anything you can do …

A camera collector’s collector

Toronto. Camera collecting has no firm rules. Some folk collect quantity, some quality, and some both. The late Jim Matthew managed to collect some 3,000 plus cameras ranging from the inexpensive to the exotic. A marine engineer, Greater Manchester born Jim’s work took him around the world (including 12 years in Canada).

Jim began his collecting enthusiasm while visiting his daughter in Vancouver, BC. Jim retired to Scotland and on his death, his wife Dorothy emigrated to Canada. Steven Brocklehurst did a short review of Jim and his collection for the BBC Scotland News on September 11th of this year.

Thanks to my good friend and fellow PHSC member Celio Barreto (our programme secretary, Japanese photography expert, and, Instagram &  ZOOM meister) for sharing this piece on camera collecting with me. NB, the title of the post is also the title of a 1946 song composed by Irving Berlin for the Broadway musical, “Annie Get Your Gun“. Unlike the song, few collectors can claim to better Jim’s over 3,000 old cameras!

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if it moves, shoot it …

Ad for Kodak in LIFE August, 1967

Toronto. An old military saying was, “If it moves salute it; if not, paint it”. My colour blind uncle was a painter on a military base after the end of WW2. He told me the paint tins were marked to say the house, room, and wall to be painted, so his eyesight was not an issue.

An advertisement in the August 18th, 1967 edition of LIFE magazine (p 85 – one page from the end), promoted Kodak’s super 8 movie cartridge, colour film, a new projector and a new palm size camera, solving two of the problems vexing would-be amateur home movie buffs – flipping a camera film reel and threading a projector.

The ads never mentioned the squinty results, lack of sound, cost, tedious editing, steep learning curve to accomplish decent results, cheap lenses, resolution issues, etc. After all, Kodak’s goal was to sell film, lots of film. Buy the projector and camera – and keep buying film.

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the importance of being a photographer

Yonge St looking North from Temperance in Toronto c1903

Toronto. The internet, streaming services, and television have a voracious appetite for videos. A century or so ago it was magazines and newspapers with the heavy appetites for still images and drawings.

Any time before 1839, your ancestor had to have deep pockets indeed (or live in a ritzy area) to have any chance at all of a landscape painting or a good likeness by a competent artist. The longer photography was around, the cheaper and more popular it became . Many streetscapes, nature shots, and portraits were taken by professionals. In time, most folk had a family snapshot enthusiast who snapped family events, portraits, or perhaps even workplace photos.

After photography became commonplace, it was possible for most descendants to see where their ancestors lived or what looked like or even how they earned a living! An amazing change in an era of such rapid changes in travel, communication, education and entertainment.

Before its ill fated report was released, Google’s Sidewalk Labs collaborated with the City of Toronto Archives to produce an amazing website showing both vintage photographs and the date and location in Toronto where they were taken.

My thanks to our sports photographer, author, past PHSC president (and more), Les Jones  for sharing this tidbit of history with me. Old TO by Sidewalk Labs is a truly great website to browse around. What’s in your neighbourhood?

NOTE: The post title is a riff on the 1895 Oscar Wilde play called, “The Importance of Being Ernest“. (A favourite play of my Wife’s when she was a school girl.)

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PHSC News for September 2020

Heartbeat camera made by Korean artist Kwanghun Hyun

Toronto. Well, it’s September already and the infamous COVID-19 pandemic is still with us!

Meantime, our editor extraordinaire, Sonja Pushchak, and her team have composed the first issue of PHSC News (20-03 – September 2020) after our non- break.

Page 1 covers Michael Wesely’s Stilleben (Still Life); followed by page 2 and a virtual rendering of “The 3D Wizardry of Mark Forbes” in place of the usual PHSC Presents. Page 3 takes a swipe at “LIFE magazine and the pandering of photography”; while page 4 promotes our very first Outdoor Auction (COVID-19 rules permitting, of course). Page 5 covers Phillipe Halsman’s Jump book and its relevance at the time. David reintroduces the legendary f/4 “Beer Can” zoom lens, followed by his trio of web links helping partner Louise.

Page 8 covers alternatives for our monthly meetings plus a note from Celio, our programme coordinator. On page 9, Vi and Dot are retired and replaced by Ivy & Izzy who talk about the works of Jerry Uelsmann. As usual, this issue wraps up with the classifieds on page 10.

P.S. You can visit this issue by clicking here, or by g0ing to the menu item NEWSLETTER at the top of the page. There is a drop down menu that takes you to older issues dating back a couple of decades to the very beginning.

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flash … bang …

a safer flash in 1926

Toronto. In the 19th and early 20th century indoor and night photography required flash for a decent exposure. Unfortunately, the magnesium powder that created a bright light when ignited was unstable and unless great care was taken, it would suddenly explode creating both a flash and a loud bang frightening and potentially injuring both subject and photographer alike.

In the 1920s,  a clever German design used a new process to convert the magnesium powder to a ribbon and housed the unused reel of magnesium in a fire-proof box. Only enough ribbon was exposed to give a suitable amount of light. Eventually, the magnesium was contained in a glass bulb and ignited by a small battery when ever a brief burst of light was needed.

This drawing and article was discovered by George Dunbar in the February 1926 edition of the magazine Science and Invention during his research into photographic history. We are very grateful that our friend and fellow PHSC member shared his find with us.

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** Our very first OUTDOOR Auction on October 4th is CANCELLED **

Toronto. The PHSC’s first OUTDOOR auction,  planned for October, 4th IS NOW CANCELLED (September 23). Our regrets to all who planned to attend this event for the high end collectible cameras (from an estate) that we intended to auction. COVID-19 permitting, a later date will be set.

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stick a pin in it

1927 drawing of a pinhole camera

Toronto. Just over three years ago I did a post on the simple pinhole camera. This wonderful solution to a camera for all even had a day devoted to photographs taken by pinhole cameras (a day in April).

My friend George Dunbar discovered this sketch in a 1927 magazine’s Q&A column along with some other questions as shown. My thanks to George for sharing this bit of nostalgia turned up during his research into photographic history.

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pretty as a picture

Portrait by Stewart Maclean in PhotoEd Fall 2020 edition

Toronto. Editor Rita Godlevskis and the gang at PhotoEd have whipped up another tasty edition (Fall 2020), this time featuring fresh Canadian portraiture.

Check out this exciting issue’s articles and photos. Please note that the PHSC is represented with this ad on page 37. Design courtesy of our PHSC News editor.

Check the newsstands and the PhotoEd website and subscribe to this great Canadian photographic magazine.

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once upon a time in Canada

Leitz Canada Summicron

Toronto. A few years after the second world war ended, Ernst Leitz established a factory in Midland, Ontario. At this subsidiary factory cameras were assembled from Wetzlar parts, manufactured, and lenses were assembled, manufactured and designed.

In our journal, issue 13-2, the son of the Canadian distributor of Leica and Minox cameras and accessories, David Carveth, wrote an article on the creation of the ELC (Ernst Leitz, Canada) factory. Initially, assembly of Wetzlar parts was done in Midland. Later cameras and lenses were also manufactured there. Few cameras were signed as Leitz Midland. It was necessary to use the serial number to tell whether a camera was assembled in Midland or Wetzlar. From the beginning of manufacture at Leitz, batches of serial numbers were assigned to different models and locales (after multiple factories were in operation) each year.

The head of ELC, Walter Kluck, brought over the equipment to make the M4 camera line when it was discontinued in Wetzlar after the CL and  M5 models arrived. The Canadian versions were the Leica M4-2 and M4-P. Doctor Walter Mandler moved to Midland to help set up the factory and stayed in Canada. His lens designs, such as the summicron 35mm f/2 shown at left, became world famous. Mandler retired in 1990. By the time the M6 was designed, manufacture and design of cameras and lenses had moved back to Germany.

In time, the majority of work and profit at ELC stemmed from American Military contracts such as those for Hughes Aircraft. Leitz discontinued retail equipment manufacture in Midland and in 1990 the Canadian factory was sold to Hughes in Los Angeles ending the storied manufacture of high end cameras and lenses here.

NB. The title is a riff on a movie, “Once Upon a Time in Hollywood“, and a line from the poem, “The Daring Froggie”  which I learned as child many decades ago in grade two and used to recite to my kids to their delight.

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stretching it

can you stretch emulsion?

Toronto. Good friend, PHSC member, and photographic historian George Dunbar shared this bit of whimsey with me. The February 1928 issue of “Science and Invention” included an article titled, “Enlarging Photos by Stretching” attributed to an “A W Herbert”.

Herbert posits that a formula developed by “Dr A Junghahn” of Berlin can separate the emulsion from its glass plate support and make it stretchable. Later, using a water bath the emulsion is stretched and moved to a larger glass plate. Depending on the emulsion thickness and the water bath temperature, he quotes Junghahn as saying the emulsion can be stretched up to 10x saving the aspect ratio and eliminating need for an enlarger. The formula like the doctor cannot be located.

This may be wishful thinking on the part of A W Herbert. A Doctor Alfred Junghahn did exist in Berlin as an assistant to Vogel but the only reference I could find was a paper that referenced an “Alfred Junghaun”as an assistant to Vogel. For a modest $44 US I could get a pdf copy of the paper.

The only photographic media I am aware of that purposely had the emulsion removed for printing was Eastman’s stripping film. This was the earliest film for a Kodak camera. It used an optically impure backing material so the emulsion was “stripped” and placed on a glass table for contact printing. There was never a mention of “stretching” to enlarge the image.

I haven’t seen any other reference to this idea. It is telling that the formula is incomplete in the article. Such magazines depended on these fillers to attract readers so they could attract advertisers. If you have any ideas  just send me a note at info@phsc.ca. For this post I checked out Google, Eder’s 1905 edition, and Jenkins’s “Images and Enterprise”.

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