exciting to now and future viewers

fixing a broken heart c1987 – photographer not stated

Toronto. Past president Les Jones recently dropped me an email showing this link on Bored Panda titled, “50 Interesting Historical Photos That Might Change Your Perspective On The Past“. The photos are accompanied with a text commentary and date.

Take a look and think of how people will react to them in 50 or 100 years from now. The comments (open them) are interesting too.

As to the photo of a heart transplant in 1987, do you remember hearing about the FIRST heart transplant? “Christiaan Barnard with his team, performed the world’s first human-to-human heart transplant operation on 3 December 1967. It was a major historical event and a significant breakthrough for medical science.”.

In the 1987 photo, the greenish tinge is likely due to using florescent lighting on film not balanced for that particular light spectrum.

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an amazing place

Legion Hall 101 – Nov 2019 Auction

Toronto. Close your eyes. Now think of all the amazing places you’ve been.  One such place is  Legion Hall 101 on the Lake Shore just west of highway 27 in Long Branch on the afternoon of Sunday, May 5th.

At that time we will be holding our spring auction. And what an auction! There are lots for everyone be it for collectors or users; film buffs or digerati!

The times and location (and lot photos) are shown here. Remember, parking and admission are free! Great food and drink are available. Come on out and see the lots in person before bidding starts – and meet old friends and acquaintances after the long and tempestuous winter we struggled through.

And what better way to remember this post for a Sunday event than that wonderful hymn “Amazing Grace“? Be patient – the first seconds (nearly a minute) are the words only.

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the cost of convenience

Some garden tools around a red oak ready to use

Toronto. I have posted previously on film vs. digital and its consequences. Since photography was created in 1839 until digital technology went main stream, family ‘snap-shooters’ and amateur family historians could save photographs in an album or shoe box to be pulled out whenever a visitor was to be shown ‘the relatives, old purchases, etc.’. These artifacts could be viewed by eye – no accessories needed (except perhaps, reading glasses).

The down side was the time it took to finish a roll of film, get it processed, have prints made, and see for the first time if the ‘pictures took’. If the photos were out of focus, subjects blurry, over or under exposed, etc., chances are the subjects were long gone or the reason for taking  the photograph now forgotten.

Film, paper, processing, even a fancy camera, was too costly for the average family guy to buy or shoot off ‘spare’ shots. For most of the plate/film era, photos were B&W only. The early post war colour prints had poor resolution partly solved by a pattern on the paper’s surface. And colour was often prone to rather rapid fading due to the choice of dyes.

Most families had an amateur photographer; but few had a darkroom or access to one. This sharply reduced the number of prints promoted to the family album or shoebox. Cameras for the most part were very simple – box cameras, simple folders, etc.

When digital reached mainstream, almost everyone had a camera (buy a smartphone and you also had a camera for free). Literally dozens of shots could be taken with very little or no added cost; results were assessed in seconds; images were in full colour. The auto everything cameras and smartphones meant only focus, lighting and framing decisions were left to the photographer. And the best photos could be sent anywhere in the world in seconds via the internet.

Sadly, the down side for digital is far more serious – long term retention. File formats change over time, storage media change, as do special equipment and software essential for viewing. For example, in a short few decades we have seen floppy disks, mechanical hard drives, CDs, DVDs, thumb drives, solid state hard drives, streaming, cloud services, etc., come and go. Equipment, software, file formats, – they all seem to change. Astute photographers are left hopping just to move their precious digital photos from one thing to the next.

Sadly, as this article (WILL TODAY’S DIGITAL MOVIES EXIST IN 100 YEARS?) in the IEEE journal discusses, even movies are affected. Perhaps my good friend , George Dunbar, who suggested this post, has the best solution: take your photos digitally for convenience, then PRINT the best of them for posterity and simple viewing – nothing needed but possibly those eye-glasses…  Thank you George for the article link and the idea of printing digital photos.

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pictures don’t lie … yeah, right

Drake Album cover April 2016 taken by Caitlin Cronenberg

Toronto. When I was a kid, my mother, looking at a  newspaper photo often said, “cameras don’t lie”.  Once I grew up and learned photography seriously, I realized ‘double’ exposures in a camera or darkroom with some skill could indeed show something or someone where they had never been.

When digital technology became common, the computer with Photoshop and its kin made such obfuscation even easier – layers, masks, and feathering merged part of one image into another seamlessly – if the operator was at all skilled and careful.

Ghosts, people, articles, even events, could be shown elsewhere with manipulated photos. The controversy over a photo of Lee Harvey Oswald – real or fake – was in some cases based on shadows projected by the sun. In movies, faces of the actors were placed on wedding portraits of others to validate a back story.

In 2016, when Drake’s latest album came out, it showed him sitting atop the bulge in the CN tower in a shot taken by Ms Caitlin Cronenberg. She was supposedly suspended by helicopter to take the shot. It turned out to be a telephoto shot of the tower that she took and merged by computer with her studio shot of a sitting Drake.

While the article shown is uncredited (couldn’t find the source), Alex Bozikovic published an article in the Globe after Drake’s  album was released.

My thanks to my good friend, George Dunbar, once again for sharing the article with us and bringing back memories of ‘fake’ photos created by myself and many others since photography began in the 1800s. After all, pictures don’t lie …

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snap shot or tech shot?

My SB100 transistor on a breadboard experimental setup

Toronto. In the early days of transistors, the tiny marvels couldn’t operate very far beyond audio frequencies. In the late 1950s, Philco managed to create a transistor usable at radio freqencies. The SB100 transistor, as it was named, was offered to experimenters.

Shown here is a breadboard assembly acting as a radio receiver with a CK722 transistor as an audio amplifier also on a breadboard.

While the photo at left is a snapshot, a branch of photography focussed on capturing images of technical products – for advertisements, catalogues, manuals, etc.

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fond memories

1956 and big news from Kodak as their films continued to be improved

Toronto. George Dunbar recently sent me an email regarding this Kodak ad in the April, 1956 issue of Popular Mechanics. It brought back many memories. I used all the films noted at one time or another.

As far as I know, Verichome was one of the first B&W films to have two emulsion layers; one ‘fast’ and the other ‘slow’. The idea was to ensure more printable photos from negatives exposed in box cameras and cheap folders with their f/16 or f/22 lenses.

Kodachome and Ektachome gave different colour renditions of a scene. The type F Kodachome was a nod to indoor shots with flash. No filter or coloured flash bulbs needed. I first used Kodachrome at around ASA 10. The results were very high contrast and to my eye rather gloomy colours. I didn’t realize at the time that strong but muted sunlight was necessary for good exposure.

Various Kodak B&W films offered different speeds and contrast. Tri-X at what is now a puny ASA (ISO) 400 was a big deal at the time. My Exakta set to f/1.9 at 1/25th second gave decent results under commercial florescent lighting. Earlier fast Kodak B&W film which I also used was rated around ASA 160/200. Tri-X at 400 could be ‘pushed’ to ASA 600 or so with longer development.

Ahhh, those were the days of film and carefully framed and exposed shots (to keep costs down). A big thank you to my good friend George for finding this ad and sharing it with us.

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modern day macro photography

close-up shot of a spider – courtesy of How-to Geek

Toronto. In the days of film and film cameras, lenses rarely focussed on subjects closer than a metre. Newer lenses would focus down to a half metre or some times a few inches closer.

Macro shots were initially taken with the normal lens using some means to bring subjects, too close for the lens adjustment, into focus – usually a bellows, extension tubes, or a copy stand. Sometimes, if the normal lens design was asymmetrical, the lens could be turned around before being used. In some cases a positive diopter lenses (+1, +2, or +3) was bought and screwed into the lens instead of a filter.

Later, a special macro lens, corrected for a close subjects could be purchased and used instead of the normal lens.

When digital cameras (especially on smart phones) became common place, they often had a built-in macro capability or a special add-on lens unit could be bought to allow a close-up focus. Sharp images are possible with a bit of practice (and a decent  light setup necessary even for film).

One of my favourite blogs/newsletters, How-to Geek, posted a detailed article called, “What Is Macro Photography?” much of which is also applicable to old film cameras. Have a read – and try close-ups! Are you into film but missing that special close-up stuff? Check out one of our events like the May 5th auction!

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remembering DuPont photo products

Dolphin book cover using Dupont photo products

Toronto. We all remember Kodak products and most will recall Ansco and Ilford photo products. But do you remember the other products like those made by DuPont – both film and paper? I did a post on Dupont the summer of 2022.

Recently Malcolm Brenner, a writer/photographer based in Florida, sent me a note on DuPont. He mentions the company’s adventure in B&W photo paper producing the first  variable contrast paper, “BTW, I seem to remember reading somewhere that Dupont originated the whole idea of “variable-contrast enlarging paper,” using high-contrast blue-sensitive emulsions and more even-toned green-sensitive emulsions to make it work, years before Kodak.

“Considering that, remember that the Great Yellow Father invented the electronic still camera prototype in 1976, paid the inventor for his efforts, and exiled it to that warehouse where the Arc of the Covenant disappeared at the end of Raiders of the Lost Ark!

I used the Ilford version myself and still have the filter set which fit my Durst M35 Color Enlarger.

Malcolm mentions his introduction to Dupont products too, “In my sophomore year of college, 1970-71, I attended the University of South Florida in Tampa for a semester, taking courses in photography and film. The head of the Photography-as-Art Dept. gave me a couple of boxes of Dupont variable-contrast fiber-based enlarging paper to experiment with, said he was switching to the Kodak product.

“I guess Dupont was getting out of the consumer photo market at about that time. I fooled around with that paper, had great fun experimenting with solarization and negative contact prints, and made some significant prints on it. But other than that, and the ads I saw in old issues of American Cinematographer I found lying around a film office, I haven’t had any contact with Dupont photo products.”

Wikipedia has an article on Malcolm as a writer and lists his accomplishments. You may want to think again about dolphins after you read his books (and Douglas Adams and his series “The Hitchhikers Guide to the Galaxy”, especially “So Long, and Thanks For All the Fish”.

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fantastic machine

a preview of a movie on the history of photography – courtesy of Strand Releasing

Toronto. At 90, my good friend George Dunbar still manages to scour the web for interesting photographic items. Recently George discovered a preview of the Swedish/Danish film  called “fantastic machine” on the Strand Releasing site.

George writes, ‘”Fantastic Machine” from the invention of photography to 45 billion cameras worldwide. Looks like this film could be quite interesting.’

Have a peek and see why George was delighted to see the preview. Our thanks to George for the image and link.

And speaking of scouring for interesting photographic items, be sure to visit our auction on May 5th. There will be lots of “interesting photographic items” for consideration and bidding.

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a rare wet plate camera in good condition

A rare wet plate camera
by W W Rouch of London, UK.

Toronto. In June of 1998 this rare wet plate camera (sans lens) resided with member Bill Kantymir. Bill Belier in his “treasure” column traces it from its manufacture in England to an Ontario collection with stops a long the way both in Europe, and North America.

To a collector unaware of the process, a wet plate camera is just another 1800s artifact. But to the knowledgeable collector it is indeed rare. By the very nature of the process, using a wet plate camera commercially led to its demolished state. Plates were coated with the sticky emulsion, mounted in camera, exposed and processed all the while remaining wet to preserve the plate’s sensitivity. The silver nitrate oozing from the hastily prepared plate, destroyed the camera’s wood over time.

An Ivory label identifies this camera as one manufactured by W W Rouch of London , England c1875-8, near the end of the wet plate era. Read Bill Belier’s article in Photographic Canadiana issue 24-1. As a PHSC member you have a DVD of the first 40 years of our journal including the above issue. Not a member? Sign up and receive this DVD plus  four of the current journals in pdf format.

Visit our coming auction on May 5th for additions to your collection (or user gear). You may even spot a rarity like this refugee from the wet plate era!

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