I hear the auction a comin’

Lot 778 – A Nikon D200 with lens and strap

Toronto. The post title is a riff on the first line of the famous 1953 tune by Johnny Cash, “Folsom Prison Blues“. And our auction is “a comin’ ” in another month or so to the Legion Hall 101 in the south west of Toronto.

Lots of great gear and photos will go up for a new home including lot 778 – this gorgeous Nikon D200. Be sure to mark May 5th on your calendar and drop in to renew old acquaintances and grab some choice items for your collection and/or user gear.

Check out the lower right side of this site for now. We will have a detailed post closer to the event.

 

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stormy weather

threatening storm clouds about a decade ago

Toronto. Image collectors have a great many images from daguerreotype portraits on. One genre of eye-catching images is that of landscapes in inclement weather  – be it rain, snow, wind, threatening clouds, etc.

An otherwise mundane subject can be transformed by the threat of bad weather. I was reminded of this today after driving home in rather windy sunshine. Looking out the kitchen window, I saw a sudden snow squall with visibility totally erased – just as predicted by the weather forecast.

Have a look through your collection and see those landscapes that benefit from stormy weather. And remember to circle May 5th for our spring auction. We can’t promise any ‘stormy photos’ but you may find both images and equipment to attract your taste in the lots offered. Check the right side of this site for details. A post will be added closer to May 5th with the usual slide show of lots…

Note about post title: “Stormy Weather” is the name of a 1933 song sung here by Etta James. My recording of the song is by Jo Stafford.

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a French Da Vinci in photography?

du Hauron c 1910 courtesy of Wikipedia article

Toronto. You may have never heard of a Frenchman of the name, “Louis Arthur Ducos du Hauron“, but by 1870, after Maxwell’s ribbon experiment, he had devised most of the ways humans could create colour images.

Unfortunately, this was well before technology caught up and made his ideas practical.

The colour photo at left used his ideas. It is an Autochrome c1910. Autochrome’s were created by the French Lumière  Brothers.

The late Brian Coe in his “Colour Photography” said,  ” … in his writings, [he] anticipated almost all of the practical methods of colour photography”. This was at a time when photographic media was blue light sensitive and any light of a lower wave length was blank on the ‘negative’, and black in the print.

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It’s here! It’s here!

Newsletter 23-2

Toronto. After a lengthy hiatus, our latest newsletter has arrived!  It was distributed yesterday to all on our MailChimp list. It is also available here and on the NEWSLETTER menu item under Vol 23 (2024).

Please welcome our new editor Katrin Faridani and send her your suggestions for a brief article in the newsletter. If you haven’t added your email to our MailChimp list but would like to, just send me a note at news@phsc.ca (if you ARE on the list but weren’t advised of this issue, let me know at the above link and I will check things out and email you a copy.

Our newsletter was originated by the late Bob Lansdale on November, 2001 to send out notice of events etc that would occur between journals, late breaking  news, and articles worthy of the then “too expensive to print” colour images.

Remember, if you UNSUBSCRIBED to MailChimp I cannot reinstate the address. Any addresses tagged as CLEANED were either incorrect or changed. Please notify me and I will edit the address information on MailChimp.  Meantime, enjoy this issue and be sure to welcome Katrin!

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picture perfect

a bevy of photographs from lot 953 at our May 5th Auction

Toronto. Collectors celebrate! Our Spring auction has many interesting lots for both image and camera collectors.

The sample at left is just some of the old images (lot 953) to go under the hammer. Studio portraits like these show a wide variety of folk and will look terrific in your collection.

The lots will attract both film and digital folk! Come down this May and greet old acquaintances while perusing the lots with an eye to expanding you collection (and user gear). There will be many in erecting and high end items in this spring’s auction.

As we get closer to the event, a more detailed post will include a slide show of the lots to be auctioned. Be sure to mark the occasion on your calendar! Meantime, the web sidebar to the right lists this and other PHSC events.

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our March 20th Toronto presentation

Toronto. Join us on the 20th at 8:00 pm for “Empire of Colour” by Dutch journalist and photographer based in Japan, Kjeld Duits  via ZOOM.

If you have any questions, please contact our programme director, Celio Barreto at program@phsc.ca or our president Clint Hryhorijiw at fair@phsc.ca. All contacts on our  MailChimp list with valid email addresses have been notified about this auspicious event and how to connect via ZOOM! Not on our list? Email Celio or Clint above for assistance.

And remember, visit one of our spring events – you may just see a photograph  or another neat item for your collection (or user gear).

our March 20th talk via ZOOM

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illustrating books, etc.

Still life in SAGE data transmission lab Montreal c1960

Toronto. Books, newspapers, and magazines were illustrated on occasion with lithographs or drawings transposed to engraved plates.

In the 1820s, there was considerable interest in capturing a scene by the effect of sunlight. A young Frenchman, Joseph Nicéphore Niépce, liked lithography but was not a good artist. In the 1820s Niépce tried to get the sunlight to expose a scene on metal, ready for engraving.

His process took many many hours of exposure. He collaborated with another Frenchman, Louis Daguerre who was also interested in capturing scened by sunlight as references for his dioramas. Daguerre and an English gentleman called Fox Talbot were finally successful in ‘permanently’ capturing scenes by sunlight with a few minutes of exposure. The pair independently discovered a way to ‘photograph’ a scene and announced their processes in January, 1839; one in France and the other in England.

Their discovery was a new art – photography. which was a sensation around the world. At first it did not help illustrate books in the way Niépce had hoped. Years later the half-tone process was successfully developed and changed the black and white of printing to the gray shades of a photograph and later did the same for colour photos (CMYK process).

A modern day book “print on demand” service (Wordzworth) has a very clear explanation of how books are illustrated in monotone or colour.

So when you see drawings, photographs and colour photographs in a printed product, think of photography and its help to form our modern world.

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birds of a feather

a bunch of Mallard ducks in a west end Toronto park during the early spring of 2017

Toronto.  A niche in wildlife photography is populated with birders. As a hobby, a birder fills in a special need. Each year the birder searches for birds in their habitat. When first spotted, the location, date, and species of each bird is recorded (sadly, I am not a birder, but limit bird photos to my back yard or a nearby park) .

In many cases a birder will try to capture a photograph of the bird to later verify the written record. Some of our PHSC members were also birders as was the odd fair table holder. At one of our fairs in the 1980s/1990s, I met one of them. Jim McKeen retired from the hardware sales business. I bought one of his birder lenses – A Schneider Tele-Arton 240mm in a Leica screwmount. (Schneider later came under Linhoff).

The Tele-Arton is a beautiful little lens with coated elements. While the photo at left was taken with the standard zoom lens of the NEX-5 in a nearby park,  I link to the Tele-Arton above and some of my sample shots showing its sharpness.

Be sure to visit one of our spring events this year. You may not find a beautiful little Arton, but you will definitely find cameras, lenses, accessories, books, and photos for your collection and user gear – film or digital! Check the lower part of the right hand sidebar for now. There will be posts closer to each event (and a slideshow of the auction lots – nearly 100 are already set to upload).

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projecting dreams

Lot 989 in Spring Auction – old 16mm movie projector

Toronto. Like stereo, the eyes and the brain work together to give one the sensation of motion. In the case of ‘movies’ a phenomenon called “persistence of vision”  transforms the sequence of still frames (about 24 per second) seen by the eye(s) into a sense of motion.

Once film was available, many inventors, including Edison, attempted to add motion to photography. The very earliest efforts went into individual viewing machines and ‘movie shorts‘ recorded on paper or strips of film. The production of longer films led to projection which in turn opened movies to an audience.  At the time sound could not be added directly, only by a physical piano (most common) in the theatre and a sheet music score to match the ‘movie’.

After projection of ‘movies’, major cities world-wide began production of movies for theatres. Reels of 35mm film became the standard with each frame projected briefly. A full reel would run for about 10 minutes. Two projectors and a means to synchronize reels allowed longer and longer movies to be shown. A 10 reel production ran about 100 minutes (1 hour, 40 minutes). By 1928 sound was successfully added to the movies and the silent era was over.

Even before sound, efforts were made to add colour, but it wasn’t until around WW2 that the very expensive colour process could be used successfully. By the late 1950s colour became the dominant means of filming and black and white ‘movies’ fell into disuse except for select art films or special effects. Once commercial film caught on, Film makers like Kodak pushed ‘home‘ movies on 16mm film in North America or 9.5mm film (Pathé) in Europe.

When film faded from use, digital video took over. Movie houses could download a video version and project it as long as it made a profit. The old projector shown here is lot 989 in our spring auction. A later post will add auction details. Plan now to  visit the May 5th event and renew old friendships. You may even add to your collection or user gear!

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on stereo viewing

Lot 960 in this spring’s auction. A Zeiss stereo viewer.

Toronto. Our brain is a marvellous organ. Each eye sees a scene/person at a slightly different angle. The brain merges these two images to create what we see as a stereo or 3D ‘picture’ of the scene or person we are looking at.

The most gadget-free means to view a stereo card is by ‘free view‘ This technique can often be learned and is easily performed by serious 3D collectors like our Bob Wilson or Stan White. Years ago, Oliver Wendall Holmes created the famous Holmes viewer to allow simple folk like me to easily view stereo cards – used for education decades before TV arrived – and for travel and medical education as well.

Sometimes, such viewers and a bunch of cards were enclosed in a fancy piece of furniture like the Taxiphote. Zeiss joined the game with its own clever viewer (lot 960 above). A professional version was used with reconnaissance photos and hyperstereo to determine the topography of an area (I have such a viewer – looks much like the lot shown plus a special scale and knob for adjustment). Around mid last century the famous View-Master was marketed with seven tiny colour images per disk for the young.

When someone came along with the projection of stereo pairs, so called anaglyph glasses (typically a red filter for one eye and a cyan filter for the other) allowed monochrome stereo to be viewed. Cheap filters and a cardboard frame meant very inexpensive manufacture. For colour, polaroid filters were used.

Check the above links to fill out this fascinating story of how we see in 3D, be it live scenes, stereo cards, stereo movies or stereo TV. One strong effect of modern day cataract surgery  is the sudden restoration of stereo vision, an effect that slowly disappears and becomes common place once again.

And like all things, stereo seems to ebb and flow over time. In the 1900s we had stereo cards. In the 1950s it was 35mm cameras and accessories and books. Then movies; then TV. The last movie I saw in 3D was a far better creation and long viewing times didn’t hurt the eyes. Unfortunately special glasses are still needed for projected 3D whether stills, movies, video, or TV.

Be sure to visit our spring events to add to your collection and user gear. You may not see a special piece of 3D history, but then again … . Posts closer in will cover each event augmenting the data already on the right sidebar of this site.

 

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