UCL ANTHROPOLOGY SUBMISSION OF COURSEWORK ACADEMIC YEAR 2021-22



Student Candidate Number:

TVGK3

Title:



FIELDWORK DIARY

Module code: ANTH0002 (UG)



Assignment type: (Fieldwork Diary) Word count: 2947

Top: Unidentified object front. Bottom Left: Unidentified object right view. Bottom Right: Unidentified object left view.

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OBJECT ANALYSIS: Unidentified Object Weights and Measures Weight: Wood Width: Depth: Height: Metal – basic structure Width: Depth: Height:

Back plate: Width: 3.50 cms Height: 4.80 cms Depth: less than 1mm Arrowhead Length: 3.70 cms Maximum circumference: 3.50 cms Handle and attached moving part Width: 3.50 cms Height: 3.20 cms Circumference of moving cylinder: 3.50 cms

250g 14.60 cms 5.10 cms 3.06 cms 9.20 cms 2.10 cms 5.00 cms

VISUAL ANALYSIS My first impression of the object is that it is dusty. The dust is very even that suggests the item has not been handled in quite a while. When I smell it, there is no odour at all and, it has not absorbed any smells from where it has been stored. It is made of wood and metal with moving parts and is much lighter than expected. It is easily picked up and transported with one hand. The wood is a rectangular block and is the base to which the metal components attach. The grain is very apparent. It does not seem to be of very high quality. The corners at the sides and the top edges have been smoothed off and are rounded. There are dark marks and small white and grey dots on the sides and top under the dust. The dark patches look like handling marks, and the white and grey dots look like tiny paint splashes. However, they have soaked into the wood and do not scratch off. Vertical striations are visible on one side that feel smooth when I touch them. I do not know if the tool that cut or sanded the wood made the stripes or they occurred when the wood was sealed or stained. On the opposite side to the striations are small uneven indentations that look like they could have been made by the object rubbing against something else, possibly during storage that has caused minor damage. There are shiny patches as if the wood had a clear protective coating that has rubbed off with wear. The metal section has various pieces with screws, springs, and a handle that turns and moves some of the parts. The basic structure for the metal is a flat base with two uprights at either end screwed into the wood with two flathead screws.This part of the metal framework 2

Top: Unidentified image back view.

Bottom: Unidentified image underside of base.

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looks like it has been cast in one piece and painted in brown enamel. The paint has slight chips and scratches and, metal showing through is consistent with brass. There are cylindrical rods of different metals inserted through the top of each of the uprights that face each other. One rod is attached to a metal handle that turns and has 2 points on opposite sides of its circumference. The end of the facing rod is a flattened arrowhead with a spring inside. It slides through its mounting but always returns to its original position. Resting against the back of the horizontals is another, very thin almost T shaped piece of metal attached to the bottom of the structure with a spring. The T-shape can be pushed away from the cylinder but, the spring snaps back to its original position. Having inspected the object, I am still no wiser to what it is. I am sure it was mass-produced, but there are no makers marks or brands, however, a dark shape on the base of the wood might have been a manufacturers label that had long since disappeared. Having discussed the item with my tutorial group and how I came to own the item, the general opinion is that it has something to do with the photographic industry, possibly a 35mm camera film winder. I have placed a 35mm roll of film in the item and, it is not the easiest manoeuver to wind the film. With one hand, you need to be able to hold the base to stop it from sliding and the film canister to stop it from spinning around without winding the film.You can view my last attempt at this address tinyurl.com/4d682xun

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Top: Canon AE-1 front view with cut aways showing inner workings.

Left: Canon AE-1 back and top view 7

A CRITICAL MUSEOLOGY: Canon AE-1, SLR Camera Weights and measures Weight: Width:

590g 14.10 cms

Depth: Height:

4.80 cms 8.70 cms

If my first object is a 35mm film winder, this is the style of camera that will have used the film. I searched for 35mm cameras in the collection of the National Science and Media Museum in Bradford (https://www.scienceandmediamuseum.org.uk/) and found the Canon AE-1. This particular camera has had part of its casing removed to enable viewers to see the electronics inside. It was manufactured between 1976 and 1984 and is a single reflex or, SLR camera meaning there is a mirror set at a forty-five-degree angle behind the lens that reflects the image through the viewfinder to the photographer. The basic format of an SLR camera transferred to the digital format but, with advances in technology, the DSLR camera is fast becoming obsolete. I chose this particular model for three reasons: 1. It was manufactured in my lifetime. 2. It is very similar to the camera I used during the 1980s and 1990s. 3. It is the only camera of its type on the museum website with a photograph. I find it quite ironic that a museum exhibiting and collecting cameras has very few images of the items in its collection. Apart from the materials, which the museum describe as ‘electronic components, glass, metal (unknown) and plastic (unidentified),’ they do not have any more information. It is not on display though a similar model the Canon F1 is, along with another AE-1 which has also had part of its body cut away to reveal the inside workings. Neither the F1 nor the other AE-1 has photographs on the website. There is no additional information beyond make and materials for them either. For the size and weight, I searched the Internet and discovered Canon has its own online museum (https://global.canon/en/c-museum/product/film93.html). On the site, I was able to find a lot more about the camera, including its original retail price (81,000 yen, approximately £500 in 1980). There was still no mention of the type of metal or plastic used in its manufacture. In my opinion, an Internet search for the weight and measurements was necessary. Knowing the size of something gives the reader a better visual understanding of the object. 8

Canon AE-1 without the cut aways.

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By looking at the photograph certain elements are common to many cameras of this style. For example, a metal bracket at the top known as a hot shoe allows compatible flash units to be attached and used automatically without the need for leads. Many cameras had an automatic rewind function but most also had a manual rewind that can be seen at the top on the right, a disc with a fold-out handle. It is used to wind the exposed film back into its canister before removal from the camera. It can also be used to rewind to the previous shot for multiple exposures on one image. Both professional and amateur photographers used this style of camera as it was lightweight; it had automatic functions with manual over-rides if required and could be used with several interchangeable lenses such as fisheye, macro and zoom; the detachable flash units were also interchangeable. This style of camera makes me feel very nostalgic. There was a ritual about loading film. Opening the back of the camera; placing the film roll in its holder; pulling the film out across the shutter; threading it through the slot in the take-up spool; using the manual forward wind to move the film on making sure it wound correctly around the take-up spool and closing the back.You were then ready to take your photographs. When all the exposures were used (or as many as required) the film was processed. Who knew if any of the images would come out? Digital cameras have taken the guesswork and the element of surprise out of photography; they have also made it easier, cleaner, and quicker but fewer images are printed most are stored digitally, shared via social media and then forgotten.

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H

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HISTORY IN MY LIFETIME

27 September - 17 December 2021

HISTORY IN MY LIFETIME A vanishing photographic process shown through objects Canon AE-1 35 mm SLR Camera Electronic components, glass, metal and plastic. 14.1 x 8.7 x 4.8 cms Manufactured between 1978 - 1984 Equipment used to take photographs via a negative film process. This particular model has been cut away to show the electronics inside.

Manfrotto Tripod Multi-part, metal, rubber and plastic 62 x 40 x 40 cms (as displayed) Circa 1990s Three-legged stand, used during photography to steady the camera. Height adjustable. The camera screws onto the top plate using a male female connection.

Unidentified Object Wood and metal 8.6 x 14.6 x 5.1 cms Circa 1960 Possibly used by professional and amateur photographers for winding film into containers. 13

Kodak DX 35mm Colour Camera Film Metal, plastic and coated cellulose 4.7 x 2.5 cms Circa 1990 Inside the canister the roll of film is being protected from premature light exposure. It is placed inside the back of the camera.

Negative Strip Cellulose coated in a gelatin emulsion of silver halide crystals 3.8 x 9.1 cms 2002 Substrate onto which the image is captured through light exposure via the camera shutter.

Contact Sheet Pulp paper coated in a light-sensitive emulsion 24 x 30.4 cms Circa 1980 Standard photographic paper onto which images from the negatives are printed, same size, with no brightness or contrast manipulation.

Linen Tester or Loupe Metal and glass hinged object 4.8 x 3.8 x 5.2 cms Circa 1980 Magnifying glass with measurements. Used to check the quality of each image on the contact sheet in readiness for printing at a larger size. 14

HISTORY IN MY LIFETIME: An Exhibition of Objects Used for Photography This exhibition started with the unidentified item that has lived with me for over 20 years, even though I have no idea what it is or what its use is. I knew through whom the object had come into my possession and, I knew they had worked in the photographic industry. Based on this information, I began wondering how many other photographic aids had or will soon disappear through the advancement of technology in photography. The items presented in this collection have been used, by professionals or keen amateur photographers. Some, like the tripod, are still being manufactured with modifications to fit today's requirements; others have uses in different fields, for example, the linen tester; as demand drops, a few will disappear altogether. 35mm film is now a niche market and, there is no requirement in the digital age for a contact sheet, but YouTube videos show how to transfer contact sheets to a digital format. Photography has changed quite significantly over the last few decades. The advent of the camera phone with its instant images shared with family, friends and the general public via social media has become the more popular option. Life in the twenty-first century is at a much faster pace than in previous centuries. Having to wait hours, days or sometimes weeks to see what your images look like is no longer satisfactory in these times of instant gratification. I was surprised when I discovered how little information was available on the National Media Museum's website, not only about the Canon AE-1 that I am exhibiting but others in their collection. The information I expected to see, was easily found elsewhere. Is the museum short-staffed? Are there so many items in their collection that they cannot update their records fast enough? Is there an object hierarchy within the museum's collection and, these are the less important? It reminded me of the arguments Morris Jessup, Director of the American Museum of Natural History, had with Franz Boas regarding the lack of labels for the exhibits (Jacknis 1988, 86). In my lifetime, I have seen photographs change from being precious images and memories of special moments placed in albums and keepsake boxes to pictures of one's food which are circulated on the internet to live in the ether forever. Technological advances in any industry is not a bad thing. Anthropology is an area where having the ability to immediately see how an image looks is extremely useful, especially if the subject of the fieldwork is only accessible for a short amount of time. Six of the objects are in my house. The seventh, the camera, is in the Kodak Collection at the National Media Museum, Bradford and is similar to the cameras I have owned. 15

CLASS DISCUSSION I showed the initial object to the class, we all agreed that it was most likely, given its origins, to have been used by photographers. After collecting the rest of my exhibition together, I asked the class if they knew what each was. The newest item is a negative strip. At almost 20 years old, it is the same age if not older than some students on this course. I guessed that most would know what it is but, I suspected not many ever used a camera that takes film. More students than I thought had used an SLR camera. However, there were still objects with which they were unfamiliar. The contact sheet was the item they engaged with most. None seemed to know what it was, were curious about its use and suggested that if I had the image chosen from the contact sheet, I should present a small picture pn this page. Many of the items rely on each other for their continued survival. The survival of the contact sheet and the unknown object (if it is what we think it is) depend on the use of film; the film and, therefore, the negative rely on SLR cameras. Turn it around and, the SLR camera is dependent on the film. If manufacture stops due to lack of demand, the 35mm film camera and its dependents, are redundant and become objects of curiosity that sit on shelves gathering dust or live in boxes .

Image chosen from the contact sheet. Daniel Brant 16

THE IMAGE PRACTICAL I struggled with this part of the fieldwork diary. I am not a frequent user of social media. I rarely use my personal Facebook page and haven't posted on the business page for over a year. Instagram is a similar story. I posted the camera and the film onto my Facebook page with the question, 'Do you still use an SLR camera with 35mm film?'. It received three comments but no definitive yes or no. The unidentified object I also posted to my FaceBook page with a single question mark. There has been one comment but still no clue as to what it is. The negative I posted as a story with a caption, four people viewed it, no one liked it or commented. The tripod and linen tester were uploaded to Instagram with hashtags. They have received four likes each. The seventh item caused me a moral dilemma. The contact sheet has images of someone who hated having his photograph taken. He also hated social media more than I do. I am happy to use this image in my project because it is a private, controlled situation. I am unhappy about uploading it to a public platform. He is not able to give his consent and, the appearance of his photograph on FaceBook or Instagram could distress his family and would certainly have angered him. To respect his memory and his family, I decided not to post it anywhere. My dilemma was about publicly displaying a photograph of someone who died within the last five years. The debate concerning museums around the world exhibiting the remains, be they mummified or skeletal, of countless numbers of people from whom permission has not been and cannot be granted, rumbles on. From social to biological, learning from our antecedents is necessary and contributes to all aspects of our lives. Social and natural scientists may not have known these people in the conventional sense but, they have amassed a large amount of data about their lives; what they ate, how they lived, that contributes to knowledge about us and how we are now living. All of this information adds virtual flesh to the bones. Most North American Museums have now removed the remains of their indigenous peoples from the exhibits and, Aboriginal remains in Australia have been withdrawn from public view (Gazi 2014, par. 13). We are in a more enlightened age where social and moral problems concerning the study of different cultures are dealt with more sensitively. The days of grave robbing for artefacts, putting human beings on display as objects of curiosity and, forcing people to abandon their beliefs and way of life to live like Europeans is, hopefully, behind us. As for the rest of the project, analogue photography removes the ability to take a photograph and upload it immediately to a public forum without thinking through the consequences. It slows the process and focuses the mind. 17

Although all of the uploaded pictures were visible to the public, only the same few friends engaged with them on all the platforms. The reasons are inconclusive but, the main theories are, in no particular order, 1. As I had not been on any of my social media accounts for a long while, the posts may not have been widely visible. 2. Due to the length of time I spent deliberating whether I should or, should not post the contact sheet, the other uploads were rushed, last minute and not thought through properly. 3. The subject matter is not contentious enough. In hindsight, perhaps I should have posted a text about my moral dilemma and created two polls, one asking what I should do, the other what museums should do. 4. Analogue photography is not yet old enough to be the subject of nostalgia. 5. My friends are apathetic about commenting on a post unless it has something to do with births, marriages or deaths.

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SOCIAL MEDIA SCREENSHOTS

Facebook Post

Facebook Story

Facebook Post

Instagram Post 19

Instagram Post

BIBLIOGRAPHY Gazi, Adromache. 2014. Exhibition Ethics - An Overview of Major Issues. Journal of Conservation and Museum Studies, 12(1): http://doi.org/10.5334/jcms.1021213 Jaknis, I., 1988. “Franz Boas and Exhibits: On the Limitations of the Museum Method of Anthropology” in Objects and Others: Essays on Museums and Material Culture. 1 ed., edited by George W. Stocking. Madison: University of Wisconsin Press, 1988. muse.jhu.edu/book/8434.

IMAGES Page 7

https://www.scienceandmediamuseum.org.uk/

Page 9

https://global.canon/en/c-museum/product/film93.html

Page 13

https://www.scienceandmediamuseum.org.uk/ All other photographs and artwork author’s own