La Tapada Limena

the Tapada phenomenon symbolised women's freedom and indipendence
for three centuries

1560-1850

the cyclope eye allowed women to get in contact with the outside world,
taunt, flirt, basically do whatever without staining their reputation.
Peru

The charm of mystery ...

una Tapada Limena by BENIAH BRAWN


Women,full of grace and beauty, were known universally by of name of "TAPADA LIMENA",
because of their celebrated attire,
" la saya y el manto "
This attire consisted on a black skirt and a cloak that women would hold  gracefully over their face,
coquettishly leaving one eye uncovered.
Such original attire allowed " LAS LIMENAS "to go out alone and to start a conversation with whomever they
pleased, without damaging their dignity.
specific to Lima.

Nineteenth Century Iran

 Qajar Era

The Qajar dynasty
 Persian: دودمان قاجار‎ Doodmān e Qājār; also romanised as Ghajar, Kadjar, Qachar etc.; Azerbaijani: Qacar) was a Persianize native Iranian royal family of Turkic origin,which ruled Persia (Iran) from 1785 to 1925. The Qajar family took full control of Iran in 1794, deposing Lotf 'Ali Khan, the last of the Zand dynasty, and re-asserted Persian sovereignty over large parts of the Caucasus and Central Asia. In 1796, Mohammad Khan Qajar seized Mashhad with ease, which was under Durrani suzerainty,putting an end to the Afsharid dynasty, and Mohammad Khan was formally crowned as shah after his sacking of Tblisi.In the North Caucasus, South Caucasus, and Central Asia the Qajar dynasty eventually permanently lost many of its controlled areas to the Russians in the course of the 19th century.

Dervishes were a common subject for foreign photographers of the late Qajar period. 

These photographs helped to create and fed the stereotypes of exotic Easterners, but nevertheless they are useful historical records of the period.

Antoin Sevruguin

Photographs of Iranian dervishes by Antoin Sevruguin are mostly taken around 1900 to 1905.

Dmitri Ivanovich Yermakov

Photographs of the Russian photographer, Dmitri Ivanovich Yermakov, are mostly taken during the early 1870s during his trip to Iran.

IZMIR ' de DERVISLER 1903 

DERVISLER URFA 1905

Antoin Sevruguin

Elma tea,in turkish bath

CHAPTER VI

♥abnormal in mystical lands traveler ...

Again in 19th Century!!!

Carte de Visite   Cabinet Card

 1860-880s            1870s-1900

Image on ALBUMEN coated paper

Ottoman Empire 1860-1870

Albumen print specifically have always held a soft spot in my heart for their ability to exude romantic warmth. This quality, in part, can be attributed to the creation process of using an emulsion composed of light-sensitive salts of silver suspended in albumen (egg white) on paper. It is unfortunate to note that due to their creation process, they are inherently prone to deterioration exacerbated by light sources.
There are certain precautions you can take to slow the speed of deterioration, but most result in these beautiful prints being sentenced to spend the rest of their life spans in closed boxes. Only to rarely be pulled out for work, as opposed to being leisurely viewed by the throngs of admirers they deserve.




texture of the emulsion under a microscope 40X


Albumen prints (1835-1895)

Albumen prints (1850-1890s) are probably the most common photographic print material of the 19th century. Most historical photographic collections consist for the greater part of albumen prints. The albumen paper was a printing-out paper used for contact printing of the then popular collodion negative. Ordinary paper was coated with an emulsion composed of light-sensitive salts of silver suspended in albumen (egg white). Most prints are mounted on cardboard (and commonly refered to as card photographs), because the paper is rather thin and curls easily. They can be recognized by the cream coloured highlight areas and glossy surface. After 1855, albumen prints were almost always toned with gold chloride, which enriched their colour and increased their permanence.



The first sign of deterioration of albumen prints is that the highlights become yellowish, eventually the whole print starts to fade and becomes yellow or brown, which is due to the effect of light on the albumen layer. Display, use and exposure to unfavorable circumstances, may cause serious damage within approximately forty years. Poor quality of the paper will cause staining of the albumen layer, while dryness and chemical changes can make the photograph crack and curl. Attempts to remount a curled albumen print can be very dangerous for the photograph. Albumen prints must be kept in the dark and protected by UV filters when exposed to the public.

private collection

Temple of Apollo Turkish