time to talk of many things …

the Washington Senators’ Herman Schaefer holds a massive 5×7 c1911 Graflex camera – see wikipedia for explanation/rights/etc.

Toronto. … of SLRs and TLRs and whether pigs have wings (with apologies to Lewis Carroll).

In an earlier post, I noted the introduction of film stopped the use of ground glass in the focal plane to frame and focus a subject.

Well, not really. Some clever folk came up with a way to redirect the rays from the subject to a ground glass to frame/focus and then to the light sensitive media for exposure. The most common way was with a mirror as in the 1911 SLR Graflex shown at left.

The minicam revolution  in the 1930s shifted emphasis to rangefinders and viewfinders initially. Only the Exakta chose the SLR route while Rollei went with the TLR idea. Of course after the Korean war everything changed and most more complex cameras went for the SLR concept.

Whether you hanker for that special SLR or TLR, visit our 2026 events – you will find lots to spark your interest (and perhaps even a rare model SLR or TLR). Our Spring Fair event takes place on May 24th at Trident Hall, a week after we celebrate Victorian Day weekend. As the date of the fair nears, we will pin details and a poster   to the top of this site.

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before auto focus II

a small distance scale representing the correct lens-film setting for the subject at that distance.

Toronto. In the late 1800s when film came along, a simple swapping of media/ground glass in the camera was no longer an option. Initially box camera designs were used with fixed lenses of small apertures/large f-stops allowing everything from 6-10 feet to infinity to be in focus which worked okay in bright sunlight.

To allow more sophisticated cameras to vary the aperture size/lighting, a scheme was worked out where the lens to film distance was changed and the distance displayed on a scale that matched the estimated camera to subject distance. The camera usually had a small viewfinder to set the framing of the subject.

You may find a box camera design or one of the distance setting ‘rack and pinion’ style cameras (eg a Kodak folder) at a 2026 PHSC event like the Spring Fair. The Fair arrives at the Trident Hall May 24th. A poster and directions will be pinned to the top of this site as we approach the date.

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before auto-focus – I

old ground glass magnifiers – left by T.T.&H. and right by C.P. Goerz

Toronto. Before auto focus came along, photographers needed to both frame and focus the subject as well as decide on the best exposure (shutter speed/lens aperture/lighting). With the digital technology of today, many folks don’t even think about focussing.

For most of the 1800s, photography was based on sensitized metal or glass plates, allowing framing and focussing on a ground glass placed in the focal plane. Once framed/focussed, the ground glass was replaced by a solid plate holding the sensitive media in the focal plane.

In the days of ground glass cameras, many photographers resorted to dark cloths over themselves and their camera, the better to see the upside-down image on the ground glass.

To aid the poorly sighted, or to just make sure the right subject plane was in sharp focus, lens makers offered small brass magnifiers such as those shown here. These little gadgets could be easily moved around on the ground glass. Their slight magnification (about 5X at most) would allow a more precise adjustment of the lens/focal plane distance. Usually the photographer’s eye-sight could be corrected by turning the eye-piece so it was closer or farther to/from the ground glass.

The picture at left of the TT&H and Goerz magnifiers was taken with an iPhone 16 under a LED light with no regard for focussing – just framing.

You may spot these magnifiers – or other interesting items at our 2026 events. The Spring Fair is being held at the Trident Hall on Sunday, May 24th, a week after Victoria day here in Ontario. A poster and directions will be pinned to this site as we near the fair date.

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open wide, wider

a brass Zeiss Nr I Protar 85mm focal length f/18 lens a bit wider in diameter than a Loonie

Toronto. As a camera collector, old lenses have always been an interest – especially wide angle lenses such as the Protar at left or the Pantoscop by Emil Busch.

The traditional ‘portrait’ lens is a medium Telephoto. The focal length depends on the frame size (eg. 90mm for a 1×1.5 inch 35mm negative).  The chosen focal length gives the expected facial proportions in a portrait. A longer focal length “flattens” the face while a shorter focal length makes facial features somewhat disproportionate and sometimes if tilted can exaggerate features with geometric distortion.

However; lenses like the Protar line, the Pantoscop and similar lenses are essential for capturing landscapes and groups closer to the camera. I made the majority of  my film shots using a 35mm lens on my Leica. Smartphone lenses are usually described in the 35mm camera equivalent. The common “lens” for the smart phone was 35mm equivalent. More recent models like the iPhone 16 use even shorter focal lengths causing some strange geometric distortion if the photos are not taken with greater care.

Visit our 2026 events and hopefully discover old lenses like these – or other items attractive to your eye. Our Spring Fair is scheduled for May 24th at the Trident Hall (Islington and Evans) in Toronto. As we get closer to the date, I will pin details and a poster to the top of this Web site.

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not so far, far, away

Big Bertha 5×7 Graflex with 36 inch lens at Spring 2006 Fair

Toronto. I took this shot a couple of decades ago at our Fair in 2006. Along with cameras, I collected lenses, books, brochures, etc, that offered information on the history of photography.

I imagine other camera collectors collect lenses too, sometimes special lenses suitable for wide angles like the old Protar line, and others of the telephoto persuasion.

This monster combination was used to capture close-ups of participants in sporting events. Others used these specialty lenses for wild animal  photography. The photo at left was shot at our Spring Fair in 2006. Shown is M. Renaud Therrien of Montreal with his c1930 Graflex “Big Bertha”. The camera takes 5×7 plates and has a 36 inch f/6.3 telephoto lens attached.

These newer lenses are ‘future’ collectibles – and now that we are well into the digital era, the film camera and telephotos like this example are/are about to become collectibles.

Add these lenses or other interesting items to your collection by attending our 2026 events. For example, our Spring Fair is set for May 24th at the Trident Hall in southwest Toronto. As we get closer to the date, I will pin a poster and details to the top of this web site.

 

 

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another use for paper …

The Warnerke roll (paper) film holder in a camera

Toronto. The idea of roll film revitalized the use of sensitized paper (negatives). In fact various roll film mechanisms were developed to use the medium in cameras. An example is the Warnerke Roll Film Holder.

Editor Robert Lansdale wrote about this use of paper in his issue 27-1 article “Advance of the Paper negative …and the roll film holder”.

He begins his article, “The use of paper as a base for negative images has played an important part throughout the history of photography. At photography’s inception, Fox Talbot’s Photographic Drawing of 1834 captured the shadow image of plants and ferns within the body of the paper, while his Calotype of 1840 became the system to produce multiple positive prints from the prime paper negative.

“Criticism against fuzziness and lack of detail caused by the inherent grain of the paper led to the idea of waxing the paper before an open fire to induce translucence to the fibers. Le Gray’s Waxed Paper process of 1851 prepped the paper with wax before sensitizing.

“Glass as a base became desirable with its clarity and stability: albumen became the carrier to the sensitive silver salts. With Scott Archer’s discovery of collodion as the carrier in 1851, all systems were quickly eclipsed by the Ambrotype and Wet Plate Process. The wet plate reigned supreme for some 20+ years due to its fine grain and greater speed. Other improvements were introduced in 1864 with the invention of collodion-emulsion by Sayce and Bolton, thus doing away with the necessity of the silver bath, while Dr. Maddox in 1871 substituted gelatin for collodion in emulsions, leading to the Dry Plate era.

“But devotees to the paper negative were still present. William J. Cox in the 1886 BJP Almanac expounded its virtues in ‘Paper Films Versus Glass Plates.’

“He listed benefits as:
storage of negatives – 250 films equalled one inch of thickness of glass;
weight – two gross of paper negatives weighed less than one dozen glass;
freedom from breakage – accidents could happen even while in printing frames;
freedom from halation – it cannot occur, thus leaves and boughs against a bright sky are microscopically sharp;
increased speed – nearly twice as fast;
cost – half the price of glass and even less on larger sizes;
celerity of development – many paper negatives may be processed in a dish at the same time;
even coating – paper is pliable thus a more even coating can be obtained than on ordinary glass, and as paper can be applied to a curved surface, lenses of greater curvature of field may be employed; etc.”

Members read all of editor Lansdale’s well illustrated article in the issue 27-1 pdf file on the free members-only DVD/thumb drive. Not yet a member? Joining is a snap. Just follow “Membership” above and at right. Send any questions to member@phsc.ca.

And also, you may find these strange holders or other interesting items at our 2026 events.  Our Spring Fair is one such event and is set for May 24th at Trident Hall. As we get closer to the date, a poster and details will be pinned to the top of this site.

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a DAR mystery train

DAR Mystery Train

Toronto. Collectors of old images sometimes concentrate on transportation photos, or have a subset of their collection comprising of transportation/train photos. Here is a mystery you perhaps can solve.

Jeff Ward in Halifax dropped me a line the other day about a cutting he discovered in the old “Times-Transcript” for August 23, 1913. In further research  He found a link to a wiki on the DAR.

Jeff writes, “I noticed the attached ad in a Moncton newspaper (The Times-Transcript) from 1913, mentioning a CPR Photo Car. I wonder if you would be interested in posting it to your blog to see if anybody knows anything about it?

“I was also given a link to a record which suggests the vehicle was rebuilt in 1920. Here is the link” to the DAR home page.

I sent out Jeff’s request to some other members to give some broader access. By the way, collectors of old images may find some to their liking at our 2026 events such as the Spring Fair coming up on May 24th. As the date approaches I will pin a poster and details to the top of this web site.

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flying off the shelf …

Land’s first Polaroid – the model 95. Photo under the Creative Commons CC0 1.0 Universal Public Domain Dedication Copyright (Wikipedia)

Toronto. … Like a bat out of hell. In late 1948, Edwin Land dropped a bombshell on the photographic world.  He put to market a revolutionary camera and film system that took a monochrome photo and developed the positive print within the camera in 60 seconds.

Such speedy processing was unheard of before digital technology. Land delivered his first batch of cameras and film to a local Boston department store thinking he would have lots of time to manufacture the next batch. However; the first batch literally flew off the shelf, selling out in the first day!

My friend Bill Belier worked for the Canadian distributor. He had the same experience – deliveries from Land couldn’t keep pace with sales. Ironically today (2026) the famous Polaroid cameras have little value to collectors, usually selling for under $100.

Visit our events and you may find the odd Polaroid (everyone needs an SX-70 in their collection) or other interesting item for your collection of photographica. Our Spring Fair is set for May 24th at Trident Hall. Closer to the event a poster will be pinned to the top of page one on this site.

NB: This post was brought to mind by Meatloaf’s title song on his first album, “Bat Out of Hell“.

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top ‘o the mornin’ to ya

an old brass lens – part of a swap across the Atlantic

Toronto. As we near St Pattie’s day, this is a suitable post. It is based on a follow up article titled “A SECOND LOOK …”. Editor Lansdale expands on photographer John Turner reporting a lens swap between Dr Mike Robinson and Seán MacKenna of London, England.

This swap returned to Toronto a lens used by Irishman John Turner when he emigrated to the big smoke to create studio portraits. The lens has an added signature, “J.G. Turner, Toronto, March 17, 1859.”

Mike, Mr Graham Garrett and Seán did further research on Turner and the lens.

Editor Lansdale begins his report, “For a further development of the Turner story we turn to [Dr] Mike Robinson of Century Darkroom in Toronto. He lectures on the daguerreian and ambrotype processes at Ryerson University [now TMU] as well as the George Eastman House in Rochester.

“Seán MacKenna of London, England read about Mike making daguerreotypes in Toronto so e-mailed him hoping to gain information about an early Toronto image maker.” …

Members read all of this brief article in the issue 26-5 pdf on the free members-only DVD/thumb drive and discovered the roles played by the trio of researchers. You can easily join by following ‘Membership’ above and at right. Address any questions to member@phsc.ca.

 

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a different Montreal studio

corner of Craig & Bleury, Montreal during the 1886 flood

Toronto. We have all heard about the famous Notman studio on Bleury in Montreal. Here is another studio on the corner of Bleury and Craig.

This is the Summerhayes & Walford studio on second and third floors of the building.

Editor Lansdale had a fondness for Canadian photographic history and as such he diligently researched any and all leads. He was well aware that Canadian enterprise in this as in many other businesses was over shadowed by the mighty UK, European and especially American operations.

He wrote his findings on this studio in issue 27-1 under the title “A Letter from Montreal …”. The article is highlighted by this précis: “Several years ago I was attracted to a photograph in the pages of The Beaver. It showed the 1886 flooding of Montreal with floating wooden sidewalks at Craig and Bleury streets. At this corner Summerhayes & Walford had their photographic studio for many years in the late nineteenth century.

“Dr. Wallace F. Walford of Perth, Ontario sent in the photo and is a grandson of Alfred Gradham Walford who operated the studio with his brother-in-law Robert Summerhayes. They eventually sold out to Notman and Sons. Dr. Walford noted that the bowler-hatted man in the foreground was ‘Dad’s brother – Fred Walford.’

“My appeal to The Beaver for more information produced a reply from Dr. Walford with an accompanying hand written letter on lined yellow foolscap, dated: March 13th 1950. It was a letter from Alfred G.S. Walford to his son Ernest Walford (Maj. Gen. A.E. Walford MM. ED., C.B.E.). I found the correspondence fascinating on aspects of Canadian photographic history. – editor R.L.”

Read all of this tale and see the photos in the issue 27-1 pdf on the free members-only DVD/thumb drive. See the top and right under ‘Membership’ to join. Address any questions to member@phsc.ca.

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