museum photography for the art historian

Museum Photography for the Art HistorianAuthor(s): Harold C. SimmonsSource: Art Journal, Vol. 25, No. 2 (Winter, 1965-1966), pp. 166-168+170+172Published by: College Art AssociationStable URL: http://www.jstor.org/stable/774904 .

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Museum Photography for the Art Historian

Almost totally neglected in the art historian's formal training as a student is a practical application of photography to his particular professional needs: specifically the tech- nical knowledge and experience to take good pictures of art works. Sooner or later-mostly sooner-one in this field realizes the necessity for creating a private collection of slides to

supplement, or even substitute for, those that may be on hand at his institution, nearby museums, libraries, or lending services. Wanted slides, for one reason or another, are

seemingly never available at the moment of need, so attempting to depend wholly upon such sources is very wretchedly frustrating indeed. This situation can even apply to his own institution if there are more than a cou- ple using the slides jointly. Or when the institution is new or small, it may be without a suitable collection at all.

Nearly every art historian who has learned

photography has had to do it the hard way, and to the credit of many, the acquisition of the required skills has been more than ade-

quate to take reasonably acceptable slides of cathedral exteriors, outdoor monuments, and other easily photographed subjects. But such a procedure seldom suffices for gaining reliable photographic results when it comes to the more difficult aspects of photography inside museums of other similar locations, especially the photographing of paintings where the need for accurate color rendition is an absolute necessity, since false color, as

every art teacher well knows, is worse than none at all. With modern cameras and films it is however entirely possible to obtain at least close color in most instances. Naturally there are many exceptions, and further we must recognize that no color film can trans- late all colors with precise accuracy (but then neither does black and white film produce color tones without falseness-a fact unrecog- nized by many people because of their having been conditioned to see in terms of color rather than grays).

Looking back we recollect the many disappointing and sometimes heartbreaking results of our photographic labors during the aforementioned self-learning process. If only we had some earlier professional training! And such training obviously could have been most effectively and beneficially achieved as

graduate students through a required course in photography (also true for those in the fields of archaeology, conservation, and museum work). As this is almost never the case

with existing curricula, the art historian later finds himself needing advanced photographic knowledge with little help as to where or how to obtain it, or worse, without competent individual yet professional guid- ance. The unhappy result may often be a discouraged resignation of the impossibilities of the task.

This paper is an attempt to rectify in a small way for this lack of training. Space im-

poses stringent limitations upon the amount and kind of information that can be in- cluded, but the attempt is to provide in cap- sule form some facts that will benefit most of those not fortunate enough to have had any formal instruction. With this information as- similated and a basic understanding of the

problems, the subject can be pursued further in its ramifications through additional read-

ing in photographic books that can be found in most public and institutional libraries. Be- cause the most vexingly difficult problem for the art historian is 2 X 2 color slide photography inside of museums and like places, this will be the primary concern here.

CAMERA

The ideal camera for the purpose is a sin-

gle-lens reflex with interchangeable lenses, a

type preferred over the range finder variety simply because it eliminates the parallax problem, i.e., the necessity to compensate for the difference between what the lens sees and what the viewing window of the camera indicates. This optical difference in the range finder camera must be adjusted by estima- tion and for close subjects it becomes difficult to properly center the subject on the film frame, the only recourse being to step- back and make the image smaller to assure

getting everything in-an obviously undesirable procedure when later it comes to projection. Otherwise most range finder cameras

produce less vibration when the shutter is released than do the single-lens reflexes, so it is important that this feature be checked out in the latter when buying a camera. The mirror action of the reflex is what greatly adds to the problem of vibration (hence un-

sharp pictures), and the less expensive the camera, the more this is probably going to be a significant factor. A long lens in a short mount coupled to a bellows and reflex housing attached to a range finder camera is an acceptable substitute providing only the long lens is to be employed-either for long shots or for extreme close-ups. This system cannot work with the normal or wide-angle lenses.

LENSES

The camera lens should probably be not faster than an f/2, as this speed is enough to

procure color slides under reasonable light in most museums, handheld if necessary. The faster the lens the less inherent sharpness it

tends to have, as its many glass elements create complex engineering problems of reso- lution that approach satisfactory solution

only in the most expensive of lenses. Uti-

lizing a tripod one can well afford to use a much slower lens, and any lens works more

efficiently when partially closed down to a smaller aperture-say a f/5.6 or f/8. Another

good reason for the smaller opening is the increased depth of field that results, especially significant if the picture is tilted or is

hung high (which means that its surface is not parallel to the plane of the film), or if the subject is three-dimensional.

In a few instances one may need a wide-

angle lens for large paintings or for overall interior views, and a 35mm lens would be

required (shorter than 35mm lenses usually create distortions too objectionable for normal usage). As will be explained later the 135mm lens can be a valuable addition to the contents of the gadget bag.

Also lenses with automatic diaphrams are recommended (for the normal lens at least) in the event that, for one reason or another, the camera must be handheld. The automatic diaphram closes down to a preselected opening just before the shutter opens-and in the same operation.

It is a matter of general knowledge to

professionals and advanced amateur photographers that different lenses can produce quite startlingly different color results, some lenses tending to be cool, others warm. Therefore a thorough testing of the various lenses should be conducted on the identical

subject to determine how close in color are the results, thereby insuring satisfactory and consistent color slides. Failing this, only a

complicated system of filtration is possible.

PERSPECTIVE

A major difficulty is the achieving on film the precise right angles of the painting. To do this the camera must be placed exactly perpendicular to the center of the subject. Otherwise one of the effects noted in Figs. 1-6 will result (sometimes called the "key- stone" effect). We are all familiar with what

happens as we take pictures of buildings and have to tilt the camera up to get the tops in: lines actually parallel vertically do converge in the picture toward the top. Unfortunately museums do not hang pictures for the conve- nience of photographers, so the tilting is of no concern to them in this respect, except that it may in fact help reduce surface reflections for regular viewing. Correcting the aforementioned distortions can be achieved

by the methods of lining up the camera as noted in Figs. 7-9. Unless the lens is closed down several stops, it is also probable that

parts of pictures may be out of focus when the keystoning occurs, as the depth of field

may be too shallow for overall sharpness. Naturally the foregoing difficulty is lessened

ART JOURNAL XXV 2 166



Fig. 1. Painting is tilted away from wall at its top, Fig. 2. Painting is hung high and camera is tilted up, Fig. 3. Camera position is to the right of center, so so that its top edge is closer to the camera than the so that the bottom edge is closer to the camera. right edge of frame is closer to the camera.

bottom edge.

Fig. 4. Camera position is to the left of center, so left edge of frame is closer to the camera.

Figs. 7, 8. Film plane and picture plane must be exactly parallel, the camera perpendicular to the exact center

of the subject.

Fig. 9. Camera may need to be considerably lowered if the picture is tilted away from the wall.

when using a reflex camera, though with a normal lens (50mm or thereabouts) the problem still exists to the degree where care is

required. And the problem is more marked in handheld exposures, as it is not easy to stand in a crouching or other difficult position while still maintaining the steadiness or correct angle necessary. This factor can be

considerably overcome by using a longer lens

-say a 135mm (providing one is able to step back far enough to include the full picture). This lens is especially useful for pictures hung rather higher than eye level, since the

angle of tilt with a long lens is made smaller as the camera is moved further from the sub-

ject. With the longer lens a tripod is a must -for two reasons: (1) any long lens multiplies the effects of camera movement, so that even the slightest vibration can render the result-

ing transparency unsharp; and (2) most long lenses are slower than normal ones and therefore require more lengthy exposures. For photographing sculptured life-size heads a 135mm lens is recommended in the interests of achieving a better perspective, a normal lens tending to broaden the frontal portions of the face and they become out of proportion with other areas. The 135mm lens further allows one to throw the background out of focus more effectively than does a shorter lens.

TRIPOD A tripod is always suggested (if allowed by

the museum), for few persons can handhold a camera at speeds under 1/30 of a second and expect to get completely sharp pictures. At slow speeds acceptable clarity of detail

might be achieved occasionally but probably not consistently, and it seems that the one shot wanted more than any other always turns out to be blurred when you take a chance without the steady support. Needless to say the tripod should be a sturdy one, else it might just as well be non-existent. Small

collapsible types with many sections are not suitable. Any unsteadiness may be due to a

poorly designed head, but most usually it is

167 Museum Photography for the Art Historian

Figs. 5, 6. Combinations of the foregoing are also possible as these two diagrams indicate.



the non-rigid state of its legs that result in unfirmness. Rubber cups, if not already a

part of the tripod's legs, should be purchased and attached to prevent the possibly disas- trous occurence of slippage on what are usu-

ally quite smooth floors. When a tripod is utilized a cable release to the shutter is suggested as an additional safeguard against vibration. A movie-type panhead for the tri-

pod is more desirable than a universal socket for complete immobilization.

ROOM ILLUMINATION

Warmness or coolness (reddish or bluish) of the room illumination is additionally a major problem as a consequence of the type of

light falling upon the subject, and this factor will determine the necessary film and filters needed. From the photographic standpoint museums do not design their illumination with a view to how the light will affect the camera film, but rather how it will affect the human eye-and there can be quite a difference. When the museum desires a pho- tograph of one of its paintings, it either re- moves it to the museum photo lab or brings in strong flood lights that in effect overpower any other type of light present, so there is then present essentially one kind of light of a known color rating for a particular film used. However without such possibilities the visitor has to rely upon available light. Fre-

quently this light is from mixed sources such as daylight coming through a skylight or window and supplemental spot or flood

lamps. To further complicate the photographer's task there will be a different balance of colors on a sunny day than on a cloudy day if daylight is a factor at all. Then too some museums turn on more artificial light on dark days or the late afternoon; or if the museum is also open at night, a different color balance is present because of the com-

plete lack of daylight. With all of these variations (and more), the best long-range solution is to procure a color meter and filters that will enable you to bring the illumination into correct balance with the film characteristics. Short of this it is a matter of

judgment by trial and experience-with the inevitable wasted film and disappointing results.

Without a color meter one can look for the sources of light and try to estimate the color balance. For example if there is both

daylight and spot lights used, a determina- tion may be attempted as to whether the overall illumination is warm or cool-warm if the spots are stronger, cool if the daylight is more in evidence. Unfortunately however there is the condition known as "General Color Adaptation" in which the eye's sensi-

tivity changes when saturated with certain colors, a built-in mechanism that may mis- lead us, but one not part of the camera's

make-up. The latter cannot be fooled.

In various museums the room illl tmination will be by fluorescent tubes, ant plrfect tal- ance of color is literally impossible wiih this source, for certain wavelengths of ti e normal

spectrum are missing, and no amoulnt of filtration will succeed in supplying tile ab- sent bands. Fluorescent lamps ;tie more fre-

quently used in showcases than in general room illumination, although there seems to be a growing tendency for museuns t:o uti- lize this type for the latter purpose too. Ier-

haps this trend will soon be reversed, as there seems to be some evidence of harm and excessive fading to pigments exposed to fluorescent sources for long periods.

Upon occasion so much reflected daylight may bounce off the picture as to have the colors lose all of their intensity and there is caused to appear a milky or cloudy condition over the surface. Four solutions can be at-

tempted: (1) the possibility of having a friend stand so as to block out the daylight if the picture is small enough; (2) moving back and using a 135mm lens may reduce or eliminate the glare; (3) use a polarizing filter on the lens (a combination of the last two is generally successful if one alone does not solve it); or (4) as a last resort move the camera position to the side or up or d(own until the glare disappears through the painting will no longer be square on the film).

REFLECTIONS Reflections of other objects around the

room on glass cases can frequently be eliminated by one of two methods, the more workable being to place the rim of the lens housing directly against the glass. The other involves the use of a polarizing filter over the lens, but this is effective only when the angle to the glass is from 32? to 37?, a com-

paratively narrow angle. The use of such a filter necessitates three to four times the normal exposure. Incidentally the method of holding the camera against the glass can also be used for short time exposures while handheld. First make sure that all smears, smudges, and fingerprints are wiped from the glass.

COLOR METER The only truly reliable guide for correct

color is the color meter, though even this

may fail if it is measuring fluorescent light, as most color meters on the market do not produce accurate readings for these limited wavelengths of illumination. Since today there are several colors of fluorescent tubes, light that is not definitely coolish is not nec- essarily tungsten (spots of floods). When one encounters hidden sources of light and the type is questionable, perhaps the guard will know what it is, and museum guards are or- dinarily very cooperative in such matters. As with any meter, the color meter must be used correctly and interpreted with experi-

,ilce o3 it. becomes valueless. Either red or blue filteis used to bring about the proper balance decrease the amount of light admit- ted to the film, and graduated increases are

necessary as the density of the filters increases. For a simple but rough guide, one can employ the following Kodak color bal-

ancing filters: 81A for slight warming, 81C for substantial warming, 85C for considerable

warming, and 85 for much warming; 82A for

slight cooling, 82C for substantial cooling, 80C for considerable cooling, and 80B for much cooling.

LIGHT METER While it may be possible to get by without

a color meter and be lucky, one dare not at-

tempt the task without a light meter.

Though the need is taken for granted some discussion is required, because there are two basic types that are radically different in how

they measure light: incident and reflection meters. For the photography of paintings the incident type is most desirable, as such a meter measures the general level of illumination falling upon the subject rather than the

light reflected from the painting's surface. If one were to use a reflection-type meter, both dark or light paintings would tend to be rendered in middle values, not as dark or

light. Of course if one knows about this and

compensates for it, such a meter is indeed usable, although more guesswork is naturally involved. Readings with the latter are usual-

ly taken from the lighter areas to minimize the loss of detail in the darker areas. With either meter one must be careful to take

multiple readings to ascertain if even amounts of illumination is flooding the whole subject. Though professionals take

multiple exposures of a single subject to in- sure a good one, with enough experience in meter readings it should not be necessary for the average person to do this (called "brack- eting") unless conditions seem quite abnor- mal. This somewhat depends upon the pock- etbook and the importance of the particular picture to the individual. Especially is econo-

my desirable while traveling abroad in the interests of conserving film for the maximum number of different pictures.

Both of the foregoing meter systems are feasible for three-dimensional objects unless

they happen to be inside a glass cabinet, in which case it is impossible to get the meter inside to measure the light. Then the

reflection-type meter is the usual answer, re-

alizing that you may be measuring light bouncing off the background rather than the

object itself, particularly if the later is small. A light background and a dark object de- mands much increase in exposure, perhaps four to six times.

EXPOSURE A standard procedure is to increase the ex-

posure factor by one stop for close-ups when




the lens is extended to its most extreme lim- its. And since detail is most important in small objects or in small sections of a painting, a slight overexposure is not undesirable, especially in darker areas. If a bellows is used the exposure increase will need to be calculated by a formula found in photography books on the subject of close-ups or by using a simple dial manufactured by Kodak.

Close-up (portrait) lenses require no additional exposure.

Meeting the problem of uneven illumination on sculpture, to the point where one section seems excessively bright, can be a real

challenge, but during a lengthy time exposure an opaque, stiff material can be waved in front of the main light to block it out

momentarily-much as in darkroom dodging while enlarging.

A steady posture for handheld shots is an absolute requirement for sharpness of detail. The experienced photographer learns the

techniques which best suit himself and vary with both the individual and the camera used. Two general hints are to hold one's breath during the exposure, and to support the camera and hand holding it against the forehead or cheek. Long exposures are aided if one can lean against a wall or other sta-

tionary object, and of course lacking a tripod the camera can be placed against a flat surface, providing it can be aimed at the de- sired subject.

STROBE AND FLASH

Although many museums permit strobe

(some even allow flash bulbs), this source of

light is seldom suitable for paintings, the

primary reason being that the flash of light invariably causes a "hot spot" (glare reflection) off the painting's surface that will

completely obfuscate a large portion of the film. Only by chance will you be fortunate

enough for this not to occur, and one cannot

predict whether or not it will, but the prob- abilities are affirmative. Certainly a flash attached to or even placed near the camera will usually create such an unwanted condition, though far off to the side the glare might be confined to minute highlights from the oil stroke ridges-but again the unpre- dictableness precludes its usage. For sculpture or other three-dimensional subjects not be- hind glass, either strobe or flash may be useful, but shooting through a glass surface will bounce the light back to the camera even more strongly than will a painting. Some- times it may be possible to aim the light through a side or top of the glass case and so avoid any glare off the case through which the picture is taken. Also the flash reflector

may be placed directly against the glass case to prevent glare. Either strobe or flash pro- duces strong highlights and shadows, often an undersirable feature, although some amel- ioration is possible by holding a white re-

flector to the side opposite the light. Direc- tional light, as strobe or flash, is more harsh and renders color more strongly than the

usually more diffuse general room ilumina- tion (unless the latter is a spot).

A powerful strobe or flash is not needed for museum work, as a small but reliable unit is quite efficient at short range. Strobe is

preferred, for then many bulbs do not have to be carried around separately, but it may depend upon the kind of film in the camera. Because many museum rooms are quite large, the effective guide number of the unit or bulb is usually less than the published rating.

FILMS

Probably a number of films by various manufacturers are suitable, but those men- tioned here are Kodak because of personal preference and for purposes of simplification. Films of similar characteristics to Kodak's

may be manufactured by other firms and

may even be more favored by some photographers. In fact when you are in a foreign country, you may have litlle choice when

you have used up what film you brought along. Undoubtedly the best Kodak film for the purpose is Kodachrome II, which has the finest grain and highest color saturation

(though some greens are unfavorably repro- duced). Daylight Kodachrome is used where the predominating light is daylight, either outside of the museum or where the daylight is flooding in through a window or door. If there is some tungsten light mixed with it, a bluish filter will be needed (as noted earlier), the more tungsten the deeper the blue filter.

Type A Kodachrome is for indoor (tungsten) light, but a little daylight mixed with it will necessitate a slightly reddish filter. Since Ko- dachrome is comparatively slow, a tripod will be needed for most indoor work. When a tripod is not to be used one can switch to

High Speed Ektachrome B. The characteristics of this film are not quite as desirable as Kodachrome for the task, as it has coarser

grain and less saturated dyes. On the other hand, its latitude is greater, i.e., over or un-

derexposure are somewhat less serious. An

improved daylight type has recently been

placed on the market with characteristics nearer to Kodachrome but still maintaining its great speed, so undoubtedly there will soon be available an improved Type B. There is a slight difference in color balance between Type A and Type B films, the form- er rated at 3400?K and the latter at 3200?K -which means that the B is slightly warmer. This latter can be helpful with indoor photography where there is tungsten light and a bit of daylight mixed in, for a warming filter

may not be required; but it may mean a

slightly bluish filter is needed if the light is

only tungsten. Kodachrome X or Ektachrome X are other possibilities, films whose charac-

teristics lie somewhere between Kodachrome II and High Speed Ektachrome in speed, grain, and saturation, but both are only made in daylight emulsions. Using Type A film one can convert to daylight simply by adding an 85 filter, and an 85B filter con- verts Type B film to daylight, so both in- doors and outdoors subjects can be shot on the same roll of film with little difficulty when there are not mixtures of the two light sources. Positive transparencies can be made from Kodacolor negatives, another possibility but a more expensive one. If one has a camera with interchangeable backs, various films can be readily available for any conditions. In using strobe one would load daylight film in the camera; for flash the indoor film is necessary.

PICTURE FRAMES

Whether or not to include the surrounding frame of the painting in the picture is partly a problem of personal preference-but not

entirely. Actually one cannot very well help but include at least part of it, since few

paintings are of the exact proportion as the 35mm film frame, but the painting's frame can of course be later masked off (cropped) when mounting the slide. Then too reflex camera viewfinders include less than actually appears on the film, so some part of the frame will inevitably show. However this feature does allow for a margin of error, rather

significant if one wears eyeglasses which often

may make it difficult to center the subject properly. In this respect it is important for

persons who do wear eyeglasses to purchase a camera having a large viewing window. Fur- ther, frames may want to be eliminated when it is felt that they will prove distract-

ing to the best projection appearance of the work.

As most paintings are lighted from above, frames can also give some unwanted shadows on the top portions of the paintings. And there is no way in the world for overcoming this situation-unless it is to wait for the museum to move the painting to another loca- tion (which some museums do occasionally), hoping the new situation will be more ad-

vantageous.

MUSEUM REGULATIONS

Many varieties of regulations prevail between museums here and abroad and even

among American museums. For example museums in this country do not make a special charge for photographing unless some special service is required on a professional basis

(such as the need for an electrician when

portable floods are used), but many foreign museums charge a supplemental fee just to

carry a camera inside. In addition if you have a tripod you are by this symbol a

professional, and a whopping large fee is further applied. No photography whatsoever is




the case with some museums or buildings, both here and abroad, though this is generally true only of private collections rather than public ones (there are exceptions). Some

private collections do not object to photographs being taken if permission is secured, while others allow only general views and no

pictures of individual works. Most museums seem to permit the photo-

graphing of their own pieces, but not works on loan. A few however may even allow the latter (with the implied understanding that such pictures are for personal use only). In fact it is generally true that before publica- tion or other commercial use of any pictures, permission must be obtained in advance, some museums requesting copies or tear sheets. And one must state the intended use in any request. In most cases, particularly for educational or scholarly work, such permission is quickly forthcoming.

Wide variations also exist regarding supplemental lights used by the photographer. More and more museums in this country are permitting the use of what is often referred to as "electronic flash" (strobe) but not flash bulbs (because the latter are more disturbing to other visitors); a few museums, such as our National Gallery in Washington, permit both.

Rules also vary concerning tripods, fre-

quently their use being restricted to times other than weekends or holidays (because of

crowds), and most museums require a gallery pass be obtained for the tripod. Passes nor-

mally can be picked up upon entry to the museum, but if one is making a special jour- ney of some distance to a museum where regulations are unknown, it is best to write in advance (also ask about strobe or flash), and enclose a self-addressed return envelope or postal card as a courtesy.

Many museums or collections have slides of their own paintings and objects for sale in their bookstore or office, and if so there may be some available that you cannot photo- graph because of poor lighting conditions, because no photographs are allowed by visitors, or because the particular painting wanted may be out on loan or in storage. If slides are not sold the chances are that black and white glossies will be, and one can have black and white transparencies made of them later (if he cannot copy them himself).

As a matter of policy the photographer should be considerate of other museum visitors while he is at work. The usual unwrit- ten rules of museum courtesy apply and should be adhered to strictly. Patience is a virtue, and waiting for the opportunity to set

up one's tripod when nobody is examining the picture can pay off in the long run, for museum guards and visitors will usually be courteous to a courteous photographer. Com-

plaints to the management from people mal- treated by a thoughtless or perhaps insolent

the case with some museums or buildings, both here and abroad, though this is generally true only of private collections rather than public ones (there are exceptions). Some

private collections do not object to photographs being taken if permission is secured, while others allow only general views and no

pictures of individual works. Most museums seem to permit the photo-

graphing of their own pieces, but not works on loan. A few however may even allow the latter (with the implied understanding that such pictures are for personal use only). In fact it is generally true that before publica- tion or other commercial use of any pictures, permission must be obtained in advance, some museums requesting copies or tear sheets. And one must state the intended use in any request. In most cases, particularly for educational or scholarly work, such permission is quickly forthcoming.

Wide variations also exist regarding supplemental lights used by the photographer. More and more museums in this country are permitting the use of what is often referred to as "electronic flash" (strobe) but not flash bulbs (because the latter are more disturbing to other visitors); a few museums, such as our National Gallery in Washington, permit both.

Rules also vary concerning tripods, fre-

quently their use being restricted to times other than weekends or holidays (because of

crowds), and most museums require a gallery pass be obtained for the tripod. Passes nor-

mally can be picked up upon entry to the museum, but if one is making a special jour- ney of some distance to a museum where regulations are unknown, it is best to write in advance (also ask about strobe or flash), and enclose a self-addressed return envelope or postal card as a courtesy.

Many museums or collections have slides of their own paintings and objects for sale in their bookstore or office, and if so there may be some available that you cannot photo- graph because of poor lighting conditions, because no photographs are allowed by visitors, or because the particular painting wanted may be out on loan or in storage. If slides are not sold the chances are that black and white glossies will be, and one can have black and white transparencies made of them later (if he cannot copy them himself).

As a matter of policy the photographer should be considerate of other museum visitors while he is at work. The usual unwrit- ten rules of museum courtesy apply and should be adhered to strictly. Patience is a virtue, and waiting for the opportunity to set

up one's tripod when nobody is examining the picture can pay off in the long run, for museum guards and visitors will usually be courteous to a courteous photographer. Com-

plaints to the management from people mal- treated by a thoughtless or perhaps insolent

photographer can do much harm, not only photographer can do much harm, not only

to the photographer but to subsequent visitors who may wish to take pictures. No photographer has the right to be a nuisance in a

public place, and he can properly be asked to pack up, as photography in a museum is a

privilege not a right.

TRAVEL TIPS

From time to time most of us go abroad to see and to take pictures of art subjects, and there are some photographic tips one should know. For example if you travel by air, carry your camera with you in the flight bag or gadget to prevent damage to it. If the traveling is by car do not leave the camera or bag in plain view when you leave it-even though the car is locked-and do not put it on the rear window ledge in the sun or in a confined space like the glove compartment where the film can literally bake as in an oven.

An insurance floater is a cheap addition to

your regular policy. Such a policy can also serve proof of ownership should the occasion arise. Be sure that you take along miscella- neous things like jeweler's screw drivers, lens brush, tape measure, pen light, extra bat- teries, notebook, spare ballpoint pen, etc.

All equipment should be pre-checked. And if it is new you should be completely familiar with its workings and have tested it thor-

oughly. Too many tourists have not done this, and have returned with no usable pictures. It can happen!

There are legal restrictions on photography in most countries abroad, so get permission before taking pictures of any interiors -of museums, churches, chateaux, art galleries, etc. Buildings may be near restricted military installations, so make sure you are not violat- ing some local law. A few countries do not

permit pictures from the air, but the steward- ess will keep you informed. Most foreign countries maintain consulates or information services in New York City. They will be glad to tell you of the regulations. In addition

Popular Photography magazine publishes each Spring a Travel Photo Handbook in one of its issues that gives much valuable information of this kind. The handbook also

frequently lists what films are available in which countries and whether or not they can be processed there. Film purchased in a foreign country must usually be processed there as a practical matter.

Most countries allow only a limited number of cameras and rolls of film to enter the

country-undoubtedly to discourage any black marketeering of the sales of these items within the country. Many countries allow a "reasonable number" of cameras and rolls of film without specifying, and are very lenient about it unless you give the customs inspector a sufficient reason to be tough. Let them know you are taking pictures for educational

to the photographer but to subsequent visitors who may wish to take pictures. No photographer has the right to be a nuisance in a

public place, and he can properly be asked to pack up, as photography in a museum is a

privilege not a right.

TRAVEL TIPS

From time to time most of us go abroad to see and to take pictures of art subjects, and there are some photographic tips one should know. For example if you travel by air, carry your camera with you in the flight bag or gadget to prevent damage to it. If the traveling is by car do not leave the camera or bag in plain view when you leave it-even though the car is locked-and do not put it on the rear window ledge in the sun or in a confined space like the glove compartment where the film can literally bake as in an oven.

An insurance floater is a cheap addition to

your regular policy. Such a policy can also serve proof of ownership should the occasion arise. Be sure that you take along miscella- neous things like jeweler's screw drivers, lens brush, tape measure, pen light, extra bat- teries, notebook, spare ballpoint pen, etc.

All equipment should be pre-checked. And if it is new you should be completely familiar with its workings and have tested it thor-

oughly. Too many tourists have not done this, and have returned with no usable pictures. It can happen!

There are legal restrictions on photography in most countries abroad, so get permission before taking pictures of any interiors -of museums, churches, chateaux, art galleries, etc. Buildings may be near restricted military installations, so make sure you are not violat- ing some local law. A few countries do not

permit pictures from the air, but the steward- ess will keep you informed. Most foreign countries maintain consulates or information services in New York City. They will be glad to tell you of the regulations. In addition

Popular Photography magazine publishes each Spring a Travel Photo Handbook in one of its issues that gives much valuable information of this kind. The handbook also

frequently lists what films are available in which countries and whether or not they can be processed there. Film purchased in a foreign country must usually be processed there as a practical matter.

Most countries allow only a limited number of cameras and rolls of film to enter the

country-undoubtedly to discourage any black marketeering of the sales of these items within the country. Many countries allow a "reasonable number" of cameras and rolls of film without specifying, and are very lenient about it unless you give the customs inspector a sufficient reason to be tough. Let them know you are taking pictures for educational

purposes if there is a question. A few coun- purposes if there is a question. A few coun-

tries may assess a tax upon what they consid- er excess. If you are not going to need the "excess" film in that country, the inspector may officially seal it until you leave.

Film may be mailed back to this country duty-free if addressed to: (1) yourself, (2) your photo dealer, (3) a processing lab, or (4) the film manufacturer for processing. Wher- ever you send it make sure it will be ac-

cepted, for if any of them refuse it the customs will hold it and charge you a storage fee. Packages mailed and containing film, but not obviously so, should be clearly marked:

"exposed film." Otherwise some customs in-

spector may slip it under an X-ray to exam- ine its contents, and this will completely ruin the exposures.

HAROLD C. SIMMONS New York University e

tries may assess a tax upon what they consid- er excess. If you are not going to need the "excess" film in that country, the inspector may officially seal it until you leave.

Film may be mailed back to this country duty-free if addressed to: (1) yourself, (2) your photo dealer, (3) a processing lab, or (4) the film manufacturer for processing. Wher- ever you send it make sure it will be ac-

cepted, for if any of them refuse it the customs will hold it and charge you a storage fee. Packages mailed and containing film, but not obviously so, should be clearly marked:

"exposed film." Otherwise some customs in-

spector may slip it under an X-ray to exam- ine its contents, and this will completely ruin the exposures.

HAROLD C. SIMMONS New York University e

Rembrandt's "Young Girl at an Open Half-Door"

Rembrandt's "Young Girl at an Open Half-Door"

The girl plays her undecided brown eyes on the smooth-cheek

boy below

singing his week of poems about the mystery

(is she opening her doors or closing); Tirra lirra lay

he goes heavy hearted on the stones in the dutch town

The girl plays her undecided brown eyes on the smooth-cheek

boy below

singing his week of poems about the mystery

(is she opening her doors or closing); Tirra lirra lay

he goes heavy hearted on the stones in the dutch town

and she will not let him know

any more than

her face catches light and the halo of her hair

whirls it in the shadow frame

making her appear forever

safe as his stained glass virgin: awesome, remote, olympian.

Raymond Roseliep

and she will not let him know

any more than

her face catches light and the halo of her hair

whirls it in the shadow frame

making her appear forever

safe as his stained glass virgin: awesome, remote, olympian.

Raymond Roseliep

Rembrandt, Young Girl at Open Half-Door, The Art Institute of Chicago, Mr. and Mrs. Martin Ryerson Collection.

Rembrandt, Young Girl at Open Half-Door, The Art Institute of Chicago, Mr. and Mrs. Martin Ryerson Collection.

ART JOURNAL XXV 2 172 ART JOURNAL XXV 2 172



museum photography for the art historian

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