compact but wide

a folding 2.8cm viewfinder c 1934 SUOOQ

Toronto. Taking advantage of the rangefinder (no need for mirror clearance) Leitz marketed a pocket watch size extra wide field of view 28m lens – the Hektor 2.8cm f/6.3 ‘HOOPY’ in 1934. This little lens allowed for ultra wide outdoor landscapes.

Since the squinty little built-in 5cm viewfinder did little to properly frame the scene viewed by the lens,  an accessory – a special foldable viewfinder ‘SUOOQ‘ was marketed the same year as the HOOPY.

To match the camera body, the viewfinder was offered in both black enamel and in satin chrome (as shown here). When folded, the tiny marvel was like other single focal length viewfinder accessories for longer focal length lenses. Folded, it likely could be left on the camera even enclosed in a standard eveready case.

My copy (satin chrome) with its own tiny leather case was purchased in April, 1982 along with a much newer HOOPY in a bakelite case from another PHSC member. Drop in to our events and you might find a sample of this viewfinder for the Leica or other 35mm cameras.

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saddle soars

a SOOUT viewfinder for a 9cm lens c1943+

Toronto. Leitz was on a roll with its accessory viewfinders complementing the squinty single focal length one built into the Leica.

During WW2, cradle or saddle versions were released (1943). The version for the 9cm lens was called a SOOUT. A subject distance adjustment was included and some even had a parallax adjustment.

These single focal length viewfinders where an alternate to the various multi focal length viewfinders like the IMARECT.

Most of the single/multi focal length viewfinders disappeared about a decade later when the M series cameras with their builtin bright multi focal length viewfinders came to market.

Drop in to one of our events and see if you can pick up one of these little gems for a Leica or other brand of camera.

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come here, you little rascal …

1930s sports finder RASAL (RASUK with RAMET frame for 10.5 and 13.5 cm lenses)

Toronto.  … I pictured my mother saying as I ran out of the kitchen. When I was born, the movie short ‘Our Gang‘ or ‘the little Rascals’ was popular in movie houses.

Leitz began marketing the Leica mid 1924. The tiny camera became very popular quickly and various lenses and accessories were made and marketed.

To simplify ordering, especially for off shore agents, Leitz developed a code word for each product allowing economy and some consistency in the order process via telegraph. For example, the sports viewfinder shown here was a RASAL which combined the viewfinder (RASUK) and a separate ‘screen’ for 10.5 cm and 13.5 cm lenses (RAMET). The viewfinder and mask were first made in black enamel and later chrome (-CHROM added to end of code). Availability started in 1933 and ran into WW2.

The eye piece could be moved up/down for subject distance while the front screen could be rotated 180 degrees for different lenses. I found my copy in like-new condition with the original red box in June, 1980.

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take a gander

geese in lower left corner of c 1908 photo from glass plate

Toronto. I grew up seeing photo prints made by indifferent folk from negatives exposed in cheap Kodaks. In the late 1950s, I bought a new Exakta and finally thought I could see good resolution in the tiny 1×1.5 inch negatives.

In the early 1970s, an interest in photographic history prompted me to buy Gernsheim’s wonderful opus on the “History of Photography”. Looking through the massive book, I was surprised and delighted at the fine resolution shown in the old processes, especially prints from large glass-plate negatives.

A few years after I joined the PHSC, I picked up a few 4×5 glass plates at one of our fairs from Marlene Cook. And sure enough when the plates were magnified, fine detail showed up! Those of you who collect photos, glass plates, etc should take a closer look at the details in the images you have (especially dags and plates). You may be pleasantly surprised!

NB the link for Marlene is to a post I made about 1 1/2 years ago. The enlarged portion of the plate is the same and clicking on the thumbnail shows the full pate and the enlarged portion magnified.

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Winter Yuletide Show & Tell

Toronto. Okay gang,   it’s show time this Wednesday. Visit our Eventbrite channel for tickets. Any questions, or things for show and tell, give Celio an email at pogram@phsc.ca.

Annual General Meeting and Winter Yuletide Show and Tell

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holy stereo realist Batman!

cover of Stereo Realist Manual, ©1954

Toronto. When we got our new newsletter editor, Patrick Gunn, we also got our new stereo mavin! Now a Torontonian, Patrick hails from BC, and brings with him a wealth of newsletter ideas, mock-ups, and plans, plus a burning interest in photographic history, especially stereo.

Stereo is a bit like a fad. The concept seems to come and go over the years. It appears ready to take-off once again. We shall see (I saw one 3D movie a few years back that was a huge jump in reality and easing eye-strain).

In the 1950s wave of stereo-mania, David White produced the amazing 35mm stereo camera called the ‘Realist’. The well-built camera was more expensive than a Leica at the time.

The Realist handbook is published by Morgan & Lester – no strangers to the Leica (they published umpteen editions of the “Leica Manual”). The book has a stereo viewer you can hold over your eyes (wearing glasses or not) and see the book’s full colour illustrations in 3D. The book has chapters by people like Harold Lloyd, Edgar Bergen, and Beaumont Newhall. The 400 page handbook with its clay-coated pages (delays fading) is available used today – occasionally at our events, in used-books stores or even on-line.

In addition to various 3D cameras and reference books, Photographic Memorabilia down in Lexington MA, reprinted in 1976 the manual that once accompanied a new Realist camera. Keep an eye pealed for the Stereo Realist Manual – or a Realist. Well worth owning.

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NGC and Magicians of Light

Poet Charles Baudelaire c1863 by photographer Etienne Carjat (from a Woodbury print)

Toronto. In a recent post, I showed just one of the photographs owned by the National Gallery of Canada (NGC) and displayed in its exhibit of provocative and pivotal photographs.

In issue 19-3, editor Roseborough wrote an illustrated article about the NGC, its exhibit, and the people involved back in the early 1990s. His article begins, “High above the Rideau River on Sussex Drive, in Ottawa, Canada, commanding a view of Parliament Hill, stands a jewel like structure reflecting a shimmering sun from many facets of its glass dome.

“The magic of the moment is not lost on entering the building greeted by a long marble ramp flanked by columns ascending to the glass roof. A few more steps and we reach a gallery marked Magicians of Light.

“The heavy door admits us to a cool, humidity-controlled room, dimly lit in deference to the light-sensitive treasures. Each specimen is individually illuminated entirely adequately by filtered cool light to which our eyes rapidly respond.

“This first gallery contains some of the 129 daguerreotypes given by Phyllis Lambert, Director of the Canadian Centre for Architecture, Montreal. Ms. Lambert is a discerning collector who not only made the daguerreotype gift but also another of 280 Walker Evans photographs through the Phyllis Lambert Trust Fund.

“These daguerreotypes were first shown at the opening of the new National Gallery in 1988 as recorded in Intimate Images. The conservation work was performed by John McElhone, assisted by Anne Maheux and Marion Mertens–all of NGC Restoration and Conservation Laboratory.

“The National Gallery of Canada was among the first museums in the world to recognize photography as an art form when it organized, in 1934, a series of photography exhibitions. In 1967, under the directorship  (1966-1976) of Jean Sutherland Boggs and with James Borcoman as its first Curator.”

And as usual, You can  read the rest of editor Roseborough’s article in the paper copy of 19-3 or as a pdf on the free members-only DVD. Not a member? Join today (its easy)! See the MEMBERSHIP sub-menu above (form) and the article at right (PayPal). Send your cheque with the form or send the form and use a credit card/your PayPal account. Questions? Email Lilianne at member@phsc.ca.

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a soggy spring

A Spring Inundation in 1865, Banks of St. Lawrence River

Toronto. Springtime in 1865 was a bit wet as shown by this century and a half plus photograph by Henderson. Photographer Alexander Henderson was born in Scotland in 1831, immigrated to Montreal, and died there in 1913. Along the way, Henderson captured this ‘inundation’ on the banks of the mighty St Lawrence river.

His photograph graced the front cover of issue 19-3 of Photographic Canadiana. It was purchased by the National Gallery of Canada in 1972 (©1972) and displayed as part of the Magicians of Light exhibit. Editor Roseborough reproduced it from Magicians of Light.

The National Gallery featured only a small part of its huge permanent collection in this exhibition which displays many other famous photographs too. Note: the soggy scene shown here is reproduced in Henderson’s book. “Photographic Views and Studies of Canadian Scenes“.

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a glass eye for sharpness …

Lomo’Instant uses Fuji Instax film

Toronto. A recent notice from Alexa Alexiades of Lomography in New York touts the new “Lomo’Instant Wide Glass Camera”.

The marketing blurb says, “We’re thrilled to introduce the Lomo’Instant Wide GLASS – the world’s sharpest instant camera. Equipped with a 90 mm multi-coated glass lens, this must-have instant camera for photography professionals delivers unmatched sharpness and unbelievable colours on Fujifilm Instax Wide film, with an impressive closest focusing distance of just 0.3 m.”

Those of you here in the big smoke, or a short drive away, can visit Downtown Camera and see their film products including Lomography gear.

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the art of Courtney Milne

Cover shot -Alpine desert and Mount Chimborazo, Ecuador, – Courtney Milne © 1991 photo courtesy Royal Ontario Museum

Toronto.  The lead article in issue 19-2 is by Verlyn J Rush and is titled. “The great exhibition and book  – The Sacred Earth – by Courtney Milne”

The exhibition was held in the ROM’s Institute for Contemporary Culture, at the Roloff Beny Gallery opening (Toronto).

Rush begins the article, “Born in Saskatoon, Saskatchewan, Courtney Milne still lives near there in Grandora, a small farming community a dozen miles outside the city.

“His formal training in photography was at the Brooks Institute in California, but he holds Master’s degrees in psychology, journalism and mass communication from the University of Minnesota.

“That Milne is a superb communicator, driven by a deep philosophy, is proven by his compelling image in three books, Prairie Light (1985), Prairie Dreams (1989), and The Sacred Earth (1991).

“The latter was produced largely from a ten-month global expedition during 1988 and 1989 undertaken by the author and his wife Sherrill Miller, to whom the book is dedicated. Some 60,000 photographs were made and an itinerary equivalent to eleven times around the Earth traversed. …”

You can see some of Milne’s  works, and read the rest of Verlyn Rush’s article in the paper copy of 19-2 or as a pdf on the free members-only DVD. Not a member? Joining is cheap and easy! See the MEMBERSHIP sub-menu above (form) and the article at right (PayPal). Send your cheque with the form or send the form and use a credit card/your PayPal account . Questions? Email Lilianne at member@phsc.ca.

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