Visual Documents as Special Sources of the History of Everyday Life

Reconstructing pictures of the past, the historian usually relies on written documents, drawing, if necessary, also archeological material and pictorial evidence. Among traditional historians, such appeals to pictorial evidence are of an auxiliary nature, often simply illustrating what has been said. It is often felt that in fact one can completely do without them, they are only additionally visually analyzed and reproduced on the basis of classical historical documents. It is no exaggeration that most historians feel uncomfortable with visual materials as a primary source. They rarely approach their analysis as critically as they tend to when referring to written documents. They learned to analyze and interpret written sources, but those trained to interpret and parse photography, cinema and video are not so rich among them. The conscious and well-established habit of working with texts and not with images has given rise to some extent to some disdain and distrust of visual documents as a historical source. To some extent, the subjectivism and selfishness of the researcher also affected: often studying documents, he creates in his imagination his own picture of this or that fact, event, phenomenon. And a figurative document, as an authentic image of an era, often not only corrects, but also destroys the composition of the manifestation.

On the other hand, a photograph, a motion picture, a video film are completely self-sufficient historical sources that need the same source criticism and appropriate methodological tools as written documents. Visual documents are important not only for the fixed visual image that they have stored, but also for the information encoded in them. It can be open, closed, hidden, etc. A comprehensive study, extraction and use of information from such sources allows the researcher not only to supplement his judgments about history, but also to look at it in the literal sense of the word3. They reveal historical events and facts in the form of specific static or dynamic visual images.

The visual range of perception of information is as important as auditory, tactile, intellectual. Direct fixation of historical information at the moment of action is one of the main properties of the vast majority of varieties of visual sources. These documents (photos, movies, videos), firstly, figuratively reflect the specifics of time and place; secondly, they themselves are artifacts (casts, traces) of this era, therefore, its direct documents (despite the visual range or panorama they proposed) thirdly, the information encoded in them requires semantic (sign) reading and understanding. Accordingly, they are often as informative as printed or written sources. Due to the "visuality" they should be preferred.

Introduction. 3

1. Photodocumentation as one of the methods for creating a technotronic document.. 7

1.1 General characteristics of the photodocumentation system. 7

1.2 Photodocumentation as a result of photodocumentation. eleven

2. Main types of Photo Documents.. 17

2.1 Photography, transparencies. 17

2.2 Micrographic document. 23

3. Photographic documents - a photo chronicle of our heroic history 29

Conclusion. 35

Bibliographic list. 37

A photograph, unlike a work of painting, catches a person as he is, and it is quite possible that Napoleon, at a different moment, would come out stupid, and Bismarck - gentle.

Dostoevsky F.M.

The relevance of the course work lies in the fact that photographic documents are one of the most important sources on the history of the country. To date, researchers have at their disposal hundreds of thousands of photo-documentary evidence of historical events, stored in archives, museum collections and personal collections.

The ability to record an event at the moment when it occurs, while capturing the smallest details and details that fell into the frame, make them unique historical sources. In the creation of any photographic document, the personality of the author, his vision and understanding of reality play a huge role.

Along with this, the process of photodocumentation is influenced by the socio-political situation in the country and the fact whether the author fulfills a “social order” or shoots events in accordance with his creative ideas. Sometimes, and this is admitted by the authors themselves, the "internal censor" determines the direction and style of shooting at the subconscious level.

Photography is a scientific and practical way of preserving images over time on special light-sensitive materials. The development of methods and tools belongs to science, while the results of their application are visual images, photographic documents.

Photography - a historical source, has the priority of the simultaneity of the object and its "documentation". Photography acts as an auxiliary historical discipline in relation to the sphere of interpretations of narrative sources and oral traditions.

In cases where a photographic document is the only or most visually clear relative to other material evidence, its value increases even more: to see, comprehend, analyze, reconstruct hidden forms, scale. Outside the sphere of the history of material culture, photography has the significance of a historical chronicle, both in eventual and ethnographic, anthropological, and landscape contexts.

The visual-objective form of photography does not contrast with the participation of the subject in the creation of photographic documents, since the subject is the bearer of cultural and social realities. Photography in the broadest sense is a source of knowledge and, with scientific processing, an illustrated encyclopedia of life and the existence of civilizations.

Nowadays, the world is undergoing significant changes associated with the introduction of the latest information technologies in various areas of the economy, science and technology, culture and art. This process has also affected Russia, where, as in other countries, the volume of technotronic documents that have arisen as a result of the use of modern information carriers, automated control systems, design and information processing is steadily growing.

It is in technotronic documents (especially in their audiovisual part) that the relationship between the "official" and "unofficial" visions of history, the interpretation of certain events, phenomena, facts is quite clearly traced

The concept of collective memory is associated with the consolidation and reproduction of knowledge and values ​​that are significant for society by documenting industrial, social activities and personal life. This method of transferring knowledge is the most objective, although selective, in some cases schematic in nature: only that which is essential for a particular social system is recorded and transmitted, in most cases based on state and corporate interests, as well as the interests of individuals. At the same time, it is especially important to emphasize that the unofficial "vision of history" (for example, presented in the filming and recordings of amateurs) does not always (more precisely, most often) do not coincide with the official one.

The purpose of the course work is to study the system of photodocumentation and photodocumentation as its result.

To achieve this goal, it is necessary to solve the following tasks:

1. Define the concept of photodocumentation as one of the methods for creating a technotronic document.

2. Consider the main types of photographic documents.

3. Analyze the essence and classification of the photo document.

4. To reveal the importance of photographic documentation in creating a photographic chronicle of the country's historical past.

Historiography.

The founder of the study of photographic documents as historical sources and objects of archival storage is B. Matushevsky, who at the end of the 19th century. for the first time in history, he tried to consider photographic documents in the source and archival perspective, publishing in Paris during 1898-1901. four essays: "A new source of history. On the creation of a repository of historical documents", "Live photography. What it is, what it should become", "New in graphology and examination of handwriting" and "Portraits on enameled glass (one discovery)".

For the first time in our country, Academician V.V. Even at the dawn of photography, Stasov pointed out the inexhaustible possibilities of its use in photographing various microscopic objects, copying (for example, hieroglyphs in Thebes, Memphis), studying human races, etc.

It was V.V. Stasov put forward a program for the creation and preservation of photographic collections for the history, their use in the field of education.

Based on the materials of the periodical press of the beginning of the second decade of the XX century. we can say that in Russia, earlier than in other countries, the problem of organizing the state storage of film documents and related photographic collections and sound recordings was considered. We are talking about 1913, when the issue of creating a state film archive was discussed for the first time. A group of public figures turned to the deputies of the State Duma with a request to work out a bill on the organization of the state storage of cinematographic tapes. In the document prepared on this occasion, not only practical, but also scientific substantiation of this action was given. So, for example, the true significance for the history of the country of many cinematic images, which recorded "moments of modernity, as well as individual moments from the life of modern, great and outstanding people," portraits "of these people, was noted quite clearly and definitely, not with one frozen expression on their faces, but "live" portraits, which in the future can give an incomparably brighter idea of ​​​​a given person and great material for characterizing him than modern photographs.

On the basis of the Regulations on the Archival Administration of the RSFSR of 1929, film and photo documents were not only included for the first time in the State Archive Fund of the country, but it also provided for the most important points for that time and very relevant today, related to the state registration of these documents, as applicable to the activities of state institutions and private individuals, as well as the organization of work on the acquisition of specialized archives by them.

A great contribution was made by Professor G.M. Boltyansky, a classic of Soviet film and photo-documentary.

The structure of the work: introduction, 3 chapters, conclusion, bibliography.

1. Photodocumentation as one of the methods for creating a technotronic document

1.1 General characteristics of the photodocumentation system

Starting from the 19th century, along with textual and technical visual documentation, new ways of documenting, which were the result of technological progress, scientific discoveries, and technical inventions, became more and more widespread. This is photo, film, video, phono (audio) documentation.

Documents created in this way are called audiovisual, i.e. containing visual and sound information, the reproduction of which requires appropriate equipment. They are usually considered in a single complex, since they are very similar in terms of the technique of creation and reproduction, the nature of information, the method of coding, and the organization of storage.

Audiovisual documents include photographic documents, film documents, video documents, video phonograms, phono documents, as well as documents on microforms.

With the advent of documents on electronic media in the 20th century, this group of documents received the general name technotronic documents.

Based on the foregoing, a technotronic document can be interpreted as a document with constantly changing information carriers, created throughout the entire period of the development of civilization (and in recent years, especially through the rapid development of electronic computers and communications) and capable of creating an idea of ​​the development of science and technology, social and cultural life of various peoples.

Ultimately, technotronic documents are essentially a collective concept that includes all types and varieties of scientific, technical, electronic and audiovisual documentation that exist in nature, including those created using the latest information technologies (digital, multimedia, etc.).

In the context of the above, the interpretation of photographic documents as an integral part of technotronic documents opens up scope for a broader approach to the study of audiovisual documents in the source and archival aspects and their use for various purposes.

One cannot help but worry about the issue related to the possibility of classifying photographic documents as "industrial products." Most often, it occurs among specialists who encounter these documents in the field of their production and distribution.

What is the relationship between the creative and individual aspect of the emergence of photographic documents and the industrial-production nature of their creation?

In what sense (and is it possible at all) to speak of photographic documents as a variety of industrial products?

Is not one of the most important and essential properties of this type of documents that make up their unique specificity, namely, their artistic, aesthetic and historical and cultural significance, not lost?

Photographic documents can act as a "product" only in the sense that in a number of cases this concept itself is associated with the creation of numerous "copies" of the same document. In addition, the creation of photographic documents is always a production and creative process, each time involving a new approach to displaying an object.

In particular, for example, chronicle surveys practically exclude the possibility of repetition, if we mean the process of photodocumentation itself.

From what has been said, however, it does not follow that repetition is in principle impossible in all genres and varieties of photographic documents. For photographic documents, the artistic and aesthetic side is extremely important. The latter, as is known, is not an obligatory component for the vast majority of "manufactured products"; this aspect is virtually absent from mass-produced copies.

Copies of photographic documents (i.e. numerous "casts" from the same negative) are intended for perception by a mass audience, and the process of perception here is, as it were, two-sided - on the one hand, the historical and cognitive aspect clearly stands out, and on the other hand the other - always implies an emotional and aesthetic impact on the viewer.

Given the above, it is hardly possible to call photographic documents products in the generally accepted sense of the word: their creation is not only directly related to the creative process, which has a strictly individual, unique color, but also pursues completely different goals, radically different from mass industrial production.

Another thing is when it comes to replicating photographic documents. Here, the industrial, factory side of the process comes first, which cannot be ignored when considering photographic documents as an object of archival storage and a historical source.

A serious problem, especially in relation to the systematic analysis of audiovisual sources, is the depth of description of the content of these documents. Here we have to deal with very different and not always consistently used approaches.

The same is often true in relation to the description of objects depicted in photographic documents and their hierarchy. The depth of description, the degree of this depth, depends on the size of photographic collections. Indeed, to describe the objects or objects of a certain photographic document (and in a limited number), where there is an opportunity and a need to attend to every detail, is not the same as dealing with a huge collection of multipurpose photographic documents in order to provide basic information for a multidimensional archival and source research.

In the latter case, it is almost impossible to achieve a systematic detailed description, while in the first case it is necessary and available.

Numerous attempts to create databases of photographic documents that provide a link between textual information (verbal description of the document) and pictorial information again demonstrate a variety of approaches.

Thus, the target setting in relation to photographic documents is usually expressed in making the image more accessible by transferring it to the screen and thereby relieving the researcher of the need to work in archives with original photographic documents. However, in most cases, the image quality in the databases is imperfect and much worse than the original.

There are also exceptions. The best quality images (than the originals of photographic documents themselves) are obtained by high-resolution digitization. However, they have not yet become widespread due to their high cost.

Thus, today there is a need for systems for processing film, photographic images and sound recordings that would put in the hands of specialists a set of various search tools that provide the possibility of comparative analysis, which is not available to researchers when they work directly with original or authentic documents.

1.2 Photodocumentation as a result of photodocumentation

A photographic document contains one or more photographic images. It is the result of documenting the phenomena of objective reality in the form of images using photochemical recording.

Depending on the genre and purpose, there are: artistic, chronicle-documentary, popular science, scientific photographic documents, as well as copies of ordinary documents obtained by photography and filming.

The photographic document contains visual information that is reproduced using special technical means (diascope, epidiascope, filmoscope, overhead projector). The exception is a photograph, the information on which is perceived directly, without the help of technical means.

The appearance of photographic documents was a response to the increased social need to capture, preserve, and pass on to present and future generations the information that, being recorded in verbal form, completely or largely lost its specificity and value. The widespread use of photographic documents in the documentary field is due to a number of advantages compared to publications.

The main advantage of photographic documents is the complex effect on various human analyzers, which reduces the likelihood of information loss, which is inevitable with single-channel perception.

It is believed that a person owns as many “languages” of thinking as he has sense organs. Ideally, information should arrive simultaneously through all channels, since all five senses give it the greatest assimilation: vision - 75%, hearing - 13%, touch - 6%, smell - 3%, taste - 3%.

An important advantage of photographic documents is that they provide adequate fixation and replication of figurative information that is incompletely or not at all fixed in a word, i.e., verbal text documents.

Finally, photographic documents provide an emotional basis, the effect of presence in the perception of information.

Until now, there is no generally accepted classification of photographic documents. Most accurately reflect their essence of the classification, which are based on two species-forming features:

a) a channel for the perception of information or a method of influencing the human senses;

b) a way of documenting information.

According to the purpose for perception, photographic documents can be classified as human-readable (photo) and machine-readable: filmstrips, slides, information on which is perceived indirectly, becomes available to a person using technical means.

The concept of documented information lies in the dual unity of information and a material carrier.

According to the information component, a photographic document can be classified as a visual document created by a photographic method based on a change in the optical density of sections of photographic material (photo, film, photographic paper) under the influence of a light or electron beam, the intensity and shape of which change in accordance with the recorded signal (photos, filmstrips , transparencies, microfiche, microfilm).

The material component of the document is its material (physical) essence, the form of the document, which ensures its ability to store and transmit information in space and time.

The material component of the document is determined by the material carrier of information - material objects in which information (data) is reflected in the form of symbols, images, signals, technical solutions and processes.

The information contained in a photographic document is fixed on a special material (photographic film) that has a certain shape of the carrier.

Thus, under the material component of a photographic document, they mean:

1) the material basis of the document;

2) the form of the information carrier;

3) the method of documenting or recording information.

The material basis of a photographic document (MOD) is a set of materials used to record an image and constituting an information carrier. Depending on the material basis, photographic documents (transparency film, microfilm, microcard, microfiche) are classified as polymer-film documents.

Most often, the material basis of film materials is photographic material - photosensitive, designed to obtain a photographic image on it.

According to the material of the information carrier, photographic documents are distinguished on glass or film, and positives are distinguished on paper, film or glass (transparencies).

Photographic materials are divided into black and white and color, negative and positive. Black and white is a photographic material on which, as a result of exposure and chemical-photographic processing, an image consisting of metallic silver is formed. On color photographic materials, an image consisting of dyes is formed.

Photographic materials are divided into film, photographic film and phonogram film.

Film is a photographic material on a flexible basis, intended for obtaining a motion picture, recording and reproducing sound.

Photographic film is a photographic material on a flexible basis, designed for various types of shooting and printing.

Phonogram film is intended for recording negatives of photographic phonograms of variable width.

The existing standards for the material basis of the document are designed to guarantee mechanical strength (the ability of the MOD to resist the destruction of the document under the influence of mechanical load - tear, fracture), biostability (the ability of the MOD to withstand the action of a biological factor - fungus, mold), wear resistance (the ability of the MOD to resist abrasion) and durability document (the ability of the MOD to maintain operational properties for a long time).

The form of the information carrier is a special design of the material carrier, which ensures that the document performs its main function, making it convenient for storage and use.

Depending on the form of the carrier, photographic documents are referred to as tape documents made in the form of a continuous strip of material (filmstrip, microfilm) with information recorded.

The size and other indicators of photographic plates, photographic films and photographic paper are standardized.

The resistance of photographic films to external influences is determined by the composition of the emulsion layer. The most reliable films with a silver-containing emulsion: under ideal conditions, they can be stored for up to a thousand years, black-and-white films with other emulsions last from 10 to 140 years, color - from 5 to 30 years.

The most common are silver-halide light-sensitive data carriers, the main advantages of which are storage capacity, spectral versatility, high informative capacity, geometric accuracy and image documentation, simple and reliable hardware support.

Methods and means of recording information. Recording information is a way of fixing information on a material carrier.

Photographic recording - optical, carried out with the help of a photographic process by changing the optical density of the recording medium in accordance with the signals of the recorded information. A variety of photographic recording is electronic photographic recording, carried out by an electron beam.

A photographic image is obtained on a photographic layer of a film, plate, photographic paper by means of photographic shooting and printing, followed by their chemical-photographic processing (photographs, transparencies). It distinguishes between negative and positive.

Negative images are photographic images with a reverse transfer of the tonality of the subject being shot, i.e. those in which the light tones actually look dark and the dark tones look light. In a positive (transparency), on the contrary, darkening corresponds to the distribution of brightness or colors of the subject.

In 1870, the possibility of multiple reduction and reproduction of texts was tested in practice. This was the impetus for the development of microfilming based on photography.

In the early 1920s, silver-free photocopying methods were being developed, and in the late 1940s, silver-free powder photography was put on an industrial basis.

Photographic media include: photographs, filmstrips, transparencies, microfilms, aperture cards.

Along with roll microfilm, its varieties appear: in cut, aperture card and floppy disk.

The use of holography and raster photography led to the emergence of holograms.

The external structure of a photographic document. The external structure of a document (construction) is its external form, which makes it possible to identify it as a type of document. The task is to give the appearance of the document such a form that would cause the consumer to desire (need) to extract information, purchase, etc.

Photographic documents have the following set of external elements: label, filmstrip titles, packaging container (envelope, box, album), slide frame, frame.

Thus, immediately after its appearance, photography was widely used in various spheres of human life: in politics, science, culture, art, forensics, etc.

The development of industries involved in the technical processing of information is closely connected with photography: printing, cartography, reprography. Photographic documents play an important role in the media. They are the most important historical source.

The photo has taken a firm place in identity documents: in passports, student ID cards, driver's licenses, etc.

Photographic documents acquired such importance, first of all, because they have a huge information capacity, they can simultaneously capture many objects in detail.

This is very important, given that about 80% of the information a person receives through vision. The value of photographic documents is also connected with the fact that they appear at the moment of events and at the place of events.

Finally, photographic documents not only carry information about reality, but also have an aesthetic impact on a person.

2. Main types of photo documents

2.1 Photography, transparencies

Photography (Greek phos/photos - light, grapho - I write) - lightography, light painting. This is a picture taken by a photographic method on a photosensitive plate, film or paper.

A photographic image of objects is obtained on photosensitive materials, in which, under the action of light rays reflected from objects and focused by a lens, first a hidden, and after appropriate chemical processing, a visible black-and-white or color image of objects (picture, card) is formed. Photographic recording is carried out using a camera (still camera).

Depending on the functional (purpose) purpose, photographs of general and special purposes are distinguished. The category of general-purpose photographs includes documentary, artistic, amateur. Special purpose photographs include scientific and technical, aerial, microphotography, x-ray, infrared, reproduced and other photographs.

Depending on the light-sensitive material, photographs are of two types: silver halide and silver-free. In silver halide photographs, the photosensitive element is silver helogenide. In silver-free - non-silver light-sensitive compounds. Silver halide photographs have become more widespread.

According to the color of the image, photographs are black and white and color, in which the image is formed by three dyes. Color photography more fully conveys all the variety of objects around us with their inherent colors and color shades, which is of great importance, both in artistic and technical photography.

According to the type of substrate and the material basis of the carrier, photographs are distinguished on a flexible polymer (photo and film), rigid (glass plates, ceramics, wood, metal, plastic) and paper (photographic paper). Photos can be sheet (card) and roll (on coils, cores, reels) of various lengths and widths. The main material carriers of photography are film and paper.

According to general purpose film sizes, photographs are produced in flat format, non-perforated reel and perforated reel. Flat format films have the same format as records and are used in plate cameras. Reel non-perforated films are produced in the form of a tape 61.5 mm wide and 81.5 cm long. They are wound on wooden reels together with a light-protective tape - a leader. On film, you can get a different frame size depending on its size in the camera. With a frame size of 6x9 cm, 8 shots are obtained on film, with 6x6 cm - 12, with 4.5x6 cm - 16 shots.

Perforated film is available in 35 mm width and 65 cm length, including loading and loading ends. It produces 36 shots with a frame size of 24x36 mm. It is wound on a reel and placed in a light-tight cassette.

The light-sensitive layer of photographic paper is fine-grained, which makes it possible to obtain a high optical density after development with a small amount of metallic silver formed. Photo paper has a high resolution, in a short development time (1 - 2 minutes) it produces an image of high contrast.

Photo paper differs in light sensitivity, contrast ratio, density, color, surface, etc. According to its application, it is divided into general-purpose photo paper, which is used in artistic and technical photography, and photo paper for technical purposes, which is used only in technical photography.

The invention of photography was the result of the work of scientists of many generations from around the world.

The first camera (camera obscura) was a light-tight box with a hole in the wall, the principle of which was described in his writings by the outstanding Italian scientist and Renaissance artist Leonardo da Vinci.

As a result, the camera obscura was equipped with a biconvex lens and was used for mechanical sketching of objects in the outside world. However, advances in chemistry were the decisive prerequisite. In the 18th century, the sensitivity to light of solutions of iron salts and bromine salts was discovered, and at the beginning of the 19th century, the basic law of photochemistry was discovered, according to which only those rays that are absorbed by this substance can chemically act on a substance.

The world's first photographic image was made by the Frenchman J.N. Niepsu in 1826. He also created the first photographic apparatus. Another Frenchman is the decorator L.-J.M. For the first time, Daguerre took a picture with a relatively high image quality on a halogen-silver layer. The image of Daguerre, which later became known as the daguerreotype, was reported on January 7, 1839 at a meeting of the French Academy. Since then, this day has been celebrated as the birthday of photography.

However, the period of daguerreotype turned out to be short-lived, due to its high cost. In the future, photography developed according to the method of the English inventor W.F.G. Talbot, who discovered the negative-positive process and, back in 1835, received the world's first negative and a positive print from it on paper impregnated with silver chloride.

In Russia, the first photographic images were obtained in 1839. Russian chemist and botanist Julius Fedorovich Fritsshe, who, having studied the Talbolt method, proposed replacing sodium thiosulfite (hyposulfite) in the developing solution with ammonia in order to improve the image, and the very next year, the first photographic studio in our country was opened in Moscow.

Other Russian scientists and inventors also made a great contribution to the development of photography. Self-taught inventor I.V. Boldyrev proposed a method for manufacturing a transparent flexible film several years before the release of such films by the American company Kodak.

S.A. Yurkovski made a curtain shutter for short exposures. I.I. Filipenko designed a traveling photo lab.

From the first years of its existence, it has been used not only in everyday life, but also used in solving purely scientific problems.

Photography was included in the communication process at the beginning of 1850, when the French photographer A. Dizderi pasted his photograph on a piece of cardboard and began to use it as a business card. This was the impetus for the emergence of various documents circulating in society and proving the identity, as well as family and other photo albums that embodied the associative historical memory of generations.

Then the photos began to be replicated and widely distributed. In 1890 postcards with photographs and a series of such cards were widely used.

The founder of scientific and forensic photography is the Russian specialist E.F. Burinsky. In 1894 on behalf of the Russian Academy of Sciences, he organized a laboratory for the photographic restoration of ancient writings. He developed a method that made it possible to read the missing text of the charters of the fourteenth century. on rawhide, which were previously recognized by researchers as hopeless. Burinsky applied the method he developed for restoring extinct texts, which consists in a stepwise increase in the contrast of the original text.

In view of the great historical significance of this work, the Russian Academy of Sciences awarded E.F. Burinsky the M.V. Lomonosov "for a research method equal to the value of a microscope".

Color photography was first obtained in 1861 by J. Maxwell, then by L. Ducos du Auron (1868-1869, France). In 1935, Kodak developed the color photography still used today on three-layer plates.

Since that time, the development of color photography began. Soon a combined document appeared - a photo essay and photojournalism was born, and since 1947 photo novels began to be printed (in Italy).

In the future, there was a constant improvement of photodocumentation processes. In particular, in 1947. the so-called diffusion photographic process was invented, which led to the creation of cameras for instant photography, i.e. to receive the finished photograph directly in the camera.

Recently, the digital photographic process has been used in photographic documentation. It is devoid of many of the disadvantages inherent in traditional technology based on the photochemical silver halide process and requiring multi-stage chemical processing, significant time investment, and the use of the precious metal - silver.

In digital photography, the optical image of the subject being photographed is converted into an electrical video signal using a light-sensitive sensor - a solid-state plate with many tiny photocells - pixels placed on it. Then the received signal is converted into digital form and stored in a memory device, from where it can be fed to a printer to obtain a photo print. The first electronic photography system was created in 1981. Japanese company Sony.

One of the advantages of digital photography is that the resulting image can be corrected - change color, contrast, retouch, etc. In addition, a digital camera can be connected to a computer and its peripheral devices, and the resulting images can be transferred via the Internet.

Transparency (Greek dia - through + Latin positiv - positive) (slide) - a positive photographic or drawn image on a transparent material (film or glass) intended for projection onto a screen. The transparencies are viewed through the light or projected onto the screen using special optical devices - a slide projector or a diascope.

Transparencies are visual documents of static projection (the image is still), they are black and white and color. The latter are usually obtained by shooting on color reversible photographic films. They can be made by printing from color negatives onto color positive film or by counter-typing from color transparencies (this method is used in the production of filmstrips). Black and white transparencies are obtained by printing from negatives to positive films and plates or by the method of conversion.

Glass transparencies are 50x50, 70x70 or 85x85 mm. Film transparencies with frame sizes 18x24, 24x24, 28x28, 24x36, 40x40 mm are mounted in a special frame 50x50 mm in size.

Transparencies are produced in cardboard boxes or cellophane packages with a brief description (plot sheet) attached. The box contains the name of the series, its number, the number of black-and-white and color slides, and the release date. At the bottom left of each transparencies, the series number and its serial number are affixed.

Transparencies can be compared with a photograph or a reproduction of a painting, a series of transparencies with an album of reproductions. A slide is sometimes called individual frames of a 35 mm filmstrip inserted into a special frame.

The material basis of slides and filmstrips is photographic film, the resistance of which to external influences is determined by the composition of the emulsion layer. The most reliable films with a silver-soda emulsion: under ideal conditions, they can be stored for up to 1000 years, black-and-white films with a different emulsion are stored from 10 to 140 years, color - from 5 to 30 years.

Slides allow you to put the frame at the right time and in the right sequence, have a large information capacity.

2.2 Micrographic document

In the array of documents, a special place is occupied by information carriers containing one or more microimages, which have received the general name of micrographic documents or microforms.

A micrographic (Greek mikros - small, grapho - I write) document is executed on a microcarrier in the form of a microcopy or an original microdocument. Their distinguishing features are small physical dimensions and weight, significant information capacity, compactness of information storage, and the need for special equipment for reading it. The predicted service life of microforms is 500 years or more.

These documents include:

Microcard - a document in the form of a microform on an opaque format material, obtained by copying onto photographic paper or micro-offset printing;

Microfilm - a microform on a roll photosensitive film with a sequential arrangement of frames in one or two rows;

Microfiche - a microform on a transparent format film with a sequential arrangement of frames in several rows;

Ultramicrofiche - a microfiche containing copies of images of objects with a reduction of more than 90 times.

According to the method of documentation, photographic and polygraphic microforms are distinguished. Of these, photographically reproducible include microprints on a transparent basis (microfilm roll, in a segment, transparent microcard-microfiche); microprints on an opaque basis (opaque microcard, paper-based, microcard, microlex, microtape, microstrip).

Microforms are machine-readable documents; their creation and use require special devices (microfilm reading and copying or reading machine).

Microfilm - a reduced copy of a document obtained by a photographic method. The MF contains one or more text and graphic microimages united by a common content.

According to the time of appearance in the external environment, microfilms are divided into two types: microfilms-copies and microfilms-originals.

Microfilm - the original is a first generation microfilm made as a result of direct photographing of a document. Such a microfilm is used on the rights or instead of the original document.

Microfilm-copy is a second-generation microfilm made as a result of successive copying of the first generation microfilm n-th number of times.

Microfilm on roll film is called roll film. It may consist of one, several rolls and there may be several microfilms on one roll.

Such media, on which information is placed sequentially along the entire length of the roll - page by page, drawing by drawing, are referred to as linear or continuous microoriginals.

Most roll microfilm is produced on standard film widths of 16, 35 and 70 mm. The most widely used film for microfilming various documents (books, magazines, archival materials) is 35 mm wide. Typewritten documents (business documents, research and development reports, dissertations) are usually copied on a 16 mm wide film. Documents large in format (maps, drawings, schemes) are copied on a film 70 mm wide. The length of a microfilm roll is generally 30-35 m. On a 35 mm film roll, 750-860 frames are placed, and on a 70 mm wide film, 240-280 frames.

Microfilms are stored in cassettes, metal boxes placed in safes. Roll microfilms are widely used as an information carrier in the manufacture of single copies of microoriginals, in the creation of archival funds, the organization of arrays of disposable documents in research institutes, design bureaus, enterprises, etc.; when microfilming documents of large volumes for the miniaturization of the library and reference and information fund.

Microfilm in cut - a microfilm on a roll film in the form of a cut with a length not exceeding 230 mm.

Microfilm cuts were first used in the 1950s for the storage and manual retrieval of microfilm. When using this system, the roll film after exposure and processing is cut into segments of 5-10 frames. These segments are then inserted into transparent envelopes glued onto standard tablets. A certain number of envelopes are fixed on one tablet. Tablets with segments of microfilm are stored in a folder. The search for the necessary information is carried out by the table of contents, which indicates the plate number, as well as the vertical (envelope number) and horizontal (frame number) frame coordinates.

Microfiche - a flat microform with an arrangement of microimages in the form of a grid.

A microfiche is a piece of photo-, diazo- or vesicular film of a standard format 75x125 mm, 105x148 mm, 180x240 mm, on which a microimage is located in a given sequence. Microfiche can be read on a reading machine using a slide projector.

Depending on the image reduction ratio during shooting and the number of frames, microfiche is divided into:

* microfiche (number of frames from 60 to 90);

* supermicrofiches (number of frames from 200 to 300);

* ultramicrofiches (number of frames up to 3200).

The FS information field consists of a header field and a bitmap field. A human-readable title is placed at the top, reflecting the content of the document. The recording of microimages in a raster field is carried out sequentially in the horizontal and vertical directions; in a line (row) - from left to right, in a column (column) - from top to bottom. The position of each frame is uniquely determined by the row and column number.

Microfiche has a number of advantages over roll microfilm. Searching for the necessary information, if the frame number is known, is easier than in roll microfilm. Less mechanical wear of the film, since only one microfiche containing the necessary information is viewed during the search, and not the entire document; in addition, knowing the search features (for example, the number of microfiche and frame), you can accurately bring the desired frame under the lens of the reading machine. Commercially available cataloging equipment can be used to store microfiche, and mailing microfiche is as easy as sending a regular letter, postcard, etc.

Microcard - a carrier of information on photographic film inserted into an aperture or classer card.

A microcard is a document similar to microfiche, but made on an opaque basis (on a piece of photographic or plain paper, as well as on a metal basis). Microcards are read on reading machines using an epiprojector (i.e., in reflected light).

Microcards have mechanical strength comparable to the strength of books, magazines, photocopies. Microcards have all the advantages of microfiche. In addition, both front and back sides can be used in a micromap, placing a search image of a document, a bibliographic description, annotation or abstract of a document on one side, and a microimage of the entire document on the other.

Microcards are made in two ways:

1. Use a negative on roll media obtained on film in the usual way. After development, the film is cut into strips, which are mounted in rows. To obtain a positive, the montage is copied by contact on light-sensitive paper.

2. Originals are photographed directly on photosensitive format material. Shooting is carried out using special equipment in which the photosensitive material automatically moves.

Varieties of microcards:

* microcard (corresponds to the catalog card standard 75x125 and 105x148 mm);

* microlex - 165x216 mm (two glued photographic prints obtained from format film negatives);

* microtape - standard size; is a standard card on which microimage strips are pasted;

* microstrip - a microcard is similar to a microtape, but on the reverse side of the strip there is not an adhesive layer (as on a microtape), but a special composition that becomes sticky only when moistened.

Microcards with a high reduction ratio serve for long-term archival storage of large document arrays in very small volumes.

The first opaque microcopy - the progenitor of modern photography - was made by D. Dasner in 1839 (France). In 1852, he managed to make the first microcopy on a transparent basis. In 1853, A. Rosling made the first attempt to microcopy the printed material of the newspaper, and in 1854, X. Diamond made the manuscripts. In 1860, R. Dagroi manufactured the first apparatus for viewing miniature images. In 1870, G. Scamoni experimented with making microcopies on an opaque basis.

After 1905 libraries began to use microcopying. In 1919, Broadley A. Fiske (USA) patented the first microfilm reader.

In our country, the development of microfilming began in 1929. Since the 1930s, it has been spreading in the countries of Western Europe. The range of microcarriers is gradually expanding. Along with rolled microfilm, cut-off microfilm is used.

Microfiche appeared in 1939. F. Ryder (USA) was the first to suggest the use of microcopies for storing documents in library collections.

In the mid-1950s, original microfiche publications first appeared in the United States. At the same time, the first automated micrographic systems appeared.

In the 1960s, ultrafish became known with a reduction in area by a factor of 62,500. With such a reduction in a pack of films with a format of 75x125 mm and a height of 8 cm, 1 million pages of text can be placed.

Until the late 1970s, microforms were considered only a reliable form of information storage and were used to create insurance funds of documents. In the early 1980s, scanning devices for microcopying and transmitting microcopied information over a distance appeared abroad. The technology for correcting information on microfiche and the first electro-optical information carriers were developed.

Thus, a photographic document is a document created by a photographic method. Photographic documents include photographs and transparencies (slides).

Photography is a set of processes and methods for obtaining images on light-sensitive materials by the action of light on them and subsequent chemical processing. A photo can be black and white or color, on various bases - flexible polymer (photographic film), rigid (metal, glass, plastic) and paper (photo paper). A transparency is a positive photographic or drawn image on a transparent material (film or glass). The slide is projected onto a screen using a slide projector or diascope.

3. Photo documents - a photo chronicle of our heroic history

The photo archive of the Institute of the History of Material Culture of the Russian Academy of Sciences (St. Petersburg), which contains more than one million items of storage in various humanitarian branches of human knowledge, is an absolutely invaluable treasury. In particular, many materials on the topic “Ottoman architecture in photographs of the second half of the 19th - early 20th centuries” were deposited in its funds: photographs of monuments recorded on the territory of the Ottoman Empire, which until the 1920s covered vast expanses of Europe, Asia and the north Africa. There are more than 3,000 positives and negatives among the photographs, which depict the architectural monuments of Turkey (Istanbul, Konya, Edirne, Kars, Van, Erzincan, etc.), Thessaloniki (ancient Thessalonica), Macedonia. Not only photographs taken by Russian scientists and photographers N.P. Kondakov, B.V. Farmakovsky, Ya.I. Smirnov, N.L. Okunev, I.F. Barshchevsky, D.I. Ermakov and others, but also the works of Western European masters of photography Seba and Joaye, the brothers Abdulla, Nadar, the Bisson brothers, etc. Many of the photographs were brought by the architect M.T. Preobrazhensky from a long journey through Europe, which he made in the mid-1880s.

The value of photographic documents in combination with the printed word increased many times over for readers during the Great Patriotic War. All central, frontline and army newspapers published photographic documents on their pages, the authors of which were both eminent photojournalists and novice photographers. In total, more than two hundred photojournalists created a photo chronicle of the Great Patriotic War.

On the pages of army newspapers, pictures of photojournalists were published, which later became part of the "golden fund" of photographic documents about the Great Patriotic War.

Photo documents created by correspondents of information agencies were periodically published on the pages of newspapers and magazines, and were used to create visual propaganda. A significant part of the photographic documents about the war, the authors of which were photo correspondents of the Sovinfomburo and TASS, were exhibited at numerous photo exhibitions in the USSR and abroad in the postwar years.

Speaking about the theme of filming about the war and the level of skill with which they were made, one thing must be emphasized: for most of the front-line photojournalists, whatever the subject of their shooting, the photographic perfection of the pictures was not an end in itself. Basically, they filmed the war, filmed the people of the war and sought to tell the truth about them.

The history of the Great Patriotic War, captured in a photo frame, is known to the general public by the so-called "exhibition" works exhibited at dozens of exhibitions and recognized throughout the world, and therefore have become textbooks. Among these works are the so-called “pictures-posters”, the photographic image of which has acquired the meaning of a symbol: “Tanya” by Sergei Strunnikov, “Woe” by Dmitry Baltermants, etc. Examples of classic reportage filming of the war years are the works of V. Fedoseev “On a walk” , I. Shagina "The political instructor is fighting", A. Garanina "The death of a soldier", G. Zelma "Street fighting in Stalingrad. November 1942. ”, M. Trakhmana“ In the partisan detachment. Crossing, etc. But along with the masterpieces of photographic art, which amaze the imagination from the first moments of acquaintance with them, and carry a huge emotional charge, there are tens of thousands of pictures that at first glance are unremarkable, but which make up the "golden fund" of the photographic chronicle of the Great Patriotic War war, in other words, time recorded on film.

In order to perpetuate the Victory of the Soviet people in the Great Patriotic War of 1941-1945, to revive and strengthen patriotism, to strengthen the military-patriotic education of young people, the Federal Archival Service of Russia (Rosarchiv) created a thematic section "Victory. 1941-1945", posted on the all-Russian website " Archives of Russia".

The thematic section "Victory. 1941-1945" includes an exposition of the most striking archival photographic documents that reveal the greatness and historical significance of the heroic deed of the Soviet people in the Great Patriotic War, and information on the volume and composition of photographic documents of the war period stored in the state archives of the Russian Federation.

The choice of this structural construction of the thematic section "Victory. 1941-1945" is due to the desire to attract the attention of the general public and, above all, young people to archival photographic documents as one of the invaluable, most visual and accessible documentary sources of historically truthful information about the Great Patriotic War of 1941-1945 gg. and to the activities of the state archives of Russia, which carry out the acquisition of photo collections, ensuring their safety and active use in the interests of modern Russian society.

As a result of the organizational work carried out by the Federal Archival Service of Russia, 5 federal archives and 55 archival institutions of the constituent entities of the Russian Federation were involved in identifying archival photographic documents of the war period, storing about 4.5 million photographic documents in their funds, including a significant part on military topics. These photo documents are part of archival funds, including those of personal origin, as well as photo albums and collections of documents on the history of the Great Patriotic War of 1941-1945. They are stored in archives in the form of photographic prints, positives and negatives.

For placement in the thematic section "Victory. 1941-1945", the state archives sent information to the Federal Archives containing information on the number, subject and physical condition of the photographic documents of the war period in their storage, the forms of their use, as well as copies of photographic documents depicting events and participants in the Great Patriotic War of 1941-1945, meetings of veterans in the post-war period on the fields of past battles and during the celebrations of Victory Day.

475 photographs were selected from the copies of archival photographic documents sent by the state archives for display on the site "Victory. 1941-1945". Their selection was carried out taking into account the uniqueness of photographic documents, their information content and thematic significance, as well as their physical condition. In the funds of a number of archives, photographic documents of the war period are presented in single copies, and their physical condition excluded the possibility of their exposure on the site.

The exposition was based on photographic documents from the funds of specialized archives - the Russian State Archive of Film and Photo Documents (RGAKFD), the Central State Archive of Film and Photo Documents of St. Petersburg (TSGAKFFD of St. Patriotic War 1941-1945 and having modern technical equipment for carrying out restoration work with photographic documents, making copies of them.

The exposition also includes photographic documents provided by archival institutions of 31 subjects of the Russian Federation, including: the Kabardino-Balkarian Republic, the Republic of Kalmykia, the Republic of Karelia, the Udmurt Republic, the Republic of Tatarstan, the Chuvash Republic, Primorsky Territory, Stavropol Territory, Arkhangelsk, Bryansk, Volgograd, Kirov, Kursk, Lipetsk, Murmansk, Nizhny Novgorod, Omsk, Orel, Perm, Pskov, Rostov, Tambov, Ryazan, Samara, Smolensk, Sverdlovsk, Tver, Tula, Tomsk, Chelyabinsk and Yaroslavl regions.

Photo documents are accompanied by information reproducing archival records about the place, date, authors of filming and participants in military events captured on photo documents, as well as information about their storage location and archival ciphers. In some photographic documents there are no dates of shooting, information about the authors of the shooting, etc.

Photo documents included in the exposition convey a wide panorama of the events of the past war and at the same time focus on its key events and battles that determined the victorious outcome of the Great Patriotic War for the USSR. A significant part of these photographic documents has not been exhibited before.

Of particular military-historical and artistic value are the photographs of famous front-line photojournalists - E. Khaldei, O. Knorring, M. Alpert, J. Khalip, V. Tarasevich, E. Evzerikhin, I. Narcissov and others, as well as a number of rare photographs, the authors of which are not established.

The exposition has a rubricator that defines its clear historical and chronological framework and thematic structure. The exposition includes photographic documents on the following main topics: "Get up, a huge country!", "Severe trials of the summer-autumn of 1941", "Front-line Moscow", "Defense of Tula", "The defeat of the Nazi troops near Moscow", "In the occupied territories ", "Battle of Stalingrad", "Leningrad blockade", "Everything for the front! Everything for Victory!", "Partisan movement", "Battle of Kursk", "Expulsion of Nazi troops from the territory of the USSR", "Liberation of Europe" , "East Prussian operation", "To Berlin!", "Surrender of Germany", "Victory Day", "Allies", "Berlin: from war to peace", "Victory Parade", "A soldier came from the front", " Court of Nations", "Veterans do not grow old in soul".

Acquaintance with the exposition of archival photographic documents posted in the section and information about the activities of state archives will help increase the number of users of archival photo funds, more attentive, careful and responsible attitude of users to the wartime photographs in their family albums, and will also allow state archives to conduct more intensive and effective work to replenish their collections of photographic documents with new acquisitions.

Photo documents of the Archival Fund of the Russian Federation are actively used to create and update museum expositions, exhibition projects, photo albums of military-patriotic themes, monographs, encyclopedic, educational and reference publications, etc. War veterans use archive photo documents as illustrative material for their memoirs, teachers and schoolchildren - to create school museums of military glory. Archival photographic documents are actively published in periodicals, used to create documentary films and television programs.

Thus, the significance of photographic documents is determined by the tasks of their creation and directly by the objects of image fixation. Scientific phenomena, historical events and a person in the context of these events, material objects and objects of ancient and modern origin have everyday, artistic and research significance.

Overcoming the information “hunger” is an urgent task of this century, and its solution depends, first of all, on the organizers of science. At the same time, of course, it is necessary to unite the efforts of many scientists, archivists, photography enthusiasts in order to identify and subsequently publish primary data on materials stored in archives of different countries.

Conclusion

The purpose of the course research is achieved through the implementation of the tasks.

As a result of the study on the topic "Photodocumentation and photodocuments", a number of conclusions can be drawn:

Due to the colossal growth of scientific, technical and audiovisual documentation, as well as the need to use it for scientific and other purposes, technotronic archiving began to gradually take shape as an independent scientific discipline. It is important to note that it has a pronounced specificity in the development of techniques and methods for working with documents of technotronic origin.

A photographic document is a document created by a photographic method. Photographic documents include photographs and transparencies (slides).

Photography is a set of processes and methods for obtaining images on light-sensitive materials by the action of light on them and subsequent chemical processing. A photograph can be black and white or color, on various bases - flexible polymer (photographic film), rigid (metal, glass, plastic) and paper (photographic paper). A transparency is a positive photographic or drawn image on a transparent material (film or glass). The slide is projected onto a screen using a slide projector or diascope.

Immediately after its appearance, photography was widely used in various spheres of human life: in politics, science, culture, art, forensic science, etc. The development of industries involved in the technical processing of information is closely related to photography: printing, cartography, reprography. Photographic documents play an important role in the media. They are the most important historical source. The photo has taken a firm place in identity documents: in passports, student ID cards, driver's licenses, etc.

Photographic documents acquired such importance, first of all, because they have a huge information capacity, they can simultaneously capture many objects in detail. In libraries, archives and museums there are a lot of problems due to possible damage or loss of the most valuable photographic documents. In order to ensure the safety of photographic documents and timely detection of defects arising on them, documents must be subjected to periodic control during storage.

This is very important, given that about 80% of the information a person receives through vision. The value of photographic documents is also connected with the fact that they appear at the moment of events and at the place of events. Finally, photographic documents not only carry information about reality, but also have an aesthetic impact on a person.

The value of photographic documents is determined by the tasks of their creation and directly by the objects of image fixation. Scientific phenomena, historical events and a person in the context of these events, material objects and objects of ancient and modern origin have everyday, artistic and research significance.

Photo documents are organized into a photo library - a systematic collection of photographs, negatives or positives (transparencies) for the purpose of storing them and issuing them to the user.

The use of micrographic technology has expanded the scope of the use of photographic documents. The result was microform documents. These are photographic documents on film or other media, which, for production and use, require an appropriate increase using micrographic technology.

In libraries, archives and museums there are a lot of problems due to possible damage or loss of the most valuable photographic documents. The task of the library is to preserve all its collections, often very diverse. In order to properly preserve a collection of photographic documents, it is necessary to understand: what do we want to preserve?

Bibliographic list

Literature

1. Dluzhnevskaya G.V. Photography is the memory of peoples. Materials of the photo archive of the Institute of the History of Material Culture of the Russian Academy of Sciences (St. Petersburg) // Cultural Heritage of the Russian State. SPb., 1998. 187p.

2. Kushnarenko N.N. Document management. Kyiv: Knowledge, 2000. 460s.

3. Larkov N.S. Document management. M.: Publishing house AST, 2006. 427p.

4. Magidov V.M. On the problems of the relationship between archiving and source studies of audiovisual documents // Historical Notes. Theoretical and methodological problems of historical research. Issue. 1 (119). M., 1995. 198s.

5. Okhotnikov A.V., Bulavina E.A. - Document management and office work. M.: March Publishing House, 2004. 288s.

6. Stenyukov M.V. Document management and office work: Lecture notes. Office work. M.: PRIOR, 2006. 173p.

7. Taller M. What is "source-oriented data processing"; what is "historical informatics"? // History and computer: New information technologies in historical research and education. Moscow State University M.V. Lomonosov. M., 1993. 98s.

Electronic resources

8. Magidov V.M. Technotronic archivist at the turn of the century. http://iai2.rsuh.ru/jubiley/archivistika.html

9. Kuznetsov V.V. Forensic photography. http://www.pseudology.org/

10. Thematic section "Victory. 1941-1945". http://victory.rusarchives.ru/

Magidov V.M. Technotronic archivist at the turn of the century. http://iai2.rsuh.ru/jubiley/archivistika.html

Magidov V.M. On the problems of the relationship between archiving and source studies of audiovisual documents // Historical Notes. Theoretical and methodological problems of historical research. Issue. 1 (119). M., 1995. S. 270-271.

Taller M. What is "source-oriented data processing"; what is "historical informatics"? // History and computer: New information technologies in historical research and education. Moscow State University M.V. Lomonosov. M., 1993. C. 5-18.

Kushnarenko N.N. Document management. Kyiv: Knowledge, 2000. P. 49-50

Kuznetsov V.V. Forensic photography. http://www.pseudology.org/

Thematic section "Victory. 1941-1945". http://victory.rusarchives.ru/

2.5. Film-photo-video documents (audiovisual)

A specific form of visual sources is the fixation of the surrounding activity, with the help of physical and chemical means - film, photo and video documents that preserve valuable historical information about the events of the political, economic and cultural life of the people.

Film-photo-video documents, as a historical source, reveal historical events and facts in the form of static or dynamic visual images. The lens captures such details and nuances inherent in a particular phenomenon or event that can hardly be recorded in other types of sources. A historian can borrow information from film-photo-video documents that is unknown to him from other sources, which is important for clarifying already known facts.

In comparison with the old, mass and accessible source of this group, there are photographs. They are kept in the collections of archives and museums, published in the form of photo albums, mostly of a thematic nature, which is very important for researchers. Valuable photographs filled the pages of newspapers, scientific and memoir literature, and the like. Ukrainian museums and archives, both central and local, have a solid fund of photographic documents, many of them are kept in private collections. Thus, photographic documents are a fairly common and accessible, but at the same time difficult to study historical source. If films have their own plot texts and help researchers work with them, then photographic documents, except for titles, basically do not have the necessary texts. They need decoding, that is, additional work with them.

The direct reflection of reality in the picture is an indisputable advantage of photographic documents as a historical source. their initial meaning is determined by the fact that they contain specific facts, and this enables the researcher to actually reproduce events from the history of the corresponding time.

A synthesized type of visual sources is cinema and video, which in practice absorb the means of literature, painting, the principles of frame construction, and the like. Cinema and video embody on the screen images, events that are created by screenwriters, film directors, artists, actors, cameramen. Having arisen on the basis of highly developed technology, they reproduce reality based on the experience of other types of art. Unlike written sources, film-photo-video documents enable the researcher to see historical reality in motion, in the process, to be transported into the past.

Film-photo-video documents have a number of features, the knowledge of which is necessary in the source study work with them. The general principles of criticism of historical sources fully apply to film and photo documents. The researcher first of all establishes the origin of a photograph or film, determines their creator. The activities of cameramen are mainly associated with individual institutions (film factories, film studios, etc.). Revealing the authorship of photographic documents is somewhat more difficult, especially when it comes to photographs of many years ago.

One of the important problems of criticizing film and photo documents is determining the place and time of shooting, the names of its participants, etc. If the legend of film and photo documents is in doubt, it is necessary to compare it with other sources - the press, archival materials, memoirs, etc. Known elements and details of a particular area, buildings, works of monumental art depicted in the frame often help determine the location of the shooting. Of great importance for deciphering film and photo documents is the so-called auxiliary information - internal personnel inscriptions: slogans, banners, posters, posters, etc.

One of the types of photographic documents is a photographic portrait. Many photographs of the late XIX - early XX century. have preserved to our time the images of prominent representatives of the political, cultural, educational and other important spheres of life of the then Ukrainian society. Among them, photographic portraits of the first President of Ukraine M. Hrushevsky, the leaders of the Directory of the UNR V. Vinnichenko, S. Petlyura, Hetman P. Skoropadsky, President of the ZUNR E. Petrushevich and other builders of the Ukrainian state during the period of the liberation struggle are of particular value.

The main specialized center for the storage of film, photo and video documents is the Central State Film and Photo and Photo Archive of Ukraine, founded in Kiev in 1932. The uniqueness of this archive lies in the fact that it collects, records and stores visual and audio documents in the form of photographs, films, videos, gramophone records, magnetic cassettes and the like. Among the visual sources in the funds of this archive are the countertypes of portraits of T. Shevchenko, portrait and group photographs of I. Franko, L. Ukrainska, M. Hrushevsky, N. Lysenko, M. Zankovetska, many political figures, devotees of the Ukrainian revival, in particular S. Petliura V. Vinnichenko, P. Skoropadsky and others. The archive also contains unique newsreels, which record the historical events of the Ukrainian Revolution of 1917 - 1920 pp., World War II, etc.

Given the specific historical conditions, the dominant place in the archive funds belongs to film and photo documents of the Soviet era. They recorded the main events of socio-economic, political and cultural life: the construction of industrial enterprises, power plants, the development of agriculture, achievements in science, education, culture, art, mass demonstrations, festive demonstrations, and the like. Film and photo documents contain valuable pictorial information about the life and work of many figures of Ukrainian culture (A. Buchma, O. Vyshnya, V. Dovzhenko, L. Kurbas, P. Tychyna, A. Malyshko, V. Sosiura, Rylsky), scientists who have achieved success (A. Krymsky, V. Vernadsky, S. Korolev, B. Paton) and others. In total, the archive funds contain more than 50 thousand film documents, 30 thousand photographic documents, as well as a significant number of photographic documents.

Film and photo documents are also widely represented in a number of local archives in Kyiv, Sevastopol, the Autonomous Republic of Crimea, and regions. They are widely used in historical research, popular science publications, memoirs, newspapers and magazines, and the like.

Photography originated in the 1920s and 1930s. XIX century, when the first steps in this area were made by N. Niepce and L. Daguerre in France and F. Talbot in England. Niepce's invention, improved by Daguerre, received official recognition in 1839. Daguerre's name is immortalized in the original name of the photograph - daguerreotype.

From the daguerreotype to modern digital photography, a long way has been covered. On this path, all aspects of photography underwent profound changes: image carriers, equipment, filming techniques and further work on images. Professional photography improved and amateur photography developed. Photography, its technical equipment and techniques (for example, photography in infrared rays) are increasingly widely and sometimes unexpectedly used.

Especially with the advent of digital photography, the technology of taking pictures has changed a lot. Previously, when photographing, the negative of the image was first obtained, which turned into a positive as a result of appropriate processing. It is precisely the negatives that are intended for storage in archives, as they are less prone to destruction. A picture taken with a digital camera is available for immediate viewing and is already quite ready. In digital form, it is entered into the computer memory and stored in it. The image can be displayed on the monitor and printed in any quantity on the printer.

Photographic documents are pictorial or visual sources, which have recently attracted more and more attention of historians (even the concept of “visual turn” in historiography has appeared abroad). People used the language of images long before the emergence of writing, and the oldest of the pictorial sources are paintings. Painting and photography (in literal translation - “light painting”) were constantly compared, the methodology developed by art historians for analyzing pictorial images is largely applicable to photographic images, especially with regard to form.

In the historical movement, photography captures the momentary, the unique, allows you to "stop the moment" - and not only when it is beautiful. The photographs capture the appearance of people, the expression on their faces, their emotional reaction to what is happening at the moment. They provide valuable material for studying the history of the landscape (natural and urban), they allow you to see how some no longer existing or rebuilt buildings looked like, in what environment were for some reason demolished or transferred monuments, etc.

The information potential of photography as a chronicle of current political events was already appreciated in the 1960s and 1970s. XIX century, when the first large photo reports appeared (a series of photographs by Matthew Brady about the American Civil War, photographs from the scene of the Franco-Prussian War and the Paris Commune). Some of the photographs (for example, the scene of the shooting of hostages at the Commune) were not authentic, but reproduced a later reconstruction of what happened. In the twentieth century photographic materials began to be widely used in newspapers in the USA, England, France and other countries. The close connection of photography with newspaper business and the activities of the media in general should be taken into account as an essential element in the historical and source analysis of photographic documents.

For scientific use, photographic documents are available in archival repositories. In Russia, this is primarily the RGAKFD (Russian State Archive of Film and Photo Documents) in the city of Krasnogorsk near Moscow. It stores over 1 million photo negatives and photographs. Digital technologies are used here mainly for intermediate operations in the process of document storage (accounting, correction of defects that cannot be eliminated during chemical-physical restoration). For storage, preference over other media is still given to silver-containing films, the durability of which has been verified by experience. Since 1998, the Central Moscow Archive Museum of Personal Collections (TSMAMLS) has been operating, storing archives of individual families, including many photographs. An extensive collection of captured photographs, thematically related to the two world wars, is available in the RGVA (Russian State Military Archive).

The US Library of Congress contains over 5,000 photographs taken by the outstanding documentary photographer Lewis Hine (1874 - 1940), who himself preferred to call himself a social photographer. At the beginning of the twentieth century. he actively participated in the movement for progressive reforms in the United States, drawing public attention, primarily to the problem of child labor. He took his photographs for the National Child Labor Committee, arranged their exhibitions, included them in pamphlets, leaflets, etc. Later, Hine worked for the American Red Cross, documented the working conditions of Pittsburgh steelworkers, filmed the construction of the giant Empire States Building in New York, recorded the consequences of the Great Depression of the 1930s, always remaining true to social themes.

In the EU, photographic collections are regarded as an important part of the cultural heritage. Within the framework of the project "Ensuring the preservation and accessibility of photographic images in European countries" in 2000, a report of the special European Commission "Preservation and digitization of photographic collections in Europe" was published, for the preparation of which questionnaires were sent to 300 different institutions (about 140 of them answered). The authors of the report especially emphasize the need to preserve valuable and fragile original images, draw attention to the compilation of descriptions of documents for digitization.

But historians (at least in our country) still rarely use photographic documents as a source in their studies, and if they use them, then almost exclusively in the form of separate illustrations to the text. Photographs of documentary value are best known in reproductions illustrating books or published in newspapers, and the explanations accompanying them are usually not very informative in terms of sources and often contain factual errors.

Sometimes individual photographs are published together with other documents in publications of a memorial nature that do not contain actual source comments. The same applies to photo albums specially published in memory of any events.

It is rare to find something like a kind of "photo diary" left by one of the participants in the First World War - a lieutenant in the medical service of the Italian army.

A historian who has a photograph in front of him needs to know or establish by whom, when, under what conditions, for what purposes it was made. An amateur shot will be different from a professional photographer's shot, it has more spontaneity, naturalness, especially if the people depicted in the picture did not know that they were being photographed. Another thing is a professionally made standard photo for an official document or a group shot (the composition is also standard, the faces are somewhat tense). In a portrait made in a photo studio, the background is not the objects surrounding the client in real everyday life, but some scenery. His posture responds to the notions of “body language” characteristic of a particular era or social environment, which the photographer was consciously or unconsciously guided by. Among professional photographers there are well-known masters of artistic photography, whose works should be analyzed taking into account the creative manner of the author, and, if possible, the circumstances of his life and work. The time of photography is not always fixed, and sometimes it is indicated approximately, so dating the pictures requires considerable effort.

If the studied photographic materials are stored in the archive (the original source is the product of the author's photography, which has not undergone any technical or compositional changes), then information about them on issues related to their origin can be found in the descriptions compiled by the archivists. A photograph as a source should be analyzed from the point of view of both form (characteristic of the visual object, its location, background objects and other details of the image), and content.

The importance of photographic materials in the corpus of documentary sources of a visual nature has long been recognized by historical science. Photographic documents are able to accurately and accurately convey the visible appearance of the objective world, to recreate the visual side of the facts. According to GOST 7.69-95 "SIBID. audiovisual documents. Basic terms and definitions” (introduced on 01.07.96), “a photographic document is an audiovisual document containing information, objects recorded on it by means of photographic technology in the form of separate photographic images”.

The advantage of a photographic frame is its ability to simultaneously not only depict reality and tell about the impression it makes, but also document it.

The ability to document accurately recreate pictures of the surrounding world, visibility in the depiction of reality, due to the imitative, mimetic nature of photography, creates the illusion of general understanding, public accessibility of the content of the latter. However, a photographic document cannot be considered an equivalent, a mechanical copy of reality. It bears both the features of the author's individuality of the photo chronicler and the signs of cultural conditioning and historicity of photographic reality itself.

Photographic materials are sometimes capable of capturing deeper information than a material source, since they give a visual representation not only about the thing itself, but also about the whole complex into which it is included: about the synchronous environment of its existence, ways of human interaction with it, etc. If we take into account that “a photograph certifies not only the moment captured in the picture, but also all the events “before” and “after”, then it should be recognized that, despite its static nature, it contains the potency of movement.

To group photographic materials by book business, we can rely on the classification of photographic sources, which was developed by E.M. Evgrafov in his work “Film and Photo Documents as a Historical Source” (M., 1973, p. 4). It is based on the content and nature of the captured objects. In accordance with these features, photographic documents are divided into:

genre, showing individual moments of events or facts of social, industrial, everyday life;

specific, fixing images of individual objects, areas;

portrait, depicting one or more persons.

The photochronicle of the book and the book business fits into the framework of this classification. It should be borne in mind that in some cases the line between groups is not so clear. So, for example, photographs representing portrait images against the background of the interior of a bookstore or printing house occupy a border position. In accordance with the objectives of a particular historical and bibliological research, photographic documents can be grouped according to thematic, geographical, and chronological features.

A photographic document as a material carrier of visual information has some features that must be taken into account when referring to it. This source in its origin undergoes two main phases, which are expressed in the processes of shooting and printing. Accordingly, the stages of the existence of a photographic document are different carriers of a photographic image: negative - the original (on film or glass), positive - the original (author's photo print). In order to protect the original from wear, a countertype can be made - a copy of the negative. The originality or copying of the latter is established according to certain criteria, which makes it possible to identify additional information from the source.

Analysis of a positive print is the main stage of acquaintance with the document. In archives and museums that have stocks of photo sources, an integral part of the card form of systematic and other catalogs is a control photo print. The catalog card performs an important source study and heuristic function. In addition to the visual component, the annotation contains data on the date and place of the shooting, the author of the shooting, the type and size of the original; archive number. The title of the document gives a brief description of its content. It should be noted that none of the above information is an absolutely mandatory requisite of the card. So, for example, in the sources of the 1920s. the author of the shooting is extremely rarely indicated; the date and attribution of the survey is often set presumptively or erroneously, which requires additional source study work: taking into account actual data, inscriptions, etc.

Even with a minimal presence of the author's principle in documentary filming, the visual and expressive technical means of photography are of great importance: format, focus, composition, sharpness, exposure, angle, lighting, etc. The visual perception of the image depends on them, and, consequently, the nature and volume of the information being read.

When studying the external features of photosources, the form of their existence is to be assessed. In particular, a photograph pasted on a passe-partout most often speaks of its representational character. These include group photographs of participants in congresses, members of societies, etc. (for example, a photograph of the participants of the 1st All-Russian Bibliographic Congress of December 6, 1924, stored in the fund of N.N. Orlov in the Department of Manuscripts of the Russian State Library). These photographs are usually stored in the personal archival funds of the figures depicted on them.

Iconographic materials made in the genre of ceremonial portraits have a similar character, in which the character is often depicted in a service setting. These include, for example, a photograph of the director of the Book Chamber N.F. Yanitsky in 1926 or a photo portrait of the director of the Pravda printing house S.S. Semenov 1929, stored in the archives.

When working with photographic documents as historical sources, it is advisable to introduce the concept of photoscripts, by analogy with film scripts that have become established in source studies (see section 5.1). Written texts included in the structure of a photographic document help to date, attribute, localize it; they clarify the plot of the photo, explain what is happening.

The most common texts of photoscripts are slogans, posters, announcements, signs, emblems. Thus, interesting observations are found when comparing the texts of slogans in photographs of book markets and exhibitions of the 1920s and 1930s. In the first case, they are festive, rhyming, often funny: “Books for children are sweeter than honey cakes”, “Every literate person needs to have a library”, “Every nation is weak in ignorance. With a book - a master, without a book - a slave "and others. However, since the early 1930s slogans are politically oriented phrases, Stalin's statements: "Greetings to Soviet schoolchildren", "Higher is the banner of the struggle for proletarian music", "There is no place in the Soviet school for an apolitical textbook." On one of the photographs of 1932 on a children's book kiosk in Catherine's Park, the slogan: "The Soviet book is a link in the solidarity of the world proletariat." It is characteristic that the visual series also corresponds with the photographic scripts: in the first case - festive crowds of people, in the second - half-empty territories of bazaars with a number of stalls of the same type.

The visual representation of the past reality has a great analytical and synthesizing potency. When studying a particular photographic source, the following stages of analysis of its pictorial side can be distinguished: 1) general acquaintance with the document, 2) determination of the figures and background of the photograph, 3) awareness of the relationship between parts and the whole, 4) synthesis of image perception. Analysis operations involve determining the object, time, place, authorship of the survey; establishing the degree of reliability of information produced by the source; understanding the degree of novelty of the source data in comparison with sources of other types and types. At the synthesis stage, their significance for the research topic and their place in a number of other sources are revealed.

When analyzing photographic documents, it is important to take into account their social nature, which is clearly manifested when compared with a related species - film documents. Movie sources have a more pronounced sociogenic character. Cinema was originally designed for reproduction in a large audience, for wide social and geographical distribution. It cannot be created outside of this goal, “on the table”. The status of cinematographic production determines the obligatory presence of an order in one form or another. On the contrary, photographic sources, which also reflect time in a figurative-formal basis, may turn out to be unclaimed in their era. Remaining unknown to contemporaries, they will be deprived of part of their "pre-source" being, therefore, incomplete as historical sources. Portability, relative cheapness and the individual nature of photography provide ample opportunities for proactive documentation of events, objects, characters. This feature significantly expands the field of photographic fixation and enhances the cognitive capabilities of this source. (The above applies more to amateur rather than official photography, since in Soviet conditions there were regulatory and legislative restrictions on photographing various events and objects).

Some researchers have noticed a peculiar historiographical component of photodocumentation. The author not only captures documentary moments that acquire historical value over time, not only creates a bank of visual data that can be used in different ways both in current and subsequent culture, but also acts as a researcher of a particular topic. This component, most often not explicitly manifested, creates additional difficulties in studying photographic documents as historical sources.

Of great cognitive importance is such an area of ​​photographic documentation as portrait images. Group portraits are exceptionally interesting for the historian. They make it possible to determine the quantitative, personal, social, and gender and age composition of various groups of book workers, delegates to congresses and conferences, and so on. Some of the photographs show a special corporate spirit of the community. (As an example, we can point to a group photograph of members of the Russian Society of Friends of the Book, deposited in the fund of N.N. Orlov in the department of manuscripts of the Russian State Library (OR RSL). 37 people are represented on it. Many have smiles on their faces; in the center of the group is the famous bust of Voltaire, who was present at all meetings of the RODK in the 1920s.)

When studying this variety of sources, one should take into account the semantics of group photographs from different eras: the location and postures of people, the surroundings, facial expressions, costumes, etc. These meaningful details and signs of the era are historical and subject to a certain cultural canon and tradition.

A special form of organizing photo-documentary sources is a photo album. It is distinguished by a special orientation of the material, known tightness. The meaning of each of the photographs included in it is fully revealed in the context of the general array.

From the point of view of the reliability of specific historical realities recorded on photographic film, a specially constructed genre shot with posing characters is less interesting. However, one should not underestimate the cognitive potential of photographic documents with clear signs of staging. The multivalence of photographic materials in terms of information content gives them documentary and historical value in this case as well. Here it is important to determine the fact, purpose and nature of the mise-en-scene. It is noteworthy that the very setting of photographs in the 1920s and 1930s. diverse. If for the 1920s, when photography had not yet become an ordinary event, the direct look of the characters into the lens was common, then later the staged shot begins to carry a symbolic and ideological load. The image is deliberately generalized, typified. The heroes of the shooting never look at the camera, they are allegedly taken by surprise at work or at home, however, the nature of the display and interpretation of reality does not give rise to a feeling of spontaneity, momentary action, natural behavior.

In a number of textbooks and scientific publications, photographic documents were subjected to source analysis. The most complete issues of typology and methods of working with photo sources are considered in the doctoral dissertation and publications of V.M. Magidov. He comprehensively investigated the problems of source criticism of film, photo and sound documents; their identification and selection, classification, questions of origin, etc. V.M. Magidov formulated the most important specific features of photographic documents as one of the means of capturing reality through photographic equipment, among them: the ability to instantly record the facts of real transient life; limited possibilities of cognition outside the photo frame; the relationship between the aesthetic and cognitive value of photographic documents, etc.

In bibliology, the attitude to photography is still preserved as an auxiliary, illustrative material that complements, “decorates” the text of the study. As an independent source on the history of the book, photographic documents did not become the subject of scientific understanding. The most actively reproduced in publications is iconographic photographic material, as well as specific book visual attributes - title pages and covers of publications. The latter provides visualization of historical and bibliographic works and plays an important role in the promotion of book culture. However, the status of historical sources cannot be recognized for these images, except in cases where the subject matter - the source in the form of a publication - has been lost and is not available in public and private libraries. (The publication of a photograph of the writer's manuscript can serve as an analogy).

The main array of archival photographic materials on the history of the book is contained in the Russian State Archive of Film and Photo Documents and in the Central Archive of Audiovisual Documents in Moscow. The information necessary to identify photographic documents is concentrated in a systematic catalog. Inside the sections, the cards are arranged alphabetically, subject-wise and geographically in chronological order. A heuristic feature of historical and book materials, arising from their object-subject status, is that the search for documents cannot be limited exclusively to sections: "Printing", "Publishing houses", "Book trade", "Libraries", etc. Information about individual documents is recorded in the sections: "Life", "Holidays", "Prisons" and others. The corpus of portrait and genre photographic sources is supplemented by materials deposited in the personal funds of the book workers in the Department of Manuscripts of the RSL, the Russian State Archive of Literature and Art, the Central Archive of Documentary Collections of Moscow and other archives.

An analysis of the content of the identified photographic documents (see Appendix 2) made it possible to identify several subject-thematic complexes that illuminate various aspects of the existence of the book. The most representative in terms of volume and most emotionally saturated is the block of materials on book trade. Most of them date back to the 1930s. Photos capture the appearance and windows of shops, kiosks, book bases. Photo sources provide an opportunity to get a visual representation of the various types of book trade enterprises: the House of the International Book, which used the self-service method (1933); exemplary store Mogiza (1935).

The activities of the Moscow children's book store (1934-1935) are covered in sufficient detail in photographic materials. Work among child readers, child buyers was given in the 1930s. great attention. The authors of the filming got into the field of view of the interior of a spacious store with low counters with steps specially designed for children; classes with children of teachers, etc.

The mass forms and methods of book distribution in the 1920s and 1930s were widely covered: the sale of books on credit (1929), non-store forms of trade, including mobile and booksellers. Photographic documents make it possible to study in detail the various equipment and equipment used by the booksellers: vans, wagons, wagons, showcases, counters, boxes, boxes, suitcases, bags, knapsacks. Most of the photo stories dedicated to the work of collective farm stalls are lively and authentic. So, for example, in the photograph of 1933, collective farmers were photographed, surrounding the kiosk of the Novo-Annensky branch of the Book Center. Photographic documents give an idea of ​​the additional non-commercial work carried out by the kiosks. For example, in another photograph, a poster is visible on a kiosk: "Here you can get advice on how the collective agreement should be concluded in 1933."

A special group is made up of photographs depicting the bookselling service for such an important category of book consumers as the Red Army soldiers.

Various photographs of the bookselling theme of the 1920s. deposited in the G.I. Porshnev at the State Public Scientific and Technical Library of the Siberian Branch of the Russian Academy of Sciences (SPNTB SB RAS) (Novosibirsk). Here are the facades and interiors of the trading floors of enterprises of the State Publishing House, views of various exhibitions. Particularly highlighted in the collection are photographs that detail the activities of the book market on Tverskoy Boulevard in Moscow (thematic stands and counters, theatrical performances and attractions, a book vending machine, etc.). Of exceptional value are unique photographs of the 1930s, which depict the library of the NKVD camp during the construction of the White Sea-Baltic Canal.

Of great source value are photographs of ruins and stalls of second-hand booksellers near the Kitaigorod wall and on Mokhovaya Street, near the grate of the first Moscow State University (1928, 1933). The significance of these shots is that they capture the living urban environment in which trade took place. They visibly confirm the evidence of other sources about the interest of buyers in the books exhibited at the ruins. So, for example, in the chapter “At the Kitaigorod Wall” in the memoirs of L.A. Glezer's "Notes of a second-hand book dealer" (M., 1989, p. 9) contains an undated photograph of a book wreck, around which people crowd. From the photographs one can judge the nature of the layout of the books; on one of them the names are distinguishable (in particular, the works of J. London).

The secondhand theme is complemented by photographs depicting the interior of the exemplary Mogiza antique shop (1935,1937).

Among the stories, a group of photographic sources stands out in terms of volume and content, dedicated to the promotion and distribution of the book at book markets, demonstrations, etc. An addition to the vast corpus of film materials on this topic are photographs, in which the book market on Tverskoy Boulevard is recorded in different plans and angles, however, compared to film sources, they do not provide new touches in the coverage of this sunset. Nevertheless, these documents should be taken into account as a fact of active and purposeful photographic fixation of an important event in cultural life.

Of greater interest is a series of seven photographs dedicated to the demonstration on Press Day (1929). This story was not reflected in other sources. Photo frames captured a mass procession through the streets of Moscow of joyful, laughing children and adults, with posters, book models, drums and loudspeakers. Passers-by can be seen on the sidewalks of Tverskaya Street, watching the procession. Models of books by Chekhov, Barto, Zhitkov, “Young Mechanic”, “Young Binder”, “Building Flying Models”, etc. can be seen in the columns of demonstrators. On the poster you can read the slogan: “Thicker book, Simpler font, Larger print - More fun to read ".

On the example of comparing a selection of four photographs "Library Collector of Glavpolitprosveta" (1926) with the plot of "Kinopravda" No. 19 (1924) about the same institution, it is possible to see the difference in the representation of reality between two related types of sources. Photo documents give an image of unloading, disassembling, laying out large packs of brochures on the shelves. A similar situation was filmed by the authors of the film document, but it is presented with vivid details and plot twists that are inaccessible to camera capture. In particular, workers are shown talking at the table; visitors present documents to collector employees, who direct them to another room, etc.

Widespread coverage in photographic documents received library theme. Primary attention is paid to the display of mass working libraries, club reading rooms, and factory libraries. Librarianship of the provinces is abundantly represented: the central region, the Volga region, the Northern Black Sea region, and Siberia. Photographs give an idea of ​​the general situation, details of the premises, equipment, readers, staff, and in some cases - of the library collections.

Some photographs are interesting with unexpected details, revealing known facts in a new way. So, in a picture from the time of the Civil War, showing a reading room in a Red Army club, a poster hangs on the wall next to the portraits of Lenin, Trotsky and Marx: “Gg. readers should not carry magazines and newspapers to other rooms and do not take them with them. The photoscript indicates that during this period the Red Army clubs occupied the premises of city and other libraries.

Active methods of library services to the population received coverage: delivery of books to readers at home; mobile workers, collective-farm, city libraries; transport reading rooms. There are photographs dedicated to the loud reading of books.

A separate group of subjects is made up of photographs taken in correctional labor institutions and showing prisoners reading in reading libraries (Lefortovsky Correctional House, Belomorstroy). Photographs by A. Velsky and A.G. Lemberg, which were not included in the famous book “The White-Sea-Baltic Canal named after Stalin. History of construction” (M., 1934), which show several photographic images of the library and readers.

An important addition to written and cinematographic sources can be photography of readers' conferences with the participation of writers: A.A. Fadeeva, A.S. Novikov-Priboy, Yu.N. Libedinsky, SM. Gorodetsky and others.

Much more poorly covered in photographic documents editorial and publishing activities. This can be explained by the absence of an outwardly bright and expressive visual range in it, the non-manifestation of production processes outside. In the materials of the Russian State Archive of Film and Photo Fund Documents (RGAKFD), little attention is paid to Gosizdat, it is mainly a show of the official celebration of the anniversary of the publishing house in 1929. A few evidence of the activities of Uchpedgiz, Detgiz and the Young Guard date back to the 1930s. and reflect the preparation of textbooks in national languages, the work of editors with authors, and the involvement of readers in the discussion and evaluation of manuscripts.

The RGAKFD stores a significant thematic complex, representing printing industry. The photographic film recorded general and close-ups of the 1st Exemplary Printing House, the Krasny Proletarian, Izvestia, Printing House and others factories. The activities of Pravda, the largest Soviet printing house of the 1930s, received the most complete coverage. The equipment of workshops, moments of production processes are captured in detail.

As a separate group of photographic subjects, frames are singled out that recorded the printing of revolutionary literature in foreign, in particular, Eastern languages, which was an important element of Soviet international policy. Particularly interesting are the shots of a Chinese typesetting workshop, with equipment adapted to the vertical arrangement of lines of text.

An addition to the printing theme are photographic documents deposited in the museum part of the archive of the Krasny Proletarian printing house. Unfortunately, the state of the museum of the enterprise at present does not allow to fully study and put into scientific circulation the materials available in it. Based on familiarization with the available exhibits, 42 negatives of the 1930s were identified, including those on glass plates, on which various production processes and workers' training were recorded.

In general, the very nature of the object of photodocumentation in the printing industry gives rise to a more monotonous visual range than in other areas of the book business.

The funds of the Central Archive of Audiovisual Documents in Moscow (TsAADM) open an unexpected and unknown page in the history of the book of the era of the 1920-1930s. In the collection of photographer A.V. Motylev presents the life of the All-Russian Society of the Deaf in its various manifestations, including the work of VOG members in the printing house, their rest in the library. You can get an idea about the premises, equipment, volume of production, staff of a small printing house of the company.

Photographic documents show in relief such an important form of Soviet book propaganda, as book exhibitions of different ranks - from store and shop to all-Union. These materials allow you to see the exhibition equipment, evaluate the methods and approaches to the presentation of books in different years. Some of the exhibitions are presented in great detail by a series of photographs, approaching the genre of photo reportage. Such, for example, is a series of shots dedicated to the book exhibition at the Press House (1928). The RGAKFD deposited a photograph taken at the anniversary exhibition of the State Publishing House in 1929, depicting M. Gorky, the head of the State Publishing House A.B. Khalatov. Another plan is presented in a photograph preserved in the archive of G.I. Porshnev, one of the organizers of the exhibition.

The RGAKFD revealed several photographic documents revealing the features of the work of the Museum of Children's Books for 1932-1937. A certain limitation of these photographs in comparison with film materials and written sources is obvious. The photographs show groups of children reading at a table, writing in a guest book. The main interest lies in the photograph, which clearly demonstrates one of the diverse methods of exhibition work used in the Museum. The tour guide is filmed with a special device with two windows and the inscription "Guess where." Since such a "responsible book" was first used in 1929 at an exhibition of Soviet children's books, this indicates the successful use of a successful experience (the photograph is dated 1932).

On the basis of photographic documents, one can get a certain idea of ​​the appearance of the Moscow and regional Houses (Palaces) of the book (print). The iconography of book companies, as well as the iconography of Moscow streets and squares (RGAKFD, TsAADM, photo libraries of the Museum of the History of Moscow and the State Research Museum of Architecture named after A.V. Shchusev) correspond with the types of postcard products on this subject.

The RGAKFD holds photo album No. 252 “The Academy of Sciences of the USSR - to the XVII Congress of the All-Union Communist Party of Bolsheviks” (1934). It includes more than 200 photographs covering various aspects of the Academy's activities. Among them are images of a type-setting shop in an academic printing house and the interior of a bookstore of the publishing house of the USSR Academy of Sciences. The latter is interesting for its striking difference from the premises of ordinary bookselling enterprises of that time (a table with a tablecloth, a lamp with a shade, etc.). It is noteworthy that in the official album, the photograph emphasizes the mood of comfort, the intelligent atmosphere of the store.

The collection of photo albums of the film and photo section of the Russian State Archive of Socio-Political History contains several storage units that contain materials on the history of the book. In particular, in the album “To Comrade Delegate of the II Congress of the Third Communist International from the Moscow Committee of the R.K.P. July 27, 1920" there is a picture of a large group of people, including children, with Centropechat ribbons over their shoulders. The photo album "The Palace of Labor" (1919), presented to the Swedish communist O. Grinlund, shows the library of the Palace. One of the albums reflected the activities of propaganda trains. These photographs make it possible to expand the source base of this story, since none of them has an analogy with known photographic and film documents.

Unusual and interesting photographic material is contained in the scan album of Moscow's Gorky Street before its reconstruction and the demolition of many houses in the mid-1930s. In this source, stored in the photo library of GNIMA them. A.V. Shchusev, the facades of all bookstores located on the central street of Moscow in the first half of the 1930s are consistently depicted. The document provides a unique opportunity to determine in a complex the exact topographic location of bookselling enterprises and visualize them in an urban environment that has long ceased to exist.

Photographic materials deserve special attention, which, having nothing to do with the field of book business, speak about the specifics of the existence of a book. So, since the mid-1930s. in everyday life, it has become a symbol of a certain status of a person, a sign of integrity, a clear evidence of improved living conditions, prosperity. In genre photographs representing characters in a home interior, there are always shelves or a bookcase with books. In one case - in the photograph "The room of a gas plant worker in B. Kazennoy per." (1939) - one can see the collected works of V.I. Lenin, crowned with portraits of Stalin and Kalinin. In another photo - “The family of the engineer SI. Kozlova in her apartment” - a family of five is shown reading at the table.

Since the mid 1930s. in the corpus of photographic documents, plots are rooted, which are characterized by a certain set of decision methods and a traditional scheme of embodiment. The usual genre scene "customer in a bookstore" loses its spontaneity and bears traces of directing. A characteristic feature of such photographs is the obligatory presentation of the hero of the shooting by name and place of work (profession, social status). The hero is usually filmed buying a book of high social status: a collection dedicated to the memory of SM. Kirov, literature on elections to the Supreme Council, collected works of V.I. Lenin, etc. In photographic documents of the library theme of the middle - second half of the 1930s. also emphasized the iconic nature of the book, reading, library as an authoritative ideological symbol. As in bookselling photographic materials, the “correct” selection of library collections (“literature on the question of the Stalinist constitution”) is pedaled, and readers are emphasized as belonging to a respected category of workers (“Stakhanovite M.N. Gusev”).

Valuable source information is contained in the visual range of professional periodicals. This extensive photo complex reproduces the interiors and exterior of book trade enterprises of all levels, illustrates the forms and methods of book distribution, advertising and propaganda of the book, used in different years. The abundant iconography of ordinary bookselling workers, captured on the pages of periodicals, makes it possible to approach the reconstruction of their generalized socio-cultural portrait, which is important, given the lack of information on this issue.

An analysis of the subjects of photographic materials shows that in 1927-1929. book markets in Moscow and other cities (dozens of photographs), as well as topics of vocational education, book exhibitions and celebrations of the tenth anniversary of Gosizdat prevailed among the subjects. Non-store forms of trade of the State Publishing House are also displayed - kiosks on the streets, at enterprises, in educational institutions, etc. Since 1930, the expression in the display of mass events has been declining. In subsequent years, photographs in the magazine documented those areas of development of the book trade, which were recognized as priorities at different stages. Mass forms and methods of promoting the book are mainly reflected. Non-store trade is represented by kiosks at factories, political departments of the MTS, collective farms, military camps, and parks. The work of booksellers, propaganda vans, propaganda carts is widely shown.

Since the mid 1930s. the center of gravity is transferred to photographing the interiors and showcases of the best bookstores (the House of Children's Books, the House of International Books, shops of scientists, Soviet writers, antiques), as well as customer service processes. So, for example, an interesting detail is conveyed by a photograph of the interior of the Mogiza store No. 52, on which a poster is visible: “Attention! Students of the Medical Institute are given literature in installments. This was a reflection of the change in course towards the priority development of the retail link of the book trade.

In the 1930s new genres of photojournalism are being developed in Soviet periodicals. In the "Book Front" and "Soviet Book" such materials were made by TASS correspondent A. Bazilevich. A photo essay on the release of stable textbooks (1934), a photo study about child buyers (1937) was published. A characteristic feature of the embodiment of these genres was the unnaturalness, the obvious orchestration of the fixed scenes. The main thing in photographs is not information, but their interpretive function, which is expressed in the transfer of meaning from a visual element to a text one - a signature.

So, for example, the photo essay “On a day off in the bookstores of Moscow” (1936) is provided with the following captions under the photographs: “Stakhanovite locksmith of the Avtoshtamp plant, Boyarsky A.M. Bought Dead Souls. He saw the play at the Art Theater and now wants to read it”; “Professor of Economic Sciences PEI Gosplan of the USSR Vanke ML. Registered as a regular customer in the store for scientists. He received another notice of new books. Going there, the professor bought Mommsen's History of Rome, Dosev's Reflection Theory, and Damen's Roosevelt's Politics. Taking the opportunity, the professor decided to look through the card index of literature. Thus, the content of the picture was programmed. In the text of the caption to intra-magazine photographs of the 1930s. an assessment of the represented event or fact of the book business was laid latently.

When considering these materials as historical and bibliological sources, one should separate their narrative and semantic plans. A photograph can truthfully convey the fact of a buyer visiting a store, visiting Stakhanovite booksellers at home, the location of departments on the trading floor, etc. However, the fact of this or that behavior of the buyer, his interaction with the seller, etc. cannot be considered certified. The need to take into account two plans is a prerequisite for source criticism of photographic materials in periodicals.

So, we can conclude that the book is captured in photographs of a wide thematic and genre spectrum, although in general, photographic documentation of various subjects is fragmentary. The introduction of archival and published photographic materials into scientific circulation makes it possible to expand the source field of research. Giving a sensual visual representation of the facts of historical reality, they participate in the formation of historical and bibliological knowledge at the factological and content levels.

As a source on the history of the book, it did not attract the special attention of researchers.

The classification features of documentary postcards can be considered the content and nature of the captured objects, which was proposed for photographic documents by E.M. Evgrafov, who divided them into genre (event), specific and portrait. In terms of form, photo postcards can be presented in the form of original photographs printed from a negative in a small edition, and in the form of reproductions printed in a typographical way.

When working with postcards as a historical source, it should be borne in mind that they belong to the group of replicated photographic documents and have such features as a focus on publication, the presence of "co-authors" of the document (photographer - publisher - printer). This is the fundamental difference between postcards and original photographs. The main social function of postcards as a type of postal correspondence is associated with a number of external features of the source, expressed in the presence of a postal form: two sides (address and illustrative), space for text and stamps, a dividing line, a publishing stamp, etc. These details help with dating, attribution of postcards, and determining the source of the shooting. It should be noted, however, that the imprint of postcards of the 1920s-1930s. very stingy. The year of issue is not always indicated in them. An indirect dating sign can be considered the inventory number of the postcard in the collection of the Art Publications Department of the Russian State Library (IZO RSL), which in all cases when the date is fixed, coincides with it. In the 1920s the author of the shooting was not indicated, later this attribute became almost mandatory.

Another peculiarity of postcard materials was that within the circulation, due to the peculiarities of the printing process, there was a different quality of products: uneven print clarity, different shades of colors. Moreover, sometimes even a slight difference in plan and angle is noticeable, and, consequently, in the scale and location of the subject. Therefore, whenever possible, it is recommended to get acquainted with several copies of the same publication.

The main source information on the history of the book contained in the postcards is contained in the views of Moscow and Leningrad. The urban view as a historical source is able to provide data on a wide range of issues. It allows you to identify the topographic location of an object; determine the exterior of buildings (including the appearance of shop windows) in synchronous mode. A high-quality image makes it possible to feel the atmosphere of the urban environment, the aura surrounding the object under study, in its relationship with a person. The noted replication of postcard products, in contrast to the "easel" photography, to a greater extent than the latter, speaks of the hierarchy of photographic objects, their comparative value for contemporaries, and the directions of their propaganda.

In museum and archival collections, such material is usually arranged according to topographic units, which facilitates its identification.

In postcards of the 1920-1930s. The theme of the book is well represented. First of all, these are bookselling enterprises, since they, in comparison with other buildings of a book profile, most actively form the urban landscape and are closest to the consumer of printed products. It is no coincidence that almost all the images in front of bookstores show people window shopping.

The most representative in this group are the views of Pushkinskaya (Strastnaya) Square and Gorky (Tverskaya) Street. On postcards of 1933 and 1935. The largest two-story bookstore, the House of International Books, is presented from different angles. The techniques of decorating large showcases are clearly distinguishable: frontal laying out of books, a portrait of I.V. Stalin and other pictorial elements. The general impression is that in 1935 the design of the store became more formal and drier. In 1933, a sign "Book House for foreign workers in the USSR" (House of Books for Foreign Workers in the USSR) was placed on the pediment, in 1935 - "International Book House - House of International Books". The angles of both shootings are different, which allows you to perceive the view of the store more voluminously. The date of filming can be determined quite accurately from the poster of the Tsentralny cinema on the opposite (later demolished) side of Gorky Street.

Views of the Kuznetsky Bridge show the Central Book Warehouse of the Moscow City Council, the New Moscow Publishing House (not later than 1926), on Tverskaya Street - the Bezbozhnik bookstore (1930).

Of the Leningrad views, the House of the Book should be noted, which, judging by the considerable number of publications, was one of the sights of the city. The postcard of 1930 is especially representative, which allows you to study in detail the nature of the book display in the windows and evaluate the overall solemn and elegant appearance of the “House under the Globe”.

Libraries appear among the photographs. So, there is a view of the Institute of Library Science of the Library. IN AND. Lenin (1927). The hall of especially valuable books of the GPB im. M.E. Saltykov-Shchedrin.

Some view postcards border on event (plot) postcards. Such, for example, are postcards from the Izogiz Industrial Series of 1931-1932, showing a rotary machine in the Rabochaya Gazeta printing house and Linotype in the Pravda printing house. In addition to the demonstration of equipment, there is an image of workers at the time of production operations. After the opening of the new largest printing plant in the country of the Pravda newspaper, it began to appear more often than others on postcards, along with the Izvestia building, which since 1927 has remained one of the sights of Moscow. There is also another large Moscow printing house - "Red Proletarian".

Compared to pre-revolutionary landscape photographs, postcards from the Soviet era provide fewer opportunities for study. At the beginning of the XX century. The phototypes of Scherer, Nabgolts and Co. and P. Von-Girgenson produced many views of the center of Moscow, in which Nikolskaya, Mokhovaya, Myasnitskaya and other streets are presented in great detail, including a detailed display of bookstores and printing houses. Their distinctive feature was that a person was always present in them, not only typical, but also personally. The atmosphere of Nikolskaya Street and the Prolomny Gates is especially well recreated (Synodal printing house and bookstore, I.P. Silin's trade). On one of the postcards depicting the bookstore "Jurisprudence" I.K. Golubeva, one can see how the clerk, standing on a chair, puts books on the outer display case; a passer-by examines another shop window. Views of Mokhovaya Street (I.M. Fadeev), Neglinny Proezd (A.S. Suvorin, P.I. Yurgenson) are presented. The undated postcards dedicated to the Synodal Printing House depict the interiors of the typesetting chamber with compositors at work, as well as the bookstore.

By the 1930s people on postcards turn into staff figures. General plans of the reconstructed highways begin to dominate in the visual representations, and book enterprises as such become almost indistinguishable.

Another kind of postcard array is promotional materials. The commercial and propagandistic nature determines the external form of these postcards: expanded text, bright drawing or font design, an indication of the terms of the subscription. An analysis of an array of promotional materials shows that periodicals, not books, were given priority in distribution.

In general, the limited plot repertoire of book postcards within the framework of one main variety makes it possible to use them as a historical book source within very narrow limits, although it does not close the possibility of such an application.