diversions

Claudia by Columbian Photographer Karen Paulina Biswell

Toronto. We all need a bit of diversion just now in light of the pandemic that has all us law abiding folk house-bound. Photographic Canadiana editor Bob Lansdale sent along a suggestion that we visit a French site with oodles of short videos and stills.

Bob writes, “Don’t know whether this would be interesting to keep members occupied and entertained while quarantined….”. The site “The Rencontres d’Arles at Home #44” was sent to Bob by Bruno Chalifour, secretary of the PHS across the lake in Rochester NY.

For those of us who cannot read French – try the right hand column …

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binocular vision

Toronto Camera on Church

Toronto. My first visit to Toronto Camera was in 1960 when they were on Church Street. I remember buying a Hansa Enlarger and Braun slide projector plus some chemicals and paper. I also picked up a copy of their July 1960 news letter touting how to choose binoculars – and they just happened to have a sale on Binoculars.

This was the major store for cameras at the time. Henry’s was an upstart but when they bought out a camera store in Chicago, they immediately became a power house later adding branches throughout Ontario. Toronto Camera later moved to a multi story store on Yonge Street which I visited many times, especially when I moved to Toronto or visited the city.

 

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plus ça change

Old ad for Zeiss Sonnar lenses in the book “Zeiss and Photography”

Toronto. It is said that the more things change, the more they are the same. Like the Zeiss Sonnar lens for example. Larry Gubas in his massive text “Zeiss and Photography” shows the Sonnar as it was initially sold in 1932 and the more modern version in 2007. The initials ZM mean that the lens will fit a Leica M-mount (ZM is Zeiss M).

Larry writes, “To the left is a pictorial comparison between the 1932 and 2007 f/1.5 Sonnar 50 mm lenses. They are remarkably similar for being more than 75 years apart”. Elsewhere he notes that the normal lens for the Contarex was the f/2 50mm Planar or f/1.4 55 (58) mm Planar and not the far more popular Sonnar design from the days of the Contax.

The name “Planar” was coined by Dr Rudolph in the late 1890s for his “double-Gauss” lens design. It surfaced once again in the late 1950s as the normal lens for the Contarex SLR. The old Planar design was changed to a modified double-guass design to make the lens “retro focus” allowing it to stay in front of the mirror even at infinity.  My Exakta uses a beautiful f/1.8 58mm Steinheil lens for the same reason. My 28mm Angenieux lens does the same with horrible geometric distortion. The Contarex SLR uses an even wider 21mm lens BUT with the mirror locked up and a separate viewer. Note: Much of the Planar data is from Kingslake’s “A History of the Photographic Lens”. Rudolf Kingslake was a Londoner by birth. He emmigrated to the States to teach at Rochester University and head up Kodak’s lens design department.

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really, really, retro …

Click above to see Haida Gwaii in infra-red by Remy Olivier

Toronto. Years ago I abandoned Kodak B&W products for Ilford. By then everything was panchromatic and ortho was but a bad dream and weird filters were no longer necessary.

The world moved on to digital a decade or so ago but a voluble niche group of photographers rigidly stuck with film. Now Ilford is bravely touting a”new” film especially for the cognoscenti of weird colour transformations to monochrome – an orthochromatic black and white film!

This news comes from a link in Snapshots by the PHS of NE via our famous journal (Photographic Canadiana) editor and professional photographer in his own right, Robert Lansdale. If you are one of the small population of film fanatics, be sure to visit the Film Photography Project! Michael Raso posted this article about the new Ilford Ortho Plus film last year on October 29th on FPP.

NB. About 17 years ago on a trip west, with my youngest, we saw the rock shown in this wonderful IR shot by Remy Olivier. It was long after sundown and rapidly getting dark, but that’s another story.

 

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one-eyed monster

Cyclops camera and binoculars

Toronto. Our PHSC News for April, 2020 (issue 19-10) features the odd looking Cyclops camera of the mid 1950s. Editor Sonja Pushchak and her team put out another tasty issue in spite of the nasty COVID-19 virus affecting countries world wide at the moment.

Page one addresses the very interesting  and colourful Polymath Birds of Columbia. Next in lieu of our none presentation, Sonja links to Doon Arbus talking about her famous mother, Diane.  Page three covers the Cycle Diary by Lorne Shields and our editor (Lorne was to be our guest speaker last month).

On page four, AD-ING IT UP covers author Chip Kidd which is promptly followed by page five and the TORONTO FILE on contagion. David Bridge leaps in with his Equipment Review, this time showing ways to avoid touching your digital camera (software for PC and MAC); and Web Links o behalf of his better half, Louise.

PHSC Presents shows the impact of COVID-19 as does the CLASSIFIEDS while Vi and Dot discuss another kind of Royal collection. Click here or the Cyclops icon to see this edition of PHSC News.

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doing it in the dark

Darkroom. California

Toronto. Snapshots from the PHS of NE via my friend and editor of the internationally famous Photographic Canadiana journal pointed out a couple of links to me Wednesday last. The Darkroom over in California is interesting. While we have local film processing by Downtown Camera (Mike once sold me a rare Leitz Thambar lens), this California shop lists all currently available film and does a review on each type”

Worth a close look, all you film aficionados.

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not this year

59th Bièvres Cancelled

Toronto. More impact from the COVID-19 pandemic. Anne Quémy of France writes, “Hello, I am very sorry to announce the cancellation of the 57th Bièvres International Photo Fair due to the global health situation caused by the Covid-19.

“We look forward to seeing you in June 2021. Meanwhile, take care of yourself.”

Some members have attended this famous event in years past, but not this year …

 

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Henri does Havana

Cuba by Bresson for LIFE March 15, 1963 issue

Toronto. On page 28 of the March 15, 1963 issue of LIFE magazine begins an article on Cuba after the revolution featuring the words and photos of the great French photographer Henri Cartier-Bresson. Bresson is usually thought of in terms of his Leica and Decisive Moment photograph in France.

Take a gander at the photos and prose in this LIFE article from over 60 years ago. Castro had taken over Cuba in a world famous revolution. Worsening relations with America had his country black-balled by the mighty USA.

My thanks to good friend George Dunbar for unearthing this bit of history on the famous French photographer.

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way too much, way too late

Contarex cut-away from Larry Gubas’s massive “Zeiss and Photography”

Toronto. The Contarex was Zeiss-Ikon’s SLR flagship. With some 1,100 plus precision measured components, it was an engineer’s dream – and a repairman’s nightmare. The $500 US  “Bulls-eye” Contarex was announced at the 1958 Photokina but didn’t hit the shelves until 1960 – a year after the vastly less expensive and famously popular Nikon F.

The Contarex, built like a tank, was very complex by design. It was heavy, fragile, expensive and had to be used following a specific sequence of actions – not simple to use by any means! The camera and lenses were far better than those of any competitor, but took a very competent and skilled repairman to accomplish even the simplest task. It was designed for professionals with very deep pockets to buy extra bodies to use when the inevitable trip to the repair shop occurred and repairs took so long.  In contrast, other professional 35mm cameras were smaller, lighter, cheaper and faster to repair when necessary.

In Larry Gubas’s massive 2015 book on “Zeiss and Photography”, 36 pages are devoted to the Contarex family of cameras (check out Petra Kellers and the Camerabooks website when the COVID-19 pandemic is over). The camera design was externally very rugged. Even when the internal mechanism was badly worn by heavy use, the exterior often looked as if the camera had been barely used. Sadly, the Contarex was thought to be one of the reasons for the demise of Zeiss-Ikon as a camera manufacturing innovator and power house. Contarex was a retail failure, far too complex and expensive to make and repair compared to the competition.

 

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imagine! colour in 60 seconds!

revolutionary Polaroid color 1963

Toronto. With smartphones, FaceTime, Skype, etc all using full time live video today, a still colour print in 60 seconds is a big yawn. But, picture photography in early 1963: To see any  photograph – colour or black and white, the photographer had to wait for negative development, print development, and mailing to and from the processor (unless you were skilled at work or home).  Slides skipped the print processing but still took days  – two weeks up here for Kodachrome.

Polaroid shocked the world with its astonishing 60 second process that worked in all its cameras made since the 1948 introduction of its black and white process. LIFE magazine on page 74 of its January 25, 1963 issue devoted a ten page article to the amazing process. The film used was initially sold in Florida and by summer, throughout the States.  A six shot roll was projected to sell for $3 to $5 US in the States. No mention of print life or scheduled sales outside the USA.

Regardless, it was astonishing back in 1963 to see results so quickly! My thanks to PHSC member and good friend George Dunbar for suggesting this article and the astonishing accomplishment of the Polaroid labs down in Massachusetts long before the digital wave replaced film as the main stream process and smart phones replaced the majority of film cameras.

 

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