Jim Wills, photographer and collector 1942 – 2020

the late Jim Wills of Burlington, ON

Toronto. I received an email Nov 4th from our PHSC President, Lewko (Clint) Hryhorijiw that Jim Wills of Burlington died recently.

Mike Fast, who sent the note to both Clint and Maureen Tucker over in London, said, “… He boasted of having over 900 SLRs, every one of them different, if there were any differences between the Japanese, American and European models he had one of each. He wasn’t just a camera nut or a collector of many things, but he was well versed and extremely knowledgeable in many, many different areas.

“I will truly miss him.”

His funeral was handled by Smith’s in Burlington. Smith’s noted on their website, “James ‘Jim’ Robert Wills passed away peacefully at the age of 78 in his Burlington home on October 29th, 2020.

“Born in Hamilton, March 21, 1942, Jim was predeceased by his parents Dorothy and Arthur Wills and his daughter Tracy Wills. He is survived by his daughter Sandra Wills, partner Christine McCombe, and step-sons Paul and Martin Garster.

“Jim had a brilliant mind. He was an avid gardener, photographer and was unfailingly generous with his time and energy.

“There will be no public service. The family asks that donations be made in memory of James Robert Wills to The United Way.”

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the eighth by ZOOM

Toronto. We held our eighth COVID-19 inspired exec meeting via ZOOM (This is beginning to feel like normal). Thank you Celio for arranging the meeting once again. Key changes are shown below. Toronto is in stage 2 modified at present as we enter the second wave of COVID-19. ALL live events are cancelled at least until 2021. Our monthly meeting venue (North York Memorial Hall) is closed to events by the city until at least December 31, 2020. We hope to do meetings beginning November 18 via video. Stayed tuned.

PHSC News goes out shortly for November. Sign up at news@phsc.ca for a free pdf copy. Members get specials plus the journal via pdf. Contact me if you are a member and HAVE NOT seen the pdfs. Some members have unsubscribed to MailChimp; some emails are invalid; and others have no email on file with the society. Any questions? Just drop me a note at info@phsc.ca

Our October Exec meeting via ZOOM

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Stanley, I presume?

Stanley Park c 1910-1910 by Philip Timms

Toronto. About three years ago I did a post on Stanley park’s beautiful and massive old trees showing an ancient (today) automobile nestled in the trunk. Here you see another huge tree, this time shrouding a horse and rider!

The glass plate negative was taken by photographer Philip Timms. The Timms font is held by the Vancouver Public Library, one of our long time members. Timms is also represented in the City of Vancouver Archives collection.

A big thanks to George Dunbar, a fellow PHSC member for sharing this beautiful and historic find from Canada’s great west coast city of Vancouver.

NB. The title of this post is a riff on the famous quote by Henry Stanley when he came upon Dr Livingstone deep in Africa in 1871 (Dr Livingstone, I presume?).

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an f/2 lens in 1924

photo of a 1924 camera with f/2 lens

Toronto. We (read old guys) often think of f/2 lenses as a 1930s phenomena, but this photo in the July 1924 edition of Science and Invention on page 266 begs to differ. The pdf version of the magazine is a bit big for this site so take a look at it on the link shown above.

The camera boasts a sports finder and a focal plane shutter of all things. No name is mentioned but Ernemann had similar cameras in that era. And it does look European.

Note that the magazine ads promise big money in electricity or radio – the big fresh ideas of the time. Photography was over 80 years old by then and serving as a filler or an idea for elecricity.

Thanks to my friend George Dunbar for sharing this historical item with me.

 

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what’s leaves got to do with it

Autumn Leaves of fall

Toronto. Falling leaves. Cold. Damp. Windy. November in the city and winter is about to rush in. As I write this post on the 1st, we are seeing our first snow flurries of the coming season.

Leaves have a lot to do with photography both in the aperture and the speed setting of film cameras.

The Waterhouse stop and the slot in the side of a lens were in time replaced with a diaphragm device whereby the rotation of a ring on the lens would vary the size of the aperture by causing a change in the diameter of the centre circle and thus control the amount of light hitting the sensitive media, the depth of field (what parts of the scene would be in or nearly in focus), and the look of out of  focus secular light (the bokeh of the lens). This diaphragm device was composed of a series of leaves attached to the ring.

When the media for photography reached an in-camera speed calling for sub-second exposure outdoors, shutters became mandatory. They evolved into various designs including a leaf shutter which used a series of metal leaves, like the diaphragm. This time the leaves were tightly shut and when released, quickly opened fully then snapped shut once again.

The leaf shutter could be synchronized to operate a flash at any speed. Unfortunately its top speed was limited by physics – about 1/400th second for 35mm cameras. Also the ideal location was midway in each lens resulting in expensive lenses. Optionally the elements in front of the leaf shutter could be changed to vary a lens’s focal length slightly (before we had zoom lenses). As a result, leaf shutters were mostly used for mid price range 35mm cameras.

Note that the title of this post is a riff on the title of Tina Turner’s hit song “What’s Love Got To Do With It?” sung here by the lady herself

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1932 – Technicolor and Doctor X

Scene from 1932 Technicolor Doctor X

Toronto. The first time I saw a Technicolor two colour process colour film was the other evening when I viewed the 1932 film “Doctor X” via TV courtesy of TCM who ran the UCLA Film Archive recreated version on safety film. When it comes to colour, I usually think of still images and the struggle I had to process and print three process colour media in the 1970s.Today, digital media and smartphones make the task dead simple be it still or movies (I mean videos).

I found Doctor X interesting for a couple of reasons. Firstly, it was a talkie made just a few years after talkies first came on the market. As such, the film was rife with audible sound effects. The industry wanted to fill every moment with sound of some sort.

Secondly, it used the two colour Technicolor process aiming to make skin tones realistic resulting in everything else looking greenish or brownish. In Technicolor movie cameras, the process made clever use of prisms and filters on reels of film made on nitrate based B&W film. With a bit of film magic, positive dye sublimate prints were made for projection in big cities of the States while the rest of us abroad or in small American towns saw only black and white prints.

I had read about Technicolor’s two colour process but didn’t realize how old it was nor how many process updates occurred to reduce grain and improved colour clarity. Since it was a subtractive positive colour, it took much less light to project, allowing standard projectors to be used.

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what a bargain!

Mandel-ette courtesy of Jason Penney on Flickr via  Camera–Wiki

Toronto. Do you remember street photographers? They were itinerant photographers who snapped people as they walked along city streets and sold their work accordingly. Sometimes the photo was a ferrotype (tintype) and the finished photo was ready in a minute or two. Other times the subject was given a number to call next day to pick up the photo.

Those who took tintypes may have used the Mandel-ette made by the Chicago Ferrotype Co. (CFC), described in McKeown’s as, “Founded by Louis & Mandel Mandel, the Chicago Ferrotype Co. was the United States’ leading producer of direct positive ‘street’ cameras for tintypes, button tintypes, paper prints, and post cards.

A Mandel-ette today is worth about 8x its original cost.  An ad from 1924 offers about 10,000 cameras for a free 10-day trial. Budding businessmen could pay just fifty cents US a week for twenty weeks to buy the $10 camera if they kept it.  CFC also sold supplies by mail. Interestingly, the camera seemed to be a basic box camera (fixed focus, small aperture) but offered prints in a minute long before Polaroid’s famous “pictures in a minute” system that was offered shortly after the second war ended.

Click here to see the manual or visit Camera-Wiki and after reading the material, follow the link at the bottom of the page (same manual). My thanks to George Dunbar for sharing this 1924 ad he unearthed recently.

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scandalous

Robert Notman’s sad story as told by Elaine Naves in her 2013 book

Toronto. And a spooky halloween to you all in this year of the pandemic! I thought it fitting to talk about a scandal that affected the famous Notman Studios. Years ago I bought a coffee table size book of William Notman photographs called “Portrait of a Period” in downtown Montreal. In 2014, I was surprised to see a smaller softcover book with a title that was a riff off the title of the coffee table book.

It was titled “Portrait of a Scandal” and was closely tied to Notman as it was the story of his younger brother Robert who also emigrated to Montreal. The younger man worked for a short time in his brother’s studio in Montreal. Sadly instead of fame, Robert was embroiled in an abortion and worse a murder in his new city. Until I read this book, I never knew that treatments for “ladies’ problems” included medicines that were touted to end unwanted pregnancies.

Amazon Canada quotes the following blurb to promote the book: “In the winter of 1868 a name Montreal society associated with art, good breeding, and culture became fodder for scandal mongers. The Notman name, synonymous with fine photography, was suddenly making headlines featuring the words ‘abortion’ and ‘suicide.’

A dozen years earlier, two brothers fled their native Scotland . They were attracted to Montreal by its reputation for making the fortunes of go-getting Scotsmen. One was destined for fame, the other for notoriety.

William Notman, the older brother, eventually owned the largest photography business in North America. His subjects ranged from royalty, Governors General, and the Fathers of Confederation to Sitting Bull and Harriet Beecher Stowe. His studio immortalized the faces and baronial mansions of the merchant princes of Montreal’s legendary Golden Square Mile–the Molsons, Redpaths, Allans, and Van Hornes.

By contrast, Robert, the younger brother, was drawn into a drama which shook up Montreal’s polite society. After he seduced the beautiful and ambitious Margaret Galbraith, a student at the McGill Normal School, he arranged an abortion for her with an up-and-coming young doctor who soon after committed suicide.

The subsequent trial of Robert Notman became cause-célèbre in the newly minted Dominion of Canada in 1868. Portrait of a Scandal depicts a society that distanced itself from sexual misconduct, while it lapped up its every detail.

Bob Lansdale and I joined a few other PHSC members at Campbell House on Monday, June 16th, 2014, a summery night in the big smoke, to hear author Ms  Elaine Kalman Naves talk about her Notman book.

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electricity to the rescue

September 1917 article on using electricity to sequentially trigger flash powder stands

Toronto. Whenever a new technology or process was announced people found ways to use it for profit. A few decades ago photographers set up multi flash units to light large areas when a shot was taken. The idea of harnessing electricity to do this was far older.

In the early years of the last century when home  electricity was new. the American magazine,”The Electrical Experimenter” published many ways electricity could be used. For example, in its September 1917 issue EE showed an article called, “Electricity Operates Panorama Camera and Flashlights Automatically“, showing a suitcase sized controller that sequentially ignited stands of flash powder.

As a panoramic camera rotated, each flash stand was triggered to evenly illuminate a large indoor commercial area, in this case a room full of electrical power generators, one flash at a time.

The article suggests the camera was also operated by electricity although  such cameras commonly used gears and springs to circle an area. This article and idea is from my good friend and fellow PHSC fan George Dunbar. George is pursuing his natural curiosity with a photo history bias and shares many of his findings with other PHSC members.

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Alice is at it again

Sony A7R IV Full frame 61 megapixel

Toronto. After film’s popularity surged in 1880 with the famous Kodak camera, the race was on to increase its detail (resolution) and speed. By the time film faded from popular use, both resolution and speed had increased significantly. A friend of mine suggested digital cameras with 35mm frame size sensors (full frame) would have to reach some 35 megapixels to match the detail possible with 35mm Kodachrome transparencies. While there is no simple correlation between film and digital resolution, common estimates suggest Kodachrome is about 20 to 35 megapixel equivalent in resolution (lens quality and ISO rating are variables to be considered).

Fortunately, just like film, digital sensors have grown in both resolution and speed. When first introduced, digital cameras had sub-megapixel sensors that struggled to offer ISO 400 sensitivity. The low resolution nicely matched the computers of the day.

Modern high end digital cameras can capture 50 megapixels or more with sensitivities beyond ISO 3200. Digital Camera World posted this article (12 Highest resolution cameras you can buy today)  by Rod Lawton on June 12, 2020. This article was the source of the Sony illustration at left.

NB. The title of this post is the witty and whimsical song “Alice is at it Again” written by Noel Coward in 1946 and sung by him on his show in Las Vegas at the Desert Inn. I first heard it on his “Noel Coward in Las Vegas” album which I bought some 60 or so years ago.

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