one ringy-dingy

Toronto’s first dial exchange (1924) making local calls easier

Toronto. Most of us remember Lily Tomlin and her hilarious nasal rendering of an officious telephone operator. Today, few can even remember the time when we had party lines and local calls were connected by an operator. Today’s smart phone set take direct dialling of any ‘phone number for granted.

The photo here, curtesy of our own keen historian, George Dunbar, shows an example of how photography can and does record history. The written word can capture events through any printed media, or nowadays via the internet. Photos say so much more to the observant eye.

When Direct Distance Dialling for long distance calls was introduced in the late 1950s, shortly followed by 7 digit local numbers, a similar mock-up was used to show how to make a long distance call at home via the 7 digit telephone number preceded  by the area code (eg 416) and the digit “1”. (1+area code+exchange code+last four digits making each number unique).

Behind the scenes changes ensured all long distance calls had the same volume regardless of the chain of offices used to connect the caller and called party. Each central office had a coordinator to ensure amplifiers, carrier channels, etc in that office had the correct volume level.

 

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all aboard the gravy train

Fall 1951 ad for SVE’s Skyline slide projectors

Toronto. In the post WW2 years, photography grew in leaps and bounds: new amateurs, colour, slides, movies, etc. and all with easier, better ways to succeed as a photographer. The Chicago company, SVE, too wanted to profit from the enthusiasm for photography and took this ad out in the fall of 1951 to promote its new line of slide projectors called “Skyline“.

We owe my good friend and fellow PHSC member, George Dunbar, a big ‘thank you’ for sharing this slice of photographic history with us. The ad comes from the October, 1951 issue of Popular Photography to which I added a link in the previous post.

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a linhofty objective

late 1951 ad for Linhof cameras by Kling in NYC

Toronto. I dream about the last century when I used film and had a darkroom. I was sold on 35mm back then, but still dreamed of larger format media and cameras. For many years, I wanted to own and use a Linhof Technika and when George sent me the ad you see here, I already had fond memories of Linhof in spite of the complexity of these cameras in use.

A big thanks to my good friend George Dunbar for finding and sharing this ad from page 26 of the October, 1951 issue of Popular Photography. A linhofty (lofty) objective for sure in the days of cut film. I actually built darkrooms in four different communities before digital technology came along and made such rooms quaint (I am writing this from my last darkroom, now a home office and computer room).

 

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really, David? a Realist?

Summer, 1951 ad exstolling the lenses of the Realist camera

Toronto. The Stereo craze ebbs and flows reaching a peak about every 50 years. In the later 1800s and early 1900s it was stereo cards. A basket of cards plus a Holmes viewer took the place of television or movies back then. In the 1950s and 1960s, 3D popped up again with stereo attachments, stereo cameras and movies all purporting to show things as they really were.

In the 2000s, much improved stereo movies appeared again plus stereo televisions. A lack of content finished the TV craze just as it started. I saw one 3D cartoon movie. Glasses were still needed, but the technology was far better than in the mid last century. And the 3D effect was far more natural than the 1950s branches and spears that threatened to poke out a viewers’ eye! A current form of 3D is called Virtual Reality (VR). A computer, control sticks, and a head band with built-in technology or a smart phone allows the wearer to move in 3D space and experience the intended effects. I tried things out at Ryerson a few years back.

This advertisement from page 31 of the July, 1951 issue of Popular Photography ( see my previous post for the correct link) features David White’s Realist camera, one of the better made cameras of the time although an expensive one. While these camera can simulate nature, they are not equipt for interchangeable lenses. Also the scene captured must have  both subject and foreground/background material  to demonstrate 3D. The above ad is courtesy of my good friend and fellow photographic historian, George Dunbar, who shared his find with us.

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the alpha and the omega of enlarging

1951 ad for an Omega D-2 enlarger and soft illumination head

Toronto. I first enlarged negatives when in high school. A few years later in Northern Quebec I bought my first enlarger – a very cheap affair labelled as a Federal. The small town I was in had only contact printing paper at the time. Each negative took five minutes or more exposure by the enlarger. Glacially slow! Another line I looked at enviously was that of Durst in Italy.

Magazines and books encouraged me to dream of a better quality enlarger. I had looked long and hard at the Omega line. This all came back to me when George sent me the ad shown here for an Omega D-2 and soft light head. Back home in Southern Ontario, I tried enlarging colour negatives. A friend and I decided to make a soft head for my cheap enlarger. A fluorescent tube became the light source, while two suitable-sized aluminum pans (the top one inverted; the bottom one with a central opening) served as a reflector/lamp housing.

The results were satisfactory but took a painfully long time as we did color balance and exposure to get a decent print. Cheap filters didn’t help with speedy results …. My thanks to George Dunbar for sharing his find from page 142 (last page) of the July 1951 issue of Popular Photography. Years later, after marriage and a move to Montreal, I  ended up with a used Durst M35 35mm negative colour enlarger which turned out to be Gilbert Durst’s flagship machine embodying all his innovative design concepts.

A truly wonderful enlarger matching the quality of my M4 camera and Leitz lenses.

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Photographic Canadiana Vol 47-3

Photographic Canadiana 47-3 in PDF format

Toronto. Sadly, we lost our editor,  Bob Lansdale, this past summer. Bob left much of this material to help our interim editors, David Bridge and Louise Freyburger who ably stepped up to the challenge of producing this issue.

Members WITH an email address received this informative 20 page magazine via pdf. It  is  the Photographic Canadiana 47-3 dated September-October-November  2021.

This is another colourful issue envisioned by our late editor Lansdale and assembled, augmented, and produced by interim editors Bridge and Freyburger  to create the excitement we all felt reading Bob’s issues – all 100+ of them. Like last year, we plan on doing at least five issues.

Drop me a line at info@phsc.ca if you are a member and haven’t received this special pdf edition. Not a member? Easy-peasy, just break out your plastic (VISA, MasterCard, etc.), follow the rules at the upper right of this page and sign up via PayPal (no PayPal account needed – we will pay the modest fee). Membership is an incredible bargain. Period!

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a film darkroom really can be green

Making the Darkroom Greener

Toronto. The great editor of our favourite magazine, Rita Godlevskis of PhotoEd, is thrilled to announce a ZOOM presentation this Wednesday coming (November 3rd).

Rita says in part, “We’re gettn’ ready for our event next week and we’re really excited about this hot topic, ‘Can analog photography be less toxic?’. Three creative Canadians have invented a modern dry darkroom that’s eco friendly, and we can’t wait to share their results (as seen in print in the Fall 2021 “Eco issue”).

“I’m hoping you’ll join us for the conversation + that you might have some space to SHARE this announcement in your social media/email newsletter communications in the next few days?

“Tix are $5+ fees/ PWYC or if you’re a friend of AUARTS or a PhotoED Patron – it’s FREE!
[use this Evetbrite link to buy/get tickets/Tix].

“If there are students or community members with financial barriers – please let me know – happy to help with a free registration.

“THANK YOU so very much for your continued support!”

So those of you who delight in using film, hit the ZOOM session next Wednesday and learn how to make the processing in the darkroom less toxic and more green!

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a look in the future to see in the past

Hologram Image in Laboratory

Toronto. Russ Forfar is a science nerd as well as once repairing film cameras in the days before electronics took over. Russ sent me a link to this intriguing article in Science Daily. The article, “Need for larger space telescope inspires lightweight flexible holographic lens” appeared in its October 22nd edition and was reprinted from Rensselaer Polytechnic Institute, where the original article was written by Mary L. Martialay.

The article covers a means to create a lens in future that will allow a telescope to “see” exoplanets instead of light points twinkling as stars in the night sky.  You can consider such experiments in lens technology as ‘future history’ …

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in da frame

portrait of a couple taken last century in a Barrie Studio

Toronto. There are camera collectors and there are camera collectors. Over a couple of decades ago,  I analyzed the interests of our members so we could reflect the appropriate topics in our journal, and program material. At the time, about 15% of us collected images, some exclusively; some with other things like cameras, accessories, etc.

I am in the last category. Mainly cameras, but also some books, ads, and photographs. The one shown here is a studio photograph taken in Barrie, early last century (by Frank Jackson) and includes an embossed cardboard frame.

Some of our members like certain processes, others collect cased photos such as daguerreotypes or ambrotypes. Some members collect photographs by a famous photographer like Karsh or Notman. Others search for portraits of the famous. Or the strange ‘monsters’ seen in the circus sideshows of yesteryear. There are even those members who collect and research stereo cards.

Regardless, photos often pop up at our fairs, auctions and sales (only outdoor fairs and sales these days). In fact, we even have an Image Show held downtown on Elm Street at the Arts & Letters club. We hope the positive COVID situation will let us hold an Image Show once again before year-end. Watch our newsletter and this web site!

 

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an Exakta in my future

Pierre Dozois in Drummondville QC sold us the Exaktas

Toronto. After a few months in Labrador, a few of us decided to buy a top quality camera. Many nights were spent discussing the pros and cons of various German makes, especially Exakta and Leica. A visitor had a IIIf Leica and spoke highly of its handling and features. Another technician and a visitor had Exaktas.

We had no idea that Exakta in Dresden fell into the Russian sphere as part of East Germany. Nor were we aware that there was some doubt about Russian quality. A decision was made to go for Exakta cameras and select lenses. The best deal came from the Drummondville, Quebec shop of Pierre Dozois. I was elected to pay for the entire order. The cameras were great but had a thin leather covering, not the thick gutta percha covering on the IIIf. Their speed range far exceeded the tiny Leica with its squinty viewfinder/rangefinder. The Exakta also had many other features like film winding cassette to cassette, built-in knife, etc.

The lenses from Zeiss, Steinheil, and Angenieux were much larger than the tiny Elmar, but as beautifully finished. The SLR view was also bright and large. Extension tubes opened up the ability to take close-up photographs. The 58mm and 135mm Steinheil lenses made beautiful photos. The 28mm Angenieux was something else. It suffered from severe geometric distortion.

The film pressure plate caused scratches and the camera was returned to the distributer to be polished (and left shiny …).  Later the mirror return lever failed to engage and for the rest of the time it was in use, I removed the lens and reset the mirror by hand.

Years later, I discovered more evidence of cheap internal construction.  A shutter test showed my camera’s shutter to be erratic in movement, not smooth as expected. Disassembly showed thin gears and brass ‘sawdust’ as a shutter stop was nearly broken off. I set the camera aside and bought an older model that still seems to work today. My next step was a Leica.

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