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On Making Color Slides in Art MuseumsAuthor(s): Lester Burbank BridahamSource: Art Journal, Vol. 31, No. 2 (Winter, 1971-1972), p. 149Published by: College Art AssociationStable URL: http://www.jstor.org/stable/775568 .
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tion funds to be spent on murals, paintings, and sculp- ture should be more rigorously fostered and adminis- tered. Greater federal encouragement, particularly through the State Commissions on the Arts, should yield increased buying of contemporary works by state and mu-
nicipal governments. The National Endowment for the Arts can encourage more eleborate aesthetic zoning, more
parks and public places with room for sculpture gardens, better tax breaks for office buildings which are exemp- lars of good, rather than horrid, taste. The Endowment should explore in great depth the way in which the pri- vate art market presently functions and how current trends may modify the income patterns of various schools of American artists. More information is necessary about who the new purchasers are; whether individual collec- tors, corporate collectors or museums predominate; what is the extent of the market for paintings at various price levels; and what is the capability of the dealers to ferret out new markets for the artists they represent. Fourth, the government should explore and develop new avenues of participation for artists in architecture and city plan- ning so that novel forms of creative expression have com-
pensating outlets. In part this may involve subsidizing production facilities which require extraordinary capital outlays.
The droit de suite cannot function as the corner- stone of federal planning. The fashioning of government policy in the area of the arts is difficult enough without the additional paralysis of reliance on outmoded ideas of
tion funds to be spent on murals, paintings, and sculp- ture should be more rigorously fostered and adminis- tered. Greater federal encouragement, particularly through the State Commissions on the Arts, should yield increased buying of contemporary works by state and mu-
nicipal governments. The National Endowment for the Arts can encourage more eleborate aesthetic zoning, more
parks and public places with room for sculpture gardens, better tax breaks for office buildings which are exemp- lars of good, rather than horrid, taste. The Endowment should explore in great depth the way in which the pri- vate art market presently functions and how current trends may modify the income patterns of various schools of American artists. More information is necessary about who the new purchasers are; whether individual collec- tors, corporate collectors or museums predominate; what is the extent of the market for paintings at various price levels; and what is the capability of the dealers to ferret out new markets for the artists they represent. Fourth, the government should explore and develop new avenues of participation for artists in architecture and city plan- ning so that novel forms of creative expression have com-
pensating outlets. In part this may involve subsidizing production facilities which require extraordinary capital outlays.
The droit de suite cannot function as the corner- stone of federal planning. The fashioning of government policy in the area of the arts is difficult enough without the additional paralysis of reliance on outmoded ideas of
the production and distribution of art. The rude intru- sion of technology into the craft of the parlor and the
rampant extension of the artistic imagination is render-
ing obsolete such notions as "paintings," "originals," "au- thentic." The shape of the demand profile is also chang- ing. The practices of periodic resales and passing works of art from generation to generation are growing less sig- nificant as institutional, government, and corporate buy- ing begin to become a greater proportion of the market. The pervasive idea of distinguishing between books and
paintings must fade somewhat as the market for reproduc- tions doubles and redoubles. What is most clear is that the government cannot define its policy on the basis of a nineteenth century view-or any fixed view-of the art market at a time when standards, and styles, and methods of sale are so quickly changing. That is the plague of the droit de suite. True, it offers a small solution to the prob- lems of some painters. Yet the administrative problems it
produces would probably outweight is benefits and the
government could better direct its energy in channels cal- culated to improve the economic security of the artist. In terms of its articulated goals, the droit de suite rewards the wrong painters with probably inconsequential amounts of money at the wrong time in their lives.
A contract which includes many of the artist's rights and controls recommended in this article has been pre- pared by Robert Projansky and Seth Siegelaub of New York City. A copy can be obtained from them or from the Museum of Modern Art.
the production and distribution of art. The rude intru- sion of technology into the craft of the parlor and the
rampant extension of the artistic imagination is render-
ing obsolete such notions as "paintings," "originals," "au- thentic." The shape of the demand profile is also chang- ing. The practices of periodic resales and passing works of art from generation to generation are growing less sig- nificant as institutional, government, and corporate buy- ing begin to become a greater proportion of the market. The pervasive idea of distinguishing between books and
paintings must fade somewhat as the market for reproduc- tions doubles and redoubles. What is most clear is that the government cannot define its policy on the basis of a nineteenth century view-or any fixed view-of the art market at a time when standards, and styles, and methods of sale are so quickly changing. That is the plague of the droit de suite. True, it offers a small solution to the prob- lems of some painters. Yet the administrative problems it
produces would probably outweight is benefits and the
government could better direct its energy in channels cal- culated to improve the economic security of the artist. In terms of its articulated goals, the droit de suite rewards the wrong painters with probably inconsequential amounts of money at the wrong time in their lives.
A contract which includes many of the artist's rights and controls recommended in this article has been pre- pared by Robert Projansky and Seth Siegelaub of New York City. A copy can be obtained from them or from the Museum of Modern Art.
On Making Color Slides in Art Museums
For the past several years I have been taking hundreds of rolls of color film in the Louvre, Uffizi, the Bargello and vari- ous other museums in Europe. I have used a tripod, light meter, and grey card to get the meter reading. My results in the past have been say 50 to 60% success- ful. Last year on the top floor of the Lou- vre, where the 19th century paintings are, it was most frustrating, for the sun was going in and out and once I read my me- ter and got the lens set, the sun would go under a cloud. In addition when one uses a meter, you get the reading from the shiny gold frames.
I am getting excellent, say 85% to 90% perfect slides-the same quality as a pro- fessional photographer would get with lights. I now hold the camera in my hand at 1/25th second, and open my lens all the way; everything is shot this same way. I never vary this. I have a f 2.8-50 mm. lens on my EXA reflex camera, German make. The secret of all this is to use High Speed Ektachrome film, 35mm, EH135, 36 ex- posures, daylight type, and to have it spe-
On Making Color Slides in Art Museums
For the past several years I have been taking hundreds of rolls of color film in the Louvre, Uffizi, the Bargello and vari- ous other museums in Europe. I have used a tripod, light meter, and grey card to get the meter reading. My results in the past have been say 50 to 60% success- ful. Last year on the top floor of the Lou- vre, where the 19th century paintings are, it was most frustrating, for the sun was going in and out and once I read my me- ter and got the lens set, the sun would go under a cloud. In addition when one uses a meter, you get the reading from the shiny gold frames.
I am getting excellent, say 85% to 90% perfect slides-the same quality as a pro- fessional photographer would get with lights. I now hold the camera in my hand at 1/25th second, and open my lens all the way; everything is shot this same way. I never vary this. I have a f 2.8-50 mm. lens on my EXA reflex camera, German make. The secret of all this is to use High Speed Ektachrome film, 35mm, EH135, 36 ex- posures, daylight type, and to have it spe-
cially developed at 400 ASA, the same speed as the fastest black and white film TRI X. This development is called, ESP- 1, Special Process. You pay one dollar for this when you leave your film. This cost is in addition to regular price.
In securing the results I have achieved, 1 learned, by trial and error, the right kind of light needed. My procedure is for general museum gallery lighting, say in the Bar- gello, and Uffizi, away from windows. You have to agree with yourself that you will not try to photograph anything in front of a window. For example, in the Bargello, you will get perfect results if you take the Giovanni da Bologna and Bernini clay sketches on the wall, but if you move over in front of the window to take the stone sculpture by Bernini of his mistress, it will not work, this stone will be too light. I have had perfect results with: the Mi- chelangelo Tondo in the Bargello, the David by Donatello, all in the middle of the Bargello gallery. One of my best slides is the bas relief by Benvenuto Cellini up- stairs. As with the Bernini, my slides of the Della Robbias on the wall in front of the window were too light. But the lovely head of the girl there came out perfectly.
cially developed at 400 ASA, the same speed as the fastest black and white film TRI X. This development is called, ESP- 1, Special Process. You pay one dollar for this when you leave your film. This cost is in addition to regular price.
In securing the results I have achieved, 1 learned, by trial and error, the right kind of light needed. My procedure is for general museum gallery lighting, say in the Bar- gello, and Uffizi, away from windows. You have to agree with yourself that you will not try to photograph anything in front of a window. For example, in the Bargello, you will get perfect results if you take the Giovanni da Bologna and Bernini clay sketches on the wall, but if you move over in front of the window to take the stone sculpture by Bernini of his mistress, it will not work, this stone will be too light. I have had perfect results with: the Mi- chelangelo Tondo in the Bargello, the David by Donatello, all in the middle of the Bargello gallery. One of my best slides is the bas relief by Benvenuto Cellini up- stairs. As with the Bernini, my slides of the Della Robbias on the wall in front of the window were too light. But the lovely head of the girl there came out perfectly.
I began using this method for making color slides a year ago in Venice at the Biennale Exhibition. We went back the last day before we left Venice in the late afternoon. The sky was very dark. I had to take the last photos then or never. Soon it started to pour. I was in the Greek building and took the primitive paintings. The lights went out later in the German building; as soon as they went back on I started taking photos. There is no doubt that I had the worst possible conditions for taking color slides. I photographed everything I needed with the High Speed Ektachrome. When I re- turned home I had them all processed with the special development and they all came out perfectly.
Do not attempt to have this develop- ment done in Europe if you are there during the summer, for all color finishing by Eastman has to go to Paris. There is some danger of losing your film in this way. It is much better to bring them back to the USA. I urge my art history col- leagues to try this easy method.
LESTER BURBANK BRIDAHAM
Denver, Colorado
I began using this method for making color slides a year ago in Venice at the Biennale Exhibition. We went back the last day before we left Venice in the late afternoon. The sky was very dark. I had to take the last photos then or never. Soon it started to pour. I was in the Greek building and took the primitive paintings. The lights went out later in the German building; as soon as they went back on I started taking photos. There is no doubt that I had the worst possible conditions for taking color slides. I photographed everything I needed with the High Speed Ektachrome. When I re- turned home I had them all processed with the special development and they all came out perfectly.
Do not attempt to have this develop- ment done in Europe if you are there during the summer, for all color finishing by Eastman has to go to Paris. There is some danger of losing your film in this way. It is much better to bring them back to the USA. I urge my art history col- leagues to try this easy method.
LESTER BURBANK BRIDAHAM
Denver, Colorado
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