The day is finally here! The convention kicked off with a mixer this evening at Lou’s Athletic Club in Brooklyn. Swag bags were distributed and merriment ensued.

Hungarian archivist and historian János Mátyás Balogh let us know about a short essay he wrote on Anatol Josepho for the Hungarian National Archives. The essay is an abstract of a longer article he had previously written (in Hungarian). Later, Hungary’s largest newspaper wrote a piece about his research (also in Hungarian). All three pieces stem from János’s original research which included communications with the Josepho family.

The image at right is a newspaper advert János found in a 1930 Copenhagen newspaper.

[Ed. note: we just found this post languishing in our unpublished posts archive. Sorry for the delay, János! As we embark on the 100-year commemoration of Josepho’s invention, the post seems only more appropriate now.]

We last noted the iconic photobooth portrait of Robert Johnson—until that time one of only two widely accepted, legitimate portraits of the blues musician—in a blog entry back in 2005. Over the years, other photos have surfaced, including one allegedly depicting Johnson with fellow bluesman Johnny Shines written up in the New York Times in 2017, but this month, a second Robert Johnson photobooth portrait has emerged.

The upcoming memoir by Johnson’s step-sister, Annye Anderson, is previewed in this month’s issue of Vanity Fair, and the cover image is advertised as “third verified picture of him in existence,” taken in the mid-1930s in a “make-your-own-photo place” in Memphis, Tennessee.

Excerpted from the book, here is Mrs. Anderson’s account of the day the photo was taken:

There was a make-your-own-photo place on Beale Street, near Hernando Street. I’ve since learned that a man named John Henry Evans owned it. The photo place was right next door to Pee Wee’s, the bar where Mr. Handy wrote his blues. One day when I was 10 or 11 years old, I walked there with Sister Carrie and Brother Robert. I remember him carrying his guitar and strumming as we went. You just walk in, drop a nickel in the slot, pull the curtain, and do it. There was no photographer. I had my picture made. Brother Robert got in the booth, and evidently made a couple.

I kept Brother Robert’s photograph in my father’s trunk that sat in the hallway of the Comas house while we lived there with my mother after my father died. After my mother died, we could only take so many things. I took my photographs with me, wrapped in a handkerchief. I only carried a few belongings to Ma and Pops Thompson’s house. When I moved in with my sister Charlyne, I bought some furniture. I stored the photograph, along with others, in a cedar chest I bought. I’ve always had this photograph.

Thanks to Charles for the tip.

We’re a little late to this, but we wanted to bring your attention to reporter Julia Caron’s story on Canadian photobooths, produced for CBC Quebec earlier this year. The story was presented on the radio, titled The Last Photobooth in Quebec,” as well as in a web version, “iPhones Killed the Photobooth.” There’s also a minute-long video version on Facebook. All of the versions feature friends of the site Meags Fitzgerald, who acts as Caron’s guide through the stories and locations of Montreal’s legendary photobooths, and Jeff Grostern, who provides background on the history of his family business, Auto-Photo Canada. Thanks to Julia for letting us know about the story.



Photostrips of Julia Caron with Amber Dearest, Meags Fitzgerald and Jeff Grostern, in the Place-des-Arts booth in the Montreal Metro.

Thanks to a tip from longtime friend of the site Stephanie back in December, we found about a photochemical booth located in the museum shop at the Whitney Museum of American Art in New York City. The booth was brought in to coincide with and help visitors celebrate the exhibition Andy Warhol: From A to B and Back Again, which opened November 12, 2018, and runs through March 31, 2019.





We had a chance to visit ourselves this past weekend, and not only was the booth working (and quite popular), but of course the exhibition itself is full of wonderful photobooth-based pieces, including some rare gems we’d not had a chance to see before. 

In addition to the photobooth itself, the museum shop offered a number of photobooth-related items for sale, from a postcard reproduction of “Ethel Scull 36 Times”, on the more affordable side, to an empty aluminum can of Kirin beer with a reproduction of Warhol’s 1964 “Self-Portrait” on it ($388). The USPS’s 2002 Warhol postage stamp was also for sale in a few varieties, singly in a lucite box or in a sheet of ten (though they seem torn from their original presentation sheet). If you’re in the area or are planning a visit to New York in the net few weeks, we encourage you to go see the show and take some photos in the booth!

We first met Meags Fitzgerald at the 2012 Photobooth Convention in Venice, after corresponding via email for four years about photobooth locations around the world (she’s one of our most prolific contributors). At the convention, she told us about one of her many projects, a graphic novel about photobooths, which sounded like an intriguing idea. Two years later, the book is finished. It’s a remarkable accomplishment, and has been deservedly picking up rave reviews since its release. 

We were lucky enough have an early look at the book and an inside peek at how it was made at the 2014 Photobooth Convention in Chicago earlier this year. We may be a little biased, as we make a cameo appearance in the book, but it’s a beautiful and thoughtful look at the history of photobooths as well as the story of Meags’ life-long relationship with these machines and the photos they produce.  As writer and radio host Jonathan Goldstein writes,

“Fitzgerald has created something that’s more than candid personal memoir, more than carefully researched cultural history — she’s created a work brimming with that rarest of things: love. That I should use such a word to explain a young woman’s feelings for photobooths certainly sounds improbable and maybe even a little crazy. And that’s precisely why this book is so wonderful.”

You can read reviews and listen to interviews with Meags about her book on her blog.

It might be a little late for Christmas, but for the photobooth lover in your life, we recommend you pick up a copy from Meags’ website.

It’s been a busy few months around here, and as we end 2013, enter 2014, and prepare for the upcoming 2014 International Photobooth Convention, it’s time to take stock of the latest additions to the site.

We start with Le Photomémo, un jeu de mémoire. This limited edition memory game uses beautiful vintage French Photomaton photos as the cards which players are challenged to remember and match. The game was created by Les instantés ordinaries; check out their site for this and other lovely photo projects. Thanks to Les Matons for sending us a copy!

Next, a few locations. First, another Ace Hotel means another black and white photobooth, this one at the Ace Hotel, Shoreditch. Angelenos, now that I’ve moved from L.A., I’m counting on one of you to visit the new Ace Hotel there and send us info about their booth.

Next, a photobooth at a mall — yes, they still exist! This one is at the Illinois Star Centre Mall in Marion. Thanks to Stephanie for sending us the photos and info.

And second, a new black and white machine at the Biltmore Cabaret in Vancouver, a project by Fotoautomaton.

Please send us your location updates, as the world of photochemical booths is constantly changing, and we can only keep up with your help.

As always, we have a few more TV shows to add to our ever-growing tally, one old and one new. Thanks to Rob and Anthony for tipping us off to a great, fleeting photobooth appearance in the pilot of the “The Fugitive,” the television show that inspired the Harrison Ford film (which also features a photobooth, strangely enough).

And second, from 2012, an episode of the U.K. children’s TV show “Shaun the Sheep,” part of the wonderful family of Aardman creations, in which Shaun has to visit a photobooth when he discovers he’s accidentally been cut out of the farmer’s family photo. Thanks to Katherine for the tip.

Two recent films have been added to our list over the last few weeks, both contributed by our French friends Les Matons. First, from the trailer of Jonathan Caouette’s Walk Away Renee, we see some of the same photobooth photos of Caouette and his mother, Renee, that he used in his first film, Tarnation.

Second, a French romantic comedy, La chance de ma vie, in which a photo-themed rom-com montage features some photobooth-style photos.

Finally, the biggest event for me in the past few months: a visit to Auto Photo Canada in Montréal. For more than ten years, I’d been hearing about the Grosterns and their photobooth business, and I’d always wanted to have an opportunity to visit. 

A trip to Montreal in November, which involved cold weather and a lot of free time, offered that chance. After a false start in which I ended up at their old warehouse, which they’d vacated months before, I spent a great afternoon with Jeff and George and their colleagues, talking booths and listening to their great stories. 

I’m very grateful to Jeff and George for their hospitality, and for taking the time to show me around the offices, warehouse, and shop. I got to hear first-hand the long and illustrious history of Auto Photo Canada, and see their machines and their process in action. Meags Fitzgerald was working on a project there that day, as well, so it was a nice chance to catch up with her, too. My visit once again proved that the photobooth business is filled with interesting, friendly people, and I was very glad to have had the chance to stop by.

We’ll be planning the Convention in Chicago over the next few months, and will have more updates as soon as they’re available. Happy new year!

Lou Southgate sent us an update on a project she’s been working on lately, a public photobooth project inspired by the work of photobooth pioneer Franco Vaccari.

After Franco Vaccari, 2013 was produced live at my graduation show last month as a homage to the great Franco Vaccari. With my work responding to amateur practices in photography, the work has always been an interest of mine and it was an amazing experience to make! My audience were invited to place their strip on the gallery wall and this took place across 4 days. The work wouldn’t have been possible without the loan and sponsor of an analogue photobooth by Stuart at Retro-me. Stuart and his team were absolutely amazing throughout the install and take down of the exhibition.

All the strips from the exhibition are currently being scanned and will be put on my website over the next few weeks. Further to this, I have started to curate sets from the strips for a future exhibition on Warren Street, London which opens on the 17th of July 2013.

Thanks to Lou for keeping us updated on her work. 

We have a brief note today about two exhibitions in Europe that feature the photobooth in one way or another. Thanks to Ole and Les Matons for letting us know about the shows. 

First, at the Vögele Kultur Zentrum in Pfäffikon, Switzerland, is a show entitled “Verantwortung: Zum Temperament einer Haltung,” on now through September 22. The J’adore aglisia photobooth project is part of the show. The project, which we covered back in 2009, is a collaboration between RAFAA and Ole Krestchmann.

Not so far away in Vichy, France, Instantanés ordinaries have put on an exhibition of photobooth portraits, on view now through September 1. We’d love to hear from readers who’ve made it to either show to hear more about what they were like. Thanks again to everyone who let us know about these events.

Thanks to Birna Kleivan for sending in a number of articles about the photobooth that she’s written in various Danish, Swedish, and English publications over the years. From the article on the photobooth for The Great Danish Encyclopedia to an interview with Jan Wenzel for an English interiors magazine, she’s covered a lot of territory.

Check out our In Print section for all of the new additions. Thanks, Birna!