Exec meeting #29 by ZOOM – highlights

Toronto. Well we held our 29th executive meeting via ZOOM on Wednesday evening September 7th. Celio is becoming a ZOOM expert! Clint is learning the ropes for backup.

Our speaker program has started up again. The September meeting is at a new VENUE on a DIFFERENT date. See the poster on WINGS, a 1929 silent movie (above) for details.

Our September newsletter under a new editor is due out soon. The pdf newsletter is sent to all those signed up to receive our newsletter via MailChimp. Drop a note at news@phsc.ca if you would like copy but haven’t joined up as yet.

Our FALL fair is October 1st and will be posted on Kijiji as well as here (see David’s whimsical poster above).

We are looking at another auction this fall after the fair offering  both estate and member items. Details will be posted on this site as they are known.

Have a great fall and lets hope the seventh wave of COVID-19 and its restrictions are very modest at best!

Clint and a small group meet for the September Executive meeting – next meeting will be October 5th, 2022

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The BIG one – PHSC Fall Fair October 1, 2022

Toronto. Our fall fair indoors and in person! Want a table? let Mark know at fair@phsc.ca. It’s been a while since we hosted an event indoors at the Trident Centre – Evans just south east of Islington in West end Toronto. AKA the pierogi palace. Come on out and add to your collection or usable gear!

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new date – new venue for our September meeting

Toronto. The PHSC is pleased to meet in person this month. However; our hall is still not available so we are going to the movies instead. See this poster for details (sorry, this is a jpeg so the links do not work):

Our September outing Sunday the 25th at Revue cinema. Please get a ticket at Evenbrite

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one for the road …

Goetzman photo c1898 courtesy of Lakehead University

Toronto. Even photographers get thirsty. This photograph is the property of the Lakehead University in Thunder Bay and Orillia. It was taken c1898 by the H. J. Goetzman Studio and shows the ‘Joe Cook & Co., Dome Road House hotel in Dawson, Yukon’.

This image and the link to the Lakehead Archives is courtesy of my good friend and fellow photohistorian, George Dunbar, who discovered the digital collection link in general and this photograph in particular and graciously chose to share it with us.

Note: The title of the post is a riff on a song by Frank Sinatra. According to Youtube, “[The song,] One for My Baby (and One More for the Road) is a popular song written by Harold Arlen and Johnny Mercer for the musical The Sky’s the Limit (1943) and first performed in the film by Fred Astaire. It was popularized by the American singer Frank Sinatra.”

Today the song is terribly politically incorrect, but not so much when I was a kid and listened to old blue eyes and his captivating voice over our radio.

 

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the devil’s in the details

John Turner 1984 by Tibor Kolley, G&M

Toronto. George Dunbar writes, “Controversial photo of John Turner, by Globe & Mail photographer Tibor Kolley, was published just before the 1984 election in which Brian Mulroney defeated Turner.

“According to Steve Paikin (TVO interview, Sept. 5 2022): Soon after the election, Kolley was selected by Mulroney to be his official photographer.”

I remember thinking that Brian would do well as PM since he was chief honcho at Iron Ore  up in Quebec on the edge of Labrador (Knob Lake/Schefferville)  where IOC ran a huge open pit iron ore mine. I took some photos there in the late 1950s.

My thanks to good friend George Dunbar for sharing this piece of photographic and Canadian history with us. It shows the power of photography in politics. All major parties lambaste one another mercilessly during elections!

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value of a photo

family outing c1954

Toronto. Today, we take photos for granted. Every smartphone comes with a camera. Dozens of shots can be taken on a whim at no further cost to the owner of the little technical marvel.

It wasn’t always so.  At its birth, photography was an expensive and complex art. First one had to master the technical aspect to even get a photograph. Then the framing and background training was needed to make a saleable photograph. And finally one had to capture the essence of the subject – no small undertaking at any time as it also separates the ‘men’ from the ‘boys’!

Initially a photograph was so expensive that only the well off could consider having a ‘likeness’ taken. As time went on, photography was ‘institutionalized’ and grew more and more competitive. By the late 1800s most people could afford a number of photos to share with others. Albumen prints and negatives made copies relatively cheap. By the mid last century, far more amateurs could take the odd decent photo and have it printed commercially.

Collectors now favour photographs of the famous, or outdoor scenes, or scenes taken by once prestigious studios. Size and technical condition are also very important. A pristine print attracts good value while the same subject in a badly damaged or faded photo sells for pennies – if at all.

Photos shifted from the realm of the wealthy to that of the average working man and as such became a visual means of family history. Photos like that shown here are almost valueless to the casual collector but worth a fortune to the family as recorded history (especially if the date, people and location are known). Like many things, these photos may grow in value decades later as they become rare collectibles.

Now, will those digital images, so cheap and prevalent today, ever become rare collectibles – and even be viewable in the decades to come? Who knows!

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ya seen one …

May, 1962 ad for a Burke and James field camera

Toronto. …ya seen ’em all! Or so a cynic might say. And with reason. Broadly speaking, cameras, cars, computers – and any other mass produced thing  begins to look the same as its stable mates.

To a critical eye, they may look the same, but vary in subtle and not so subtle ways. Some have a unique feature(s), some use higher quality materials, some have finer tolerance, some better ergonomics and so on.

In an ad from the May, 1962 American Cinematographer magazine, Burke and James in Chicago work hard to convince the reader that their field camera is better than any other on the market!

Our thanks once again to my good friend and photo-historian, George Dunbar, for researching and sharing this advertisement with us.

 

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low contrast 16mm colour in 1962

ASA 25 Ansco 16mm colour film ad

Toronto. Those of you who grew up with or use film know that the faster the film the lower the contrast. My first venture in colour was with Kodachrome when it was ASA 10. Hence it produced inky black shadows and was usable only in good sunlight.

To beat Kodak, Ansco brought out an ASA 25 colour 16mm film touted as ‘low contrast’ – which it was compared to the Kodachrome of the day. It was shown off in this BLACK and WHITE advertisement in the April 1962 issue of American Cinematographer (colour magazine ads were possible at the time but very expensive).

Thanks again to our good friend and fellow PHSC member, George Dunbar, for sourcing and sharing this ad with us. At the time 35mm Ansco transparency colour film was ASA 32.

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Apollo Remastered

A new look at the Apollo mission photos

Toronto. Over a half century ago, man first walked on the moon. In the Apollo flights, photography recorded the events. In those days photography was film based and suffered the usual amateur and film issues – focus, stability, exposure, resolution etc.

Modern day technology allows one to digitally remaster the old negatives/movies to show better detail and colour balance. The book by Andy Saunders and Andy’s work on the 1960s/70s NASA archival images show the epic events in a whole new light. Jonathan Amos, the BBC science correspondent, recently wrote an article titled, “Apollo Remastered: One man’s mission to show us the Moon“.

I bought many posters of the first moonwalk a few months after the event, including some shown in this article. Andy’s book shows the importance of photography to capture history and the value of digital technology to correct the many mistakes made by amateurs capturing events on film back then.

Our thanks once again goes to my good friend, George Dunbar, whose curiosity prompted him to discover this article and the value both film and digital technology has in recording history. Well done, George!

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the digital dilemma or where have all the photos gone

print from film negative taken by C M Dunbar

Toronto. My good friend, George Dunbar, writes, “I’ve just discovered this 2005 article in my files and thought it may be useful.

“It was published in the local newsletter of an Apple/MAC computer club. As many of you know, this is my hot button subject. Although it was published 17 years ago, it appears to be valid today.”

As you know, George is talking about the potential difficulty reading digital files as images in the future – when media and perhaps even file formats are obsolete.

Old fashioned film, printed in darkrooms makes positive prints. With those prints saved in anything from fancy albums to shoe boxes, they can be viewed even today by our eyes – no fancy gear/apps are necessary.

In the article, George compares image files on a hard diskette with  such prints (ironically the hard diskette shown in the article –  and readers – are obsolete already. Food for thought.

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