In 1910, the world looked different. William Davis Hassler came to New York from a small Pennsylvanian town with his wife and son in 1905 and worked there as a professional photographer from 1909. Joseph P. Day, a land broker who had already sold large parts of Brooklyn and Queens, saw the future in the Bronx. "The man who sold the Bronx" commissioned Hassler to photograph the Bronx, undeveloped lots, but also the Bronx already built on. For New York electric companies, Hassler shot photos of electrical installations, close-ups of electrical parts such as a lamp socket, and images of electricity, for example, beautifully (electrically) lit streets and storefronts. One spectacular photo shows the Manhattan Bridge from above, photographed from Brooklyn Tower, with the old piers on the East River in the background.
But in many of the more than 5,000 photographs preserved at the New-York Historical Society, Hassler's family and his residential neighborhood of Inwood play the starring role. Inwood is the northernmost neighborhood in Manhattan, bounded by the Hudson River to the west and the Harlem River to the north and east. At the time, Inwood still had an almost rural, provincial feel. Hassler photographed parks, school classes, fire engines, old-fashioned steaming and still pulled by horses, the somehow "quintessentially American" police couple of the neighborhood, rows of houses, streets, also the many dirt roads, factories, boathouses on the Harlem River, excursion boats, community festivals. Many photos show his apartment, everyday life indoors and out, family celebrations, the family in the allotment, outings, and in a great many shots also his son, his cats Reddy and Peach: Peach in a basket in the middle of a still life of corn on the cob and tomatoes; William Gray, about eight years old, fast asleep, with teddy bear in his arms; William Gray and the cat Reddy having breakfast at the small children's table. The scenes seem like snapshots - but: each photo was carefully staged. For the children's cat breakfast, a candle burns decoratively next to a package of "Quakers Puffed Rice Cereal", a typical American ready-made morning porridge - the photo was probably a commissioned advertising shot. Capturing the startled, astonished look on the boy's face as the cat stands up to lick milk from the little table - that's just Hassler's great photographic art.
Because: spontaneously shooting photos with a cell phone? That didn't exist in 1915. William Davis Hassler used the Kodak No. 8 Cirkut outfit for professionals, which with a tripod could even shoot panoramic photos at 180 degrees. But the whole camera equipment weighed about 20 kilograms. And in analog photography, there were negatives that had to be developed first. Hassler used glass plates, the most common photographic medium before films made of rollable celluloid could provide good photo quality. The glass plates were coated with a light-sensitive emulsion - a film of black-and-white gelatin - and developed into a negative after the photograph was taken. Exposure times, and thus the pure shot, were much longer than today, which is why the tripod was needed. On the other hand, the glass plate process produces black and white photos with beautiful gray tones and areas of blur while maintaining high detail.
Why do Hassler's photographs touch us? Is it the look back into our past, into a long gone world in New York?
In 1910, the world looked different. William Davis Hassler came to New York from a small Pennsylvanian town with his wife and son in 1905 and worked there as a professional photographer from 1909. Joseph P. Day, a land broker who had already sold large parts of Brooklyn and Queens, saw the future in the Bronx. "The man who sold the Bronx" commissioned Hassler to photograph the Bronx, undeveloped lots, but also the Bronx already built on. For New York electric companies, Hassler shot photos of electrical installations, close-ups of electrical parts such as a lamp socket, and images of electricity, for example, beautifully (electrically) lit streets and storefronts. One spectacular photo shows the Manhattan Bridge from above, photographed from Brooklyn Tower, with the old piers on the East River in the background.
But in many of the more than 5,000 photographs preserved at the New-York Historical Society, Hassler's family and his residential neighborhood of Inwood play the starring role. Inwood is the northernmost neighborhood in Manhattan, bounded by the Hudson River to the west and the Harlem River to the north and east. At the time, Inwood still had an almost rural, provincial feel. Hassler photographed parks, school classes, fire engines, old-fashioned steaming and still pulled by horses, the somehow "quintessentially American" police couple of the neighborhood, rows of houses, streets, also the many dirt roads, factories, boathouses on the Harlem River, excursion boats, community festivals. Many photos show his apartment, everyday life indoors and out, family celebrations, the family in the allotment, outings, and in a great many shots also his son, his cats Reddy and Peach: Peach in a basket in the middle of a still life of corn on the cob and tomatoes; William Gray, about eight years old, fast asleep, with teddy bear in his arms; William Gray and the cat Reddy having breakfast at the small children's table. The scenes seem like snapshots - but: each photo was carefully staged. For the children's cat breakfast, a candle burns decoratively next to a package of "Quakers Puffed Rice Cereal", a typical American ready-made morning porridge - the photo was probably a commissioned advertising shot. Capturing the startled, astonished look on the boy's face as the cat stands up to lick milk from the little table - that's just Hassler's great photographic art.
Because: spontaneously shooting photos with a cell phone? That didn't exist in 1915. William Davis Hassler used the Kodak No. 8 Cirkut outfit for professionals, which with a tripod could even shoot panoramic photos at 180 degrees. But the whole camera equipment weighed about 20 kilograms. And in analog photography, there were negatives that had to be developed first. Hassler used glass plates, the most common photographic medium before films made of rollable celluloid could provide good photo quality. The glass plates were coated with a light-sensitive emulsion - a film of black-and-white gelatin - and developed into a negative after the photograph was taken. Exposure times, and thus the pure shot, were much longer than today, which is why the tripod was needed. On the other hand, the glass plate process produces black and white photos with beautiful gray tones and areas of blur while maintaining high detail.
Why do Hassler's photographs touch us? Is it the look back into our past, into a long gone world in New York?
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