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ABSTRACT

DOCUMENT RESUME

SO 024 739

Ruth, Amy, Ed.Picturing Iowa's History.Iowa State Historical Society, Iowa City.ISSN-0278-02089433p.; "The Goldfinch" presents Iowa History for YoungPeople.Goldfinch, State Historical Society of Iowa, 402 IowaAvenue, Iowa City, IA 52240-1806 (subscription, 4issues, $10).Collected Works Serials (022) Guides ClassroomUse Instructional Materials (For Learner) (051)

Goldfinch; v16 n2 Win 1994

MF01/PCO2 Plus Postage.*Educational History; Elementary Education;Historiography; Learning Activities; Local History;*Photographs; *Photography; Primary Sources;*Research Tools; *State History*Iowa

This issue focuses on how advancements in photographyaffected Iowans and the pictures they took of their communities. Fivefamous and not so famous photographers who have taken pictures ofIowa's history are featured: (1) John Plumbe, Jr.; (2) Isaac A.Wetherby; (3) D. C. Hale; (4) Duluth Pieper; and (5) E. M. Clark.Instructions for making picture postcards and caring for oldphotographs are included. A series of photographs from differentperiods of Iowa history poses questions to help students discov'r whyIowans took photographs, how they lived and dressed, what they didfor fun, and what was important to them. The article suggests thatphotographs of modern students' lives are tomorrow's historicalclues. This activity asks students to explore the photos they have athome and compare and contrast them with the pictures in the article.A series of photographs by two Iowa students record a day in the lifeof each of their families. An article on helping history showsstudents how photographs can be used to document history and reflectthe changes in the appearance of towns. Several old photographs arefeatured in another article that helps students understand howphoto-historians uncover clues by studying photographs and askingquestions about what they see. Other features include a short storyand a comic. (DK)

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Reproductions supplied by EDRS are the best that can be madefrom the original document.

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Wild Rosie's TimelineWhen your great-great-grandparents were alive photography had not

been invented. But by the time your parents were born, people weretaking color photographs, and your parents may have used an instantPolaroid camera to take your baby pictures! Between the lifetimes of yourgreat-great-grandparents and your parents lies the exciting story of howphotography developed and changed the lives of people across thecountry. Climb aboard Wild Rosie's timeline and have a look!

fr1839 First photographic image taken by FrenchmanLouis Daguerre and called a Daguerreotype.

. 1869

1898ti II01 1900

First photograph of a total solar eclipse said to betaken in Mt. Pleasant, Iowa. People came from allover the country to observe and photograph themoon crossing the sun's path, cloaking the Earthin darkness.

Beginning of the "picture-postcard craze" in theUnited States which lasted until about 1917.Kodak's hand-held Brownie camera became therage across the country. Cost: $1.

1942 The world's first color film made by Kodak.

1947 Instant, on-the-spot photographs made possiblewith Polaroid cameras.

1982

1987

L. 1994

2 The Goldfinch

Kodak markets the Disc Camera. Film is stored ona circular disk and is easy to load and unload.One-time use, disposable cameras become popular.

Iowa kids read about photography in The Goldfinch.

GoldfinchParents' Choice Award WinnerVolume 16. Number 2

es-.; )Winter 1994

EDITOR: Amy RuthPUBLICATIONS DIRECTOR: Christie DaileyFICTION EDITOR: Steven BlaskiEDITORIAL ASSISTANTS: Sherri Dagel, MichelleRubinCONTRIBUTING WRITERS: Millie Frese, VanHome; Colleen A. Kemps, Cedar Papids.ILLUSTRATION: Mary Moye-Rowley, Iowa City.

CONSULTING EDITORS: Mary Bennett, specialcollections librarian, SHSI, Iowa City; BobCampagna, photographer/educator, Mt. Vernon;Drake Hokanson, photographer, writer, andprofessor, Sheboygan, Wisconsin.

EDUCATORS' ADVISORY BOARD: Betty Arndt,Greenwood Elementary School, Des Moines;Mardell Schaefer. CAL Community ElementarySchool. Latimer; and Linda Vandeventer,Harrison Elementary School, Davenport.

CHILDREN'S ADVISORY BOARD: Heather Harney,Oxford; Bethany E. Moklestad, Des Moines;Logan Swaim, Iowa City; Trevor Vos, SiouxCenter; Allison Weiss, Iowa City.

SPECIAL THANKS TO: Margaret A. Bonney, IowaCity, for her assistance with the article on IsaacA. Wetherby; Barbara Kent Buckley for sharingphoto., from the Fred Kent Collection with TheGoldfinch; Loren Horton. SHSI senior histotian.for his help as historical fiction consultant;University Camera, Iowa City, for donatingsupplies for "A Day in Iowa," pages 18-19; JimMeisner. Coralville, for photography assistance.The characters of Wild Rosie and Goldie by JerryBrown.

COVER DESIGN: Strong Productions, Inc., CedarRapids

The Goldfinch (ISSN 0278-0208) is published quarterlyby the State Historical Sdciety of Iowa, 402 Iowa Avenue,Iowa City, Iowa 52240.1806 (319/335-3916). Second-class postage paid at Iowa City, Iowa. Subscriptions are$10 for four issues.Postmaster: Send address changes to: Carol Carey,subscriptions coordinator, The Goldfinch, Stay: HistoricalSociety of Iowa, 402 Iowa Avenue. Iowa City, Iowa52240.1806.

0 State Historical Society of Iowa. 1994No portion of The Goldfinch may be reproduced withoutprior permission except for classroom use.

0

ftliibldir.r..L.

Joan Liffring-Zug has photographed many scenes ofAmish and Mennonite life in Iowa. In this photo, twoMennonite girls from Kalona update scrapbooks in the1960s.

Joan Liffring-Zug (1929 - )

IOWA CITY Joan Liffring-Zug is an Iowa photographerwho preserves history by taking pictures of thepresent.

"I have never found anything more exciting to dothan taking pictures," she wrote in 1981.

Liffring-Zug and the other Iowa photographers you'llmeet this issue keep Iowa's people, communities,and traditions alive with their photographs.ON THE COVER: Iowa City photographer Fred W. Kent

took many pictures of his children as they weregrowing up. This 1923 photo shows Kent, son Jim,daughter Barbara, and family dog Jabby sledding neartheir Iowa City home. Photo courtesy Barbara KentBuckley. For more Fred Kent photos, turn to the backcover.

CONTENTS

Features Departments

What is Photography? 4 Wild Rosie's Timeline 2Newz About Iowa Shutterbugs 6 History Makers 18Document Your World 10 Goldfinch Fiction: Jeremiah's Gift 26Photography Fun 12 Answers 30PhotoPuzzler 15 Show What You Know 30Postcard Power! 16 The Roost 31Helping History 20 History Mystery Back CoverBe a Photo Historian 22Not Pictured: Who Missed the Shot? 25

Kv

4 The Goldfinch 3

I Ike the humanLs eye, the cameralens sees images.Once the lens isfocused on a person ora scene, the camera'sshutter "blinks,"letting light into thecamera. The lightreacts with chemicalson the film, creating animage. After the film istaken out of thecamera, it is processedwith chemicals andprinted on paper. Theend product is aphotograph to put in analbum or frame.

But photography is

Net is photography?

o ,

*al CAMERASIZE

LIGHT IMAGE COST & CHARACTERISTICS

DAGUERREOTYPE

1839

Large

camera.Took studioportraitsonly.

Fifteen to 30minutes of lightneeded to makean image. Nearbydarkroom required.

Only one imageon a sheet ofcopper.

Expensive, heavy, and fragiie.Protected by glass in leathercases that opened like books.

AMBROTYPE1852

Largecamera.Took studioportraitsonly.

Fifteen to 30minutes of lightneeded to makean image. Nearbydarkroom required.

Multiple copies ofone image.

More people could affordambrotypes. Heavy and fragile.Protected in leather cases thatopened like books.

TINTYPE1854

Large studio A few seconds ofcamera not light enough toeasily moved. make image.

Nearby darkroomrequired.

Multiple copies ofone image on asheet of iron.

Very cheap and loss fragile.Many people could affordtintypes. Lightweight and easilymailed.

GLASS PLATE

1852

Camera A few seconds ofcould be light enough totaken make image.outsidestudio.

Multiple printson paper.

At first only very skilled photogra-phers could use the equipment.Later, amateurs could take photosas a hobby.

ROLL FILM1890

TO PRESENT

Hand-held A fraction of acameras fit second of lightin pockets puts image on film.and purses.

Multiple printson paper.

Affordable to many amateur anduntrained photographers. Today,disposable cameras let anyonetake photos.

Use this chart to track developments in photography.

more than chemicalsand light. It is a visual record of people,places, and things. It's one way of saying,"Hey! This is what I'm all about."

Iowans have documented their livesthrough photographs for more than 100

years. Their snapshots let us experience places andtimes in history that we'll never visit in person.

The equipmentThe equipment Iowa shutterbugs use today is

much different than what they used 100 years ago.

4 The Goldfinch

The first cameras were big and bulky. In theearly days of photography, photographers had twochoices. They either took photographs in theirstudios and developed film in a nearby darkroom,or they lugged all their equipment including adarkroom everywhere they went. Many photog-raphers traveled from town to town in wagons orrailroad cars that doubled as studios and dark-rooms. Some photographers conducted businesson boats.

By 1900, some cameras had shrunk to the size

Shutter Part of camera thatlets in Iiaht 5

Darkroom Place without Iiwhere film it processed

of a photographer's hand. Today, most cameras aresmall enough to fit in a pocket.

Film has come in many forms, too, includingmetal and glass, but today photographers useplastic roll film.

Photographers and photographsThe first photographic images. called daguerreo-

types, (dah-GER-o-types) produced only singlepictures. These photographs were copper platestreated with a chemical coating that preserved theimages. Daguerreotypes were protected by heavy,fragile glass that broke andscratched easily. Shortlyafter daguerreotypes wereinvented similar photo-graphs called ambrotypesand tintypes came along.They were less expensive,and tintypes were not asfragile and heavy.

Soon photographerscolored images by hand. Bythe early 1850s, pictureswere usually printed onpaper and mounted oncardboard.

By 1852, photographersmade glass plate negativesin order to print multiplecopies of the same picture.In this way, the plate wassimilar to the negatives we use today. Photogra-phers like Duluth Pieper of McGregor, Iowa,bought ready-made plates at local drugstores..

Roll film, like the kind we use today, came on thephotography scene in the 1890s. Photography wasnot just for professionals anymore. As photographyequipment became less expensive and less compli-cated, kids and adults across Iowa and the UnitedStates documented the world around them.

In this issueIn this issue of The Go ldf ijwitall learn how

advancements in photography affected Iowans andthe pictures they took of their communities. You'llalso meat some famous and not-so-famous shut-

terbugs who have photo-

Early photographwagons and boa

ers, like this 1894 man, traveled Iowa ints, snapping photos along the way.

Negative The film from whichphotos are printed

graphed Iowa's history.Use the instructions

on pages 16 and 17 tomake picture postcards.Send them around theblock, or around theworld.

Be a photo historian onpage 22 and learn how tocare for old photos.

Learn about photogra-phy 1872-style on page 26.Kids and adults had to sitperfectly still for as longas a minute. No one couldhold a smile that long, sopeople looked very seriousin photographs.

Travel to Independenceand Ottumwa with two

Iowa kids who photographed a day in their lives lastAugust 27. c*

s BEST COPY AVAILABLE The Goldfinch 5

"out TowA Shufferbu S

Since photcgraphy was invented in 1839, generations ofIowans have pictured Iowa's history. Unfortunately, wedon't have room to tell all their stories in The Goldfinch.Instead, you'll meet five shutterbugs who photographedIowa and Iowans between 1840 and the 1930s. Each photo-grapher used the cameras, film and developing techniquesthat were available during their lifetimes. Read about theirlives and learn how photography has changed!

JohnPlum be, Jr.(1809-1857)DUBUQUE Born in 1809 inWales, England, John Plumbewas 12 years old when his familymoved to the United States. Afterworking for the railroad in theearly 1830s, Plumbe moved toDubuque in 1836 where heworked as a lawyer and writer.

No one knows when Plumbe'scareer shifted to photography. Bythe early 1840s, he had opened aphotograph gallery in New York.He later opened a chain of studios,including one in Dubuque.

6 The Goldfinch

Early photographers like JohnPlumbe used box cameras likethe one pictured here.

Plumbe is best known for hisphotographs of the United Statescapitol building in Washington,D.C. Taken in 1846, they are theearliest surviving photos of thisbuilding.

Plumbe's photographs werecalled daguerreotypes (dah-GER-o-types). Daguerreotypes werepictures on pieces of copper. Plumbewould polish a copper plate until itwas shiny and then covered itwith chemicals. Next, he put theplate into his camera and let inlight by taking the cap off the lens.It could take as Jong as fiveminutes for enough light to enterthe camera and make the imageappear on the copper plate.

Once the copper sheet wasexposed to light, Plumbe appliedmore chemicals to fix the imagepermanently on the sheet. Toprotect the fragile image,photographers like Plumbe storeddaguerreotypes under pieces ofglass in small leather cases.

Only one image could be madefrom the daguerreotype, and theywere very expensive. Until otheradvancements in photographycame along, Plumbe would onlyphotograph wealthy people whocould afford to visit aphotographer.

Millie K. Frese

Isaac AsWetherby

(1819-1904)IOWA CITY Like manyphotographers who began theircareers soon after photographywas invented in 1839, IsaacWetherby was a painter.

Born in Rhode Island in 1819,Wetherby began paintingportraits when he was 15. Afterworking as a medical illustratorand farmer, Wetherby came toIowa City in 1854.

He opened a studio in 1862 andbecame the city's first professionalphotographer. Wetherby tookpictures of people and scenes inIowa City, including Iowa's firstcapitol building, known today as"Old Capitol."

Wetherby mainly produced twokinds of photographs ambro-types and tintypes. Because theglass ambrotypes were fragile andheavy, they were not easily mailedto friends and relatives. Butambrotypes were popular becausecustomers could order multiplecopies of the same picture.

The U.S. Civil War (1861 to1865) and the tintype boostedWetherby's career. The tintypewas a photograph on a thin piece

of iron. It was inexpensive andlight weight. Special camerascould photograph mi...tiple copiesof the same image on one piece ofiron. The tintype was then cut upinto smaller tintypes. Civil Warsoldiers visited Wetherby's studioand were photographed in theiruniforms. They sent their tintypeshome to friends and family.

In 1874, an illness forcedWetherby to retire and his sontook over the studio. Until hisdeath, Wetherby continued paint-ing and wrote the story of his life.

Isaac Wetherby is perhaps bestremembered for photographingIowa's first capitol city. Hisphotographs help Iowans l_remember an importantpart of the state's history.

Amy Ruth

Isaac Wetherbymade a tintype of thisunidentified woman inn is studio in the1860s or 1870s.

IsaacWetherby'sstudio camerawas big andbulky.

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D.C. Hale(1E57-1934)

ELKADER Dewitt Clinton(D.C.) Hale looked ahead.

As a high school student inElkader in northeast Iowa, Haleworked for a Dubuque photo-grapher. His experience earnedhim the manager's position afterhe graduated from high school in1875.

In his spare time he took hisequipment outside the studio andphotographed his hometown.

"Someday," he told hisdaughter, Grace, "people will wantto see them."

Hale signed, dated, and attachednotes to many of his photographs.

Although he never made muchmoney from photographing localsites, landmarks, and townspeople,Hale's photographs are valuabletoday. They provide a picture of lifein a small Iowa town one hundredyears ago.

Hale worked with the "wet plate"process of photography. For filmhe used glass plates that he coatedwith chemicals before slidingthem into his camera. After he letlight into the camera and took thepicture, he had about 15 minutes totake the plate to a darkroom wherehe would fix the image perma-nently with chemicals. Unlike the

8 The Goldfinch

earlier daguerreotypes, multiplephotographs could be made fromone glass plate.

The wet plate process was slowand especially hard for Hale, whohad lost an arm in a childhoodaccident;

Advancements in photographyin the 1870s allowed Hale, andother photographers, to travelfurther with their cameras, takemore photos during each photoshoot, and work in all kinds ofweather.

D. C. Hale died in 1934. Hiscareer as a photographer, and hissurviving photographs, spannedmore than 50 years.

Millie K Frese

To takephotographsD.C. Haleinserted glassplates into acamera similarto this one.

Duluth Pieper useda camera like this

to photographanimals (above

right) in ruralMcGregor.

DuluthPieper(1897-1950?)MCGREGOR When DuluthPieper was eight years old, heloved to take pictures of animals,people, and buildings in his ruralneighborhood near McGregor,Iowa. Pieper and other amateurphotographers in the early 19006took advantage of developments inphotography to learn new skills.

The dry plate process markedthe beginning of an era thatdelivered photography into thehands of children and adultsworldwide. Introduced in the 1880s,dry glass plates allowed Pieper todocument his life with pictures. Dryplates were an improvement over

ilioto shoot -- Photosession away from studio

wet plates that required photo-graphers to lug lots of equipmentaround and develop pictures assoon as they were taken.

Dry plates didn't need to bedeveloped right away and Duluthcould develop other people'spictures days and weeks after theyhad been taken. He charged fourcents for each dry plate heprocessed and four cents for eachprint or postcard he made.

While little information aboutPieper's life has survived, we canlearn a lot from his photographs.His pictures tell us how Iowalooked to a young person in theearly 1900s. They also give us anidea of who Pieper's friends were,where his house was, and what hiscat looked like. Using these photosas parts of a puzzle, we can piecetogether a larger picture of the lifeof Duluth Pieper.

Michelle Rubin

E.M. Clark(18844963)

RUTHVEN "Come quickMiss Clark is taking pictures!"Children who lived in the north-west Iowa town of Ruthven in theearly 1900s loved to pose for localphotographer Edith Mary (E.M.)Clark. She let them dress up in

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Gramophone Old-fashionedrecord player

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costumes and took photographs ofthem play acting. While she setup her equipment, Clarkentertained her subjects withmusic from her gramophone.

Clark began working as aprofessional photographer in 1907when she was 22 years old. Shetook regular portraits of cus-tomers in her Ruthven home,where she developed the film andprinted the pictures in a darkhallway.

Clark had three camerasduring her career, two of whichused black-and-white roll filmsimilar to the film photographersuse today.

One of her cameras was a hand-held Kodak Brownie, whichbecame popular in 1900. This

0 Brownie omall cameramade bydak

inexpensive invention allowedphotographers like Clark to escapefrom their studios and heavyequipment. With her smallBrownie, Clark documented thecommunity where she had beenborn and raised. She capturedmany scenes, from picnics andtraveling minstrel shows tosnapshots of everyday life.

Clark shared her photographswith the neighbors and friendswho had posed for many of them.She often reprinted her photos aspostcards and sold them in areastores.

Clark ended her short career in1912 when she married DaleBrott. Photography became ahobby, along with song writing,poetry, and gardening. Thoughher career was short, it has givenfuture generations a lively look atlife in small-town Iowa in theearly 1900s.

Colleen A. Kemps

E.M. Clark photographed youngpeople with her Brownie camera.In 1910 the boysabove posed as"sneakthieves."

The Goldfinch 9

1 4 )

*4041105

(7)

(/)

The Brown family poses for thisfamily portrait between 1905 and1910, in Buxton, Iowa, a town thatno longer exists.

AAheck out the photos weborrowed from Iowa's

gigantic photograph album. S',.-udythem closely to discover whyIowans took photographs, howthey lived and dressed, what theydid for fun, and what was impor-tant to them.

Sharing memoriesPortraits let families share

memories-with relatives who livefar away. Grandma and Grandpamay not often see their grandchil-dren in person, but photos keepthem up to date.

In the late 1800s, familyportraits were formal affairs.

ormaiplanned

and serious

J.0 The Goldfinch

Oocument your world

,dor. V44,4Nt::fA,

Robert Rickels and his mother in Atkins, Iowa,1923. Why are baby pictures important?

Cameras were complicated andexpensive so many families, likethe Brown family pictured to theleft, visited photography studiosto have their pictures taken.

After the turn of the centurymore and more people couldafford cameras, and familyportraits became records ofinformal moments. The worldof photography grew larger asphotography equipment grewsmaller and less expensive.

Preserving traditionsPhotos of ethnic groups help

Iowans celebrate all cultures inIowa's history. Photos capture

NAINformal Relaxedand unplanned

These three Chinese men posein Cedar Rapids around 1890.What does their clothing tell usabout Iowa history?

U)

Brothers Lorne and HenryPelzer pose with bikes around1929.

traditions that have passedthrough generations and remindIowans of the customs, dress, andrituals that have been lost.

CelebrationsPhotos celebrate special

occasions and achievements anew baby in the family, a birthdayparty, or a big wi:. at the ballpark.When the baby has grown up, thebirthday candles have been blownout, and the big game is over,photographs remind families andfriends of special moments theydon't want to forget.

Special thingsFinally, photos remind people

of special things in their lives. You

it

may havephotos of yourfavorite stuffyour first bikeor an animalfriend who isyour closestpal.

Iowafamilies havephotographedtheir specialbelongings formore than 100years. Thesephotos tell stories of the thingsthat have been important toIowans. You may have photosvery similar to the one of thePelzer brothers pictured abovewith their bicycles. Your clothesmight be different, and yourbike might be a little racier, butthe idea behind the photos is thesame: You want to remembersomething important to you, justas the Pelzer brothers did 65years ago.

These baseball players had their picture taken in Pella, low,around 1955. How have baseball uniforms and equipmentchanged since then?

History todayThe photos of your life in

Iowa in the 1980s and 1990s aretomorrow's historical clues. Ahundred years from now Iowansmay look at your photographs,

just like you are looking atphotos of Iowa and Iowans inthe past. What would 12-year-olds in the year 2094 think aboutin-line skates, video games, andaction figures? They may giggleat your goofy haircut andclothes, but your photbs willteach them why Iowa photogra-phers have documented theworld around them.

Amy Ruth

Your turnExplore the photos you have

at home. How are they differentfrom the photos on these pages?How are they the same?

The Goldfinch 11

PHOTOGRAPHY FUN

Photography in tit Q rI 014WATERLOO On November 3,1894, young Perle Schmidt andher Waterloo neighbors experi-enced something new when theyattended a magic lantern show in alocal church.

The magic lantern was simplyan early slide projector. The

audience in Waterloo watched infascination as the performers setup their equipment and started theshow. European scenes sprung upon the wall. Perle and the rest ofthe community saw castles, Swissmountains, and a train rushingacross a bridge. One performer

explained each scene,while the other ran themagic lantern, insertingpicture slides one by one.Showing two slides atonce or sliding themacross the light quicklymade "moving" pictures.

"It is not possible todescribe the thrills weexperienced," Perle wrotein 1945.

What the audience sawthat night was not reallymagic, but the wonders ofphotography coming to

Magic lanterns were a popular form ofentertainment 100 years ago. The lanternpictured here sold for $6.40 in the 1900Sears Catalog.

12 The Goldfinch 13

life. Oil or gas lamps provided thebright light that was needed toproject the pictures through a lensand onto a wall or screen.

After the Waterloo show, theperformers packed up the magiclantern and left the community. Butthe show had left its mark. Themoving pictures of faraway placesbrought new ideas to the people ofWaterloo. The magic lanternpictures changed the way Perle andher neighbors saw the world.

"Everyone around becamepotential artists," Perle remem-bered years later. "Inspiration didcome to Iowa's youth. It really wasthe magic lantern lighting theway." cx

Amy Ruth

(A small greetingmakes a big hit

IOWA The first U.S. postcardswere plain, penny cards sold by thegovernment in 1873. Advertisersoften bought these small cards tocarry messages about their prod-ucts.

Some people wanted to maketheir own cards. Instead of carry-ing only a message, the cards alsofeatured drawings. At first deco-rated cards were unpopularbecause they cost two pennies tomail, twice as much as those sold

by the government.Congress passed a law in 1898

that said all cards could be mailedfor one penny. Iowans and othersacross the United States beganmaking and collecting postcards.

Between 1898 and 1917,millions of cards were bought,mailed, collected, and saved. Thistime in postcard history is oftencalled the "picture-postcardcraze." Iowa picture postcards,often made by local photogra-

The Platner family had this photograph, taken in Mount Vernon around1905, made into postcards.

14

Havinga greet

tirnelWish 1°11here.

4)0

phers, featured town libraries,churches, schools, and mainstreets. Many captured countryscenes and rural life. Some Iowafamilies turned their photos intopostcards and mailed pictures oftheir lives to distant relatives.

Popular card themes alsoincluded holiday greetings, fancyalphabet letters, and funnycartoons. Some postcards weredecorated with feathers, glitter, orleather. Others featured peoplefrom different states or cultures.There was a card for everycollector.

By 1919, people were buyingand sending colorful greetingcards instead of postcards. Manycollectors saved their postcards, .

and people still enjoy collectingand looking at them. Today, thesepicture postcards tell the storiesof Iowans who preserved theirmemories with photographs.

Sherri D4

The Goldfinch

IOWA CITY Without leavinghome, and without a remotecontrol or VCR, 8-year-old MattTaylor has traveled to the moun-tains of Tennessee and experi-enced the wonders of DisneyWorld.

How did he do it? Simple. He'sgot a View-Master, a smallviewing device that shows three-dimensional pictures. When helooks at reels of pictures, twovery similar copies of eachpicture on the reel combine toshow one 3-D picture.

'They're always fun," Matt toldThe Goldfinch. "Every time youlook at the pictures it feels likeyou're there."

Invented in 1938, that's justwhat the View-Master wassupposed to do give people thefeeling of beingpart of a landscapeor an adventurewithout reallybeing there. In the1950s, View-Masterreels showedscenes from everyU.S. state. View-Master travelersfrom Californiato Connecti-cut have

..111111.-_

7Iw wholeworld in your

handsvisited Iowa's farms, businesses,and historic sites without hoppingon a train, plane, bus, or car..Today, View-Master also makes3-D magic with scenes fromtelevision shows and movies.

Years before the View-Master,Iowans entertained themselveswith a similar invention called astereoscope. This hand-heldviewing device made 3-D imagesfrom stereograph cards. Photo-graphs were glued side by side onthese rectangular cardboardcards.

Stereoscopes were most

14 The Goldfinch

_.....c

--"1Stereoscopes made3-D magic in the late1800s and early1900s.

popular between 1860 and 1910when photographers used specialtwo-lens cameras to take millionsof pictures, including many ofIowa. Writing on the back of eachcard explained the pictures.

Stereoscopes were used inschools to teach geography andhistory and at home for entertain-ment. Instead of taking in thesights and sounds of radio ortelevision, Iowans took in thesights of parks, landscapes, andexotic places. A family vacation inthe late 1800s might have meant astereoscopic trip to the Grand

Canyon or the Egyp-tian pyramids.

Today, stereographviewers and cards arerare, but not forgotten.Parents, grandparents,aunts, and uncles maystill have them tuckedaway, waiting forsomeone to dust themoff and peek at thepast.

Amy Ruth

Matt Taylor's View-Master puts the worldat his fingertips. Photos by Jim Meisner

15

The following words all start with the word PHOTO. Figure 'em outusing the clues provided. Flemernber, the vvord photo means "picture°and light ° P.S. Use a dictionaty if you need to . . we did!

AnsWers on page 30.

1.What filmturnsinto

2.Morethanonephoto

3. Amachinethat makes

copies

4. A horse race that'stoo

close tocall

5. Atiny livingbeing that

needslight to

live

6.Someonewho takes pictures

7. A reporterwho takes pictures

8. Afearof light

9. Someonewho "reads"

photographs

10.Wherefilm isdeveloped

PHOTO

PHOTO

PHOTO

PHOTO

PHOTO

PHOTO

PHOTO

PHOTO

PHOTO

PHOTO

The Goldfinch 15

OSTCA D POWEStart shutterbugging! Document the world around you, then make picture postcardsto share with friends and family. Photograph people you know, interesting parts ofyour community, or any of the 26 postcard possibilities on the next page. As an

artist, you'll create something pleasing to the eye. As a documentary photographer, you'llrecord important information about life in Iowa in the 1990s. For this activity you'll need:construction paper, photographs 3-and-a-half inches tall by 5 inches wide, glue, scissors,190 stamps, and your imagination!

Use photographs you have at home, ortake new ones. When possible, don't usethe original photographs. Instead, have aphoto shop print another photo from thenegative, or make a color Xerox copy of theoriginal photograph.

e Glue and tape will destroy photographseventually. Ask for two sets of prints whenyou develop your film. Make one set intopostcards, and save the other set.

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CO Photocopy the pattern above.Make one for each postcard. Cutalong the edges. Glue it to con-struction paper rectangles. Flattenyour postcards between books.

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history makersArin McGrew of Indepen-

dence and Michael Yeager ofOttumwa spent Saturday, August 27,1994 documenting their family,friends, and communities. TheGoldfinch gave these buddingphotographers disposable camerasand asked them to photograph a dayin their lives.

Erin and Mike approached theassignment differently. Mike tookalmost all of the pictures himself, while Erin askedher family members to snap a few shots.

For Erin, the challenge of setting up different

DAY IN IOWA

Erin McGrew Mike 'eager

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10:58 a.m. Mike makeshis bed. Photo by mom,Deb Yeager.

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18 The Goldfinch

by Millie K. Frese

poses was the best part of the assign-ment. "People are easier to photo-graph than pets," she said. "Pets don'tcooperate." In addition to family pets,the sixth-grader enjoys reading,swimming, and biking.

Michael's day with a camera hookedhim on photography. "I'd like to be anartist or photographer when I growup," he said. In the meantime, thefifth-grader plays the cello, draws, and

writes stories and poems.Now, through their photographs, Erin and Mike

tell their own stories.

11:05 a.m. Brian (Mike's dog), enjoysa sunny day inside. Photo by MikeYeager.

2:02 p.m.Mike's momshops for coffeeat the grocerystore. Photo byMike Yeager.

1:20 p.m. Mike's brother, Ben,kicks a ball in the front yard.Photo by Mike Yeager.

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Evening. Mike'sfriends dress up asarmy guys. Photo byMike Yeager.

6 p.m. Erin's dad cookssupper on the grill. Photoby Erin McGrew.

2 p.m. Erin andher brother, Alex,enjoy going tothe pool. Alexenjoys splashingin the water.Photo by ErinMcGrew.

7 p.m. The McGrews' eight-week-oldpuppies are waiting to be fed. Photoby mom, Nancy McGrew.

8:30 p.m. Erin says "goodnight!"Photo by Nancy McGrew.

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5:30 p.m. Erinrelaxes with abook after a fullday of fun.Photo by dad.Steve McGrew.

8:25 p.m.Before theygo to bed,Erin and Alexshower andbrush theirteeth. Photoby SteveMcGrew.

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The Goldfinch 19

HelpingWhen 10-year-old AshleyPitkin walks down Augusta

Avenue in her hometown ofOxford, she knows something ismissing. Last June, Oxford's 99-year -old opera house was torndown to make room for a new bank building.

"It feels like a piece of Oxford came down withit," Ashley recently told The Goldfinch.

In its time, the opera house was used for liveentertainment and housed several businesses.

Although the operahouse is gone, it isn'tlost. At least not com-pletely. During Oxford's126-year history, resi-dents have taken photo-graphs to document theirtown. These photographshelp the communityremember the operahouse and other oldbuildings.

Some of the photogra-phers' names have notsurvived through theyears. Today, theirpictures tell their stories.Other photographers are more recent. Oxfordresident and documentary photographer LindaSchreiber has spent the last two years documentingher hometown. She photographs major buildingsand streets and attends community events to catch

On June 14, 1994, Oxford's 99-year-oldopera house was torn down.

Historyhistory as it happens.

Like other Oxford photogra-phers before her, Schreiber hasmade her photographs intopostcards to share with hercommunity. Although the pic-

tures show Oxford in the 1990s, they have a specialplace in history.

"One thing we learn in documentary photographyis to look at how photographs show change overtime," Schreiber told The Goldfinch. When Oxford

residents compare oldand new photos, theymay see how much orhow little their town haschanged over time.

Schreiber hopes herphotographs will helpother Oxford residentsremember the history intheir town. "I'm hopingto preserve some of theinformation and knowl-edge so it's available forthe next person," shesaid.

Photos by Linda Schreiber. Oxford This includes futuregenerations of young

people like Ashley who want to remember Oxfordeven when it's changing in front of their eyes.

"It's good to learn from photographs if buildingsare torn down," said Ashley. "Photographs help uslearn a lot."

said-Amy Ruth

This photograph of Oxford's opbefore it was torn down, helpshistory in their community.

20 The Goldfinch Documentary photogramakes visual records wi

era house, taken a yearresidents remember the

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Augusta Avenue, Oxford, Iowa, around 1910

What do these photographs reveal about Oxford?Plenty! The two views of Augusta Avenue weretaken approximately 80 years apart. Let's take alook.

The detailsAt a glance, the two photos of Augusta Avenue

look similar. Study the details to find differences.The older photograph shows a dirt road, hitchingposts for horses, old cars, and awnings over shopwindows. The 1993 photograph shows a pavedroad, parked cars, street lights, and TV antennas.

The buildings

Study the buildings on the left side of the street.Look carefully at the windows. They'll show you thesame three buildings on the first block appear inboth photos.

Find clues about life inside the buildings. Thestriped pole points to a barber shop in the secondbuilding. There are now apartments in this building.

41L, 22

Augusta Avenue, Oxford, Iowa, 1993

When you cross the street, notice three buildingsare missing from the 1993 picture. Two of thesebuildings burned down in 1992, and the space isnow a car lot. Look for the old opera house on theright side of the street. You can see it in bothphotos.

The scoop

These two photographs give us the scoop onOxford by showing us changes in the town betweenthe early 1900s and 1993. Here's what we've learned:0 Augusta Avenue was paved sometime after 1910.

O Curb-side parking replaced hitching posts.

O Electrical wires changed the skyline.

0 Awnings aren't as common today as they were 80

years ago.

Your turnGet out you.- magnifying glass and make a list of

more differences between the photographs. Turn topage 30 for the answers.

The Goldfinch 21

by Sherri Dagei

e a photo historian

ince the mid 1800s, trained and untrainedphotographers have taken thousands of pictures

of Iowa's people, landscapes, farms, and cities. Today,these historic photos of Iowa life survive in libraries.in grandparents' dark closets and dusty attics, and infamily albums.

On the backs of some old photos you will findwritten information about the subjects. Photogra-phers often write names, dates, and descriptions onthe backs of their photos. Unfortunately, somehistorical photographs offer little written information.Photo historians must uncover clues by carefullystudying photos and asking questions about whatthey see.

22 The Goldfinch

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Clue 0 The photoImagine you find the above photograph of the

Vigars family from rural Moville in western Iowa andwant to learn more about them. Begin by making alist of everything you see in the photo so you don'tmiss important details. Start at the top of the photoand look from left to right until you have listed everyitem.

Clue 0 The peopleLook at the people in the photo. In this picture,

four men, three women, and two children face thecamera. The men are wearing good clothes thatwould not be worn for chores. Perhaps a relative isvisiting or it is a special occasion.

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Clue 0 The clothesClothes often help date photographs. In this

picture, the men's jackets are buttoned up. Thiswas common in the early 1900s. Old mail-ordercatalogs and magazines will help you determinewhen clothing styles were popular.

Clue 0 The actionThe Vigars family is starting or finishing a meal.

One woman holds a tray of cups. A full apron protectsher dress from spills. Plates, a glass pitcher, servingbowls, and glasses are on the table.

Clue 0 The roomPhotographers might accidentally photograph

objects they didn't mean to include in a shot. Theseobjects often give helpful clues about when thepicture was taken and what the family enjoyed andvalued.

In this photograph, a heater stands to the left ofthe table. Because a heater isn't needed in a kitchenthat's often warmed by a stove, the family is probablyin a room other than the kitchen. We may guess thatbecause the table is so close to the heater, the picture

2

.

was probably taken during a warm month when theheater was not lit.

A framed certificate and a calendar hang on theback wall for family and guests to see. Familiesdisplayed items they were proud of in the parlor, aroom reserved for entertaining guests, or in thedining room.

Clue 0 The photographerThe photographer is seated on the far right,

holding a cable attached to the camera that allowedhim to snap the family picture and pose at the sametime. Everyone is carefully arranged so their facescan be seen clearly.

Putting it togetherAfter studying photographs, photo historians

write summaries. A summary for the Vigars familyphoto may read something like this: The Vigarsfamily picture was probably taken between 1900 and1915 by one of the men at the table. The Vigars aregathered together at a meal, perhaps for a specialoccasion. The picture probably was taken during latespring or summer in the dining room or parlor.

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YOUR TURN

Many pictures will tellstories if you look closely.

Ask a relative to help you exploreold photos of your family, yourhome, or your community. To-gether you will learn about Iowa'spast and your family history.

In the meantime, practice yourskills with the McFarland familyphotograph above. Answer the

24 The Goldfinch

questions below and then turn topage 30 for answers.

The McFarlands lived in theearly 1900s near Clinton ineastern Iowa. Make a detailed listof everything in the picture andthen use the following questionsto "read" the photograph.0 How might the subjects berelated?

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What is the family doing?Where is the family?

0 Are the subjects wearing workclothes or dress clothes?O What clues in this photo tellyou it's an informal snapshot?0 This picture was made intopostcards. Who do you thinkreceived the cards?

Sherri Dagel

BEST COPY AVAILABLE

tfrot pictured: Who missed the shot?

I magine looking through a family photo album. Youflip through pictures of parents, grandparents, and

brothers or sisters. Other photos remind you of yourhome and your first pet goldfish. But maybe some-thing is missing. What if there are no photos of you?

Without these personal pictures, you could nottell how you changed over time. Birthdayparties, vacations, and time spentgoofing off with friends would bedifficult to remember withoutpictures to remind you. Andwithout these pictures, peoplelooking at the album in thefuture would have a hard timegetting to know you.

Iowa's mit,sing snapshotsIf you looked through an

album with all the photographstaken in Iowa, you would noticethat some people and activities aremissing.

Most old portraits we find today are of Iowanswho could afford to pay a photographer or buy acamera. There are few pictures of people who couldnot afford the luxury of a portrait or camera.

Many families photographed their homes, cars,and new household appliances like washing machinesand dishwashers. Poorer families, who had few ofthese special things, often did not want pictures takenthat showed bare houses and old clothes.

At one time, few photos were taken of peoplefighting, gambling, or dancing. Photos of pregnantwomen, sick people, and people with disabilities werealso uncommon.

Some people believed photos invaded their pri-vacy. Photographers might have taken posed family

pictures at reunions or holiday gather-ings. But they probably put away their

cameras without taking candidshots of uncles playing cards,

cousins running around theyard, and grandparentssnoozing on the front porch.

Some people do not allowphotos to be taken for reli-gious reasons. Some religiousgroups believe it is sinful tocreate images of people and

don't allow photos in theirhomes.Pieces of Iowa's history are

missing for many reasons. Withoutphotos, it is difficult to learn how some Iowans

lived.Sherri Dagel

Your turn

When you take pictures, record personalactivities and events that will tell others all aboutyour life in Iowa in the 1990s. You and your cameracan begin capturing Iowa's history today.

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26 The Goldfinch

n a chilly November morning in 1872,Jeremiah Miller stood on the front steps of hisfather's general store in Mount Pleasant, Iowaand loosened his necktie. He sat down on astep, only to stand up again instantly,remembering his mother's warning: "If you gooutside, don't get your good clothes dirty! Youwant to look your best for the photograph."

The Millers were having their first familyportrait taken and Mama and Papa were busygetting Jeremiah's brother and sisters ready.

Jeremiah squirmed in his jacket as agentleman in a tall silk hat walked out of thestore. As the man walked down the steps,something fell from his pocket and rolled intothe street. Jeremiah ran down the stairs andgrabbed it. It was a quarter! He looked aroundand spotted the gentleman half a block away.

"Sir! Sir!" he yelled, running after him. Theman turned.

Jeremiah held up the coin. "You dropped this,sfr, when you came out of my papa's store."

The man's eyes narrowed. "Joshua Miller islucky to have such an honest son."

"Thank you, sir," Jeremiah said.The man smiled. "You keep the quarter, for

being so honest."Jeremiah's eyes bulged and his mouth

dropped open. "Th-th-thank you," hestammered.

27 Art by Mary Moye-Rowley

As the man strolled away, Jeremiahwrapped the coin in his handkerchief andshoved it deep into his pocket. He was atwelve-year-old with a fortune, and he knewjust what to do with it. He had long admired apocket watch in the jeweler's window andhad been saving his pennies for almost twoyears. A few more chores, and the watchwould be his!

He ran back to the store where his familywas waiting impatiently. Everyone wasdressed up for the family portrait. "We'd best beon our way," Papa said. Mama shifted babyMollie to her left arm and beckoned forLucinda, Samuel, and Emma to follow her."Stay out of the wagon dust," she warned.

The family walked:'.cross the street and intothe Jacobson Portrait Studio.Miss Alice, and her sister,Miss Dora, greeted them asthey came in.

The studio had already been prepare:I for theportrait. A velvet curtain hung on a far wall.Off to the side were many studio props: pottedplants, tables, chairs, and pillars. A skylight,stretching from the roof down the south wall,would let in enough light for the Miller familyportrait.

Miss Dora disappeared under the drapebehind the camera while Miss Alice fussed

The Goldfinch 27

over the family. She directed Mama and Papato two fancy chairs in front of the curtain.Each chair had one arm, and they were push-ed together. Papa held the sleeping Mollie, andMama settled two-year-old Samuel in her lap.

Miss Alice then positioned the otherchildren. Ten-year-old Lucinda stood next toMama and leaned against the folds of her fulldress. Five-year-old Emma stood next to Papa,hugging her rag doll. Jeremiah stood behindhis parents, resting his hands on the chairbacks to steady himself.

"Is everybody ready?" asked Miss Dora frombehind the camera. Papa nodded.

"It's very important that you all stay verystill," Miss Dora warned. If anybody has tomove, do it now." Papa coughed and Emmascratched her nose. They were ready.

28 The Goldfinch

"When I raise my hand, you must stayperfectly still until I lower it," Miss Dora said."It will take about a minute to get the picture."

She slid a large glass plate holder into thecamera, removed the cap from the lens, andraised her hand. Fifteen seconds ticked by, butSamuel couldn't wait any longer. "I wanna gohome," he said, squirming in Mama's lap.

Everyone laughed, except Miss Dora. "Let'stry it again," she said.

Everything went smoothly the secondtime and Miss Dora hurried away to developthe plate.

While Papa and Miss Alice chose thecardboard to mount the photographs on,Lucinda took Samuel and Emma home.Jeremiah watched his mother admire the babypictures on the wall. "How much is the leastexpensive christening portrait?" she askedMiss Alice.

Jeremiah put his hand in his pocket. Hewanted so much for Mama to have a picture ofMollie in the family christening gown. Heheld his breath. Maybe Papa could afford it

"For that adorable baby, I'll give you a cartede visite with four poses for 50 cents," MissAlice said. "The portraits are small, but you'llhave plenty to send to relatives."

Mama thanked her and turned back to thewall. Jeremiah knew 50 cents was too much.

Carte de visite Inexpensivephoto popular InkIlte mid-1800s

Christening portrait Specialbaby picture

Papa handed Miss Alice three silver dollarsfor the family portrait. "Are you ready,Josephine?" he asked Mama. She nodded andwalked slowly to the door.

"Wait!" cried Jeremiah, as he pulled ahandful of coins from his pocket. "Agentleman leaving the store this morningdropped this." He held the quarter up to hisparents. Mama gasped. "When I tried to give itback to him he told me I could keep it because I

was so honest. The rest I've been saving frommy chores at the blacksmith's shop." Jeremiahhanded the coins to his mother. "I want Mamato have the money for Mollie's portrait"

"You're sure?" asked Papa, smiling with pride.Jeremiah nodded. "Yes sir."As Mama walked back into the,igtudio, beam-

ing with happiness, Jeremiah knew he hadmade the right decision. The watch could wait.

"'"...

AnswersPage 15 (Photo Puzzler):1 Photograph 2 Photos 3 Photocopier4 Photo Finish 5 Photocell 6 Photographer7 Photojournalist 8 Photo phobia9 Photo Interpretor10 Photo lab

Page 21 (Helping History):1 The sidewalks in the older photo are higher to keepthe mud from the street out of the buildings. 2 Theolder photo features painted advertisements on build-ings. By 1993, these advertisements have been paintedover. 3 There are more people in the older photo thanin the 1993 photo. 4 There is one American flag in theolder photo, but none in the 1993 photo.

Page 24 (Be a Photo Historian):The McFarland family photo was probably taken in

the early 1900s by a relative and amateur photogra-

pher who was sitting or standing near the table. Familymembers reach for food or munch on crackers orcookies. The two women on the right are wearingaprons, which might mean they prepared the meal.

A stove and warm bowls of food on the stove tell usthe family eats in the kitchen.

Most faces are turned away from the camera orhidden from view, and the man on the left only got hishand in the shot! This is a candid photo. If this was aformal shot, all subjects would have been carefullyarranged in front of the camera.

Back Cover (History Mystery):

To take pictures he posed in, Kent used a camerawith a timer. This gave him enough time to set up theshot and get into his pose before the timer went offand the picture was taken.

Differences in both photos: 1 Position of Fred Kent'sarms. 2 The cameras Fred Kent is holding. 3 Theamount of snow around the cars. 4 Clara's pose.

,[1:) Show what you know!In 1846, years before your grandparents,

great-grandparents, and great-great-grandpar-ents were born, Iowa became a state.

In 1996, Iowa will celebrate its 150th birthday.Join the party by imagining what life was like in1846: What did Native Americans living in theIowa Territory think about statehood? What didstatehood mean to children? Can you imagine aday in the life of an 11-year-old in 1846?

Share your ideas with The Goldfinch. Sendstories, drawings, poems, photographs, andother creative work to:

Amy Ruth, editorThe Goldfinch

State Historical Society of Iowa402 Iowa Ave.

Iowa City, IA 52240Please enclose a self-addressed, stamped

envelope.

30 The Goldfinch

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