Photographic Canadiana Vol 47-2

Photographic Canadiana Vol 47-2 in PDF format

Toronto. Our editor created this latest issue – its been a bit wild and windy here in the big smoke. We briefly inherited the heat dome that was so devastating to BC, followed by a chilly and rainy period. Bob Lansdale had this issue almost ready weeks ago! Last minute changes were made as late as Thursday, July 8th when members WITH an email address received this delightful 28 page magazine via pdf. It  is  the Photographic Canadiana 47-2 dated July-August  2021.

This is another colourful issue envisioned by editor Lansdale to help create the excitement we all feel as we await the coming end to this rotten  pandemic which has dragged its heels into this year too. 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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sweet sixteen by ZOOM

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B B B

February 1947 ad for the “new” Leica IIIc

Toronto. Some decades back, my VP elected to meet with very junior staff. To break the ice and ease the tension of the many level spread between VP and computer staff, he wore a T-Shirt emblazoned with this alliteration: “Bullshit Baffles Brains”. The shirt proved so popular he was asked to wear it when meeting other junior level groups.

Leitz took the same approach with this February, 1947 advertisement in Popular Photography. By 1947, the IIIc introduced in 1940 was decidedly NOT new by any means (in spite of the WW2 intervention), but lens coating by Leitz was relatively new – even if the lenses quoted were not. There was no built-in flash (the IIIf would introduce that in 1950) and a major revolution with the famous M series was about to hit the markets (1954) although design was underway when the war broke out.

Post war, the German camera makers struggled to assemble cameras in any way possible to meet demand and build back market share. In fact, the American government had yet to decide who would represent Leitz in the newly important America.

My thanks to George Dunbar for once again sharing his amazing find with us.

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blinding me with flash

Ad in Pop Photography Dec 1946 for a King Sol Flash unit

Toronto. In the early years of photography, it took daylight to create an image. The processes of the day were far too insensitive for gas light, and later electric light to be of practical use. In the mid to late 1800s, flash powder and ribbon were invented, allowing photographs to be taken indoors and at night. However, they did add other issues: Scenes were even more contrasty. Close-by highlights were often washed out while harsh shadows hid details just a few feet further back. And, in the hands of the unwary, eyebrows and other minor appendages could disappear in a … flash.

Those of us of a certain age can remember being photographed by flash and the blinding burst of light it released. When c0lour film was introduced, the term ‘red-eye’ was added to our lexicon. The bright flash was often used indoors or at night to capture the family, only to be reflected back by each human retina as a bright red disk.

This ad from the December, 1946 issue of Popular Photography [link repeated here for the reader’s convenience] touts one of the many ‘professional’ electronic flash guns sold last century. The massive box being shouldered by the model houses the lead-acid battery, the big electrolytic condensers, the charger, and the electronics to trigger the flash when the camera shutter is pressed.

The ad touts the thousands of flash bulbs saved for a good reason – a single flash by a small #5 or #25 flash bulb would be brighter than this massive and expensive brute. A decade later, when I had an Ultrablitz, even with auxiliary capacitors the flash was not quite as powerful as a single #5 flash bulb.

For a good historical perspective on flash powder, and flash as the term is used in photography, visit the two wikipedia links shown here. Once electronic flash could be reduced in size and cost, it took over the market held by flash bulbs. Until cheap Thyristors came along, excess power was flashed inside the electronic gun by firing a second flash tube hidden from view.

Eventually flash became a common addition to a camera and today, almost every smart phone camera includes a tiny electronic flash.

Note: The post title is a riff on Tom Dolby’s beautiful song which inspired me to write this earlier post, “blinding me with science“. This idea (and advertisement) comes from my very good friend and fellow PHSC member, George Dunbar.

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slipping into history

remember the photographic slide-rules promoted in this ad?

Toronto. Post war, nomograms were great marketing tools. Arel, Inc. of St. Louis took it a step further creating an actual slide-rule, not with the traditional A, B, C, D, etc. scales but with calculation scales of interest to serious photographers.

I suspect only a smattering of keen amateurs even thought about the material offered by the ‘slide-rule’. Did you ever use (or even see) one? Most films came with a paper outlining exposure and processing information. For the curious, Morgan & Morgan’s Photo-Lab Index and the series of Focal Press books did the rest.

In time, cameras, lens, and film sensitivity improved to the point that flash bulbs and the needed calculations were unnecessary (simple charts abounded any way). Electronic flash came along simplifying exposure (professionals still chose to adjust speed and exposure manually, over-riding any automation). Hand held exposure meters gave exposure data. Later built-in meters eliminated any need at all for the average snap-shooter to make exposure adjustments.

Late last century on, the digital era took over and with the cameras’ “auto everything”, most people neither knew nor cared about the now quaint concepts that the ‘slide-rule’ demonstrated.

Thanks once again to my good friend, George Dunbar, for sharing this snippet of history (from the December, 1946 issue of Popular Photography) with us! Note: I repeated the link here for the viewer’s convenience.

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box it up

Ad for Micro-16 ‘precision’ box camera

Toronto. You may have never before heard of a camera called the Micro-16. This little gem, advertised on page 199 in the December 1946 issue of Popular Photography, was only around for five years – 1946 – 1950. It is basically a tarted-up box camera with a fixed focus f/8 lens that can be stopped down to f/12 and f/16.  It has a single speed shutter and focuses from three feet to infinity. The custom made cassettes roll 16 mm wide film from cassette to cassette. I did a post back on Dec 28, 2017 about this camera showing the same ad as here but in LIFE magazine a month later (January, 1947).

The little camera is called ‘precision’ because of its construction. It originated down in LA when engineer William R Whittaker scraped together about five grand post war to make aircraft engine parts (the linked source says Whittaker got the funding in 1947, but McKeown’s says the Micro-16 was sold from late 1946, which agrees with this Popular Photography issue). Whittaker became obsessed with buying up other companies, some 140 in all. NB.The company is smaller today, but still around.

This ad is just one of a recent quartet offered by my good friend George Dunbar as he reviews the magazines in mid last century, mining them for ads and articles of historical interest.

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caution, curves ahead.

Keep an eye out on this one

Toronto. Traditional lens elements (before aspheric surfaces became economical) were all slices of a sphere making curvature of field common. Some added elements resolved this aberration to give a flat field at the film/sensor plane.

Some cameras use a curved film plane instead (like the inexpensive Baby Brownie by Kodak and the much pricier Minox sub-miniature cameras, where both cameras and enlarger curve the film) to simplify lens design.

The human eye uses a convex sensor – the retina – to maintain resolution (sort of) across the inner eye. There are lots of articles on the internet about the human eye such as Owlcation where we borrowed the cross section.

Fellow member Russ Forfar offers an article from Science Daily on June 28th of this year called, “Using the ancient art of Kirigami to make an eyeball-like camera” that reports experiments down in Houston that might replace flat sensors in some cases. Food for thought regarding the future smart phone cameras. Note: Kirigami got you flummoxed too? Read more about kirigami on this website.

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thanks, Helen

Agnes and child taken in studio by W Marshall (Artist) of Guelph on Oct 26 1869

Toronto. The CDV is roughly a large size business card with a photo mounted on thick card stock. Studios produced them in the 1850s/1860s by the dozens. People sent them to friend and relatives but few identified the person and the date. Helen Galt of Guelph, Ontario was different, She dated the CDVs and often added the name of the sitter. This example was taken about 2 years after Canada West became Ontario.

Helen may have emigrated from Glasgow as some of my CDVs signed by Ms Galt were taken in a Glasgow studio. Once the market for CDVs began to be saturated, photographers moved on to larger size cards and photos like Cabinet Cards.

From a historical point of view not only is the location and photographer of interest, but also the name of the sitter and most importantly, the date the likeness was taken. Thanks, Helen!

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it pays to advertise

Camera Truck photo courtesy of Mark Osterman

Toronto, In 1921, the Mission Art Company, of South Spring Street in Los Angeles sent this  truck cum camera and its phtographers to promote its business. Mark Osterman, who along with his wife, spoke to us back in June of 1998, posted the image you see at left on Facebook.

According to Gettyimages, they hold the copyright and will sell you an actual print or licence you to use the print which is marked as Underwood Archives/Getty Images (the photo shows the studio address so many copies may exist to advertise this business).

Mark suggests that it is a “Model T Ford [with an] ultra large format dry plate camera”. Getty just calls it a “Truck Camera” and a “camera truck”. Looking closely at the image, it looks like a truck mounted mock up of a camera touting the company photographers. Perhaps Mark is speaking tongue-in-cheek since he is an acknowledged expert in that era of photographic history and earlier.

My dad worked on a Ford model TT truck many years ago after he retired. The example above could well have been a body built of wood on a model T or model TT chassis since the photograph is dated as 1921 by Getty. Ford trucks came with a body as of 1924 and were sold as chassis only from 1917 to 1923. My Model T manual was published in 1917 when, according to Wikipedia, only 3 truck chassis were made.

A big thanks to my friend and fellow PHSC member, George Dunbar, for finding this interesting photo and sharing it with us all.

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a little slip of a thing …

Diaphragm of J H Dallmeyer Air Ministry lens 14A/780 f/2.9 8 inch F.L. Some say it covers a 5×7 plate, others an 8×10 plate.

Toronto. … said my mother in describing a skinny young girl. She could just as easily have been describing a Waterhouse stop, or a leaf in a photographic iris diaphragm. In fact, have you ever wondered when and who invented this amazing aperture control?

Rudolf Kingslake in his 1989 book, “A History of the Photographic Lens” (I have copy) says, ‘In the days of the daguerreotype, obviously no means for reducing the lens aperture was required, as photographers needed all the light they could get.’. He goes on to say, ‘The commonest means for aperture control is the familiar iris diaphragm. It is not known who invented this extremely ingenious mechanism, but it was apparently known early in the last [19th] century.’.

Wikipedia has an excellent discussion of the iris diaphragm and how it works. The article suggests, ‘Others credit Joseph Nicéphore Niépce for this device, around 1820. Mr. J. H. Brown, a member of the Royal Microscopical Society, appears to have invented a popular improved iris diaphragm by 1867.’.

These articles and points all relate to glass plate and film cameras of the last two centuries.

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