docs on docs

PhotoEd – next issue is on Documentaries

Toronto. Movies and videos are either fiction or non-fiction, the latter we call documentaries. The documentaries cover people, places or things from various perspectives to help the viewer understand more about them.

Many people view television for entertainment, news and information. Sadly, most television programming is fiction of one sort or another (reality TV isn’t – it’s just cheap scripted filler between commercials).

In the coming edition of PhotoEd magazine. Rita has devoted the issue to documentaries and their importance to us. She is offering free tickets to a documentary on the life of photographer Robert Frank here.

 

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the shadow knows…

LIFE Ad for Colour Prints with GE M2 Flashbulbs.

Toronto. I remember as a child of seven or eight listening to radio dramas. One was called “The Shadow” and  his alter ego, “Lamont Cranston”. Like Cranston, the tell of a flash photograph with the flash gun mounted on a simple (cheap) camera is dark shadows (and burnt-out highlights).

Before the days of “Truth in Advertising“, marketeers latched on to a differentiating factor for their product and promoted it loudly. In the mid last century, amateur photography had two BIG events – indoor photos with flash bulbs, and colour prints. This advertisement  example is from page 43 of the December 17th, 1956 edition of LIFE for GE PowerMite M2 flash bulbs.

The colour print is small so details are not well illustrated and all the rest of the ad uses  black and white photos and text. The implication is that an amateur just needs to use GE PowerMite bulbs to get perfect colour prints, BUT the prints shown have neither burnt-out highlights nor deep shadows since good studio lighting and fast quality lenses were used.

Amateurs choosing inexpensive cameras and on-camera flash would still get crummy photos regardless of which flash bulbs they used. The shadow knows….

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if you know this guy, you’re too damn old!

Jerry Colonna and Minox III-S in a LIFE ad

Toronto. Another popular “coat-tail” ad stunt was to get then popular stars of movie, radio and even TV to promote the camera you imported, inferring if so and so who is so popular uses it, you should too.

Typical was this small November 19, 1956 ad on page 180 in Life magazine by Kling Photo Corporation in the big apple (this excerpt on Kling Photo is from the NY Times obituary of its founder, Paul Klingenstein who died in early 2003).

The ad  has Jerry Colonna introduce the Minox Camera to America. The Minox was a sturdy precision made camera with a sharp lens. At the time Minox was rather unknown in North America.

Mean time, Jerry was a  well known movie and radio actor featured as a zany side kick to Bob Hope back in the day.

P.S. Thanks to George Dunbar for suggesting the various Life ad based posts…

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coat-tail advertising

Spartus and GE in a LIFE magazine ad, November 1956

Toronto. Modern day advertisers “sponsor” athletes, movies etc. and join them in advertisements. Well known athletes at the top of their game promote sporting gear implying that using gear by that company will enhance your chances of winning too.

Mid last century, importers and camera makers wanted to promote their products. What better way than to join another well known company with one of the most popular amateur photographers’ accessories – a flash bulb. To this end Spartus, made by the Herold Products Co. of Chicago, touted all their cameras as ready for the “new GE POWERMITE [flash] bulbs“. Typical is the Spartus ad on page 142 of the November 12, 1956 issue of LIFE magazine, all ready for Christmas giving (the ad even repeats the GE line “This flash picture stuff is a cinch!“).

Spartus cameras were also included in gift kits at “$9.95 to $34.95” in US dollars. Power Mite (or PowerMite) was a GE trademark applied to sleeves of M5, M3, or M2 flashbulbs with or without the colour film coating of blue or amber.

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the good, the bad, and the ugly

Leitz ZOOXY for OOZAB focussing stage and 5cm Elmar lens. Early 1950s

Toronto. When it comes to accessories for the Leica, the ZOOXY and its brethren are right up there as candidates for the ugly prize. The massive weighty thing is a focusing mount and extension tube that connects to an OOZAB focussing stage. It focuses a 5cm Elmar from 1m to 23cm (about 9 inches) using the Elmar’s bayonet and not its screw-mount threads. It was available from around 1951.

The mount was later made with the much wider 51mm thread mount for the last run of focussing stages. It seems to be made of brass (it’s non magnetic) with a durable black enamel coating. If you were to drop it, I think the floor would suffer the damage, not the ZOOXY!

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a COOMI cutie

c1948 COOMI by Leitz NY lens is attached to removable ring shown attached (bottom of photo).

Toronto. In the post WW2 days of film, you could make close-ups by placing an extension tube between camera body and lens or by adding a close up lens (+1,  +2, or +3 diopter) element to the front of the lens – like a filter.

Leitz made both. Around 1948 Leitz NY made the COOMI, a micrometer extension tube, with fully variable spacing from 40mm to 60mm. You simply inserted it between the Leica screw-mount body and a screw-mount lens using the focoslide to take care of framing concerns.

The COOMI came in both a matt chrome finish like I have and a black finish. The front ring can be changed to accommodate a few different lens heads.

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logs and dogs

Photograph by Robert Frank

Toronto. Rita is everywhere with PhotoEd. If you wish to see the upcoming documentary on Robert Frank at Hot Docs for free here in the big smoke, Drop Rita a line.

The ‘log’ in the title of this post is Analogue or film – The current edition of PhotoEd covers this topic admirably.

The ‘dogs’ refers to Hot Docs/Hot Dogs/Frankfurters/Robert Frank – just my whimsical mind and some lateral thinking…

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a flashy ad over 60 years ago

A GE M2 flashbulb – smaller, brighter than ‘old’ M5 and M25 bulbs!

Toronto. Once the media (glass plates, film) became fast enough for instantaneous outdoor photos, people began creating a means to make indoor photos. In most cases the lack of a bright light was the limiting factor and various means to ignite a magnesium powder mixture for a brief very bright light began. The big risk with the so called flash powder was fire – or burns – from too much powder for a given space space.

A photograph created by flash illumination was easy for the practiced eye to tell – over exposure near the camera, deep shadows slightly further back,  high contrast, and little or no “modelling”.

A safer means of a brief bright light was eventually created in flash bulbs. Such accessories became a standard on the Graphic cameras used for press work. Post WW2 there was a surge in flashbulbs for amateurs as well. A colour coating meant even colour film would work. A blue filter coating allowed daylight colour film to be used indoors while the far less popular amber colour allowed indoor colour film to be used outdoors.

All this faded when inexpensive electronic flash was sold from about the 1960s on. In the meantime, the makers of flash bulbs strove to promote their products touting marginal or irrelevant differences as major steps making their products far more desirable.

For this GE ad on pp132, 133 in the October 22, 1956 copy of LIFE magazine, the idea of a smaller bulb (M2) with more light output suggested you would see a big difference by switching manufacturers. The smaller bulb base was not an issue – just buy a cheap converter to fit older flashguns!

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automation and home movies

Bell & Howell 200EE ad in LIFE magazinne

Toronto. If you were to believe the marketeers who wrote this ad found on page 24 of the October 8, 1956 issue of LIFE magazine, the 200EE camera is so simple a child could take perfect movies. Yeah! Right!

This 16mm camera is very technical and elaborate as the instruction book suggests. The camera speed (in FPS – frames per second) and film speed must be set; the lens focussed; a decision made to use the normal lens or two different add on lens elements to make medium wide angle or telephoto shots; and most importantly whether to use the auto aperture adjustment mechanism (based on an electric eye/motor/battery and red flag) or use a manual setting. And oh yes, do you want a movie or just a single frame?

The electric eye automation is the fresh idea that the marketeers are promoting, but the heavy, 16mm camera is far from the simple tool envisioned. Unless you are a talented photographer trained in the nuances of the art, this camera may as well be a brick!

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stuck in the middle

c1930s, two photographers with 5×7 Speed Graphics from Laurent De Miollis.

Toronto. Over the time from 1839 until today, still cameras have become smaller and the media faster. When dry plates became readily available, shutters became a necessity. Combined with aperture settings, shutters and diaphragms gave the right amount of light for correct exposure of dry plates and eventually film.

The title of this post “stuck in the middle with you” is from a 2004  song popularized by the UK all girl band “Clea“.

Ken Metcalf down in North Carolina has just released the second newsletter of the Graflex Journal for this year. And like the song, Graflex collectors source cameras smaller than those used in the pre-dry plate era but far larger than the minicams, sub-miniatures, and digital cameras that came after the Graflex and Graphic cameras of the 1920s – 1940s. The vastly popular Graflex and Graphics where the primary tools of press photographers in the era of 5×7 and 4×5 films and plates.

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