To fully analyze the subject of a picture is to go beyond what is already there.  As Carol Hixson explains “With images, we have to describe what we think the image is…” (2003).   The process by which images are viewed and assessments are formulated may present three-part conclusions.  This can be as easy as just stating what is there or it can get as complex as figuring out the nuances presented.  The descriptions may contain the following questions: Who? What? Where? When? (Hixson 2003).   Once these questions are answered, then the analysis follows.  It also helps if knowledge of the specific culture is acquired, since the context needs to be referenced to something we may already know about the subject (Shatford 2003).  Finally the overall interpretation of the image takes place. 

With that in mind, the purpose of the research was to interpret and conclude with a testable hypothesis whether or not distinguishing agents existed between the “outsiders” and the “established” within two specific sets of photographs. The first set included images of immigrants arriving at Ellis Island from 1906 to1914 and the second set were daguerreotype images taken between 1840 and 1860.

This exercise would require viewing these selected images with specific purpose.  Upon first glance the differences were noticeable, but more cultural knowledge was obtained in order to determine how much of this perception was based on our preconceived notions. 

Clear minds would have to prevail and the image analysis would require a “trained eye”.  Searching for guides that address the use of visual imagery as the object of social research proved to be challenging.  Flick (2009) addresses the use of photos as research objects and refers to their long use in anthropology. The camera can record images for posterity and these images are available for scrutiny by other researchers.  The question does arise regarding the integrity of the image as far as the photographer’s personal influence on the outcome (Flick 2009).

Oliver Wendell Holmes called photography “the mirror with a memory” (Batchen 2004). Batchen examines photography as the cornerstone for evoking and preserving memories (2004).  Added to that, is the effect that photos have on recollection and whether what is remembered is truly what the image summons from the viewer. The real question is then asked, “Has photography quietly replaced your memories with its own?” (Batchen 2004) This text exhibits photos and portraits with comprehensive details exploring necessary steps in establishing the indexical veracity of an image.    

Rose (2001) implements the observational techniques used in art history study and applies them to photography.  The physical placement of objects and subjects and the angle at which a photo is captured expresses the intended spatial relationship and it affects the viewer’s interpretation.  It’s all about composition.  This became clear when reviewing the Weber photos as some shots were deliberately posed to convey formality and others at leisure.  One of the Weber photos accomplishes this by having a stylish gentleman put his feet up on a table while he reads a book. His long, fashionable white sack coat hangs down and his cheeks are accentuated with color.

Within the Weber collection daguerreotypes were also examined.  These images were first introduced in the United States in 1839 (Orvell 2003).  The fascination that many Americans had with procuring these self images was remarkable.  Up until that moment the only portraits available were those painted by an artist on canvas and these were time consuming and expensive.  

Accordingly, much attention was dedicated to the garment details in the daguerreotype images. The image capture process worked in a spectrum of black to white with all shades of gray in between.  Light garments had to be captured at different intervals than dark garments. This also contains painstaking details covering every facet of a garment and its effect on the ultimate image result (Johnson 2004).

In Windows of the Past: Indetifying, Dating, and Preserving Photographs, Diane VanSkiver Gagel, a photo archivist, discusses the meticulous preservation and dating method she developed for the Toledo/Lucas public library.   Gagel’s strategic approach to identifying the images is established, first by process, then by photographer and lastly by fashion.  Another interesting factor worth mentioning is that daguerreotypes were made from metal and ambrotypes from glass.  These two are often confused by the untrained eye, specifically due to the intricate cases in which they are stored (Gagel 2000).  The distinguishing difference is that a magnet will stick to the back of a daguerreotype and not an ambrotype (Gagel 2000).  The depth of knowledge, passion and wit that Gagel provides in her descriptions is intriguing.  She explains:   

“The Chicago Inter-Ocean in 1877 carried an article regarding sitting for pictures: If a lady wanted to present a serene expression she should say ‘Bosom’ and keep the expression until the mouth subsides until the desired effect … is evident.  A distinguished look could be obtained by saying ‘Brush’.  If a lady wanted her mouth to appear smaller, then ‘flip’ was the word; larger -- the word was ‘cabbage’; ‘Kerchunk’ was used for a mournful look, and ‘Scat’ for a look of resignation.  Obviously, ‘cheese’ would never do!” (Gagel 2000)

This was a fabulous glimpse into the past and prompted further review of the Weber images in wonder of which of the words they had uttered while posing (Gagel 2000).

In the midst of scrutinizing poses and props, it is also especially important to consider the actual garments on the subjects.  Joan Severa’s extensive knowledge as a costume curator partners exceptionally well with this pictorial of historical garments (2005).  The photographic images are thoroughly examined to document a scholarly account of the attire and its imagery.  The Victorian Era’s influence on pre-civil War America is further explained.  Classification of women’s social strata could be determined by the closeness of their hair to their ears. Someone with elaborate curls that radiated from the ear lobe was considered frivolous and probably wealthy, so proper ladies wore their hair close to their ears (Severa 2005).  Earnest wives are pictured wearing dark, austere clothing. Children wearing gold jewelry were the pride of wealthy families. An elderly woman usually wore a plainer bonnet pulled further back on the head.  Severa’s detailed analysis of the subjects and their attire is astonishing.  One of the most startling images is a post-mortem image of a mother with her deceased infant.  At first, the notion of the image is macabre, but upon examination the mother’s sorrowful gaze is compelling.  Families would often dress in very expensive black silk outfits for the post-mortem images, which were fairly common (Severa 2005).

An image of one of the selected pictures from the Ellis Island Collection was that of three Dutch Women.  The women wore these seemingly flamboyant hats.  Upon further search, it was found that in the early twentieth century, each Dutch province had its’ own specific regional clothing (Sinke 2002).  Although the wooden clogs are ubiquitous, the head pieces aprons and dresses vary greatly (Sinke 2002).  

Many of these items similar to the hats worn by the three Dutch women are now featured in museums as precious artifacts.   Roberta Hershenson (1990: pp. WC33) showed detailed immigrants' apparel photographs.  Hershenson also enthusiastically described apparel given to a Museum, with examples of a "Spanish ivory fan," "beaded Italian wedding shoes," and other "artifacts," which belonged to immigrants' ancestors (1990: pp. WC33).  Hershenson also stated that these objects reflected "what mattered to the people who came, what they valued enough to bring, and what their hopes and expectations were" (1990: pp. WC33).  

Thus, a detailed examination of the images from The Ellis Island and Donald Webber collections leads to a visceral understanding of the time period.  These images provide access into a dramatic era of historical change.  Cultural knowledge is especially important when questioning the message that the image is trying to convey.  When analyzed with this knowledge in mind, a better understanding is reached:  What are the people in the pictures doing? Where are they located and when? What feelings and images does it bring to mind? (Shatford 2003) 

After this careful examination, it is now realized that certain subjects in the images were fully clad with cultural attire as it is seen in the Ellis Island collection.  These “outsiders” clung to a world they knew and understood in order to maintain their identities in a society completely new to them.  In comparison, the subjects in the Weber collection, perceived now as the “established” present themselves in a much more integrated fashion. 

The photos used in this intense analytical process were extracted from The Commons on Flickr.  Flickr has partnered with some of the most prestigious archives of visual imagery and for the first time made these images available for public viewing and commentary online.  This wonderful repository was introduced in 2008, in conjunction with The Library of Congress to improve availability to publicly-held photography.  

Copyright restrictions would have made accessing the majority of photographs available online inaccessible.  "Fair use" under the copyright laws for purposes of teaching and research do not apply in the digital world as everything is virtually a copy (Lessig 2004).  

The New York Public Library has cleared the photo set used in this project titled, Ellis Island Photographs and deemed that there is no known copyright restrictions.  George Eastman House has also cleared the photo set used in this project titled, the Donald Weber Collection and deemed that there is no known copyright restrictions.  Both the The New York Public Library and George Eastman House have made thousands of images available via The Commons on Flickr for the purpose of having these images reach a much wider audience than otherwise possible. 

Proceeding is the analysis of a few selected photos from both the Donald Weber and Ellis Island collections.