Dvořák Series Opus I
This year’s photobook will consist of black & white photographs themed: “Dvořák Series” – @canadianfilmphotographers can tag their B&W film photos exposed on any Fomapan Film: #dvorakseries or #dvořákseries on Instagram. – See submission details at the bottom of this page.
Dvořák’s History in North America
In 1892 Dvořák emigrated from the Czech Republic to the United States of America to become the director of the National Conservatory of Music in New York City. He began at a then-staggering $15,000 annual salary. Emanuel Rubin describes the Conservatory and Dvořák’s time there.
The Conservatory had been founded by Jeannette Thurber, a wealthy and philanthropic woman, who made it open to women and black students as well as white men, which was unusual for the times.
Dvořák’s original contract provided for three hours a day of work, including teaching and conducting, six days a week, with four months’ vacation each summer. The Panic of 1893, a severe economic depression, depleted the assets of the Thurber family and other patrons of the Conservatory. In 1894 Dvořák’s salary was cut to $8,000 per year and moreover was paid only irregularly. The Conservatory was located at 126–128 East 17th Street, but was demolished in 1911 and replaced by what is today a high school.
Dvořák’s main goal in America was to discover “American Music” and engage in it, much as he had used Czech folk idioms within his music. Shortly after his arrival in America in 1892, Dvořák wrote a series of newspaper articles reflecting on the state of American music. He supported the concept that African-American and Native American music should be used as a foundation for the growth of American music.
He felt that through the music of Native Americans and African-Americans, Americans would find their own national style of music.
Here Dvořák met Harry Burleigh, who later became one of the earliest African-American composers. Burleigh introduced Dvořák to traditional American spirituals. – Wikipedia
Sample live performance of one of his works: https://youtu.be/oK2Hik1fJfE?t=1643
FOMA BOHEMIA – Czech Republic – @foma_cz
Initially, production in 1921 was focused on photographic plates and processing chemicals. In 1931, production of black and white papers started, and in 1933 the production of roll films. Since 1949, the product range has been extended by X-ray films for medical uses (MEDIX) and X-ray materials for non-destructive defectoscopy. In the 1950s new products included graphic films for the printing industry, black and white cinematographic positive films and 35mm (135 format) perforated films.
In 1958, the company introduced the production of high-quality Fomacolor coloured papers and in 1964 colour negative films and in 1971 the production of Fomachrom colour reversal (slide) film. Continuous research and development led to the improvement of existing products and their further expansion, such as reprographic materials, special film for aerial photography, etc. Industrial X-ray materials (INDUX) were added in 1988.
After 1990, the company focussed on black and white photographic materials (films, papers, chemicals) and X-ray films MEDIX and INDUX including processing photochemical baths.
In 1995 the state-owned company Fotochema was privatised establishing Foma Bohemia Ltd (S.R.O.). In 1997 Foma achieved ISO 9001 quality assurance. – Wikipedia
CFP Dvořák Series – Submission Guidelines
Up to 100 American or Canadian Film Photographers will be selected to be included in this book. The book will include educational information on B&W film photography and be edited, so it can be used in education for any age group. All photographs in the book will be made with Foma’s Film or Photographic Paper.
Submit via Instagram Tags: #dvorakseries or #dvořákseries
We will keep checking the tags, and contact you how to mail us your submissions.
All photographs must be made between March 1, 2021 and October 31st, 2021.
The book will be published (if possible) before Jan 1st, 2022.
For questions regarding this project, or other opportunities to participate in this project, feel free to reach out via Instagram: @americanfilmphotographers