Critical Review of Practice

I submitted my »Critical Review of Practice« on 29. July 2021. The slideshow below shows the document, the list of figures and the references are listed below.

There were two appendices in the original file that are not included in this post: Professor Steve Bisson’s review of »Greetings from the Parade Ground« and Gudrun Hausl’s article that was published in the »Darmstädter Echo«.

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

List of Figures:

Figure 1: Marcel RAUSCHKOLB. 2021. Bunker camouflage.

Figure 2: Marcel RAUSCHKOLB. 2021. Former Officers Mess, Lilienthalstrasse.

Figure 3: Unknown maker. Stamped 1905. Kurgäste zur Entfettungskur a.d. Griesheimer Sand [postcard, own collection].

Figure 4: Unknown maker. 1929. Stube 144, Infanterie Regiment Nr. 151e, 3. Kompanie, 25. August 1929. [img621] Sammlung Peter Merschroth [online image]. Available at:
http://www.sammlung-merschroth.de/Griesheim_Sand/Franzosenzeit/franzosenzeit.html [accessed 4 Dec 2020]

Figure 5: Unknown maker. 1964. Nike display Griesheim. Archive of the »Förderverein August-Euler-Museum e.V.«

Figure 6: Marcel RAUSCHKOLB. 2021. Map of the site’s location. [Bing Maps screenshot, map of Germany from TIBELIUS, Alexander. 2014. The Map Design Toolbox. Berlin: Gestalten., drawing]

Figure 7: Marcel RAUSCHKOLB. 2020. »The Parade Ground«. From the portfolio ‘Greetings from the Parade Ground (Grüsse Vom Übungsplatz)’ [online]. Available at: https://www.marcelrauschkolb.de/greetingsfromtheparadeground [accessed 28 Jan 2021].

Figure 8: Marcel RAUSCHKOLB. 2020. Religion as a vital part of the settlement. From the portfolio ‘The Paprika Village (Das Paprikadorf)’ [online]. Available at: https://www.marcelrauschkolb.de/thepaprikavillage [accessed 11 Feb 2021].

Figure 9: Marcel RAUSCHKOLB. 2020. »Missiles and Mythology«. From the portfolio ‘Greetings from the Parade Ground (Grüsse Vom Übungsplatz)’ [online]. Available at: https://www.marcelrauschkolb.de/greetingsfromtheparadeground [accessed 28 Jan 2021].

Figure 10: Stadt Griesheim. 2016. ‘Konversionsfläche „Süd-Ost“: Griesheim’. [Post-use concept »Conversion Southeast«] [online]. Available at:
https://www.griesheim.de/wohnen-umwelt/konversionsflaeche-sued-ost/ [accessed 10 Feb 2021].

Figure 11: Marcel RAUSCHKOLB. 2021. Inside the »August-Euler-Museum«.

Figure 12: Unknown maker. No Date. Camillo’s theatre. Stanford Visual Arts Services interpretation [online]. Available at: http://socks-studio.com/2019/03/03/spatializing-knowledge-giulio-camillos-theatre-of-memory-1519-1544/ [accessed 15 Nov 2020].

Figure 13: Marcel RAUSCHKOLB. 2021. »Hitlerjugend«.

Figure 14: Unkown maker. 1946. My father in Mulsanne [photographic print, own collection].

Figure 15: Unknown maker. 1941. ‘My father’s statement’. Front und Heimat Mitteilungsblatt der NSDAP Ortsgruppe Griesheim Kreis Darmstadt, 11 Oct. The text reads:

»Sailor-Lance Corporal Rauschkolb, Willy, Alte Darmstädterstr. 24

… We have been sailing as a front unit for almost three weeks now and have already been allowed to carry out three decisive actions. For example, we were used as a fire protection for the brave assault boats during the storming of Oesel and Moon. … Most of the Soviet sailors resisted their rescue tooth and nail and were then quite astonished when we did not burn out their eyes and cut off their tongues …« [Own, Deepl.com translation]

Figure 16: Marcel RAUSCHKOLB. 2021. The »Souvenir of Germany« photo album [own collection].

Figure 17: Marcel RAUSCHKOLB. 2020. The change of a street (Nehringstrasse). From the portfolio ‘The Paprika Village (Das Paprikadorf)’ [online]. Available at: https://www.marcelrauschkolb.de/thepaprikavillage [accessed 11 Feb 2021].

Figure 18: Marcel RAUSCHKOLB. 2020. »Hessenflieger« und »Darmstadt Flying-Club«. From the portfolio ‘Greetings from the Parade Ground (Grüsse Vom Übungsplatz)’ [online]. Available at: https://www.marcelrauschkolb.de/greetingsfromtheparadeground [accessed 28 Jan 2021].

Figure 19: Marcel RAUSCHKOLB. 2021. The former Nike-missile launch site (1964) [montage].

Figure 20: Marcel RAUSCHKOLB. 2021. The former Nike-missile launch site (today) [image grid].

Figure 21, 22: Marcel RAUSCHKOLB. 2021. Cardboard dummies for a photographic sculpture and a grid.

Figure 23: Marcel RAUSCHKOLB. 2021. Physical grid [oak wood, photo paper].

Figure 24, 25: Marcel RAUSCHKOLB. 2021. Pop-up object »Pre-WW1 soldiers«.

Figure 26: Marcel RAUSCHKOLB. 2021. Pop-up object »Stars and Stripes-Compound«.

Figure 27: Marcel RAUSCHKOLB. 2021. Newspaper cut-outs from the »Griesheimer Anzeiger« and the »Stars and Stripes«.

Figure 28: Marcel RAUSCHKOLB. 2021. Uncut View-Master slides.

Figure 29: Marcel RAUSCHKOLB. 2021. View-Master camera.

Figure 30: Marcel RAUSCHKOLB. 2021. Argus C3 camera.

Figure 31: Marcel RAUSCHKOLB. 2021. Print from an Argus C3 negative.

Figure 32: Marcel RAUSCHKOLB. 2021. Distorted building on the former missile launch site.

Figure 33: Unknown maker. 2006. Wall painting in an abandoned military building. Archive of the »Förderverein August-Euler-Museum e.V.«

Figure 34: Tobias WOOTTON. 2016. View of the exhibition »Aby Warburg. Mnemosyne Bilderatlas« at ZKM | Center for Art and Media, Karlsruhe. Available at: https://zkm.de/de/event/2016/09/aby-warburg-mnemosyne-bilderatlas/der-mnemosyne-bilderatlas [accessed 13 Nov 2020].

Figure 35: Mark KLETT. 2002. Four views from four times and one shoreline, Lake Tenaya. [online image]. Available at: http://www.markklettphotography.com/yosemite-in-time [accessed 27 Jul 2020].

Figure 36: Andrea BOTTO. 2014. ‘19.06_26.08.1945’. Andrea Botto Photography [online]. Available at: https://www.andreabotto.it/19-06_26-08-1945/ [accessed 29 Oct 2020].

Figure 37: Andrea BOTTO. 2015. ‘19.06_26-08.1945 Limited Edition Prints’. Andrea Botto Photography [online]. Available at: https://www.andreabotto.it/en/prodotto/19-06_26-08-1945-limited-edition-prints/ [accessed 11 Feb 2021].

Figure 38: Aikaterini GEGISIAN. 2020. ‘The Sea Blues (2016)’. Aikaterini Gegisian [online]. Available at: https://gegisian.com/portfolio/the-sea-blues/ [accessed 8 Nov 2020].

Figure 39: Gareth PHILLIPS. 2021. NH5 – First Edition – Wales, UK. [online]. Available at: http://www.garethphillipsphotography.com/NH5-First-Edition-Wales-UK [accessed 21 Jun 2021].

Figure 40: Marcel RAUSCHKOLB. 2021. Folder, box and book layouts.

Figure 41: Marcel RAUSCHKOLB. 2021. Map of the »Walk through history« [Bing Maps screenshot and drawing].

Figure 42, 43, 44: Marcel RAUSCHKOLB. 2021. Layouts for the outdoor exhibition.

Figure 45: HAUSL, Gudrun. 2021. ‘Es gilt die Details der Welt zu dokumentieren’. Darmstädter Echo : die unabhängige politische Tageszeitung Südhessens, 6 Jul, 18.

References:

Earlier portfolios about the site this mentioned in the text:

RAUSCHKOLB, Marcel. 2021. ‘The Paprika Village (Das Paprikadorf)’. Marcel Rauschkolb Photography [online]. Available at: https://www.marcelrauschkolb.de/thepaprikavillage [accessed 28 Jan 2021].

RAUSCHKOLB, Marcel. 2021. ‘Greetings from the Parade Ground (Grüsse Vom Übungsplatz)’. Marcel Rauschkolb Photography [online]. Available at: https://www.marcelrauschkolb.de/greetingsfromtheparadeground [accessed 28 Jan 2021].

Other references:

BENJAMIN, Walter. 2011. Gesammelte Werke. (Translated with http://www.DeepL.com) Frankfurt a. M: Zweitausendeins. 

GROMES, Gustl. 1989. St. Stephan von A bis Z. (my translation) Griesheim: V. Bassenauer Gmbh. 

ECKSTEIN, Ursula. 2008. Ecksteins Luftfahrtgeschichte Darmstadt. Darmstadt: Justus von Liebig Verlag.

KALTENECKER, Krisztina. 2003. ‘Über Die Entstehung Der Ungarndeutschen Siedlung Sankt Stephan Bei Darmstadt. Eine Kommentierte Quellenausgabe’. In: Dr. Schwing, Josef (Red.): Suevia Pannonica. Archiv der Deutschen aus Ungarn. Jahrgang 21 (31) 2003. Chroma Verlag. Römerberg-Berghausen. S. 37-47 [online]. Available at: https://www.academia.edu/38970162/%C3%9Cber_die_Entstehung_der_ungarndeutschen_Siedlung_Sankt_Stephan_bei_Darmstadt._Eine_kommentierte_Quellenausgabe [accessed 4 Jul 2020].

BISSON, Steve. 2021. ‘LANDSCAPE OF REMEMBRANCE. WHAT FOR?’ Urbanautica [online]. Available at: https://urbanautica.com/review/landscape-of-remembrance-what-forij/2348 [accessed 31 Mar 2021].

CRITCHLEY, Simon. 2015. Memory Theater. New York: Other Press.

CROSS, Karen and Julia PECK. 2010. ‘Editorial: Special Issue on Photography, Archive and Memory’. photographies 3(2), 127–38.

FABRIZI, Mariabruna. 2019. ‘Spatializing Knowledge: Giulio Camillo’s Theatre of Memory (1519-1544) – SOCKS’. [online]. Available at: http://socks-studio.com/2019/03/03/spatializing-knowledge-giulio-camillos-theatre-of-memory-1519-1544/ [accessed 15 Nov 2020].

CAMMANN, Alexander. 2007. ‘Familienchronik: Der Epochenpanoramiker’. Die Tageszeitung: taz, 19 May [online]. Available at: https://taz.de/!5199675/ [accessed 21 Jul 2021].

HIRSCH, Marianne. 2008. ‘The Generation of Postmemory’. Poetics Today 29(1), 103–28.

‘Woher Kommt Souvenir | Wortherkunft von Souvenir | Wissen.De’. 2021. [online]. Available at: https://www.wissen.de/wortherkunft/souvenir [accessed 20 Jul 2021].

‘Duden | Andenken | Rechtschreibung, Bedeutung, Definition, Herkunft’. 2021. Duden [online]. Available at: https://www.duden.de/rechtschreibung/Andenken [accessed 20 Jul 2021].

‘theatre’. 2021. [online]. Available at: https://dictionary.cambridge.org/de/worterbuch/englisch/theatre [accessed 20 Jul 2021].

FAMULLA, Ute, Kai-Uwe HEMKEN, Christoph SCHADEN and Kris SCHOLZ. 2019. Bauhaus Und Die Fotografie: Zum Neuen Sehen in Der Gegenwartskunst = Bauhaus and Photography ; New Vision in Contemporary Art. Edited by Corina Gertz. Bielefeld: Kerber Verlag.

PERKINS, Chris. 2009. ‘Thinking about Maps’ 25.

Joseph Beuys – ‘Dank an Wilhelm Lehmbruck’ (Letzte Rede) [Film]. 2013. Available at: https://www.youtube.com/watch?v=oNqgNz8biM8 [accessed 1 Sep 2020].

HKW – HAUS DER KULTUREN DER WELT. 2020. Befragung des Atlas – Episode 1 [Film]. Berlin. Available at: https://www.youtube.com/watch?v=gZuYJhWDBoU [accessed 21 Nov 2020].

SCAFI, Alessandro. 2020. ‘Mapping Worlds: Medieval to Modern’ [Short Course, own notes]. Available at: https://warburg.sas.ac.uk/events/event/23596.

MARGOLIS, Eric and L PAUWELS. 2011. The SAGE Handbook of Visual Research Methods. Los Angeles: SAGE.

BOTTO, Andrea. 2020. ‘19.06_26.08.1945’. Andrea Botto Photography [online]. Available at: https://www.andreabotto.it/19-06_26-08-1945/ [accessed 29 Oct 2020].

ZHENGOVÁ, Linda. 2020. ‘AIKATERINI GEGISIAN: Handbook of the Spontaneous Other’. GUP Magazine [online]. Available at: https://gupmagazine.com/books/aikaterini-gegisian-handbook-of-the-spontaneous-other-2/ [accessed 23 Jul 2021].

GEGISIAN, Aikaterini. 2020. ‘The Sea Blues (2016)’. Aikaterini Gegisian [online]. Available at: https://gegisian.com/portfolio/the-sea-blues/ [accessed 8 Nov 2020].

PHILLIPS, Gareth. 2021. ‘Gareths Phillips Guest Lecture for Falmouth’. [online, own notes]. Available at: https://web.microsoftstream.com/embed/video/a2575d95-594c-4bf1-8547-d921007b3912?autoplay=false&showinfo=true&forceServerAuth=true [accessed 23 Jul 2021].

Final Major Project: Seventh 1:2:1

Fig. 1: Rauschkolb 2021. »Yanks Gain 27 Miles East of Rhine«, 24. March 1945

On Tuesday, 27. July, I had my last meeting with Laura. The primary subject was the »Critical Review of Practice«, which I submitted on the following Thursday and the final portfolios appearance. A helpful hint from Laura was to show some outdoor exhibition layouts in the CRoP and thinking of the use of audio and accompanying events. I mentioned that I have access to a professional speaker to produce short clips that can be accessed through a QR-code.

Fig. 2: Rauschkolb 2021. Outdoor layout

I will use newspaper cutouts in the portfolio and exhibition. In this context, Laura’s advice was that images and text have to be edited differently for different outcomes. Regarding the newspapers, I suggest using the text-only in the book and website, while they could be shown in a big size as reproductions in an exhibition.

Fig. 3: Rauschkolb 2020. Newspaper cut-outs

We talked about the use of text in the portfolio. Laura recommended a brief synopsis to introduce into the work, but then letting the images speak for themselves as much as possible. She also mentioned that I can link to well-made videos showing the book and the function of the pop-ups. In sum, the portfolio has to showcase the project, where the main thing is the work, supplemented by the outcomes.

List of Figures:

Figure 1: Marcel RAUSCHKOLB. 2021. »Yanks Gain 27 Miles East of Rhine«, 24. March 1945.

Figure 2: Marcel RAUSCHKOLB. 2021. Layout for the outdoor exhibition.

Figure 3: Marcel RAUSCHKOLB. 2021. Newspaper cut-outs from the »Griesheimer Anzeiger« and the »Stars and Stripes«.

»The details of the world need to be documented«

Reproduction of the article published in the »Darmstädter Echo«

»Darmstädter Echo«-editor Gudrun Hausl visited me in mid-June for an interview about my work and the studies at Falmouth University. The newspaper published her well-written article on 06. July.

We talked about the advantages of studying online, my biography and people who influenced my actual work like Mark Klett, Andrea Botto or Thomas Hauser. Last but not least, I gave an overview of the portfolios related to my neighbourhood.

Figure:

HAUSL, Gudrun. 2021. ‘Es gilt die Details der Welt zu dokumentieren’ [The details of the world need to be documented (My translation)]. Darmstädter Echo : die unabhängige politische Tageszeitung Südhessens, 6 Jul, 18.

Resource:

HAUSL, Gudrun. 2021. ‘Griesheims St. Stephan, durch die Linse dokumentiert’. Echo Online [online version of the article shown in the picture]. Available at: https://www.echo-online.de/lokales/darmstadt-dieburg/kreis-darmstadt-dieburg/griesheims-st-stephan-durch-die-linse-dokumentiert_24062408 [accessed 16 Jul 2021].

FMP presentation at Falmouth’s F-2-F event

Together with five other peers, I had the chance to talk about the evolution and intent of my Final Major Project at July’s F-2-F event at Falmouth University.

Resources:

RAUSCHKOLB, Marcel. 2021. ‘The Paprika Village (Das Paprikadorf)’. Marcel Rauschkolb Photography [online]. Available at: https://www.marcelrauschkolb.de/thepaprikavillage [accessed 28 Jan 2021].

RAUSCHKOLB, Marcel. 2021. ‘Greetings from the Parade Ground (Grüsse Vom Übungsplatz)’. Marcel Rauschkolb Photography [online]. Available at: https://www.marcelrauschkolb.de/greetingsfromtheparadeground [accessed 28 Jan 2021].

‘It’s in the News!’ 2020. Marcels CRJ [online]. Available at: https://marcelrauschkolb.wordpress.com/2020/12/10/its-in-the-news/ [accessed 16 Jul 2021].

BISSON, Steve. 2021. ‘LANDSCAPE OF REMEMBRANCE. WHAT FOR?’ Urbanautica [online]. Available at: https://urbanautica.com/review/landscape-of-remembrance-what-forij/2348 [accessed 31 Mar 2021].

Final Major Project: Sixth 1:2:1

Fig. 1: Rauschkolb 2021. The wooden base and image holders for the grid at the carpenter’s workshop

I mentioned the exhibition opportunities I received through the municipality later this year and the negotiations with them and the airfield museum about an outdoor/indoor exhibition.

Next were the results from my portfolio review with Simon Norfolk a week ago. In it, he advised me to reshot some images with better, more atmospheric light. Laura agreed here. Other images could be optimized through the use of another perspective.

Fig. 2: Rauschkolb 2021. Linen and tar paper for bookbinding

I work with a carpenter (Philipp Schrattenholz) for grids and objects and a bookbinder (Handbuchbinderei Pohl & Rau) for the project’s book. I could show the first wooden prototype of a grid and the selection of the materials for the book.

Fig. 3: Rauschkolb 2021. Wooden grid about the »Stars and Stripes-Compound«

Hereafter, I showed the newest images, which I shoot last week inside of the wind tunnel. Laura mentioned that some of the shots were very useful as parts of a pop-up.

Fig. 4: Rauschkolb 2021. Inside the wind tunnel

Her general advice was to start a meaningful edit with the essential elements.

In the end, we discussed the content of my presentation for the F-2-F event on Thursday, 08. June.

List of Figures:

Figure 1: Marcel RAUSCHKOLB. 2021. The wooden base and image holders for the grid at the carpenter’s workshop.

Figure 2: Marcel RAUSCHKOLB. 2021. Linen and tar paper for bookbinding.

Figure 3: Marcel RAUSCHKOLB. 2021. Wooden grid about the »Stars and Stripes-Compound« [giclee prints on oak wood].

Figure 4: Marcel RAUSCHKOLB. 2021. Inside the wind tunnel.

»The look of pictures is informed by the research« – a masterclass with Simon Norfolk

The Belfast Photo Festival called, and I followed. They organized a one-day masterclass with British photographer Simon Norfolk. I follow him for a long time. I am always impressed by the atmosphere of his images and his use of light. Last Thursday, I had the chance to meet him, even if only virtually, in person.

Fig. 1: Norfolk No date. White Light Studio, Kabul.

We had the chance to write him some questions beforehand. Mine were about exhibition design and bookmaking and his thoughts about it. Surprisingly he answered that both aren’t of great interest to him. This is the complete opposite of my approach, but the more he talked, the better I understood his attitude. The exciting part for him is »to take an abstract idea into the picture«. He sees himself more like an archaeologist than a photographer. He states that »all his work is about time«. An essential part of it is research, a fact I absolutely agree with.

Fig. 2: Norfolk 2001. A Government building close to the former Presidential Palace at Darulaman, destroyed in fighting between Rabbani and the Hazaras.

And he mentioned a term I don’t hear very often in the academic description of artworks: beauty. His pictures should be beautiful. The reason for him is that we, as artists, »have to carve out the desire in their [the viewers] heart to watch our pictures«. I understood and agreed with him. I think that the images must attract interest, then people will look at them and get interested in the subject. Or in Simon’s words: »The creation of audience is very important to me«. I thought about my project, and I believe that I have the same idea. I document the place, show its history, make images and objects. The intent is to get people interested in history.

Fig. 3: Norfolk 2010. Security lights and communications antennae at Camp Leatherneck.

Simon showed us lots of his work, from Afghanistan, glaciers to WW1 battlefields. He takes his visual inspiration from painters of the 17th to the 19th century – and I think this gives his images this, in my eyes, extraordinary look.

Fig. 4: Cole 1836. Destruction.

Later he invited us to show him our work on the following day. I used this chance for a portfolio review and got helpful advice from him. I got very positive feedback on montages and grids and the tip to add more trivia, like stories from former soldiers or people living near the area. With this, the work will appear less »cool«, more personal. He also thinks I should show more of my subjective opinion about this place and what happened here. In some images, Simon criticized the light; here, the advice is to reshoot them in the early morning light.

In sum, the lecture and the review were beneficial, and I can recommend them. If you get the chance, you will get lots of insights and advice from a man who works on interesting and important subjects and knows how to photograph them.

List of Figures:

Figure 1: NORFOLK, Simon. No date. White Light Studio, Kabul. Available at: https://www.sfmoma.org/artist/Simon_Norfolk/ [accessed 2 Jul 2021].

Figure 2: NORFOLK, Simon. 2001. A Government building close to the former Presidential Palace at Darulaman, destroyed in fighting between Rabbani and the Hazaras. Available at: https://www.deutscheboersephotographyfoundation.org/de/sammeln/kuenstler/simon-norfolk.php [accessed 2 Jul 2021].

Figure 3: NORFOLK, Simon. 2010. Security lights and communications antennae at Camp Leatherneck. Available at: https://emuseum.mfah.org/objects/112390/security-lights-and-communications-antennae-at-camp-leathern [accessed 2 Jul 2021].

Figure 4: COLE, Thomas. 1836. Available at: https://de.wikipedia.org/w/index.php?title=The_Course_of_Empire&oldid=209657670 [accessed 2 Jul 2021].

Resource:

RAUSCHKOLB, Marcel. 17. June 2021. Notes from Simon Norfolk – Masterclass, Belfast Photo Festival 2021.

Rescuing archive imagery

Fig. 1: Rauschkolb 2021. Nike launch site, cardboard dummy for a photographic object

In my CRJ, I don’t talk much about technique, but I will do this today. What happened? I got access to a new archive with beautiful images from the 1960s. There are portraits of helicopter pilots, servicemen at work on the airfield and a ceremony at the missile launch site. I actually work on a new montage and photographic object and wanted to use the images last mentioned. The problem: There are only digital versions of the photos, and the originals aren’t accessible. The scans showed a huge pixel count (3600×2400) and lots of jpeg-artefacts, making them unusable. But the content was perfect. I assume that they were scanned from a contact sheet and rescaled later.

Fig. 2: Unknown 1964. Nike display Griesheim (detail of scan as received).

When I looked at them in the grid view, more or less in the original negative size, they looked good, at 100 per cent horrible. My idea was to reproduce them in their original size again and then enlarge this new reproduction. I prepared a contact sheet and let it print through my local lab on Fuji paper. This new print, which still looked good, was reproduced with an APS-C camera. After some Lightroom and Photoshop processing, I made a print in the final size on Hahnemühle paper.

Fig. 3: Unknown and Rauschkolb 1964/ 2021. Nike display Griesheim (rephotographed and processed image). 

I could eliminate the jpeg artefacts and save details. Now, it looks a little bit like an old print, a bit blurry, but lovely. Most of these old prints aren’t very sharp, and this could also be seen as a metaphor for memories, which also fade and blur over time.

List of Figures:

Figure 1: Marcel RAUSCHKOLB. 2021. Nike launch site, cardboard dummy for a photographic object.

Figure 2: UNKNOWN. 1964. Nike display Griesheim (detail of scan as received). Archive »Förderverein August-Euler-Museum e.V.«

Figure 3: UNKNOWN and Marcel RAUSCHKOLB. 1964/ 2021. Nike display Griesheim (rephotographed and processed image). Archive »Förderverein August-Euler-Museum e.V.«

Final Major Project: Fifth 1:2:1

Fig. 1: Rauschkolb 2021. Pop-up object »Württembergisches Stabs-und Regimentsgebäude«

I started this meeting with my supervisor Laura Hynd with a rewritten version of my intent. Laura commented that it could work as a basis for the »Critical Review of Practice« (CROP). But it should be more self-confident, more statement than justification. It is also now a good time to start thinking about the CROP’s structure and to check my CRJ for helpful content.

I showed the montages, grids and pop-ups (see also »Bringing the parts together«). For the Final Major Project, I am allowed to use images from earlier modules, but Laura pointed out to think carefully about why I want to use them and check if I have to rework them.

Fig. 2: Rauschkolb 2021. Composing »Offizier Früstücks-Casino« and pop-up object »Pre-WW1 soldiers«

While the pop-ups received good feedback, the montages seem not so unique to her. This means for me to rethink and perhaps rework them. After the portfolio reviews during ADAPT 21, where I received the feedback that the montages contain too many elements, I decided to simplify them. I think that I have to rethink this way of working and go a little bit back to the more complex method of visualising.

Fig. 3: Rauschkolb. 2021. Composing and grid about the former hangar for helicopters

At last, I showed the first sketch of a walk-through exhibition. Big prints are presented on the site’s fences on public streets. The way leads to an indoor presentation on the airfield. Here, Laura’s opinion is that the different elements could work well together in a setting like this.

Recommendations:

Anastasia Taylor-Lind, »Portraits from the black square«: She uses smartphones and viewfinders to present video in her exhibition. This could be an inspiration for the View-Master images.

Fig. 4: Taylor-Lind and Garcia Reyne 2015. Through the Viewfinder installation at Labyrinth Photographic in London.

Gareth Phillips: The ways he exhibits his work.

Fig. 5: Phillips 2021. NH5 – First Edition – Wales, UK.

List of Figures:

Figure 1: Marcel RAUSCHKOLB. 2021. Pop-up object »Württembergisches Stabs-und Regimentsgebäude«.

Figure 2: Marcel RAUSCHKOLB. 2021. Composing »Offizier Früstücks-Casino« and pop-up object »Pre-WW1 soldiers«.

Figure 3: Marcel RAUSCHKOLB. 2021. Composing and grid about the former hangar for helicopters.

Figure 4: TAYLOR-LIND, Anastasia and GARCIA REYNE, Lara. 2015. Through the Viewfinder installation at Labyrinth Photographic in London [Film]. Available at: https://vimeo.com/129200040 [accessed 21 Jun 2021].

Figure 5: PHILLIPS, Gareth. 2021. NH5 – First Edition – Wales, UK. [online]. Available at: http://www.garethphillipsphotography.com/NH5-First-Edition-Wales-UK [accessed 21 Jun 2021].

Bringing the parts together

Fig. 1: Rauschkolb 2021. Moodboard for Final Major Project, 06. June 2021

A few weeks ago, I started to map the elements of my project. This process gave me some clarity, but I am still concerned about the final output. It is simply the massive amount of information, of images, of details. But there could be some light at the end of the tunnel – which means that I found some structure.

I brought all visual outputs together as small prints mounted on a big cardboard. Here, I sorted them after the sites (or theatres in my terms). Because I haven’t made new montages of some places, I added my favourite ones from the previous portfolio. With this, each area or epoch is described by a montage, a grid and a pop-up. Seeing the more complex montages side by side to the ordered grids makes sense to me. The montages show past and present in one image, interwoven. Except for the two with film stills from the 1960s, the grids document the present, the actual state. The pop-ups merge past and present, too, but different than the composings. With their tactility, they enable an additional access.

Fig. 2: Rauschkolb 2021. »The Stars and Stripes Compound«, montage, grid and pop-up

For the montages from »Greetings from the Parade Ground«, I plan to rework them with new material and, hopefully, optimise them. Actually, I have better access to some sites and more time to have a closer look at the details. Also, I can try to get a better colour match between the images.

There is much to do before submitting, but now, I have the feeling that I am back on the right track.

List of Figures:

Figure 1: Marcel RAUSCHKOLB. 2021. Moodboard for Final Major Project, 06. June 2021.

Figure 2: Marcel RAUSCHKOLB. 2021. The entrance to the »Stars and Stripes«-Compound, Grid »The Stars and Stripes-Compound«, Pop-up »Stars and Stripes Compound«.

Thoughts about View-Master

Fig. 1: Unknown maker. No date. View-Master advertising

The question could be: How are a children’s toy related to a former military area? Short answer: A lot! I start with my enthusiasm for this device. I still own the »Model G« viewer I got from my parents in 1970 or 1971, and of course, all the reels and booklets. Still today, the spatiality of the images is fascinating.

Fig. 2: Unkown maker. ca. 1940s. A WAAF section officer examines reconnaissance photos

The starting point for thinking about integrating the View-Master into the FMP is my thoughts about photographic techniques used in the military. I wanted to adapt them to visualise the history of the site. Because I knew images of military personnel working on aerial photographs with a stereo viewer, the creation of stereoscopic images appeared in the project plan. Aerial photography came into play in the first world war. As an addition, stereoscopy followed. As Ruiter writes, »Aerial stereo photography was used to highlight the positions of the camouflaged objects by observing the relief when the photo was viewed with a stereoscope« (Ruiter 2021).

Fig. 3: US Air Force photo. No date. This Viewmaster belonged to Dale Malone Heverling Sr., the donor’s father-in-law. It features 78 reels of slides to teach the identification of U.S., English, Russian, Italian, German and Japanese aircraft during World War II

There are several stereoscopic systems in the history of photography, but I discovered that View-Master had a strong relation to the U.S. Army in the past. Today, known as a toy, it was initially developed as an educational tool for adults by William Gruber and Harald Graves in 1935 (Clatworthy 2021). The U.S. Army discovered it as a training and self-educational tool and purchased 100.000 viewers and millions of reels. Servicemen learned to identify Allied and Axis aeroplanes and trained range estimation (‘Military ViewMaster Reels’ 2021 and ‘Did the U.S. Military Buy A Hundred Thousand Viewmasters During World War II?’ 2015). This aroused my interest. I saw a connection between the View-Master, the military use of stereoscopy and the U.S. Army.

I bought a View-Master Personal Stereo Camera and loaded it with slide film. I selected subjects that have a certain depth to get a good three-dimensional experience later. This is slightly different from my other images, where I often search for a straight view on the subject. The images came back from the lab, and I am pleased with the results. The colours are fantastic. As I wrote in an earlier post, I love the appearance of the uncut film. This massive amount of tiny images on the roll are impressive. But it also excites me to make my own reels and experience the stereo effect.

Fig. 4: Nasr and Coekin. ca. 2018. From: »the distance is always other«

Fig. 5: Nasr and Coekin. ca. 2018. From: »the distance is always other«

Besides practical work, I researched about artists working with stereo-imagery, especially View-Master. So far, the yield is low. »the distance is always other« by Noel Nasr and Chris Coekin is the only »real« View-Master based work I found so far (Nasr and Coekin 2021). The artists found reels from an American couple who documented their travel to Lebanon in 1973. Nasr and Coekin used the reels as a starting point for a special kind of rephotography. They visited the locations recorded on the reels and photographed them again. Their approach was based on the stereoscopic principle with one lens for each eye. They used two similar cameras, Coekin representing the left eye and Nasr the right one (Nasr and Coekin 2021). Even if they started with an objective task (rephotography), everyone interprets the original image a little bit different. Also, the appearance of the sites changed since the initial photograph. The final pictures are an overlayed combination of the two photos. Even this is not what I have in mind, with my images, Nasr and Coekin found an exciting way to use the vernacular photographs of Personal View-Master reels in an art project.

Even if there are similarities to my project (working with archive material, showing the change of a place over time), my intent with the View-Master is different.

• 

• 

Figs. 6 and 7: Unkown maker. No date. Sawyers Compact Folding Viewer

I think about a way to combine the pop-ups with a View-Master. Keith Cladworthy described a foldable viewer on his page (Clatworthy 2021). As a proof of concept, I rebuilt this with the paper-engineering techniques I learned. At this time, it is only a functional model, but it works.

• 

• 

• 

• 

Figs. 8 – 11: Rauschkolb 2021. Foldable View-Master viewer made from cardboard

List of Figures:

Figure 1: Unkown maker. No date. View-Master advertising. [online]. Available at: https://twitter.com/PulpLibrarian [accessed 31 May 2021].

Figure 2: Unknown maker. Ca. 1940s. A WAAF section officer examines reconnaissance photos. [online]. Available at: https://www.bbc.co.uk/history/worldwars/wwtwo/aerial_recon_gallery_08.shtml [accessed 30 May 2021].

Figure 3: U.S. Air force photo. No date. This Viewmaster belonged to Dale Malone Heverling Sr., the donor’s father-in-law. It features 78 reels of slides to teach the identification of U.S., English, Russian, Italian, German and Japanese aircraft during World War II. [online]. Available at: http://www.nationalmuseum.af.mil/Visit/Museum-Exhibits/Fact-Sheets/Display/Article/195907/viewmaster-training-aid/ [accessed 29 May 2021].

Figures 4 and 5: Noel NASR and Chris COEKIN. 2021. ‘The Distance Is Always Other’. [online]. Available at: https://www.noelnasr.com/the-distance-is-always-other [accessed 31 May 2021].

Figures 6 and 7: Unknown maker. No date. Sawyers Compact Folding Viewer. [online]. Available at: https://www.viewmaster.co.uk/htm/vmfolding.asp [accessed 28 May 2021].

Figures 8 – 11: Marcel RAUSCHKOLB. 2021. Foldable View-Master viewer made from cardboard.

Resources:

RUITER, André. 2021. ‘Aerial Stereo Photography in World War I | André Ruiter Stereoscopy’. André Ruiter Photography [online]. Available at: https://www.andreruiter.nl/aerial-stereo-photography-in-world-war-1/ [accessed 29 May 2021].

CLATWORTHY, Keith. 2021. ’60 Years of View-Master History from Sawyers to Mattel’. 20th Century Stereo Viewers [online]. Available at: https://www.viewmaster.co.uk/htm/history.asp [accessed 29 May 2021].

‘Military ViewMaster Reels’. 2021. [online]. Available at: http://www.3dstereo.com/Merchant2/merchant.mvc?Store_Code=3D&Screen=MIL-PAGE2 [accessed 30 May 2021].

‘Did the U.S. Military Buy A Hundred Thousand Viewmasters During World War II?’ 2015. Entertainment Legends Revealed! [online]. Available at: http://legendsrevealed.com/entertainment/2015/08/24/did-the-u-s-military-buy-millions-of-viewmaster-reels-during-world-war-ii/ [accessed 29 May 2021].

NASR, Noel and Chris COEKIN. 2021. ‘The Distance Is Always Other’. noel nasr photography [online]. Available at: https://www.noelnasr.com/the-distance-is-always-other [accessed 31 May 2021].

CLATWORTHY, Keith. 2021. ‘Sawyers Compact Folding Viewer’. [online]. Available at: https://www.viewmaster.co.uk/htm/vmfolding.asp [accessed 28 May 2021].