the RED button, aunt Tilly

Ansco Color Clipper c1958 courtesy of Mike Eckman

Toronto. Late in the last century, past president Don Douglas and I represented the PHSC with a “dog and pony” show on the history of photography. Don used his camera collection to show the evolution of cameras while I showed a slide talk on the key developments from Daguerre to the Kodak camera.

Don’s talk was always entertaining. He collected mainly Ansco cameras. The name comes from one of the first photographic supply houses in America – Anthony and Scoville. Like many, I used and processed Anscochrome 35mm colour slide film. Ansco cameras stood out with their red shutter release buttons.

Don suggested that every family had an “aunt Tilly” who was unfamiliar with photography but willing to take a family photograph. All that was needed was to ask “aunt Tilly” to hold the camera steady and just “press the red button”. Simple.

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another KODAK moment

Late 1969 ad in LIFE magazine for Kodak Super 8 cameras

Toronto. Between colour media, and home movies, the post war amateur photography market blossomed.   It was often said that Kodak made its money selling film and other photographic consumables using their inexpensive cameras as a means to further sales.

To expand its market share, Kodak kept inventing and selling new films and cameras. A case in point was their line of Instamatic movie cameras designed to expand Super 8 film sales.  The cameras were heavily promoted in advertisements such as this one on page 35 of the December 5, 1969 issue of LIFE magazine.

The idea sounds much like the Gillette razor business plan or more recently, the ink jet printer business plan: Sell the physical items (cameras, razors, printers) cheaply and make up any loss selling genuine branded disposables (film, blades, ink).

A nod of thanks to my good friend George Dunbar. George found the ad while searching out photographic history in magazines of years ago.

NB. The title of this post is a riff on the forgotten Kodak catch phrase, “A Kodak Moment” which we used before in a post title about Kodak’s early venture into DSLR territory.

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it’s home to print we go …

colour printing brochures and book

Toronto. For about the last half of the last century I enjoyed doing darkroom work and processing of both negatives and prints. In the 1960s and 70s, this included colour processing using paper and chemistry of the day. And beginning just prior to the 1960s, I also processed transparencies – positive 35mm colour film using an alternative tri-pack process to Kodachrome based on the pre-war/wartime work of Agfa.

I began colour processing with a cheap enlarger, home made filters, Ferrania colour chemicals and paper. I ended my colour processing days with good filters (C,M,Y) a drum, and modern high temperature chemistry. Along the way, I learned that colour developers had an extremely short life; most of the processing time went towards colour balancing and exposure adjustment; colour prints could not be corrected for contrast and look good; technique (other than cropping) could not be changed; etc. In fact, the best you could do was ensure the prints were technically correct. Any artistic action had to be taken when the colour negative was exposed.  Bad negative? Bad print! End of story. Other than some correction for over exposure, of course.

When I first tried the new chemistry and a drum, the paper had a pink overcast that even confused the photography store clerk in Montreal. Later, I happened to read that Kodak paper was very sensitive to temperature and went pinkish in high temperature. A switch to Agfa paper solved my pink overcast.

Sadly, the rapid transition to one hour processing shops by retailers made home colour processing more expensive, not cheaper as we had experienced with home developed black and white. That ended my venture into colour processing.

NB. The post title is a riff on the 1937 Disney songHeigh Ho” in the animated film “Snow White and the Seven Dwarfs“.

Disney’s version of the old German fairy tale was the first full colour feature-length animation. And also the first film ever to have a sound track recording offered. I saw it as a child in the early 1940s. It was shown in the only “first run” movie house in the small town where I then lived. I still remember the colour, the animation, the golden ‘V for victory’ over the screen and the red velvet ropes to cordon off patron line ups. Those were the days when movies opened in the States and big cities many months before finding their way to “first run” theatres in small towns like mine.

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a fine balance

Cheap laboratory balance to weigh photography chemicals

Toronto. I began to take photographs in grade school when someone gave me a simple box camera. In high school, I joined the camera club and began to print and process my own photos. Once I started working, I decided to also develop my own negatives.

On a shopping trip down to Toronto, I found an old lab balance which I still have. The local Rexall Drug Store happily ordered my list of chemicals. A copy of the Photo-Lab-Index provided the necessary “recipes” for me.

After learning how to “roll my own”, I moved on to packaged chemicals, finally settling on Microdol-X for negative development. Acetic acid for the stop bath and ordinary prepackaged fixer completed the process. Many a pleasant evening was spent developing negatives and prints. I tried various so called fine grain developers but ended up with Ilford’s Microphen (competed with Kodak’s Microdol-X). I even struggled with colour print technology by Ferrania (Ferraniacolor).

A bit over a decade later in Montreal, I used drums, new colour processes and special filters. The advent of the fast processing shops like Eddy Black’s and Japan Camera ended all home development since they were faster and cheaper for negatives and small prints (3,5 x 5 and later 4 x 6). For a while I developed negatives (black & white) and made prints both B&W and colour but even that ended by the 1990s.

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All About Enlargers – Part B

All About Enlargers – Part B

Toronto. What do you do when a photograph negative is too small? Enlarge it! You may be surprised to learn that enlarging apparatus came along well before the minicam revolution of the 1930s. In this special members-only supplement (vol 1-7) Part B concludes showing the various devices available to enlarge the existing sensitive materials.

Vol 1-7 was sent out last Friday afternoon to all current members with an email address. If you did NOT get a copy, please email me at info@phsc.ca and I will send you a copy after verification of your membership. Not YET a member? well, for heaven’s sake! Grab your plastic and register via PayPal on the upper right of this page! And you can donate to the society the same way via PayPal, or go to our Canada Helps entry on the link below the PAy NOW button.

As stated in this supplement, “The advertisements and illustrations in this supplement originally appeared in the The Photographist numbers 109 and 110, the journal of the Western Photographic Collectors Association (WPCA) in 1996. The WPCA was affiliated with the University of California Museum of Photography and stopped publishing circa 1996, going into dissolution in 2001. For the story of the history of the WPCA, see the article in Special Supplement Vol. 1 No. 1.

“In an effort to make this material available to collectors, historians and those interested in the history of photography, this content was digitized by the Photographic Historical Society of Canada (PHSC) and Milan Zahorcak from the U.S. in 2019 and 2020 for distribution to PHSC members as a seven part series. The first instalments were about magic lanterns (parts A and B), shutters, posing chairs, flash lamps and the part A on early enlargers. If you have any questions or would like higher resolution scans of any of the images, please contact the PHSC at info@phsc.ca.”

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if winter comes …

Submit YOUR work to PhotoEd magazie

Toronto. … can spring be far behind? The delectable editor of PhotoEd, Ms Rita Godlevskis, announces two big events: The online version of PhotoEd’s winter edition and a call for material due February 1st for the PhotoEd spring edition.

Be sure to read this new online edition (different from the printed version) and submit your work to Rita for consideration. Those selected will be in the Spring 2021 edition of PhotoEd magazine.

NB. The title of this post is the last line of Shelley’s poem “Ode to the West Wind“.

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merry Christmas for those celebrating today

Toronto. Many of us wait until today to celebrate Christmas. Our president, Lewko Hryhorijiw, when asked gave an amazingly long list of countries still celebrating Christmas a couple of weeks later than December 25th. So to one and all, have a very merry Christmas in spite of COVID-19 and it’s necessary spread limiting restrictions.

A Merry Orthodox Christmas – courtesy of H. Sandler

 

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they’re coming! they’re coming!

ad in LIFE magazine

Toronto. In this case, it was the Japanese camera makers who moved on to America and Europe after the Korean War. They slowly eliminated both American and most German makers of film cameras.

In the latter part of the last century, companies from Japan, like Nikon worked hard to expand market share with ostensively better quality and features than the competition. And it worked. No American and few European camera makers are still around. Even today in spite of the aggressive onslaught of digital technology. Nikon, Canon, and Sony exist (although I suspect smartphones are taking a heavy toll).

Thanks to good friend George Dunbar who suggested this ad from the December 5, 1969 issue (p 97) of LIFE magazine when Nikon was busy pushing into the movie market. Note: the Nikon optical house began as a strong local maker of microscopes and now sells them world-wide.

This post title is a riff on the mad-cap 1966 Cinemascope comedy “The Russians are coming, The Russians are coming” produced and directed by Canadian, Norman Jewison.

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by the light of the silvery moon

21st Century Wet Collodion Moon
Image Credit & Copyright: Mike Smolinsky

Toronto. From the very beginning of photography, the moon and photography have worked closely together. John William Draper made his daguerreotype of the moon in 1840. It is the earliest existing photographic image of the moon. A cleaned up version is shown here by the Met Museum in NYC. The modern day shot by the old wet plate process at left is thanks to Mike Smolinsky in the States via NASA. We were unable to link to mr Smolinsky as many people on the internet are so named.

I have photographed the moon many times myself over the years. I can still remember my first photograph in a central Ontario field on ASA 400 film using a 135mm lens. To be sure of the image, I bracketed the exposure and even threw in a relatively fast exposure. To my amazement, the fastest exposure showed the moon’s detail  while the slowest shot captured the sky detail  leaving the tiny moon image burnt out and transparent with no details at all.

In the spirit of moon photography, NASA recorded this image as the Astronomy Picture of the Day on January 2, 2021. The accompanying text notes, “ In the mid 19th century, one of the first photographic technologies used to record the lunar surface was the wet-plate collodion process, notably employed by British astronomer Warren De la Rue.

“To capture an image, a thick, transparent mixture was used to coat a glass plate, sensitized with silver nitrate, exposed at the telescope, and then developed to create a negative image on the plate. To maintain photographic sensitivity, the entire process, from coating to exposure to developing, had to be completed before the plate dried, in a span of about 10 to 15 minutes.

“This modern version of a wet-plate collodion image celebrates lunar photography’s early days, reproducing the process using modern chemicals to coat a glass plate from a 21st century hardware store. Captured last November 28 [20201128] with an 8×10 view camera and backyard telescope, it faithfully records large craters, bright rays, and dark, smooth mare of the waxing gibbous Moon. Subsequently digitized, the image on the plate was 8.5 centimeters in diameter and exposed while tracking for 2 minutes. The wet plate’s effective photographic sensitivity was about ISO 1. In your smart phone, the camera sensor probably has a photographic sensitivity range of ISO 100 to 6400 (and needs to be kept dry …).”

A big thank is due to my friend Russ Forfar up  along Georgian Bay on Lake Huron for suggesting this idea and sending me the NASA link.

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a loopy idea

T.T.&H., Agfa, Leitz – example loupes

Toronto. I show three magnifier loupes at the left. The first is a Taylor, Taylor, Hobson brass loupe used in the late 1800s to focus a lens on the massive old field/studio cameras so that the subject was sharp on the ground glass. In the above linked post I called it a “no-name” as I missed the tiny T.T.&H. engraved on the second black rim.

In the middle is my favourite AGFA LUPE 8x that I have used for years. Bought new, the acrylic lens and base are as pure as when first made. It is ideal for checking 35mm negatives and slides. Flipped up side down I use it to look at all kinds of tiny objects. Note that Inter Ocular Devices used to replace foggy human lenses in cataract patients (like me) are also made of acrylic plastic known to be clear, flexible, and inert.

And at right is just one of many varieties of Leitz LVFOO loupes. These 5x loupes came in various finishes and where used on the PLOOT and VISOFLEX I mirror boxes as viewers to focus a lens with some precision. Initially, these beautiful all glass loupes were repurposed for use as 35mm negative checkers complete with a neck loop. They were  offered for about $299 which I thought was far too expensive.

Surprisingly, the 5x loupes are now badged Leica at even higher list prices! These loupes, coded as 37 350 were offered as recently as 2017. Different models were made. Today I see them still offered as used or remaindered at even astonishingly higher prices – with or without a neck strap.

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