Search
- World War II Poster, "This World Cannot Exist Half Slave and Half Free: Buy War Bonds," 1943 - During the Second World War, all of the national governments of the warring nations used poster campaigns to encourage civilian and military support of the war effort. The advertising technique of these posters followed the innovative style developed during the First World War. By appealing to the viewer's emotions this poster helped the U.S. to rally the home front workers and consumers.
- 1943
- Collections - Artifact
World War II Poster, "This World Cannot Exist Half Slave and Half Free: Buy War Bonds," 1943
During the Second World War, all of the national governments of the warring nations used poster campaigns to encourage civilian and military support of the war effort. The advertising technique of these posters followed the innovative style developed during the First World War. By appealing to the viewer's emotions this poster helped the U.S. to rally the home front workers and consumers.
- Exhibition Poster, "American Printmaking: The First 150 Years," 1970 -
- 11 March 1970 - 12 April 1970
- Collections - Artifact
Exhibition Poster, "American Printmaking: The First 150 Years," 1970
- European Recovery Program Poster, circa 1950 -
- circa 1950
- Collections - Artifact
European Recovery Program Poster, circa 1950
- Monterey Grand Prix, Laguna Seca, California, October 1964 - Dave Friedman captured and preserved auto racing history through his photography. His work -- and his collection of works by other photographers -- documents key races, cars, drivers, and teams. This photo is from the 1964 Monterey Grand Prix, held at Laguna Seca Raceway near Monterey, California. Roger Penske won the overall victory with the #66 Chevrolet-powered Chaparral 2A.
- 16 October 1964 - 18 October 1964
- Collections - Artifact
Monterey Grand Prix, Laguna Seca, California, October 1964
Dave Friedman captured and preserved auto racing history through his photography. His work -- and his collection of works by other photographers -- documents key races, cars, drivers, and teams. This photo is from the 1964 Monterey Grand Prix, held at Laguna Seca Raceway near Monterey, California. Roger Penske won the overall victory with the #66 Chevrolet-powered Chaparral 2A.
- European Recovery Program Poster, "La Cooperation Inter-europeenne pour un Niveau de Vie plus Eleve," circa 1950 -
- circa 1950
- Collections - Artifact
European Recovery Program Poster, "La Cooperation Inter-europeenne pour un Niveau de Vie plus Eleve," circa 1950
- 50th Anniversary of Graduation Medallion Presented to William Mitchell by Carnegie-Mellon University, 1980 -
- 1930
- Collections - Artifact
50th Anniversary of Graduation Medallion Presented to William Mitchell by Carnegie-Mellon University, 1980
- Kodak Sheet Film Holder, circa 1925 - In 1913, Kodak introduced their pioneering Eastman Portrait Film for the professional photographer as an alternative to glass plate photography. Individual sheets of flexible cellulose nitrate were housed in light-safe film holders. Large format film produced by Kodak and others held copious amounts of information, perfect for crisp, faithful reproductions. A less flammable "safety" sheet film was introduced in 1925.
- circa 1925
- Collections - Artifact
Kodak Sheet Film Holder, circa 1925
In 1913, Kodak introduced their pioneering Eastman Portrait Film for the professional photographer as an alternative to glass plate photography. Individual sheets of flexible cellulose nitrate were housed in light-safe film holders. Large format film produced by Kodak and others held copious amounts of information, perfect for crisp, faithful reproductions. A less flammable "safety" sheet film was introduced in 1925.
- Plate Film Holder, 1915-1925 - Wet plate photography was a primary photographic method until the invention of roll-film in the 1880s. Metal or glass plates were coated with light-sensitive collodion, placed into holders, and exposed in a camera. Before the plate dried, it was developed in a darkroom. Exacting and demanding, wet plate photography was the opposite of being a mobile, spontaneous, or user-friendly process.
- 1915-1925
- Collections - Artifact
Plate Film Holder, 1915-1925
Wet plate photography was a primary photographic method until the invention of roll-film in the 1880s. Metal or glass plates were coated with light-sensitive collodion, placed into holders, and exposed in a camera. Before the plate dried, it was developed in a darkroom. Exacting and demanding, wet plate photography was the opposite of being a mobile, spontaneous, or user-friendly process.
- Graflex Photographic Plate Holder, circa 1925 - This Graflex aerial camera magazine holds multiple sheets of film. Film sheets are loaded into the metal body of the magazine. After making an exposure a lever slides towards the leather bag; the film shifts into the attached bag and then up into the stack of film sheets. Safe from further exposure by light, the film remains here until processing.
- circa 1925
- Collections - Artifact
Graflex Photographic Plate Holder, circa 1925
This Graflex aerial camera magazine holds multiple sheets of film. Film sheets are loaded into the metal body of the magazine. After making an exposure a lever slides towards the leather bag; the film shifts into the attached bag and then up into the stack of film sheets. Safe from further exposure by light, the film remains here until processing.
- Korona Film Holder, 1902-1920 - Dry plate photography was a primary photographic method until the invention of roll-film in the 1880s. Glass plates coated with light-sensitive gelatin were placed into holders, and exposed in a camera. George Eastman automated this process with his plate-coating machine and factory in 1879. Exacting and demanding, plate-based photography was the opposite of being a mobile or spontaneous process.
- 1902-1920
- Collections - Artifact
Korona Film Holder, 1902-1920
Dry plate photography was a primary photographic method until the invention of roll-film in the 1880s. Glass plates coated with light-sensitive gelatin were placed into holders, and exposed in a camera. George Eastman automated this process with his plate-coating machine and factory in 1879. Exacting and demanding, plate-based photography was the opposite of being a mobile or spontaneous process.