VREG Blog

Cased photograph is a term used to describe a class of photographs popularized in the mid-19th century that includes daguerreotypes, ambrotypes and tintypes. The ‘case’ refers to the small wooden hinged case that houses these photographs. The photographic plate is typically enclosed in a sealed package, consisting of a sheet of cover glass, a brass mat, and a metal foil preserver. The protective wooden case can be highly decorative, covered in tooled leather, paper, cloth, or early molded thermoplastic (see Union case). Examples of ornate cases: (Left) Tooled leather covering on a wooden case from the Rogers Family fonds (AM1368). (Right) A Union case from the Thomas Wicks fonds (AM236). Photo: Dorcas Tong. Illustration of the different components in a cased photograph. Image source: MediaWiki. “PMG Cased Photographs.” 2011. https://www.conservation-wiki.com/wiki/PMG_Cased_Photographs . Aside from their shared presentation format, these photographs are uniquely different photographic processes. A daguerreotype is a direct positive photograph on a copper plate coated with a polished layer of metallic silver. Daguerreotypes are characteristically identified by their highly reflective mirror-like surface and their ability to appear as both a positive and a negative simultaneously, depending on the angle they are viewed at. An ambrotype is a wet-collodion negative on a glass plate that appears as a positive due to the presence of a dark background, either in the form of paint (lacquer), fabric or paper. A tintype is a wet-collodion direct positive on a lacquered iron plate. Characteristic mirror-like surface of a daguerreotype from the Rogers Family fonds (AM1368). Photos: Dorcas Tong. Finding a cased photograph in most archival collections can range from an uncommon to a rare occurrence. Given the rarity of this form of record, we decided to prioritize the conservation treatment and digitization of the daguerreotypes (and a few ambrotypes) in our holdings during the latest round of annual digitization cleanup. Conservation Issues with Cased Photographs The overall treatment objective is to address three common issues found in cased photographs: The accumulation of heavy surface grime and accretions from years of handling and from inappropriate storage environment. Broken seal on the packaged plate resulting in the introduction of atmospheric pollutants, which causes corrosion on the brass mats and tarnishing on the image silver on the daguerreotypes. Physical damage, usually as partially or fully broken hinge in the case, often leading to the loss of the cover or the case entirely. Unlike other types of records commonly found in archives, where the original enclosure may hold little informational value to the item, the ornate housing for cased photographs play an integral part to their overall aesthetics. Not only do they provide period-appropriate framing for the image, but the case is instrumental in protecting these photographs against various mechanical and chemical deterioration mechanisms. Therefore, addressing the conservation issues for the case is equally as important as stabilizing the condition of the photographs themselves. Conservation Treatment A total of six case photographs from the Rogers family fonds were treated, each with its own set of conservation issues. Two 1840s-era daguerreotypes, “Portrait of an unidentified woman” and “John and Isabella Fairweather,” and their cases will be focused here to highlight the key steps in the treatment. Each packaged daguerreotype was carefully separated from its tray case with a microspatula, taking care not to touch the delicate image silver, as it is very susceptible to scratches. Although disassembly is not normally recommended for sealed daguerreotypes, it was clear by the remnants of old sealing tape that the original seals were broken long before their arrival at the Archives. Therefore, disassembly was justified as it allowed for cleaning that will benefit the long-term preservation of these photographs and produce digitized images with a higher clarity. A daguerreotype is separated from its tray case with a microspatula (left), revealing the tarnished image silver caused by the brass mat. The remnants of old sealing tape are visible on the back of a packaged plate (right). Photos: Dorcas Tong. After disassembly, each component of the plate package was cleaned, the remnants of the old tape removed to allow for better adhesion to the new sealing tape. The heavy accumulation of surface grime on the cover glass, brass mat and preserver were cleaned with a solvent solution. Although the dark corrosion products on the brass mat are disfiguring, they were left in-situ. Since the treated daguerreotypes will be rehoused in a controlled environmental climate in the Archives’ storage, the corrosion products will not pose an immediate risk to the stability of the object. Larger accretions trapped in the recessed features of the brass preserver were gently dislodged. A thin layer of microcrystalline wax was applied and buffed on the metal-foil preserver to deter future oxidation. The surface dirt on the image silver was very gently removed using a soft bristled brush. The loose accretions and dust trapped in the fabric lining of the cases were brushed and vacuumed away. Heavy surface soil on the cover glass removed with solvent cleaning. Photo: Dorcas Tong. After all the components of the daguerreotype packages were cleaned, they were reassembled in their original orientation and sealed with an archival quality pressure-sensitive tape. An unbuffered, ‘4-flap’ paper enclosure was added to the verso of the plate package to prevent direct contact between the acrylic-based sealing tape and the daguerreotype. An unbuffered, ‘4-flap’ paper enclosure in a daguerreotype package (left) and a plate package being sealed with archival quality pressure-sensitive tape

J F Langer built a series of new theatres in Vancouver. This was one of them, The Windsor, on the corner of West 25th (King Edward today) and Main Street. It was 50 feet wide and could seat 641. Joseph Francis Langer was born in Prussia (now Poland) in 1872, and his family moved before he was six to South Africa, where his father owned a gold mine in the Transvaal. The blog ‘Vancouver As It Was’ has done all the heavy lifting on his history, and we’ve borrowed a few highlights here. Joseph learned a trade as a bricklayer, worked briefly in London and then returned to South Africa, where he became a builder. He married in 1893, and there were nine children, with the youngest born in Vancouver in 1912. In 1908 he was building in San Francisco, and arrived here a year later. By 1912 he was building some sizeable apartment projects, just as the economy was tanking. Although he claimed to have no resources when he left for England in 1914, he apparently still had some investments, and was able to start up as a builder in England, where he was very successful, despite a shortage of workers, with the war in full swing. He became a developer of planned suburbs, and in less than a decade “his net worth, by his own admission, was in the vicinity of $2 million”. He ‘retired’ to Vancouver in 1923, aged 51, but was soon clearly bored. Two years after he arrived (moving to Woodland Drive, a Vancouver ‘suburb’ he had helped build), he was married to a close family friend (as soon as her divorce came through), in Washington State. (Seven months later his divorce from his first wife was confirmed). J F had moved to Shaughnessy Heights, where he had both a maroon Rolls Royce and a Daimler, with a chauffeur in matching livery. In 1924 he developed six almost identical movie theatres, of which this was one, recorded on the permit as costing $70,000.  W M Dodd was the architect for the chain of suburban movie theatres, but Langer’s next, much larger project was in 1927, The Orpheum on Granville Street, designed by B Marcus Priteca, a specialist in large theatre designs, and costing Langer $1.25 million. He leased it to the Orpheum Circuit, and in 1929 sold his theatre interests to Famous Players Canadian Corporation and invested in a gold mine. The timing was awful; while the stock exchange crash and subsequent depression did movie theatres no good, it also collapsed the price of gold. Down, but by no means broke, he returned to England. His wife separated in 1931, and sued for $400 a month a year later. J F Langer was found dead, below an open window at his son’s home, aged 76, in 1948. The Windsor, like several other suburban Famous Players theatres, only survived until 1955, as television started to keep families entertained at home. The site was redeveloped as a Shell gas station, which closed in the early 2000s, and ten years ago ‘On Main’ was completed, with 38 strata units over retail, addressed to West 24th (as this is a short block), designed by Raymond Letkeman Architects. Image source: City of Vancouver Archives Bu N332 1412

Want to learn how to cook tempeh on the stove in 10 minutes? This easy pan fried tempeh needs 3 ingredients: tempeh, oil and salt, and will give you delicious results with minimal effort! Whenever people ask me what the key to cooking tempeh is, I always tell them one thing: oil. If you want to cook it quickly on the stove and you’re not using a tempeh marinade, oil is everything. Tempeh absorbs a lot of oil when being sautéed or fried, so it’s really important you add enough so it doesn’t dry out. If you follow this simple guideline, all you need to do is add a little salt to enhance the tempeh’s natural flavour (unlike tofu, it has a subtle savory nutty flavor) and you’ll have one delicious plant-based protein that’s naturally gluten free. This recipe takes minutes to make and you can add your cooked tempeh to any dish you like: kale salads , grain bowls, noodles, stir fries – you name it. It’s my favorite way of eating it hands down! Why you’ll love this easy recipe Great source of protein – One serving of this tempeh contains approximately 12 grams of protein. Serve with your favourite plant-based main to make a complete protein-packed dish. It’s SO easy – 3 simple ingredients and just a few minutes on the stove. In my opinion, it’s the best way to eat tempeh and the easiest cooking method I know. No marinades needed – Just oil and a little salt to give you slightly crispy tempeh and bring out its natural earthy flavor. Naturally prebiotic – Tempeh contains prebiotics, which can be good for the gut and reduce inflammation! Love what you see? Get my once-monthly newsletter with my latest recipes straight to your inbox! Yes, I agree to the processing of my personal data to receive email marketing. /* real people should not fill this in and expect good things – do not remove this or risk form bot signups */ Leave this field empty if you’re human: How is tempeh made? Tempeh is a traditionally Indonesian food and is a popular meat substitute or protein source. It has a hearty texture that is made from whole soybeans. Once the beans are cooked, they are left to ferment in a cake-like form. Often other ingredients such as rice and various grains are combined with the beans to create different varieties of tempeh. Tempeh is different to tofu because it is fermented, keeps the whole soy bean intact and has a firm texture. How to fry tempeh Cut your block of tempeh into small flat rectangles or thin strips about ¾ cm thick. Heat a large skillet or non-stick pan on medium-high heat and add half the oil. When oil is hot, add tempeh pieces flat side down in a single layer and season lightly with salt. Pan-fry tempeh for about 3 minutes until underside is golden brown, then flip over and add remaining oil. Fry another 2-3 minutes until golden. Check taste and re-season with salt if needed. Ensure all sides of tempeh are cooked. Add to your favourite noodles or salad. You can even add it to stir fried vegetables for a tempeh stir fry. Enjoy! Check out my step-by-step guide on how to cook tempeh in a pan . Important tip Don’t scrimp on oil – Although often we prefer to minimize the oil we cook with, for this recipe I really recommend being generous with it. Here’s why: tempeh absorbs a lot of oil and dries out very easily when being cooked without a marinade. Adding enough oil will ensure this recipe tastes succulent and delicious, not dry and cardboard-like! What to eat this tempeh with Enjoy it in a sandwich, with brown rice, or in any of the following dishes for an easy dinner recipe: Easy Eggplant Stir Fry with Garlic Sauce Easy Maple Roasted Carrots Easy Pasta Al Pesto (Linguine with Pesto) Thanksgiving Salad with Brussels Sprouts & Butternut Squash (vegan) Storage Store any uneaten sautéed tempeh in an airtight container in the fridge for 3-4 days. I do not recommend freezing it after cooking as it will dry out. (Make a batch for your weekly meal prep: it makes a great addition to vegetable dishes for a quick boost of protein!) Variations Homemade tempeh bacon recipe – Add liquid smoke, soy sauce, smoked paprika, maple syrup (or brown sugar) and garlic powder to the pan with tempeh slices and fry as instructed. Easy baked tempeh recipe – If you prefer to bake tempeh rather than fry, simply add tempeh and 2 tablespoon oil to an ovenproof dish, season with salt and bake at 400°F/205°C for 20 minutes, flipping halfway through. FAQs Can you eat tempeh raw? Does it need to be cooked? Most tempeh these days is pasteurized, but to the on the safe side it’s still best to cook it thoroughly before eating. Can tempeh go bad? Tempeh can spoil/go bad if left too long. To be on the safe side, keep it unopened until ready to cook and use before the use-by date on the packaging. Is tempeh vegan? Yes, tempeh is a vegan protein, made typically from soy beans. It is suitable for those on a plant-based diet. Where can I find tempeh? You can buy tempeh in any health food store, and many supermarkets and grocery stores