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2021 New Flyer Xcelsior XE-40 electric 143, North Highland Avenue and Church Street on the 14 (Ossining)
Carte de visite by Oscar Pierre Havens of Sing Sing, N.Y. Years before he created the stereoviews of Southern scenes in Georgia and Florida for which he is known, O. Pierre Havens operated a gallery in Sing Sing, N.Y. Born and raised in the Empire State town of Ossining, at some point before 1860 he established a daguerreotype gallery in nearby Sing Sing. Though of military age at the start of the Civil War (22), Havens elected not to enlist in favor of continuing his profession. The exact date of this advertising carte to promote his artistry is not known, but the presence of two soldiers and a centerpiece of George Washington, and the lack of an internal revenue stamp on the back of the mount suggests it was produced between 1861 and 1864.
Havens moved to Savannah, Ga., about 1872. According to a newspaper report, he left for the South after "burning out" in Sing Sing. He moved to Jacksonville, Fla., in 1888 and continued working until his death in 1912.
The 1882 annual Photographic Mosaics included a tongue and cheek essay by Havens about the complexity of his artistry:
When we think of the few days that are required to learn the art of photography, it seems strange that so many find it difficult. I would suggest the following rules for their guidance:
In selecting glass, any kind will do, so long as you can see through it. Don't bother to get nice fresh eggs, stale ones are just as good, besides being easier to mix with the water. Albumen your plates where you can find the most dust, so as to have a good "comet effect." Never filter your bath or keep on a cover, as filtering spoils the cotton, and I find that cotton costs more than the dirt extracted.
In dipping your plates, do so a little at a time, this will give you horizontal lines that can't be obtained in any other way, and give you time to talk to the customer at the same time. In taking the plate-holder to the operating-room, knock it against the camera, it sometimes improves both. Always remove the slide with a quick sudden jerk; in that way your negative will resemble the moonlight scene of Niagara, with a plentiful supply of stars and comets thrown in. Don't use the bonanza holder, as the old-fashioned ones will fresco your floor equal to that of the "old masters," although not so much difference in the expense as I could wish. Have your printer keep the silver low, so you can make your work to correspond, always silvering twice as much paper as you need, so you will not fall short, as what is left can be swept out doors.
Never mind if a little "white light" does get in the darkroom, it sometimes produces those "hazy" effects so eagerly sought for, and saves in many instances a second exposure. A little or no acetic acid in the developer, or by taking the plate from the bath when partially coated, will give you those fine "marbled effects," on which so much time has been wasted by the fraternity to produce.
If you are working the dry-plates, put them in your holder in the daytime, as the light is better to place them in position, and if the formula says one ounce of iron is to be added to No. 1, put in two or three, the surface will have that fine sand-paper surface so much desired by the retoucher. With these few hints, it would seem almost an impossibility to make a failure.
I encourage you to use this image for educational purposes only. However, please ask for permission.
shot in Louis Engel Park of Ossining. Heritage Tall Ships is parading on Hudson River to celebrate the 400th anniversary of Hudson River.
this photo is the winner o fOssining Quadracentenial Photo Contest! I got a nice T-shirt with the picture on it and a gift certificate of the restaurant on main street.
1931 photograph by renowned photographer Walker Evans (1903-1975) of jigsaw ornament detail on a folk Victorian house located at Ossining Camp Woods, New York. In the early part of his nearly fifty-year career, Evans began photographing a series of Victorian Houses in order to preserve this neglected American architecture.
Seen and photographed on display at the San Francisco Museum of Modern (SFMOMA)