401900. You’ll have a better sense of when a particular hairstyle was in vogue.
Age Appropriate
There is a gray area in hairstyle history. It’s who wore what and when. There were
hairstyles for young women, i.e. long Slowing locks while older women wore their hair
neatly coiffed. But here’s the thing. If a woman wanted to look younger she’d don a style
more appropriate for a female younger than her or vice versa.
~ 30 ~
Beards and mustaches were a battleSield. In the 1850s, few men wore beards or mustaches
but then in the Civil War suddenly beards became fashionable and practical. By the 1890s,
they are gone again, at least for young men. Middle‐aged or older men tended to retain their
youthful facial hair just as their wives usually kept their hair in the style of their early
married years. They’d update their dresses but keep their hair familiar. Of course there are
exceptions; there were lots of women who tried to follow the fashion trends regardless of
age. Hair and general appearance conveyed a sense of responsibility and respectability.
(Collection of the author)
grandmother’s gorgeous locks of hair, step
back and think about the process of achieving
that look. She probably had help. Nineteenth
century periodicals such as Peterson’s
Magazine offered tips for dressing one’s hair—
in step by step illustrated detail. Long full hair
was required to achieve those elaborate styles
of the century. If a woman lacked the hairy
resources, well then she’d buy a hairpiece.
According to newspaper reports, the U.S.
imported tons of hair shorn from the heads of
European women.
Hairpieces were nothing new. In the 1840s, Parisian hairdresser, John Truelle advertised in
the Macon (Georgia) Weekly Telegraph (September 7, 1841, p. 3 ) that he sold “wigs, curls,
Front‐pieces and New‐fashioned Plaits.” He also told potential clients that he could repair
old hair.
~ 31 ~
Hair ornaments held styles in place. Specially designed hair jewelry decorated locks in the
1840s and 1850s. Snoods were all the rage in the 1860s, while heavy looking chain jewelry
intertwined with braids in the 1870s. Photographers usually hand colored them gold.
Combs were common in the 1850s and in the 1880s. In the 1890s women’s hair worn in
tight buns at the crown of the head also included a long pick‐like decorative ornament.
Men and women both used hair care
products, sometimes to their
detriment . Caustic chemicals
b u r n e d h a i r a n d s k i n w h i l e
e x p l o d i n g b o t t l e s o f t h e s e
substances left too near a stove
actually killed. It became necessary
for products to advertise their
ingredients. Mrs. S. A. Allen’s hair
restorer and Zylobalsamum were
promoted as safe, better than home‐
made concoctions of lard. While the
former reportedly cured baldness
and banished gray, the latter created
s o f t c u r l y g l o s s y l o c k s .
(Advertisement in Rev. E. Carpenter,
editor. The American National
Preacher, New York: E. Carpenter,
1856) Sound familiar? These
products supposedly repaired hair
burned from over‐use of stove‐
heated curling irons. In the 1870s,
another French hairdresser created
a new hairstyle with a crimping iron
—it was known as the Marcel Wave.
It’s easy to see in pictures. Watch for
waves on the sides of the head just
like the one’s seen here in this
woman’s style.
Trends in hairstyles and facial hair often stay around for decades such as chin beards or
disappear or reappear like bangs. Recognizing hairstyle signiSicance is in paying attention
to the details in the photo then adding those impressions to what you already know about a
photo. It’s all about telling the story of the picture and the person depicted.
~ 32 ~
Fashionable Folks: Hairstyles 1840-1900
Available through
Using the clues explained in this book, you can learn a surprising amount about your ancestors
by studying their portraits. This book is particularly useful to genealogists, social and personal
historians, costume designers and hairstylists.
~ 33 ~
a dreadful christmas
IF TRUTH BE TOLD - MOTHER AND DAUGHTER CHRISTMAS LETTERS
BY PENELOPE DREADFUL
George plans to bring a tree into the house again this year,
and Margery is already stringing bits of sparkles together to
form a lovely garland. The unexpected change in George’s
position at the bank has had the happy result of much less
travel from home, and we are pleased that he is now
available to give Margery the daily fatherly guidance that
of Congress
every 12‐year‐old girl needs.
Of course, we miss Howard dreadfully, but he decided to stay at College through the
holidays, and spend some time with friends in New York City before returning to New
Haven.
~ 34 ~
Saturday December 1, 1900
Mama said I could write you my own Christmas
letter to mail with this horrid photograph she
had made for the aunts and uncles. Just look at it!
Mama made me wear that feather hat from
cousin Minnie. I think I look like a bird.
Minnie’s coat is too big too, but since Papa lost
his job I haven’t had any new clothes at all. Fine
by me.
Papa is angry because Mama only lets him drive
the automobile on Sunday to save gas money. It is
too bad we have to visit the Aunt all the time.
I wish you were home for Christmas. It will be
borrring without you.
Your sister,
The Collection of footnoteMaven
Margery
P.S I know why you are staying Back East. That is
just what you get for stealing the teacher’s
automobile. Did you have fun with those other
boys? Write and tell me all about it (if they let
you have a paper and pencil at that place).
P.p.s. Guess what I’m wearing underneath that ol’
coat? Mama never saw!!! It’s my dungarees and
one of your old shirts. Ha! Ha! What a good joke.
PENELOPE DREADFUL
Penelope Dreadful is the alter ego
of Denise Levenick. Denise authors
the blog, The Family Curator and
gives us this month’s “Dreadful
Christmas.”
~ 35 ~
IN2GENEALOGY
BY CAROLINE POINTER
Courtesy NYPL
However, factors such as you moving away
American Tongues Tease
a n d / o r o t h e r s m o v i n g i n t o y o u r
community can help to change your dialect Take a look at the opening scene from the
and accent over a long period of time. So, if classic documentary about accents and
you have a series of moves over your dialects ‐‐ AMERICAN TONGUES by Louis
lifetime and you stayed in each area for a Alvarez and Andrew Kolker.
signiSicant period of time, it's quite
~ 37 ~
Before we begin looking at how this might be useful in our family
research, let us take a quick look at some interesting characteristics
about human language. In studying language over time, there are
certain maxims that experts have determined about language as
presented in An Introduction to Language, 5th Edition by Victoria
Fromkin and Robert Rodman. Some of them are as follows:
• “Wherever humans exist, language exists.”
• “There are no primitive languages – all languages are equally complex and equally
capable of expressing any idea in the universe.”
• “All languages change through time.”
• “The relationships between sounds and their meanings are arbitrary.”
• “All human languages utilize a Sinite set of sounds that combine to form meaningful
words, which are combined to form an inSinite amount of sentences.”
• Every language in the world includes “universals” such as “male” or “female,”
“animate” or “human.”
• “Every language has a way of referring to past time, negating, forming questions,
issuing commands, and so on.”
• Any child from anywhere can learn any language in which he/she is exposed.
Written Clues
As with any genealogical tool or research methodology, this is not going to work every time,
but it is worth looking at if you are unable to climb a “brick wall.” As mentioned above,
differences in language can be recorded. Nowadays the human voice can be recorded and
humans can be videotaped while speaking. Unfortunately, our ancestors did not have this
type of technology. Indeed, their recordings of the human language are through the written
word. However, regional dialects can still be detected through word usage, word meaning,
sentence structure, and through phonetic spelling. If you are lucky enough to have old
letters that your ancestors wrote, old photographs with writing on the front or back,
postcards your ancestors wrote on, recipes they wrote, bibles they wrote in, autograph
~ 38 ~
books they wrote in, etc., then you have a recording of your ancestors that may reveal their
dialect, which can then be compared to known regional dialect rules and maps. This in turn
could possibly reveal where your ancestors might have lived and/or are from originally.
Just as we take our dialects and accents wherever we go, so did our ancestors as they
migrated from the eastern seaboard, westward. Likewise, their dialects were inSluenced by
other dialects and foreign languages that they encountered along the way, making any
written records they left behind a type of Singerprint of where they had been and where
they were from originally. Since the kinds of settlements that were made in the original
colonies have been identiSied we are able to discern, for the most part, the dialects that they
brought with them; the changes in their dialects that occurred once they were in the
colonies for a few generations; and the migratory patterns that occurred once they began to
move out west. In addition, we are able to see the change in their dialects when and as they
moved. Some of these changes still exist today while others have been “lost” to natural
changes in language, which as mentioned before, are inherent in all human language.
Courtesy Library of Congress
~ 39 ~
Do You Dunk Your Doorknobs and Fatcakes?
There are some great resources that touch upon migration in linguistic terms in the United
States. One of which is A Dialect Map of American English by Robert Delaney from Long
Island University. In his article, Delaney indicates certain words that are borrowed from
other languages and/or dialects. He also mentions the origin of the doughnut and the
different words used across the nation for the word “doughnut.” According to Delaney, the
doughnut was invented
by the Dutch who settled
the New Amsterdam
colony in what is now
modern day New York
City. Here doughnuts are
s o m e t i m e s c a l l e d
“cruller” or “olycooks.” In
Northern New England,
d o u g h n u t s a r e
s o m e t i m e s c a l l e d
cymballs, simballs, and
boilcakes. In the Inland
Courtesy Library of Congress
N o r t h e r n ( p r i m a r i ly
present‐day northwestern New York and Pennsylvania), they are sometimes called
friedcakes. In the Upper Midwestern area, jelly doughnuts are called bismarks. On the other
hand, “...any sweet roll” is called a doughnut in the Chicago Urban area. In North Midland,
doughnuts are called belly sinkers, doorknobs, dunkers, & fatcakes. In the Pennsylvania
German‐English dialect, a doughnut is called fashacht. They also “invented dunking – from
the German 'dunken' (to dip).” In the Rocky Mountain dialect, jelly doughnuts are called
bismarks. Lastly, in the Coastal Southern dialect, a doughnut is called a cookie. So, how does
this help the family researcher? Well, do you have any old recipes or letters? Perusing
through them might yield a recipe for a cruller, or maybe a bismark. Thus, indicating a
~ 40 ~
possible clue as to where your ancestor came from, or maybe where their parents/
grandparents came from originally. This is just one example of words particular to a speciSic
dialect. The following YouTube video is another clip of the American Tongues Silm
indicating other words that are linked to speciSic American dialects. Weird and Wonderful
Regional Words.
In his article, Delaney indicates the original settlers of places out west had distinctive
characteristics of certain dialects, as well as new words acquired along the way or once
they were at their destination. For example, the Rocky Mountain dialect area was originally
settled by North Midland & Northern dialectal areas. He adds that later inSluences were
from “Mormon settlers in Utah and English coal miners who settled in Wyoming.” Moreover,
“some words that came from this dialect are kick off, cache, and bushed.” Another dialect
Courtesy Library of Congress
~ 40 ~
Dialects and Sub-dialects of American English in the 48 conterminous states
There are other places to look for information on deciphering our ancestor's written word.
Listed above are two clips from the linguistic documentary, American Tongues. There are
actually a total of seventeen helpful and entertaining clips that are found on YouTube of
American Tongues. Some additional resources are as follows:
• North American English Dialects by Rick Aschmann
• Dictionary of American Regional English, Vol. 2 by Frederic G. Cassidy
• The Library of Congress: American Memory Linguistic Maps
• “Good English without Idiom or Tone”: The Colonial Origins of American Speech
• National Map: A Phono Atlas
• A National Map of the Regional Dialects of American English
• American Dialect Links
~ 41 ~
So, Do You Pack Your Doughnut or a Cruller When Traveling?
Indeed, dialects and accents are something that our ancestors took with them wherever
they went. However they didn't stay the same, but were dynamic, adapting to their new
homes and new neighbors. These adaptations are unique to particular areas. If our
ancestors left their written word behind, then analyzing their particular dialect evidenced
in such writings may yield where they came from or where they had been. So, what do you
call a doughnut, and what does that say about where you are from or where you have been?
Sources:
Fromkin, Victoria and Rodman, Robert. An Introduction to Language, Fifth Edition. Fort Worth: Harcourt
Brace Jovanovich, Inc., 1993.
Pyles, Thomas and Algeo, John. The Origins and Development of the English Language, Fourth Edition. Fort
Worth: Harcourt Brace Jovanovich, Inc., 1993.
CAROLINE POINTER
Caroline is the In2Genealogy
Columnist. She also authors the
Family Stories blog.
~ 43 ~
Dear
I would like something new for some
things that aren't new: a Wacom Cintiq
Courtesy LOC
2
21UX ~ an interactive pen and touch
screen that I would use for correcting
old photos and designing old photo art.
Sometimes it takes something new to
bring out the beauty of the old. Plus,
this looks like a fun toy and totally out
of my budget.
5
A wedding daguerreotype for my
personal collection of images.
An army of genealogical soldiers for a
What do you think a stamp cost to
mail this letter? very large project I’m thinking about.
3
I have tried to be a good person this year,
although we both know that at times I
I would like a lifetime supply of Fuji
have fallen back on the slippery slope of
color Silm and mylar sleeves. I would
6
laziness. I sometimes (okay, often) forget
to bring my reusable shopping bags to the also like a giant map printer so that I
grocery store, and I did absent‐mindedly could print oversized images if I
toss two used batteries in a public trash wanted to and a giant scanner (I can
can when we were on vacation. Pretty give you real specs for those next
please, if you have time, could you ask
week, Santa!)
your elves to save one of those newfangled
super‐duper WayBack Machines for me.
A cameo made from an old photograph
I need the one with the settings from 1630 ‐ $5,000.
9
to 1950 only; the U.S. version will be Sine.
Having lived through the glorious days of An antique single lens camera.
the 60’s, 70’s, and 80’s I truly have no
desire or need to revisit those decades. John Campbell’s Cabinet Card
4
the fabled Apple tablets so many Vickie Everhart
people are talking about. I've heard
rumors it will do for books what the
iPod has done for music. While I love That one missing photograph I’ve
8
having a book to read on my iPod, it written about so often!
can't handle books ‐ or magazines ‐ full
of photos and graphics. How could
anyone expect me to enjoy Shades
without full‐color photos? Please,
A scanner for scanning larger items ‐‐
please show me these rumors are true
by leaving one under my tree. And, if at least 12 X 18
the latest issue of Shades of the A scanner for making high‐quality
Departed Magazine was installed on it, scans of slides and negatives
7
I would be your most grateful admirer.
A printer with archival quality ink/
toner (with a lifetime supply of ink /
1
toner)
My dearest genealogical wish is that I
A lifetime supply of true archival
would get some trace, even the
quality paper, page protectors, storage
smallest hint, of my gg‐gmother, Sarah
boxes, et al
Gilbert Johnson, born in Clay County,
MO about 1849. Oh yeah . . . and a DEPENDABLE HIGH
SPEED INTERNET CONNECTION that
does not cost in a month what I pay for
an entire year of dial‐up!
~ 45 ~
THE YEAR WAS . . .
SHERI FENLEY
Chicago Historical Society – Haymarket Affair Digital Collection
May 1, 1886 - A somewhat peaceful demonstration of workers asking for an 8 hour workday,
turned into a riot when a bomb exploded at Haymarket Square in Chicago, Illinois. Seven
policemen were killed and some 60 others were injured.
~ 46 ~
Courtesy of www.coca-cola.com
COCA COLA
~ 47 ~
GO TAKE A FLYING LEAP
off the Brooklyn Bridge 135 feet to the waters below.
Columns were published about Steve Brodie the
daring bridge jumper and upon the strength of this
imaginary feat Steve waxed prosperous . . .” You make
the call.
the Indian Wars. Geronimo had earned notoriety for evading
5,000 troops for over a year. He went on to become
somewhat of a celebrity appearing at the World's Fair in St.
Louis and was in Teddy Roosevelt's inaugural parade.
~ 48 ~
LIBERTY
After Congress refused to pay $100,000 for
a pedestal needed to erect the Statue of
Liberty, Joseph Pulitzer of the “New York
World” raised the money so the assembly
of the statue could continue.
while electricians worked to wire the torch
to light up at night. President Grover
Cleveland dedicated the statue on October
28, 1886.
The Follies Bergère staged its Sirst revue in Paris on November
30, 1886.
auctions off his wife!
esy o
court
~ 49 ~
release your inner ken burns
PART 1 - STORYBOARDING YOUR HOLIDAY STORY
Like many others, I am a huge fan of Ken Burns. He has turned the historical documentary
into an art form. The Civil War was one of the most compelling programs I ever watched on
television ‐ followed by Baseball, JAZZ and now The National Parks. Not only am I
mesmerized by the story being told, I'm impressed that he used some very simple
techniques to tell it. With Civil War, most of the visuals were drawn from historical photos
documenting that war. He made those photos come alive with a simple technique that
moved across and into each photo, giving both movement and focus to a speciSic point or
person. That technique is now named for him ‐ the Ken Burns effect.
~ 50 ~
We family historians can use these same elements to create our own family documentaries.
We may not want to tackle a project as large as Mr. Burns' epics, but we do have many
compelling stories of our own and this is a great way to bring them to life.
You probably already have the tools you need to create your documentary right on your
computer. Windows users have Movie Maker, Photo Gallery and Sound Recorder. Mac
users have iPhoto, iMovie and Garage Band. Add either Microsoft OfSice, iWork or
OpenOfSice.org and you have your own production studio ready and waiting for you.
Upcoming articles will detail the documentary production process, but in this edition we're
going to tackle the toughest part of the project ‐ storyboarding.
A storyboard is a collection of sketches and notes used to visualize what you want your
documentary to look like. This not only helps you build your story's timeline, but is a good
way to choose which graphical elements will be used and where. You can use note cards for
your storyboard, shufSling them around until you're happy with the timeline. Even sticky
notes could serve the purpose. I've found that my presentation software ‐ iWork’s Keynote
‐ works best for me.
~ 51 ~
I start by using Keynote's Outline view to build my story points. It's easy to move a topic around in
the outline ‐ just drag the slide to the new location. Here, I've decided that the Scenic Ranch slide
should come right after the Wild West & Old Florida Collide slide, so all I need to do is drag the slide
in the Outline pane until I have it where I want it.
Next, I use the slide area to display possible images, video clips or graphics that I want included at
each point in the story. As shown here, the drawing tools are handy to show how the image should
be cropped or what areas need to be edited for color or lighting.
~ 52 ~
The notes area will be where most of my story‐building effort is expressed. At the
beginning of the planning process it may only have a few notes, but as I build my story, the
notes area offers a place to describe what I want to see and hear at each point in the story.
Yes, even my script can be built here in my notes. In addition to Sleshing out my story and
timeline, I will also want to include production notes. For example, if I am showing a group
shot and want to zoom in on one individual, that’s included in my notes.
~ 54 ~
It's easy to print a storyboard ‐ just choose the Notes option in the print properties. This
way, I can easily reference my notes even when I’m out on a photo shoot or knee‐deep in my
movie‐making software.
The storyboard takes time to develop and Sine‐tune, but it’s much easier to make your
changes and adjustments here. Once your movie project is 70‐80% complete, changes are
going to be a lot more time‐consuming. I’ll be the Sirst to admit to an impulsive nature, but
I’ve found the hard way that advance planning just makes sense ‐ and a better Sinished
product.
With storyboard in hand, I’ll start bringing the Circle B Ranch to life by building the
slideshow and recording the narrative. Then, the following month I’ll add the special effects
and credits and look at distribution options. Then there’s the all‐important premier to
organize. After all that hard work, of course there’s going to be a premier! Stay tuned ‐
we’re just getting started!
Resources:
❖ All photos are from the author’s personal collection.
❖ My storyboard was built using iWork’s Keynote software. The same functionality is
available using Microsoft’s PowerPoint, Corel’s Presentations or OpenOfSice.orgs’ Impress
applications. OpenOfSice.org is a free download.
❖ To learn more about your movie‐making software, you can check out Apple’s iLife or
Microsoft’s Movie Maker and Photo Gallery (part of Windows Live Essentials).
~ 55 ~
Everything
footnoteMaven and Her Photographs Celebrate
Christmas Past!
Old
Photographs were a part of the fabric of Christmas from their inception, as gifts and as that
unblinking eye capturing the past. Photographers urged their customers to select a
photograph to be given to a loved one. A Christmas message could be written on the front of
the photograph, or a more personal message written on the reverse. Ethel Blanchard sent
her message on the reverse to “Seth my love. Merry Christmas.”
Seth my love
Ethel M. Blanchard
Merry Christmas
Card mounted photograph
Hatch Studio
Bath, ME
ca. 1900
~ 56 ~
Is New
Again Queen Alexandra’s
studio portrait
THE CHRISTMAS PHOTO BOOK included with the Gift
Book.
Queen Alexandra owned one of the first Kodak
cameras. She enjoyed photography and showed
samples of her craft in one or two public
exhibitions. In 1907, she was asked, and agreed,
to develop a Christmas Gift Book of her
snapshots with the proceeds to go to charity. It
was published in 1908 by Britain’s Daily
Telegraph and marketed with the help of Kodak
Limited.
The book contained photographs of King Edward VII of Great Britain and members of his family and
entourage, and members of other royal families. The book included both original photographs and printed
reproductions of photographs. Amateur photographers were urged to emulate the Queen’s style and
produce their own photo books.
Queen Alexandraʼs Christmas Gift Book can be viewed online at the Internet
Archive and Web Shots.
~ 57 ~
STICK IT TO ME
Christmas Greetings To Be Sent With A Cartedevisite 1888
There's room for you, dear, in the carte,
And once in it together,
We'd drive through life in it, sweetheart,
Whatever the weather!
~ 58 ~
YOUʼRE INVITED
In the collection of the author
Christmas Greetings To a Successful Photographer 1888
Dear Friend,—Whilst you pass a glad Christmas,
And a New Year sufSiciently bright,
May each pair of your excellent negatives
Prove a "positive" source of delight!
~ 59 ~
LOOK WHAT I GOT!
These are the photographs taken of all
the beautiful toys under the tree. A
photograph crafted to preserve the
moment just before the lucky child
dives into their Christmas treasures.
This was a very fortunate child indeed.
A Keepie doll, a china set and a
Paddington bear. Below Mother Goose,
a wash board, a buggy and more dolls.
Collection of the author
Yours
Helene
Yes, they hung them on the tree.
THANK YOU!
Photography or
Pornography?
Sensual or Sexual?
Nude or Naked?
APPEALING SUBJECTS
CRAIG MANSON
The image on the opposite page is said by many to be the most famous nude painting in the
world. Called La Maya denuda, it was painted by the great Spanish artist Francisco José de
Goya y Lucientes (1746 – 1828), known as Francisco Goya. He painted La Maya denuda
sometime between 1797 and 1800. Its public display immediately provoked outrage in
Catholic Spain.
Your nakedness will be exposed Jerusalem hath grievously sinned;
and your shame uncovered. therefore she is become as an
I will take vengeance; unclean thing; All that honored her
I will spare no one. despise her, because they have seen
her nakedness: Yea, she sigheth,
and turneth backward.
Isiah 47:3 (New International Version) Lamentations 1:8.
~ 63 ~
But a famous recent churchman had this to say:
The human body can remain nude and uncovered and preserve
intact its splendor and its beauty... Nakedness as such is not to be
equated with physical shamelessness... Immodesty is present only
when nakedness plays a negative role with regard to the value of
the person...The human body is not in itself shameful...
Shamelessness (just like shame and modesty) is a function of the
interior of a person.
Karol Cardinal Woytyla (later, John Paul II), Love and Responsibility, translation by H. T.
Willetts, Farrar, Straus and Giroux, New York: 1981.
~ 64 ~
As the Traditional Fine Arts Organization observed in introducing its exhibit, The Great
American Nude, in 2002:
The nude has been a constant and enduring theme in American
art despite our country's Puritan beginnings. . . the nude human
form is a recurrent obsession of American artists.
It was inevitable that the nude would become "a recurrent obsession" of photographers.
And like so much else, we have the French to blame for that.
In 1849, Moulin opened a photographer's shop in Paris where he produced daguerreotypes
of teenaged girls. In 1851, Moulin's work was conSiscated, and he was sentenced to one
month of imprisonment for the "obscene" character of his works, "so obscene that even to
pronounce the titles (...) would be to commit an indecency," so said the court.
But in an online comment accompanying images of Moulin's pictures, the Metropolitan
Museum of Art says that his work
seems more allied to art than to erotica. Absent are the boudoir
props, gaudy jewelry, and provocative poses typical of hand‐
colored pornographic daguerreotypes and the stifSly held
classical poses of photographic "academies" ostensibly
intended for artists as substitutes for the live model.
Photograph from R.W. Shufledt, M.D., (Maj., U.S. Army Medical Dept., ret.)
Studies of the human form for artists, sculptors, and scientists
(Philadelphia: F.A. Davis & Co., 1908)
It is difSicult to estimate how many photographers made pictures of unclothed people in the
nineteenth century, or for what purpose because many of those who did so did it
anonymously.
A great deal of debate surrounded whether photography was art at all or rather some
merely mechanical process to produce with Sidelity what the eye had seen. Put this way,
~ 66 ~
photography of nudes was likely to be short‐changed. The argument photography and
especially nude photographs were not art had much to do with the "uncompromising
truthfulness of photography."
This point of view is explained by a 1906 correspondent writing to The Photographic
Times:
I think it probable the objections to the Nude in Photography will
always remain and are more likely to become more pronounced than
to be softened, and I think so for these reasons : The nude in sculpture
or in painting never possesses the personality which must always
attach to a photograph. The nude in art is accepted only as an ideality,
and as representing the ideal Sigure, not as portraiture. This is not
possible in photography. The ideal Sigure does not exist entire in any
model, and the photograph does not lend itself to composition like
painting or sculpture. The photograph is and must remain a portrait of
the model and the model must always fall below the ideal. The
difference is the difference between nudity and nakedness. The statue
is an ideality and is nude. The photo is and must remain a picture of
nakedness. It is simply a portrait of somebody unclothed, and it must,
therefore, be as uninteresting as the same Sigure clothed would be,
except to the prurient fancy which cares only for the nakedness.
The Photographic Times, Vol. 29, p. 297, May 1897.
This apparent distinction between the "naked" and the "nude" seems to have always had a
bit of social class distinction in it. For example, William Root Bliss, scholar of colonial life, in
a chapter called "The Comedy and Tragedy of the Pulpit," in his 1894 work Side Glimpses
from the Colonial Meeting House, writes "of the theories of modern art:"
. . . there is a vast difference between the naked and the nude;
that, although an uncultivated mind can appreciate the
immodesty of nakedness, only an educated mind can
understand the purity of the nude.
"The Naked and the Nude" in The PhotoAmerican, Vol. 17, p. 215‐216 (1906)
". . . an uncultivated mind can appreciate the immodesty of nakedness [but] only an
educated mind can understand the purity of the nude."
~ 68 ~
The debate about nude photography coincided with the rise to prominence of a man named
Anthony J. Comstock, a native of Connecticut who settled in New York City after federal
service during the civil War. He began a personal campaign against obscenity after having
observed the rather free trafSicking in what he
considered obscene. It would become his life's work
and deSine national attitudes.
Anthony Comstock (1844-1915) Comstock did a lot of writing, but among his most
famous pieces is a tract called Traps for the Young. In a chapter entitled Artistic and
Cultural Traps, he writes:
~ 69 ~
Comstock continued:
Is a photograph of an obscene Sigure or picture a work of art ?
My answer is emphatically, No. A work of art is made up of
many elements that are wanting in a photograph of the same,
precisely as there is a marked difference between a woman in
her proper womanly apparel and modest appearance, and
when shorn of all these and posed in a lewd posture. Because
we are above savages, we clothe our nakedness.
Anthony Comstock, Traps for the Young(New York: Funk & Wagnalls Co., 3rd Ed., 1883), pp.
170, 171.
The statutes gave no meaningful guidance. And the courts were not much better.
~ 70 ~
Untitled postcard of the sort popular in the late 19th century.
Courtesy of Metropolitan Postcard Club of New York City
Photographer and date unknown
Original held by Metropolitan Postcard Club of New York City, New York, NY
And how might a jury come to a verdict in such a matter? The court said:
The difference between [illegal] photographs and pictures, and
those which, avoiding all indecency of position, are calculated
by their symmetry, beauty, or purity, simply to inspire
admiration, or produce emotions of chaste pleasure, is striking
and apparent to all. In the one case the effect is coarse,
demoralizing and sensual, while in the other the chaste
elegance and beauty would not be debasing, but reSining, by
the degree of admiration produced by it. While the former class
would be debasing and vicious, the latter would be productive
of no such effects. And it is in this manner particularly that the
photographs produced upon the trial and argument of this case
are clearly distinguishable from those productions which are
tolerated and commended by the intelligent judgment of the
community.
People v. Muller, 2 NY Crim. Rep. 279, 287 (Sup.Ct., 1st Div., Gen. Term 1884).
~ 71 ~
The accused further appealed to New York's highest court, which also afSirmed the
conviction, noting:
People v. Muller, 2 N.Y. Crim. Rep. 375, 377, 379 (Ct.App. 1884).
So the legal standard seems to have been: the jury knows what the words "obscene," "lewd,"
and "lascivious" mean and the jury can tell the difference between what's obscene and
what's art.
In the 1964 case of Jacobellis v. Ohio, Justice Potter Stewart famously declared, almost as if
he were nodding to the New York court, that
I shall not today attempt further to deSine the kinds of material
I understand to be embraced within that shorthand
description; and perhaps I could never succeed in intelligibly
doing so. But I know it when I see it, and the motion picture
involved in this case is not that.
Jacobellis v. Ohio, 378 U.S. 184, 197 (1964).
~ 72 ~
Photographing the naked and the nude will certainly always remain popular and at once
controversial. In the twentieth century, much energy was expended on trying to draw lines
and articulate deSinitions. That century gave us photographers such as Edward Weston,
Robert Mapplethorpe, Ellen von Unwerth and Leonard Nimoy, all of whom found the nude
to be among their most spectacular subjects.
In 1973, the United Supreme Court issued its most deSinitive pronouncement yet about the
distinction between the lewd and the nude. The Court reiterated its long held position that
'"obscene" speech is not protected by the First Amendment. But said Chief Justice Warren
Burger writing for the Court,
The basic guidelines for the [jury] must be:
Justice Brennan dissented, expressing his belief that neither the Court nor the Congress nor
the States could ever adequately distinguish the naked from the nude. Unfortunately, that
may turn out to be his most enduring statement from a lengthy and active career as a
judge. A most recent controversy seems to underscore the fact that in the 21st century, just
as in the preceding four hundred years, some still can't tell the difference between the
naked and the nude, even in the most apparently innocent of circumstances.
Unless handled with exceeding care the camera is liable to
present the naked instead of the nude, and when that happens
the result falls into the category of indecency, instead of art.
The American Amateur Photographer, Vol. 18, p. 374
~ 73 ~
Map of Towanda
Township
THE HEALING BRUSH
reconstructing a community
“ONE PHOTO AT A TIME”
GEORGE GEDER
I have learned that some of my Ancestors come out of Towanda, Bradford County,
Pennsylvania. What was that community about? What pictures and documents do I have
that, in some small way, can help me understand that place and time?
It has been at least 20 years and I'm way overdue for a re‐visit. For now, let's work with
what I have to put a face on the 'Negro colony' of Towanda.
First, let's look at the Towanda Township Map that was given to me by the BCHS. I don't
know the date or source. I believe it was made around the turn of the century (1900). I'll
wager that the street layout is the same today. The river at the bottom of the township map
is the Susquehanna.
~ 75 ~
Photocopies of obituaries, announcements, index cards and other text were sent to me by
snail mail. Not only of my family, but of any African Americans they could Sind at the time.
~ 76 ~
The Sirst paragraph states
“Towanda – The 13,500 Ott &
H a y G l a s s p l a t e n e g a t i v e
collection at the Bradford County
Historical Society has aroused
much interest in not only having
p h o t o s m a d e f r o m i t b u t
c u r i o s i t y c o n c e r n i n g t h e
photographers themselves as
well as other Bradford County
photographers.”
Bradford County Historical Society Curator's Blog: Click to visit the Curator's
109 Pine Street Blog!
Towanda, PA 18848
Facebook Page: Click to visit us on
Research Library: 570-265-2240 Facebook!
Managing Curator: 570-265-7652
Fax: 570-268-2964
~ 77 ~
This made me look at the birth dates of Emma, Bessie, and their sister Anna. Emma was
born in 1878; Bessie, or Elizabeth, in 1879; and Anna in 1888. By the way, they are the
daughters of my great grandfather's brother, Jeremiah Jeter. Don't get hung up on the
spelling of the surname as it's all over the place. They are my Sirst cousins twice removed.
This tintype is most likely of Emma & Bessie a little younger. Perhaps Anna is just a toddler.
So far, sibling Anna hasn't been identiSied in any of the unlabeled photographs I possess.
~ 78 ~
In this picture, the lady sitting is Anna Florence Ghant‐Jeter, mother of Emma, Bessie, and
Anna.
Behind her on the left is her mother‐in‐law Emma Jeter; to the right is Harriet Melvin Jeter,
her sister‐in‐law.
Yes, they are married to brothers. The date on this photo is before 1881 because that is the
year Emma had passed.
~ 79 ~
At the beginning of this article I mentioned that there was a 'Negro colony' in
Towanda. I learned of that oddly named description from this article about
the African M.E. Church being torn down in 1949.
Perhaps hard to read on the screen, it states in part, “A landmark here for the
past 95 years … on State Street... At that time Towanda had a fairly large
Negro colony...” If you look closely on the map, you'll see the location of the
church. It is in the block between Second and Third Street.
There were, of course, other African Americans of note besides my family
living in Towanda, Pennsylvania. It is my rekindled desire to reconstruct this
community of my Ancestors and learn more about it. Stay tuned!
~ 80 ~
Select To View Video
~ 81 ~
SMILE FOR THE CAMERA Monta
ge India
nMo torcycle
s.com
MarieB's Genealogy Blog ‐‐ Southeastern USA
Info on people places and things helpful in my genealogy research.
If a picture is worth a thousand words, why can't words be worth a thousand pictures?
Do you Smile For The
Camera? That's the premise behind Smile For The Camera ~ A Carnival of Images. Smile is a
monthly showcase of articles that feature the very best of family photographs or those
Read More: orphan photographs contained in your collection. The goal of this carnival is to provide a
regular showcase of the best of those cherished photographs and articles based on word
Writing For Blog Carnivals prompts. Smile is a feature of ShadesOfTheDeparted.com.
Submission Form The word prompt for December is GIFT! Visit Shades to submit your post. Deadline is
the 10th of each month, midnight Pacific Time.
Coming to
Shades – New Year
The New Year is the perfect time to
revisit copyright with
Appealing Subjects
And More!
ANSWERS TO DEAR SANTA:
1 Craig Manson
2 Caroline Pointer
3 Penny Dreadful
4 Denise Olson
5 Maureen Taylor
6 Rebecca Fenning
7 Vickie Everhart
8 Donna Pointkouski
9 footnoteMaven
This Imprint & Logo - Here is a logo found at the base of the front of a cabinet card and the same
photographer’s imprint on the reverse of a cabinet card. The imprint served two functions. It claimed
ownership and it advertised. These imprints are a wonderful source of information for dating a family
photograph as well as offering historical information. Christmas advertised that duplicates could be
procured at any time, and the instantaneous process was used exclusively.