…news at eleven – an homage to News Photographers everywhere

Abandoned on the beach…

Toronto. This is a review of the April 2017 PHSC meeting on News Photographers. Who would have thought Toronto would have two sports teams in the playoffs? Between this and medical issues, we changed the speakers to Spike Bell of Windsor along with our own Bob Lansdale. Both Spike and Bob have a long history as photographers. Both have written books on photography. Both are comfortable talking to a room full of photographic enthusiasts. Note that the images below are off the screen and cropped so the quality doesn’t approach the original prints.


We saw two different perspectives in the art of news photographs. Spike talked briefly about the challenges and dwelt at length with his impressive itinerary of subjects across North America. Meantime Bob talked in depth of facing the news with dicey gear and deadlines, choosing to show just one of his illustrious subjects.

Spike began with his news shots of the 1967 Detroit Riots across the river from home. This was followed by photos of the Beatles who visited Michigan three years earlier in 1963).

Spike captured many American politicians – often in close ups – Kennedys, Eisenhower, Nixon, Regan, Humphrey, etc. And personalities galore like Martin Luther King. In Canada he met Pierre and Margaret Trudeau, John and Olive Diefenbaker. In Europe, he captured on film the Queen and Prince Philip.

… of cabbages and kings

John and Olive, Pierre and Margaret

As a wrap, Spike showed a cover shot of his book “Memoirs of a Border City”. All of the images he used in his talk are in this book including his photographs of eight American presidents and five Canadian prime ministers!

Spike Bell’s book with all the photos shown tonight

The book’s cover shot of the two cities, Windsor and Detroit, was taken on film with a Hasselblad. At the last minute, it was noticed that a building had the sign DaimlerChrysler illuminated on it. A quick pass through Photoshop and the sign simply said Chrysler and an awkward situation was avoided (the DaimlerChrysler arrangement was a very uncomfortable one for Chrysler and fell apart before the book was printed).

Bob began with an explanation of the camera (Speed Graphic) and flash strobe gear (Multiblitz) (http://www.multiblitz.com) he used in the 1950s after graduating from Ryerson. To speed his photographs up, he used a Grafmatic back (holds six cut films) on his camera. The six-pack Grafmatic worked well with the strobe but was prone to jamming. His solution (using a real Grafmatic) was ingenious – involving tilting the camera and film holder on the side and hitting the Grafmatic sharply with his fingers to clear the springs and letting gravity smoothly slide the next cut film piece in place.

Bob worked for Federal News Photos, but in Toronto they did so many Toronto Star assignments they were considered Toronto Star photographers. He was in Europe on a junket doing PR photos of the military bases when a telegram directed him to go to Calais ASAP to photograph the Toronto Telegram sponsored Marilyn Bell as the youngest person to swim across the channel.

Bob arrived in Calais lacking any information. He found the United Press gang. Friends at last.  They directed him to the time and place for the swim. At 7am next morning, Bob walked into the cold channel to get a photo of Ms Bell starting her swim. He had sent his luggage, shoes, money – and passport on ahead. It was a long walk in shallow water to get a good shot with his strobe (contrary to warnings by others, he didn’t suffer a shock from the strobe).

Beginning at Calais (L) and finish at Dover (R)

Later, he was told to wait on the beach for a pick up. So he waited – hours and hours and hours – no money, no shoes, no passport. He had been forgotten! Finally the hotel people found him by accident and arranged to get him to Dover and clothed a bit better, When it came to his shoes, only tennis shoes were found – and those a size too small.

He was worrying about customs with no passport when a launch came back to get lanolin for ms Bell who was struggling with jelly fish. (Now, did the Toronto Tely folk leave Bob behind because he was known as a Toronto Star photographer?) Arriving late on the launch turned out to be a saving grace – the photographers who left earlier ended up sun-burnt and sea-sick.

He got a couple of shots before the launch captain decided to drop him off on the beach under the cliffs of Dover where Marilyn was expected to reach land (she could have landed anywhere within a couple of miles but she came within ten feet of him)! Using his strobe, Bob was able to set the camera aperture and speed for the background while the strobe froze the action of Marilyn getting up from the water (she had to touch the beach without help).

Marilyn in mid channel (at right)

Most of the other photographers had flashbulbs (burnt out foreground; jet black background). Worse, many managed to get on the wrong side of the action. Bob rushed up the stairs to Dover to get  the shot of Marilyn being carried up by an athlete. Fortunately, it was a holiday weekend in Canada – an extra day to get the film to Toronto before the papers came out. Bob had two front page shots and 50% of the coverage inside…. in the Telegram!

Snapping Marilyn as she reaches land on the Dover beach

Bob wrapped up his portion of the talk with a nod to his late wife Margaret and her PPOC columns which he published in a book they called ”…a funny thing happened on the way to the darkroom!”. It has illustrations and anecdotes about photographers of the last half of the last century.

Marg and Bob Lansdale

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Write! Shoot! Edit!

Write! Shoot! Edit! By Deborah Patz (July 2017)

Toronto. Past president of the Toronto branch of the PHSC (1984-5) and the PHSC (1991-1993), Mo Patz, will be at our fair this fall. She will be joined by her son Rick.

They are selling some of her late husband Willi’s collection. Rick lives in Hamilton while Mo and her daughter Deborah moved to BC in the Vancouver area after losing Willi.

Deb hopes to be with her mother here in Ontario in October. She has been in the film industry for many years now. Write! Shoot! Edit! is her third book on film making. Released just last month, this book addresses the needs of the teen filmmaker.  You can check out Deb’s web site for her other titles.

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… and just who owns what?

Photograph of a photograph sold for over $1 million USD in 2005!

Toronto. George Dunbar has been fascinated with copyright laws for years. On August 9th, he sent me an email link to TIME magazine’s 100 photos and in particular one of a cowboy by Richard Prince. Have a look at the TIME web site and the short videos there.

The issue of ownership is especially sensitive to professional photographers, as their photographs are their bread and butter, generating funds to cover costs and offer some profit. Who owns a copy of a photograph? Who should own the copy?

TIME magazine states, “The idea for the project that would challenge everything sacred about ownership in photography came to Richard Prince when he was working in the tear-sheet department at Time Inc. While he deconstructed the ­pages of magazines for the archives, Prince’s attention was drawn to the ads that appeared alongside articles.

“One ad in particular caught his eye: the macho image of the Marlboro Man riding a horse under blue skies. And so, in a process he came to call ­rephotography [wikipedia suggests a different definition of the term here], Prince took pictures of the ads and cropped out the type, leaving only the iconic cowboy and his surroundings. That Prince didn’t take the original picture meant little to collectors. In 2005 Untitled (­Cowboy) sold for $1.2 million at auction, then the highest publicly recorded price for the sale of a contemporary ­photograph.

“Others were less enthusiastic. Prince was sued by a photographer for using copyrighted images, but the courts ruled largely in Prince’s favor. That wasn’t his only victory. Prince’s rephotography helped to create a new art form—photography of photography—that foreshadowed the era of digital sharing and upended our understanding of a photo’s authenticity and ownership. “

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Vancouver fall swap meet

Vancouver Fall Swap Meet

Toronto. My friend Tonchi Martinic on the west coast sent me an email last Tuesday the 8th telling me that the fall Vancouver Swap Meet takes place on October 1st this year at the Croatian Cultural Centre on 16th Avenue in Vancouver.

Click on the icon (upper left) or here to see the full details. And if you find yourself in the area October 1st, drop in and get some new items for your collection!

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Post War Pop Photo Ad for Leica IIIc

Leica Ad in April 1947’s Popular Photography magazine

Toronto. In 1947, a couple of years after the war ended, Leitz was busy trying to recapture its charm and mystique in the miniature camera business. They promoted their IIIc model in the April 1947 issue of Popular Photography. My thanks to George Dunbar who spotted this ad on the internet and sent it along to me.

Sadly, the IIIc was an outmoded pre-war design being assembled from whatever parts were on hand. During the war, the IIId was also manufactured – basically a IIIc with a time delay mechanism built-in.

A number of innovations were underway in Wetzlar, adding a built-in flash synchronization which would be marketed in a few years as the IIIf model, and continuation of experiments in the  revolutionary M series bayonet mount camera. To bridge the screw mount and bayonet mount gap, a IIIg was also in the works.

But in 1947 there was one model being made – the IIIc. The company was relying on pent up demand for Leica cameras and people who would remember the quality of its products.

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Speed indeed!

A Bomb test c1952 – taken using an ultra high speed shutter.

Toronto. Good friend George Dunbar sent me a photo and note regarding high speed shutters a few days ago on the 6th of August. For many years, top shutter speeds of 1/500 or 1/1000 were considered the best you could expect. In the 1950s, electronic flash came on the market with even shorter exposure speeds. However, to capture chemical changes even faster shutters were necessary.

George writes, “Today is the 72nd anniversary of the world’s introduction to the power of the atom. On August 6, 1945, an atomic bomb was dropped on Hiroshima, Japan and the nuclear age was upon us. World War Two was almost immediately brought to an end.

“During the subsequent testing of thousands of nuclear-weapons, extremely high-speed camera shutters were developed to study the effects in detail. Dr. Harold Edgerton of MIT and his firm (Edgerton, Germeshausen & Grier, Inc. — EG&G) were contracted to provide higher-speed shutters than had ever before been contemplated.

Edgerton had earlier been credited with investigations into electronic flash equipment (strobe photography). EG&G developed the “rapatronic” shutter, capable of speeds up to one-millionths if a second. One of the amazing ultra-high-speed photographs showing the instant of an atomic bomb explosion is shown here [above left].

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Innovation and computational zoom

Effect of computational zoom (via software) on an image (UCSB)

Toronto. My thanks to my good friend Russ Forfar for bringing PetaPixel’s report on computational zoom to my attention. First we could correct colour balance, exposure, and contrast in an image.

A zoom lens lets us fill the frame with only meaningful elements of the scene. Note that prime lenses do the same thing with a bit of walking back and forth… By using  software to combine image elements from various focal lengths we can shift a new aspect of a scene making final images that are impossible to capture with the cameras  of today.

Photographers know that variations in focal length from extreme wide angle to telephoto affect the look of people and backgrounds. The extreme close-up lenses make noses look too big and faces “stretched” front to back. Telephotos flatten a face making the nose appear too small and features pushed into the face.

On the other hand, a wide angle allows more background to be visible while a telephoto crops and enlarges the background. A so called normal lens makes facial features look much like they do to the unaided eye. A medium telephoto lets us capture a half or 3/4 body shot with normal appearing features.

Now scientists at UCSB (University of California at Santa Barbara) have used software to combine a mix of wide angle and telephoto images of the same scene to be selectively used so the foreground for example can be selected from a medium zoom to appear “normal” to the eye while a wide angle shot of the background can  be combined to expand the view, or a telephoto shot to magnify and crop the background.

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21st century photographer

21st century photographer

Toronto. The stand alone camera as we know it will soon disappear in the face of the ubiquitous smartphone (shown is an iPod Touch). Modern photographers shoot digital and view digital. The files may be downloaded to a computer and adjusted in a program like Lightroom. In many cases the smartphone has its own “app” for adjusting exposure, contrast, light balance, etc before the file is uploaded to an email address or a social media site.

Before photography was invented, people who could afford an artist had a “likeness” painted to mount on the wall or, if small enough, to be carried and viewed by owner and friends alike. The daguerreotype and calotype meant a far less expensive “likeness” could be created and portrait studios sprung up. As the means to take and process photographs was simplified, more and more people took on this skill and began recording details of everyday life replacing artists. Newspapers and magazines began using photographs and the half-tone process instead of wood cuts or steel cuts.

Each major step from 1839 to the present has reduced cost, reduced the time involved in learning the skill, and resulted in huge price drops. As one sports photographer and speaker told us recently, in the days of film, a Kodachrome slide might appear a few weeks later in a magazine and cost the publisher $200 dollars or more. When digital became the norm for the professionals, fees dropped to a tenth or so and dozens of shots were transmitted to the editor for due consideration.

Gone are the days of safelights, enlargers, chemistry, film, and photo paper with its variations in contrast range (Black & White) or fixed at one contrast with slight variations available by changing the developer, temperature, or time. Gone are the shoe boxes and albums with their random selection of saved photographs, some blurry, some off frame. And the head phones above? To listen to music and the CBC…

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A drum you can’t beat

A drum made for a photographer

Toronto. Yesterday I mentioned some darkroom stuff being auctioned this November. One of the items is a dark plastic tube with odd end caps.

In the 1970s, colour chemistry was both expensive and short lived. The amateur photographer of the day used various means to reduce usage, maintain temperature, and prolong chemistry life. A drum with removable end caps allowed processing each sheet in a minimum amount of chemistry.

A tiny (and illegal) coffee cup immersion heater could raise the colour developer temperature higher. The hot liquid was carefully poured into the drum via a light trap. The drum was gently rolled on a flat surface to ensure the enclosed paper sheet was evenly coated and developed. One fly in the ointment was Kodak paper. At higher temperatures this brand of colour paper would go lightly pink. Changing to Agfa paper resolved the issue.

The idea was to raise the chemistry temperature above the desired temperature so by the time it cooled the paper was developed at on average the correct temperature.  This worked because development followed a time-temperature curve – longer time at a cooler temperature and a shorter time at a higher temperature.

A more costly commercial system used laminar flow to gently wash the paper sheets with minimum amounts of chemistry and wash water baths. I saw this demonstrated at one of the many photographic wholesale firms in Montreal.

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…beginning to see the light

Toronto. It seems like just yesterday that I headed to my darkroom to develop my Leica negatives and make some prints using my hands to dodge and burn to improve the contrast.

I would spend one night developing negatives and the next night or two carefully printing with my Durst M35 enlarger, customized Colorval meter and binary timer, and my good old Graylab timer, also customized by me.

Today, I take photos with my Sony digital mirrorless NEX-6 or my Apple iPod Touch and move them to Lightroom for processing and key-wording on my computer. In a single night I can easily process 100 images, rarely bothering to print any unless I need a hard copy for reference or decoration.

Darkroom out, Lightroom in. I’m beginning to see the light…. By the way if you elect to try your hand at the niche technology of film processing and printing, come on out to our November 19th auction where these and other darkroom goodies will go under the hammer.

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