In my continuing series, this time I bring you Berenice Abbott's darkroom. After being assistant to Man Ray, she became known for her own work. Her darkroom could be somewhat reminiscent of a darkroom from the turn of the century. Complete with a wood stove for heating the office, it is a one of a kind.
As usual, I know the book it still copyrighted, though probably largely out of print. So if anybody doesn't feel OK with the content, just PM me and I'll remove the text and images...
When the snow is melting in Boston and spring is in the air, the lakes and rivers of Blanchard, Maine, are still locked in ice. Backed against the Piscataquis River, in a small hollow in the hills, stands an old frame farmhouse that is now the home and workspace for Berenice Abbott. A magnificent back room hangs over the banks of the river and the sound of water rushing over the rocky river bed can be heard throughout the house. Berenice Abbott has integrated photography into her daily life as can be seen by the way workspaces are located in central parts of the house.
Berenice Abbott first became involved as an assistant to Man Ray in Paris in the 1920s and her involvement and contributions still continue. She became well known in the 1920s for her portraits in Paris and in the 1930s produced a large series documenting New York. She also has devoted a large portion of her career to scientific photog-
raphy using strobe and multiple exposures to illustrate the laws of physics. She discovered the photography of Eugene Atget, whom she met in Paris, and later brought his work to the attention of the photographic world. Atget is now considered to be one of the leading photographers in the history of photography and his images have been a major influence on many contemporary photographers.
Her home in Maine is isolated from the hectic pace of Paris and New York but it provides the quiet needed to concentrate on her photography. The entire top floor is devoted to the office, workspace, and darkroom. An old wood-burning stove heats the floor, and the atmosphere is warm and relaxed. Prints by Abbott and Atget are piled on the desk and nearby work surfaces.
The darkroom, dominated by a Durst 8 x 10 enlarger, is connected to the office area by a light trap.
DeMaio, Joe, Curtin, Dennis, The darkroom handbook - A complete guide to the best design, construction and equipment. Curtin & London inc. Marblehead, Massachusetts, 1979[Sorry, image deleted during forum software upgrade. Please re-upload if so inclined.]
