lots of stuff …

A Zorki 4 camera with Cyrillic lettering – made in a Moscow suburb from a recent Auction lot

Toronto.  As we start another new year, PHSC has began to get some dates firmed up. Our next Toronto Meeting will be a Show and Tell on ZOOM next month (February, 2024); The next auction takes place May 5th at the Legion Hall in south-west Toronto (Long Branch) and the spring fair is set for May 26th at the Trident Hall in south west Toronto.

Check this site as the dates approach – added details will be shown. Meantime, enjoy the weather! And the Zorki 4 shown at left. It was in a lot we (PHSC)  auctioned this past fall.

One of the songs back over a half century (1959) ago by Johnny Horton talked about the weather Canada is experiencing just now (hello, Edmonton), “When it’s Springtime in Alaska, it’s 40 below“.

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what the heck?

a 28mm f/6.3 Hektor wide angle lens

Toronto. Around 1931, Leitz decided to make their tiny Leica an interchangeable lens camera and produced the first few new focal length lenses. Within a year, the Leica’s film to lens mount distance was standardized and thereafter any screw mount lens could fit any screw mount camera (or M-series with an adaptor).

The lens aperture was often designated by the name of the lens (Elmar, Summar, Summitar, etc.). The Hektor seemed to be an odd ball: The 73mm Hektor was f/1.9; the 135mm Hektor was f/4.5 and the 28mm lens was f/6.3.

The f/6.3 wide angle Hektor, shown at left, came out in 1935 and was offered for two decades. It was only made in a screw mount version. The tiny lens was the first Leica lens of 28mm focal length and competed with the then already available Zeiss 28mm f/8 Tessar lens for the Contax. At the time, a faster lens design would have compromised either resolution or angle of view, vignetting the edges of the tiny 1 x 1.5 inch negative.

According to Dr Wright in his Checklist manuscript, The little lens was optically better and coupled to the Leica rangefinder. And the name? Rumour has it that lens designer Max Berek named the Hektor lenses after his dog!

 

 

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more on making it better

Leitz VAROB enlarging lens from the 1930s

Toronto. When Leitz made special enlarging lenses, the first such lens was the VAROB made from about 1933 through 1939. Some people considered the VAROB lens an Elmar lens in a special barrel for use on an enlarger.

Others, like Dr Alex Wright in his Checklist manuscript suggest it is a different lens design. Dr Wright, had an ‘optical expert’ inspect the VAROB and noted at least the rear element differed from the Elmar in ‘curvature and glass’ while the front element seemed identical to an Elmar.

For those who wished to use the camera’s Elmar lens (once it was made removable), special rings like the VALAU and later the VALOO were made to assist the darkroom techie in adjusting the aperture – hard to do in daylight let alone in the dark on an Elmar sans any special ring.

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remember when

Canadian Kodak Company at Mount Dennis some 90 or so years ago courtesy of the city archives

Toronto. George Dunbar sent me this shot of the Kodak Canada campus in Mount Dennis (now part of Toronto) around 1930. You can see the fields that are no longer empty. My uncle and my father had a garage (auto wreckers) in nearby Weston at the time.

The mighty Kodak Company was devastated by the digital era and filed for bankruptcy a decade ago in 2014. Both here, and at Kodak Park in Rochester, most buildings were razed. Here, one building remains (#9). It will become a station on the new cross-town subway system – after a short relocation move and a much longer renovation  time.

My thanks to George for this image from one of our exchange members and the memories it invoked.

 

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Dail M for …

my 35mm Summicron lens bought in Montreal. It was the most used lens on my M4 camera.

Toronto. … Dr Mandler. The late Walter Mandler was a world renown camera lens designer. The link takes you to his eulogy by Rolf Fricke. This eulogy was published in volume 5-2 of the PHSC newsletter in May, 2005.

Dr Mandler came to Midland briefly to help establish Ernst Leitz Canada and decided to emigrate here and live in nearby Moonstone, Ontario.

In one issue of  The Viewfinder – journal of the prestigious LHSA – there was speculation that Dr Mandler had designed a new 4 element 5cm f/2 lens for the Leica. He wrote a reply noting that the new lens did not replace the 6 element version (which I have) of the Summicron but was intended for the KE7 – the US Military version of the Leica M-4 camera.

According to Dennis Laney (Leica Collectors Guide, Hove, 1992) the lens was marked “ELCAN 50mm f/2”. He goes on to say its design is similar to that of the 90mm f/2.5 Colorplan projection lens. Dr Mandler, in his reply to the LHSA, explained that the Military RFQ did not give points for the high resolution of the Summicron and a redesign was cheaper than supplying the better performing Summicron lenses.

Note: The post title is a riff on Hitchcock’s 1954 thriller. “Dial M for Murder“.

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photography for the masses

sample of photo editing in Lightroom courtesy Doug Hansgate

Toronto. Within months  of when photography began, word of the new art spread around the world. Studios (and charlatans) soon sprung up catering to people desiring a ‘likeness’. To be successful in this new art one needed to be technical and artistic.

One over-riding goal of photography was to open the art to more people. In the 1870s, dry plate technology reduced the technical expertise needed to make a good photograph. One could buy dry plates, expose them later and develop or have them developed even later still. The famous Kodak camera and the innovation of roll film made photography practical for even more practitioners. The first half of the 20th century saw improvements in films, cameras and lenses. It was possible to take many photos in daylight and have the film processed and printed. The age of the family photographer was on us.

With digital photography it became even easier to photograph (technically but not artistically). And when smartphones with their ‘free’ built-in cameras that made generally technically perfect photos took over, everyone had a decent camera.

Today, many folk after trying their smartphone or digital camera wish to make better photographs. To this end, folks like those on YouTube, or pros like Brian Matiash and Doug Hansgate offer classes or hands-on lessons using Lightroom or other editing tools to crop, adjust, tone, etc. Hands on classes are also offered teaching proper lighting techniques, framing, etc.

Digital technology and smartphones mean all can have a camera today that is nearly technically perfect – given enough light. But would-be photographers still need the ability to recognize the changes needed and the skill to make those changes to go from a mundane photo to a striking one!

Note: The title of this post is a riff on the rather sarcastic Karl Marx opinion on religion.

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flash for cash

LIFE ad for Sylvania flashbulbs – Christmas 1955

Toronto. Post war there was a pent-up demand for commercial products. Cars were in short supply; telephones had a wait list while new cables were added; and many other goods were similarly in short supply. New ideas popped up everywhere for civilians. Jobs were easy to come by (many people were hired out of high school; no need to ‘know’ the job market). Every manufacturer wanted to get aboard the gravy train.

The photo industry was no different. Post war, the innovations for the rank and file photographers were legion. One issue to be solved was lighting for the slow films of the day.

A ready solution to the issue in poor weather, evenings and (especially) indoors was portable lighting. A great way to cheaply and briefly create such illumination was by the use of flashbulbs. Placing subjects close to the camera with a flashgun attached or held next to it, gave added light via a synchronized flashbulb ensuring suitable illumination.

The advertisement at left by Sylvania was typical of the era. What better time to promote the use of Sylvania flashbulbs than at Christmas when the family photographer using an inexpensive camera could create memories with each shot!

Of course the flashbulb era for the amateur was relatively short lived as portable electronic flash continued to fall in price and size. Eventually most cameras had built-in electronic flash ready in an instant to add illumination. And as media increased in sensitivity, even built-in electronic flash became optional. Digital cameras and smartphone cameras today use sensors that are so sensitive that the built-in flash is seldom needed (and then often as fill-in).

My thanks to George Dunbar for finding this bit of photographic history and sharing it with us for all to enjoy.

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when a print in 60 seconds was fast!

advertisement for the1955 pictures-in-a-minute camera from the December 5th, 1955 edition of LIFE.

Toronto. What a heady time! WW2 was over a decade earlier; improvements in photography came fast and furious, and everyone wanted to get in on the game. Faster films; more colour options; better lighting; flash bulbs; portable electronic flash; etc. were just a few of the ‘fresh eggs’ being touted.

One incredible feat was performed by Edwin Land. Land devised a chemical process to create a decent finished print in-camera in about 60 seconds. Unheard of! For Christmas 1948 a handful of his cameras and films were offered in a single store (in Boston) – CAMERAS and FILM SOLD OUT the same day.

This ad, about 7 years later, continued to push the primary difference of Polaroid Land cameras and film – a finished print in 60 seconds. To the modern day smartphone camera user, 60 seconds seems like waiting an eternity just to see a crummy small B&W photograph. But over 70 years ago such rapid turnaround on a photograph was astounding! Most photographs took a week or two after the roll was mailed to the processing firm (remember Chas Abel here in Toronto).

Again, we are indebted to my good friend, George Dunbar, for spotting and sharing this bit of photographic history. While Polaroid Land cameras and film (original colour film in SX-70 size) are still around, Fuji also makes similar film along with their Instax cameras. Others also make and/or sell cameras that use Instax films. The modern day “Polaroid” style film in full colour takes less than 10 seconds to process in-camera.

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remembering Elliott

Felix, Gladys and Rover. New York City 1974 courtesy of the NYT’s article and Elliott Erwitt

Toronto. The photograph at left was taken years ago by talented Magnum photographer and filmmaker, Elliott Erwitt. Elliott died just over a month ago at 95.

In the spring of 2011, on the occasion of Mr Erwitt receiving ICP’s “Infinity Award” for his lifetime achievement as a photographer, the NYT ran this article, “Elliott Erwitt’s Best Picture? The Next One.“. The article covers an interview by his son (and photographer) Misha Elliott discussing questions from the family.

When you click on the NYT’s article link above, be sure to view the slide show and see why Mr Erwitt’s efforts deserved such attention!

My thanks to good friend and fellow PHSC member, George Dunbar, for alerting me both to this interview and Mr Erwitt’s  death on Nov 29, 2023 at 95 years of age.

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Camerama Feb 4, 2024

Toronto. My friend Gary Perry sent me this reminder recently:
“Happy New Year Everyone!  Please note that our next Camerama Camera Show is coming up on Sunday, February 04, 2024. See flyer attached for details. Now in our 28th Year!

“Same great location and time as always:
The Canadian Cultural Centre
6 Sakura Way, Toronto, M3C 1Z5

“Show Hours: 10:00am – 3:00pm

“Vendor Tables Still Available
Table rates are:  $75 per 8ft table which includes entry for vendor and one helper. No tablecloths provided.

“By the way, our 2024 show dates are: Feb 04, Apr 28 and Sept 29.

“If you have any questions or concerns let me know (cameramashow@gmail.com).”

Regards, Gary

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