Volume Five - Special Issue - 2010

Melinda Pillsbury-Foster

This is a special issue of IMAGE to bring you up to date with developments which have been taking place for many years behind the scenes, so to speak.  In the last 24 hours I have been contacted several times regarding a statement made on the Ansel Adams Blog by Adams grandson, Matthew Adams.
In his statement, for which he sought no authentication from myself, I was quoted as having stated the glass plate images now known as the Norsigan Negatives, and which have been valued at $200,000,000, were not my Grandfather's work. I never made any such statement and, in fact, think they may well be.  My requests and suggestions for objective authentication were ignored by all parties.
I prepared a statement regarding these negatives and the other materials which I examined myself in 2002 at the Norsigan home in Fresno.  These would, perhaps, be minor issues except for ancillary events which document a long time pattern of behavior on the part of the Adams Family. 

Adams goes on to state, "Arthur Pillsbury was active in Yosemite, and moved from Yosemite to Los Angeles."  One has to wonder what the man is smoking. The many inaccuracies which have flowed from the Adams Family as a source, working their way into published works, over the decades in regards to my Grandfather can no longer be tolerated.  That, along with the lack of any standards for reputable research, ignoring the obligation to contact me before publishing, and lack of attribution for his statements, must end. I immediately demanded a retraction and have not heard from him or anyone else associated with the Adams Family. 

My statement is below. An edition of the usual newsletter will be out in a month and, with an article on AC's  lectures, contain an articles on these events. If you would like to receive further updates please send a notice to winkey@acpillsburyfoundation.org.

John Clark, a member of our Board of Directors and a good family friend, has agreed to assist us in this matter as a media liaison.  John is a producer and director. 

FOR IMMEDIATE RELEASE

Further Information

Contact: John Clark

johnclarknew@mac.com

P.O. Box 3869

Hollywood, CA 90078

STATEMENT IN RESPONSE TO MATTHEW ADAMS ON THE NORISIGAN NEGATIVES

The following statements were attributed to me on the Ansel Adams blog site and are factually untrue and do not correctly reflect any comment ever made by myself.

From Matthew Adams on the Ansel Adams Blog, July 24, 2010,“That is a subjective opinion, but does narrow the field of alternatives. Boysen, Fiske, & Watkins were deceased by the estimated time of the negatives. Arthur Pillsbury was active in Yosemite, and moved from Yosemite to Los Angeles, however the negatives have been disclaimed by his grand-daughter, Melinda Pillsbury-Foster.”

I never disclaimed a possibility the negatives or the nitrate film, which Mr. Norisigan told me were in the envelopes at the time he bought them, were my Grandfather's work. Mr. Norisigan asked me to view the materials and I did so, visiting him and his wife at their home in Fresno in late autumn, 2002. While there, I examined both an assortment of glass negatives and envelopes. The visit lasted several hours and included a lengthy discussion on Mr. Norisigan's contacts with the Adams family. I made notes at the time and have now reviewed them. The information relayed to me concerned the materials being examined, how these were acquired, and his attempts to deal with issues raised by the Adams Family visit to view the materials in his possession.

Regarding Adams statement on my Grandfather's residence. My Grandfather lived in Berkeley-Oakland from 1906 until his death in 1946, a well known fact since he was a nationally known lecturer and had lead the application of photography to science. The list of his inventions includes the lapse-time camera for plants, (1912) the microscopic motion picture camera, (1927), the x-ray motion picture camera, (1929), and an underwater motion picture camera, (1930), which he used to produce films for his lecture series heard and seen by scientists and the general public around the world.

I offered Mr. Norisigan this opinion. The glass negatives appeared to be high quality, professionally produced images of the classical tourist sites of Yosemite. This was obvious at a glance. I had seen similar images, what my Grandfather called, 'Production Photos,' by the other professional photographers who worked in the Valley as well as my Grandfather's. Similar images by other photographers I had seen were produced on paper, however. I suggested, because of the similarity in all these common shots, Norisigan have these compared to the work of all photographers known to have worked in Yosemite using appropriate forensic equipment. Even with very similar professional images differences in the trees, clouds, and flow of water can make identifying the photographer certain by comparison with known work.

I further advised him to seek information on the numbering systems used by Yosemite photographers from Leroy Radonovich, the recognized expert on the subject.

During the course of my visit I told Mr. Norisigan I was aware of only two photographers who had systems which included numbers during the years which Norisigan named as the dates assigned to the glass negatives and envelopes. My Grandfather was one of these. The second, whose name evades me at this moment, had less than 1,000 photos in his collection.

The numbers on the envelopes I viewed were four digits, the first number of each being '8.' The numbers fit into a lost section of my Grandfather's collection, which I have worked to reassemble for over twenty years. By 1927 Grandfather's collection numbered in the many thousands. Grandfather routinely named his photo images as well as using a numbering system. The name and number did not vary, no matter how the image was produced, though in some cases, for instance on the d'orotones, the name did not appear on the image itself but on the label pasted on the back.

Before I left Mr. Norisigan provided me with Xeroxed copies of the envelopes, which are still in my possession.

I am not aware of any other Yosemite photographers who were producing d'orotones during this period. D'orotones were, of necessity, produced on glass at that point in time and Grandfather was selling many of these. Grandfather had produced a 6 foot square d'orotone for the head of a Hollywood studio around 1924. That piece sold for approximately $25,000 that same year.

I expressed the opinion at the time, and still believe, the 'Norisigan Negatives' might be my Grandfather's work. Through examination carried out by third parties I hoped to remove all doubt as to their origin.

I then suggested to Mr. Norisigan the glass plates in his possession be compared with the partially finished d'orotones I was shown by the Yosemite Chief Archivist on the occasion of my visit there in the early 90s.

This box of d'orotones, presumably still in the possession of the Yosemite Archives, I believe to be the work of Arthur C. Pillsbury. Not only did they strikingly resemble those produced at the Studio of the Three Arrows when I viewed them but the dates provided to me by the Chief Archivist as to when they were discovered would have coincided with the end of Grandfather's presence in the Valley, 1895 – 1928.

In the early 90s the box showed no sign of having been inventoried or examined. During the same visit I viewed an album of photos memorializing the building of the Glacier Point Hotel in 1918. The album followed the construction from the laying of foundations and was exhaustive, beautifully and professionally done. I commented on the likelihood these were taken by Grandfather to the Chief Archivist, who was standing with me as I leafed through the album. The Archivist pointed out they were not signed. I flipped the album over and the imprint of the Pillsbury Picture Company was on the back of the whole album. The Archivist made no further comment, refusing to discuss this or other issues.

It is not possible for competent professionals to overlook such clear evidence and fail to credit the individual who produced the work absent other factors. I found this, and other similar incidents disturbing.

At the time, and today, I believe the box of d'orotones to be my Grandfather's, stolen from his studio just before it was burned in November, 1927. These should be treated as possible evidence of a crime and compared to those presented as the Norisigan Negatives.

This research should be carried out by forensic experts unconnected to the Park Service, the Adams Family, or the Norisigan Team. All the items in question should also be fingerprinted and careful records of the full proceeding made public immediately.

Signed, July 29, 2010

Melinda Pillsbury-Foster

Volume 4 - No. One - Winter 2009

Volume Four, Number One - Winter 2009

Help us fund sustainable commerce and at the same time help vets overcome their Post Traumatic Stress Syndrome! This is a rare opportunity to own an original AC Pillsbury d'orotone with letter of provenance. This particular d'orotone of Lake Tenaya in Yosemite, was matted by AC himself and given to his son, Dr. Arthur F. Pillsbury, for Christmas in 1941. The reserve price is $2,000. Send your offer to: winkey@acpillsburyfoundation.org now. Watch for a new line of d'orotones that will also help us fund what America needs!

The image is bright and sharp, the product of a new process AC never sold commercially.

Under-Sea Photography

Just one adventure of a life time.

He sailed to Pago-Pago in 1930 for the purpose of filming the first underwater motion picture. With him he took two cameras sealed in brass waterproof boxes he had designed at home in Oakland, California. A mechanical engineer, Arthur C. Pillsbury built his equipment in his own shop. In his book, Picturing Miracles of Plant and Animal Life, Pillsbury' provided instructions on how to do the same, building your own kit or having it made for you from his designs. He included estimates for cost along with materials. He advised the reader to learn how to swim, pointing out that this was a good idea if your intention was to photograph the residents and landscapes under the ocean.

With lapse-time photography for plants, the microscopic camera, and the X-Ray motion picture camera under his belt he was looking for more parts of the world to reveal to human eyes and minds. As audiences listened to his lectures on worlds previously unknown few, perhaps, reflected on the fact that the images they were seeing were changing the world in which they lived. But that was happening.

In Pago-Pago Arthur C. Pillsbury found water clear enough to allow him to photograph the world of living creatures and landscapes that few people had ever seen. The first underwater motion picture was produced.

The trip had taken enormous preparations in work and study. Pillsbury wrote in his book, “icturing Miracles of Plant and Animal Life,“The cameras must be protected from salt water, inside a waterproof metal box and still allow me to do all the things necessary, so I designed brass boxes for two motion, and one still, cameras and then a graphite-lined double-trapped stuffing box that was water-tight and still allowed me to crank the cameras, focus them, set the shutter, make the exposure and handle them almost as well from the outside of the brass box as I could no land.”

The book was, among other things, an instruction manual in how to build your own camera. It provided instructions on how each camera, lapse-time, microscopic motion picture, X-Ray and Underwater, was built, just in case you wanted to do it yourself.

The underwater cameras and breathing equipment were heavy on land, light in the water, one camera weighing 170 Lbs on land and only about 30 pounds when submerged.

The cameras were tested in advance, ensuring that the pictures made through the optical glass windows would work. Then came the task of readying his own gear.

Buying a second hand helmet he found it was so heavy he could not lift it an put it on his shoulders unaided. No matter. He knew that once underwater it would be more like wearing a hat, he said. The air pump, the air lines, film, all parts and replacements must be accounted for, packed, and carried with him. When the hardware store in three weeks away you can't mosey down there for the part you need. Pago-Pago was very primitive.

Arriving in Pago-Pago, Pillsbury chose the location for his film, considering the issue of coral that was attractive while avoiding the hazards the coral presented to bodily parts. Humm, he wrote walking across the coral strewn area, I will wear tennis shoes while exploring my filming sites. Having never dived before he knew he must learn that new skill rapidly if he was to return home with the film he wanted for his lecture tour.

No floating experience was involved. The 'boys' dropped him off the side of the boat and he landed in the sandy bottom below, spending some time clearing out his glasses so he could see. Then, to work. The sights were glorious.

“I soon began to enjoy the work very much and would stay down two of three hours till I had used all my film or taken all the good locations within reach of my hose and life line. Reaching the bottom I would pick up a tripod, metal to weight it, and a piece of ten-foot gas pipe for a cane and measuring rod, walk around till I found just the view I wanted-good coral, lots of fish and the right light, set up the tripod, measure the distance carefully, go back to get the camera, having to remember the direction as I could not see it even in that clear water if it was over twenty-five feet away, but I knew it was under the launch,and I could see her in the “ceiling” above me.”

“Fish were everywhere, swimming all around me, peeking into the window of my helmet, wondering perhaps what sort of new kind of fish I was. They were very tame, I could almost touch then, all colors-blue, yellow, black, red, even the delicate orchid and dater shades and so many combinations it was impossible to describe them.”

Pillsbury learned how to dive, use his camera, took notes for his lectures, completing his work in just few weeks. Learning to focus his camera underwater was handled efficiently, with on the spot testing showing him how to ensure his films would be sharp.

Walking in the forest of coral higher than his head he avoided the dark caves both because they could hold danger and because he could not photograph their contents in any case.

Encountering giant clams he said, “The giant clams thirty inches in diameter, large enough to weigh almost a ton, could crush the large bones of your leg if they close on it. I saw only one of these huge fellows and it would have taken a derrick to pull him loose and raise him into the boat”

Also present was the threat of sharks, which the native boys who stayed in the boat, knew from experience to watch for. Jelly fishes were also dreaded by the natives, some of these having tendrils ten feet long and poisonous.

“Still, with ordinary care there is no more danger than crossing a busy city street dodging one of “Henry's sharks,” and others of the species.” In this way Pillsbury tipped his hat to Ford.

In the end Pillsbury spent only ten days getting his films. It was enough. America was amazed that next year with scenes that lite their imaginations, leaving them wanting to know more about the world beneath the sea.

Few people visited Pago-Pago then. Aside from Navy personnel few people from the outside saw the glories of the islands. Now, thousands saw its underwater beauties and its people as Pillsbury toured America bringing the images and stories of their world to ordinary people.

“Almost no tourists come on account of the lack of hotels. Steamers southbound from San Francisco arrie with mail every three weeks and that is the grand market day for the natives. They gather in the Malai, a level grass-covered place in the village, and have their wares on sale-all sorts of things to tempt the tourist, tapa, kava bowls, Hula skirts, shells, coral, native fruit, model boats, war clubs, home-made jewelry, etc. It makes a colorful display, even the humble hen's eggs find a lace in this market place.”

Pillsbury and his wife eagerly bought Alofas, gifts, for their families at home in California. The holidays were coming, always a warm family event for all of them.

As they were leaving Pillsbury noticed the boy who had watched for sharks while he was filming many feet below the launch. Realizing he had forgotten to say goodby he hastened shore to say his farewell, giving him a small gift of thanks. “At the same moment he reached down, picked up a small kava bowl, passed it to me and said, “May God be with you on your journey home and ever afterwards. I trust you wish the same for me.” It took my breath away. I think it was the first time I had heard him speak English as he talked to Happy, my head boy who handled the life lines, in his native Samoan language.”

Pillsbury was both surprised and delighted. He had long realized that people were all more alike than different. With Happy Pillsbury had had long talks on conditions in the Islands, comparing them to California. Happy had wanted more education that the local schools could provide. A correspondence was taken up only to end with the beginning of World War II.

The images that Arthur C. Pillsbury took in Pago-Pago were to amaze minds. Those taken under the sea enlarged our knowledge, opening doors previously shut. The photos you see here show the other story of Pago-Pago, the story of its beauty and the people AC came to know well during those weeks. When the ship steamed into San Francisco the lecture on Life in and Under the South Seas was ready to present to America.

Help us bring the story of Arthur C. Pillsbury to the world by purchasing a reproduction of one of these these photos, produced for the family that Christmas as d'orotones. Give one to someone you love, a gift that gives in 360 degrees of connection. Visit the Store to see the image now available.