Hans GindlesbergerHans Gindlesberger
  • Photography
    • Glass Plates / Double Negatives
    • Embossed Light
    • A Photographic Timeline
    • Ghosts in the Glass
    • I’m in the Wrong Film
    • Partial Architectures
    • Plain Sight
    • Weighing the Rain
    • Monsoon Portraits
    • Monsoon Portraits: Multiples
    • Rural Routes 1 & 4
    • Dying Breaths
    • Street Scene
  • Video
    • Westering
    • Doomscrolling @ 1.5x
    • Border Town
    • Keep Your Ear to the Ground
    • A Room (after Hammershøi)
    • Walking
  • Books
    • Family Album (Take What U Want)
    • 490 Miles
    • People I Did Not Meet in Brazil
    • Gone to Seed
    • 3 Things About Eadweard Muybridge
    • The Bluest Japan
  • Installation
    • Gone to Seed
    • Profile of a Fence
    • Gerrymandered
    • Binocular Project
  • Collaborations
    • Street Scene
    • Binocular Project
  • Info
  • News
Hans GindlesbergerHans Gindlesberger
  • Photography
    • Glass Plates / Double Negatives
    • Embossed Light
    • A Photographic Timeline
    • Ghosts in the Glass
    • I’m in the Wrong Film
    • Partial Architectures
    • Plain Sight
    • Weighing the Rain
    • Monsoon Portraits
    • Monsoon Portraits: Multiples
    • Rural Routes 1 & 4
    • Dying Breaths
    • Street Scene
  • Video
    • Westering
    • Doomscrolling @ 1.5x
    • Border Town
    • Keep Your Ear to the Ground
    • A Room (after Hammershøi)
    • Walking
  • Books
    • Family Album (Take What U Want)
    • 490 Miles
    • People I Did Not Meet in Brazil
    • Gone to Seed
    • 3 Things About Eadweard Muybridge
    • The Bluest Japan
  • Installation
    • Gone to Seed
    • Profile of a Fence
    • Gerrymandered
    • Binocular Project
  • Collaborations
    • Street Scene
    • Binocular Project
  • Info
  • News

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A Photographic Timeline

A Photographic Timeline inverts the photographic hierarchy of visual and tactile. A series of rubbings document the evolution of the photographic object throughout the medium’s history. The frottage technique obscures the visual information typically desired from photographs, while calling forth another kind of surface information that speaks to the care, the abuse, the ornamentation, and alterations unique to each photograph’s encounter with the world.

Camera Lucida Drawing (Summer Flowers) 1807 - Late 19th Century
Cut Paper Silhouette (Child by Pierre Bottemer), Mid 18th Century - Mid 19th Century
Daguerreotype (Man with Large Bow Tie), 1839 - 1865
Salted Paper Print (Lawyer John F Belsterling), 1840 - 1860s
Albumen Print (J.A. Bodie, Honesdale, PA, Evans Family), 1850 - 1895
Tintype (Boy in Plaid with Rosy Cheeks), 1855 - 1860s
Stereograph Card (Whirlpool Rapids, Niagara Falls), 1870 - 1920
Autochrome (Rug, Eldred S. Bates Studio, 15 W. 28th St., NY), 1907 - 1935
35mm Film (People and Places in Ohio), 1910s - Present
Photo Booth Strip (1920s County Fair), 1925 - 1990s
Diffusion Transfer (Two of Four Sisters), 1948 - 2008
Kodak Disc (14 Snapshots 1983 Cancun, Mexico Vacation), 1982 - 1999
Chromogenic Color Print (Where Dolly Clark Lived), 1960s - 1990s
Digital Image (JPEG Format) (Niepce_Le_Gras.jpg), 1992 - Present
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© Hans Gindlesberger

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