about camera collecting

a typical ‘retro’ digital camera design – the ‘half-frame’ X Half Fujifilm digital camera

Toronto. Camera collectors look at the current values and think, “I wish I bought that model years ago”. When I started to collect back in the early 1970s, many old cameras turned up at relatively cheap asking prices.

A bag of 1930s Leica lenses, camera body, and a few accessories went for about $100. The old cameras were of little practical value since newer and far better models were available for serious work. Today a 1930s Leica body or a single lens would cost much more – especially the rarer variations.

As to old Leicas, shutters with ball bearings or using red curtain material suppled by Kodak, often turned up in the early days of our society. The now rare cased photos and albumen prints glued to card stock were  often offered at our events for very modest amounts.

Around the turn of this century, a shift began towards digital technology. When the revolution got in full swing, no one wanted the older film cameras –  or even older digital cameras.

Many film cameras had been turned over so often that they were priced out of reach or even the  interest of beginning collectors. Once digital took hold and became the norm, many film cameras and lenses plunged in value. Only the higher end gear seemed to hold up. Today some die-hard niche players are active in using the old film gear to get the ambiance of analogue technology.

Illustrated here is an example of the trend to “retro” look cameras with digital functionality at reasonable prices. Perhaps we should consider buying now so history doesn’t repeat itself …

Of course if you desire older used gear (or accessories, or photos), you should visit our 2025 events like the famous mid-summer 2025 trunk sale on July 13th, 2025. Just saying.

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… meanwhile, back east …

snow scene c1878

Toronto. For over a century, Montreal was our largest city per capital. And the most well known photographic studio in Montreal was operated by Notman with branches in Ontario and down the American east coast.

The studio photograph at left is the cover shot of issue 24-3 and is described as, “Appropriate for the season our cover depicts a winter scene as constructed in the studios of Notman & Sandham of Montreal circa 1878-80.

‘The same background can be seen in William Notman – The Stamp of a Studio, page 119 showing Rifle Brigade men in a winter set-up.

“The photograph could have been stripped into composite photos for sports clubs or used as part of the wide decorative border to such finished groups. Photo from the collection of Robert G. Wilson”

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mythography

Plain Truth …

Toronto. When I was a kid, I spent a few weeks in the bush with my dad’s brother. My uncle mentioned his horse was skittish around loud noises so he returned to Ontario. “Like gunshots?”, I naively asked. My uncle just stared at me saying there were few guns out west to frighten his horse… Mis-led by Hollywood again!

Reproduced in issue 24-2, is an article by Kirstin Evenden, Art Curator, Glenbow Museum. The article discusses an exhibit of the time called “Plain Truth” which featured selected works by Western Canadian photographers and film makers to off-set the “myths” created by Hollywood to spice up Hollywood movies for better entertainment value.

Kirsten begins, “When these questions are uttered today [fall, 1998], certain ideals and images come to mind. Perhaps the idea of living on the Prairies evokes an image of a sea of golden prairie wheat.

“Or maybe the concept of western Canada brings to mind the strength and vastness of the Rocky Mountains. The visual images and accompanying “myths” are not new, for many of these ideas are rooted in the early history of the Canadian West.

Plain Truth delves into the creation of these “myths” by surveying the work of photographers and filmmakers who represented the Canadian West in its early years. It analyzes how our perception (and misconception) of western Canada have been linked to the circulation of myths promoted through Hollywood movies, photography, and imagery related to prairie settlement and emigration since the mid-19th century.

“Several studio photographers in western Canada made films in and about “The West”, some working with Disney Studios and other Hollywood filmmakers to create an image of the West that still persists today.” …

Image collectors may or may not have a clearer view of our western provinces. Our 2025 events give ample opportunity to add to photographic collections – images, hardware, or history. Next up is our famous mid summer trunk sale on July 13th (rain or shine).

Oh, and to read the rest of the above “Western Report from Calgary”, just view the pdf file for issue 24-2 on the free members-only DVD (or thumb drive). See above or at right to join (it’s cheap but worth it). Email Lilianne at member@phsc.ca if you have a question.

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THE FRENCH-CANADIAN TRAPPER

Ambrotype of a “French-Canadian Trapper”. Believed to be a copy of the centre part of a larger plate.

Toronto. It appears to me that many image collectors enjoy their finds briefly, then offer them at a bit higher price to the next collector. Some, like the owner of this image, and our own editor of the day, Bob Lansdale,  enjoy researching an image and discovering the rich history behind the photograph.

Bob speaks about this particular image in his article, “The French-Canadian Trapper” which begins, “When an early image comes on the market that is deemed to be a French-Canadian trapper, it certainly will pique the interest of Canadian collectors. Such was the case when this 1/9th plate ambrotype was offered by John and Jelena McWilliams of One Nation Historical Antiques Auction in California. PHSC member, Howard Tanenbaum of Toronto outbid others to bring the image to Canada adding to his considerable collection.

“The image is believed by McWilliam to be a copy of a much larger daguerreotype (possibly a 1/6th plate) according to his experienced judgement.

“The central portion of the photograph is sharp while beyond that the image becomes softer, as was the pattern of early portrait lenses.” …

Members can read all of Bob’s investigative article in the issue 24-2 pdf file on the free members-only DVD/thumb drive. Joining is easy – see Membership above or to the right. Email Lilianne at member@phsc.ca if you have any questions.

And be sure to attend our 2025 events. You may not see this particular Ambrotype offered but you will see many items to augment your collection. Next up is our annual Trunk Sale on July 13th – rain or shine.

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on the shoulders of others

Ontario, Western Canada, Photographers list

Toronto. The thing that separates us from all other species on this old ball of dirt is … learning. Humans learn from their ancestors and this learning allows us to extend knowledge, generation after generation.

We photographic collectors are very aware of this capability as we see how the art has improved over the years.

In issue 24-2 we have a book review by Stan White of two books researched, and written  by Glen C. Phillips. The books list Ontario and Western Canada photographers early last century and the century before (Western Canada). The books are published by a small publishing house (Iron Gate Publishing) in London, Ontario (later in Sarnia).

The Internet Archive has the book, but reserves viewing for members. The books are often in local libraries as they are also useful for genealogical research. They are a jumping off point for image collectors and photo history fans wishing to extend their knowledge and understanding of the art or their collection.

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remembering a feisty member

Robert David McMann 1938 – 1998

Toronto. In 1990, Bob McMann joined the PHSC and became its authority on Nikon history and products. Three years later Bob joined the PHSC Executive as Programme Director and then two years later as 2nd VP. Long before computers became common-place, he put his own computer enthusiasm to good use doing preliminary investigation of the nascent internet and web technology.

Unfortunately, Bob became ill and a year or so later he succumbed to his condition, and died in June, 1998.

He is remembered with an article in issue 24-2 of the journal. “With sadness we note the passing of member Robert McMann on June 9th, 1998 after a lengthy illness in Toronto’s Riverdale Hospital. Bob was a well-respected technician in the laboratories at the Faculty of Medicine, University of Toronto, where he had worked for 27 years.

“Bob joined the PHSC in 1990, bringing with him his extensive knowledge of the Nikon Company and its famous Nikon cameras. At the June 1992 Toronto meeting, Bob joined forces with Larry Frank from Nikon to present a Nikon evening. Bob covered the Nikon SLR evolution, and the history of the famous Nikon F, the camera that opened the door to North America for professional quality Japanese cameras.

“His second interest was personal computers. This interest prompted Bob to give constant voice to ways the society could use computers to further its objectives.

“On May 1, 1993, Bob joined the executive of the PHSC as Program Director. After two years of organizing a rich and diverse monthly speaker program, Bob moved on to the 2nd VP position in the society. In that capacity, he performed the preliminary investigations, which supported and encouraged the society to join the wired age and implement its own web page.

“Bob did not stand for re-election last spring [1997] in light of his poor health. His enthusiasm and active participation in the society and at the Faculty of Medicine laboratory will be missed by all.”

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postcards from photographs

Victorian times on Mackinac Island, Michigan

Toronto. The photograph at left is taken from a postcard made from a photograph by W H Gardiner. It is used as the cover shot for issue  24-2. The image introduces a lengthy illustrated article by a lady who once summered on the Michigan island.

Editor Lansdale adds this comment about the photo, “Some 3000 glass negatives by Canadian born William Henry Gardiner are now preserved by the Mackinac State Historic Parks at Mackinac Island, Michigan. See page 8 for the story of this 1890s photograph, now reproduced as a postcard emulating the photographer’s hand-tinted prints.”

At one time it was easy to cross back and forth between the States and Canada. The States, having a far bigger population was a magnet for Canadians who were prospering but wanted to have a greater market for their art/products.

Ms Lisa Dziabis Calache titles her article (© 1998), “William Henry Gardiner (1861–1935); An Early Canadian/American Photographer”.

She begins the article with this brief précis, “William Henry Gardiner was an early Canadian/American photographer whose career spanned half a century. On occasion, his studio portraits and hand coloured photographs are still found in both Canada and the United States. To date nothing has been written about his life and career, but his work certainly demonstrates a talent worthy of investigation and recognition. Gardiner’s portraits capture unspoken qualities of the individuals and times while his hand coloured photographs are remarkably beautiful, being similar in style to the work of Wallace Nutting who specialized in New England genre scenes which have become collector’s favourites.”

Members read this article and more in the pdf file for issue 24-2 on the free members-only DVD/thumb drive. See above or at right to join/renew. Email any questions to Lilianne at member@phsc.ca.

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Dr Stephen Shohet 1934 – 2024

Dr Shohet in another of his pastimes (besides antique cameras)

Toronto. We at the PHSC have always welcomed all folks, world-wide. While most members are here in Canada, there is a contingent of American and other international members.

Stephen was one of the latter, hailing from San Francisco. I received a note from Mike Otto the other day about the loss of our San Francisco member. Mike is handling Dr Shohet’s estate (photography portion).

In part Dr Shohet’s obituary states, “…  In 1971 he moved the family to San Francisco where he served as Chief of Hematology at UCSF [University of California at San Francisco], continuing his studies of red cell structure and biochemistry, and teaching and mentoring a generation of medical students and hematology fellows until his retirement in 2003. …”

Both the photo and obituary are courtesy of the local Newspaper, the San Francisco Chronicle.

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Marg’s camera

VN Press camera

Toronto. In issue 24-2 Bill Belier continued his column “A Treasure From My Collection …” with a discussion of a British Press camera – the VN Press Focal-Plane camera. This VN was picked up at one of our fairs by Bob Lansdale. The VN has a special meaning to his wife, Margaret, also a photographer.

Bill begins, “The “VN” focal-plane press camera was first introduced in 1919 by Peeling & Van Neck Ltd. of London. The camera is referred to, in The British Journal Almanac of 1921 as “the British Anschütz” a reference to the popular Goerz product of that era. Other models with minor modifications were to follow until its demise in the late 1950s.

“Marg’s camera appears to be one of the later versions. To use an old expression, the VN is “built like a truck” and has the weight to prove it. The body is leather covered and of all metal construction with a single fold bellows of heavy leather. The pull-out front lens panel is held rigid by collapsing struts on each side, top and bottom.

“The camera is fitted with a focal plane shutter… 1/10 – 1/1000 sec. It comes equipped with a sports-type view finder and six 9×12 holders. As described above, the camera was offered at £30.0.0 in a B.J.A. advertisement in 1934… Lenses were extra.

“Marg’s camera is equipped with two Ross Xpres lenses, a standard 6”- f4.5, and a wide angle 4”- f4, both in helical mounts. One oddity… the focussing scale is not calibrated in feet or in meters, but in yards.

Members can read the complete article in the 24-3 pdf on the free members-only DVD/thumb drive. See above or at right to join, Send any questions to Lilianne at member@phsc.ca.

Drop in at our 2025 events – you may find a VN camera, or something else to augment your collection! Next up is our Trunk Sale on July 13th.

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when Leitz made Leicas and lenses in Midland

a Midland IIIf Leica showing top plate serial number and internal matching number.

Toronto. Post ww2 Leitz decided to diversify their camera and lens production by adding a plant outside Germany. According to my friend, the late Bill Belier, the Canadian distributor, Walter Carveth, suggested Canada for the new plant  and in particular Midland, Ontario which has a short name like Wetzlar with friendly people and a country side not unlike parts of Germany.

My doctor’s father, who once sold Leicas to stores, was among the parties who immigrated here to set up the new plant, called E Leitz, Canada. Many, like Mr Holzapfel, and others like Walter Mandler, the famous lens designer, never left Canada.

The first cameras (IIIf series) were assembled here from German parts and proudly labelled Midland. Sadly the idea was a bust. People wanted a German camera so many Midland cameras were returned to Leitz and re-engraved as Wetzlar. The only way to identify a ‘Midland’ Leica was to check the serial number batch for the tell-tail ELC.

A few kept the Midland cover and became very collectible. In issue 24-2 (fall 1998), an article by Hans O. Pieper of Vienna, Austria was reprinted with permission from the LHSA Viewfinder. Hans begins, “I’ve perused the recently received VIEWFINDER Vol. 30 No.2 and found the contribution of member Michael K. Steinberg quite interesting. I feel the same enthusiasm in collecting and researching screw mount Leica cameras and accessories, and their historical and economic background.

“One exciting feature, indeed, is the short postwar period. For a couple of years I’ve been looking for publications covering this particular field of interest. To start with, I’m sending pictures of my ELC RDDA IIIf camera Nr. 684742 emanating from the Canadian batch 684001-685000, of course with ELC engravings.

“It is obvious that those first LEICA cameras manufactured in the Canadian plant of Leitz at Georgian Bay in Midland were assembled from parts imported from Wetzlar, due to a lack of sufficient material from the Canadian plant.

“But listen to what happened then. The ELC management who were looking for working capital, hastened the completion of the first production batch by proudly engraving the top plates with Ernst Leitz Canada Limited Midland Ontario, and then tried to sell it to the Canadian market. However, the potential Canadian customers rejected the ELC engraved cameras for the funny but simple reason that they wanted German made and engraved Leicas.

“The wholesaler at that time returned the ELC IIIf’s to the company, bitterly disillusioned. By a special agreement with the Canadian government the top plates of those cameras were changed by ELC to receive Ernst Leitz Wetzlar Germany engravings so the cameras then could be sold to the Canadian market.

“It is therefore a real rarity to find today three genuine Leica IIIf RD — or RDDA with ELC engravings as I did some years ago. At that time my ELC III RDDA was furnished with an Elmar lens 5 cm 1: 3,5.” …

Members read all of this interesting reprint on the pdf file for issue 24-2 which is on the free members-only DVD (or thumb drive). Joining is easy – just follow the directions above (cheque or cash) or at right (credit card or PayPal account). Email any questions to Lilianne at member@phsc.ca.

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