“SO-IL has effectively become one of our children.”
- Jing Liu & Florian Idenburg of New York City based architecture firm SO-IL. Photographed in Western Mass, July, 2013.
Emil Otto Hoppé (1878-1972) was a major figure in photography in Great Britain and Europe, particularly between 1907-1939.
As a renowned commercial portrait photographer of his time, he captured hundreds of personalities in the arts, politics and literature. In addition, he photographed landscapes and documented his extensive travels throughout Europe. His success and stature rivaled those of his contemporaries such as Alfred Stieglitz, Edward Steichen, and Walker Evans.
So why is lesser known today than his peers?
In 1954, nearing the end of his career, he sold his archive to a London picture library. Hoppe’s images were filed by subject rather than by author. The content of his archive was unidentifiable by the photographer’s name. Most photo history texts had, for the most part, not been written yet. And the nature of his archive would all but guarantee his obscurity from research by photography historians in the coming decades.
In the 1990’s, Curatorial Assistance, Inc, a California based museum services company, began a decade-long project of organizing, cataloging, and digitizing the contents of the Hoppé archive buried in the library. The contents were examined by curators and photo historians, and his place as a leading figure in early photo-modernism was re-established.
For a look at his extraordinary output: http://www.eohoppe.com/
Here is a video profile of Hot Bread Kitchen.
The challenge was to create a short video story that expressed Hot Bread Kitchen’s multi-faceted mission without losing sight of its core function. In addition to the bakery, HBK also provides industry training for minority women and incubation programs for fledgling baking businesses.
Visit Hot Bread Kitchen’s website when you get a chance and support their mission.
Heinrich Tonnies (1825-1903) was born in Germany and trained as a glass painter and cutter. In a career shift, he acquired a fully equipped photography studio of C. Fritsche in Aalborg, Denmark. Under Fritsche’s tutelage, Tonnies learned the craft. He eventually specialized in Cartes de visite photographs, which were small 2.5 x 3.5 inch albumen prints mounted on cards. Inexpensive to produce and pocket-sized, Cartes de visites became hugely popular around the world. For the general public, they traded like baseball cards creating “cardomania” fever. He photographed over 75,000 individual portraits during his career. Most Cartes de visites made by other photographers at the time were quite standard family portraits and vernacular pictures. But Tonnies operated on a higher level.