the Scots who pioneered photography

Early Scottish photograph courtesy of the National Gallery of Scotland via BBC News

Toronto. George Dunbar writes, “The Scots Who Pioneered Photography” [is] A BBC review of a 2017 show at the National Galleries of Scotland. Many unique and unusual images here.”

Indeed, this fine 2017 review brings to mind many Scots famous for their imagery in the early years of the new art. The review begins, “More than 200 of the oldest photographs taken in Scotland are to go on display at the National Galleries of Scotland [in May, 2017].

“The influential partnership of David Octavius Hill and Robert Adamson lasted for less than five years before the premature death of Adamson, aged just 26. But it produced thousands of images which are admired by photographers to this day.

“Within four years of the invention of photography being announced to the world in 1839, Hill and Adamson had mastered the new medium and were producing innovative work from their studio in Edinburgh.”

Click on the BBC article for further information and a sampling of images from those heady days when Daguerre and Talbot reigned supreme in the art world.

 

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did ja ever …

a Century Studio Master camera from the early 1900s (December, 2007 photograph)

Toronto. … see any of deez? When photography began some enterprising folk opened studios to make and sell a ‘likeness’. People wore their Sunday best clothes and flocked to the local studio for a family portrait which was pricy but affordable which could not be said of a comparable painting.

Studios continued to exist throughout photographic history. They exist even today for that large or commemorative photo be it of an individual, family or group.

The maker of the dry plate studio camera shown at left was bought by various firms and eventually became part of Kodak’s Folmer and Schwing division. Cameras like this one labelled as made by the Century Camera Company were likely made around 1900.  The desired size of the contact print or finished Daguerreotype dictated the size of the camera. These heavy, slow machines needed a sturdy stand to keep them steady.

Initially, the media of the day were painfully slow taking seconds or even minutes to receive sufficient light from the subject via the camera and lens. The Studio Master is  a dry plate camera with the potential of sub-second response in bright daylight, but still seconds response in the studio setting.

The height and distance determine the subject size on the metal/glass plate. Studio cameras like the Studio Master could make smaller plates, but not larger. If you desire one of these beasts (or any other camera/lens) for your collection, be sure to visit one of the PHSC events like the coming auction or fair (see the right side bar on this web site).

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studio daze

O to be in England …

Toronto. When it took some skill to capture an image for a special event, many folk chose to visit a studio. This image was shot in just such a studio in Southern England around 1917 – over a century ago.

The young couple wanted to capture a likeness to savour down the years of their planned wedding date. The young soldier from Canada was in hospital recovering from injury when he met and fell in love with this young volunteer. Once recovered enough to  walk outdoors, a studio was chosen to photograph the young couple.

The backdrop was intended to add a bit of interest to the photograph. The chair and table were props needed to help steady and support the couple during the few seconds exposure needed to get a good negative on the rather slow media of the day.

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mon dieu! une autre Sept!

The c1922 Sept courtesy of John Wade

Toronto. Like the Ansco Memo, the French camera called the Sept, uses 35mm cine film. A 1920’s camera, it is spring-wound and uses a 5m length of cine film in a unique cartridge.

Originally an Italian design, it was made in Paris by Andre Debrie and sported the name “Sept” for good reason. Sept is French for number seven and the small, heavy camera performed seven different functions (some functions needed special accessories).

Two of the functions are a singe shot ‘still’ camera and a movie camera. Exposures used a single movie frame of the 35mm film or what was later called half frame. (after the Leica took off)

I actually saw a Sept some years ago owned by a member. Today, many sites  (like John Wade or Camera-wiki) cover the unusual little camera. In fact, the image used at left is courtesy of the John Wade site.

The camera came on market a couple of years earlier than the famous Leica which used two ‘movie’ frames per exposure, hence the use of half frame for a traditional movie frame.

Now-a-days most digital cameras sport both ‘still’ and video (movie) functions so the younger folk don’t see just what a big deal it was for a single camera in the 1920s to offer both stills and movies.

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one grand

c1932 babies born at 2 year old Eastern Kins Memorial in Wolfville, NS courtesy of its Randall House Museum via Saltwire

Toronto. A few days ago, Wendy Elliott wrote the article “Continuing the health-care work“. Her article is on Saltwire in the Opinion section of its Atlantic Canada file. To read the article you will need to sign in with your email address.

The site does show the 1932 photograph of the babies born in that hospital (Eastern Kings Memorial at Wolfville, NS). The image, shown on the Saltwater site and here (at left), is courtesy of the Randall House Museum in Wolfville’s collection. The Saltwire cut-line states, “This 1932 photograph shows a gathering of babies born at the [EKMH] … since the facility opened in 1930.”

Well, it’s said a picture is worth a thousand words … do you agree too? In any case, I would thank my good friend and fellow photo historian, George Dunbar, for discovering this photograph and sharing his finding with us.

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up, up, and away

Topaz Lab’s Gigapixel 7

Toronto. After minicams became common, time and effort was spent to create developers that would reduce film grain and provided finer detail so negatives could be enlarged more without resulting in so called ’empty magnification’.

A similar situation in digital images results in pixelization as the image size is increased. In the early days of photoshop, many practitioners tried to ‘upscale’ images by carefully repeating smaller increments feeling such a process would offer better images.

In his “Lightroom Everywhere” blog #10, Brian Matiash’s article, “Three Reasons to Upscale Your Photos” extols the virtues of upscaling digital images using AI. His talk reviews the latest release of Topaz Labs’ Gigapixel 7 comparing the result to using the latest Photoshop technology with various settings.

So unless you are a dyed-in-the-wool aficionado of film, have a read of the blog #10 above. And remember, our fairs and auctions often offer both film and digital fans added gear and ideas. Don’t worry too much about this article – in 50 to 100 years it will be history 🙂

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pushing all buttons

you press the button …

Toronto. The invention of the dry plate in 1871 opened the door to sub-second exposures in sunlight through a normal photographic lens. And with sub-second performance came a need for shutters. And with shutters came a need for shutter buttons.

In the 1880s, roll film came into being allowing many shots to be taken on a single roll. And in 1888 the famous Kodak camera went to market and success. A typical Kodak instruction sheet is shown if you click the icon at left. Film and Kodak opened the door to many, many more ‘amateur’ photographers and expanded the use of photography to help record family history.

To differentiate its products from those of Kodak,  Ansco, photography’s distant number two, elected to use a red shutter release button on its cameras. As the late Don Douglas said, “just pass the camera to ‘aunt Tilley’ and tell her to hold it steady and press the red button ..”.  Even today in the era of digital technology, a button triggers the ‘shutter’ to time the light exposed to the sensor cells. But for most folk, the ‘P’ setting on a digital camera (or using a smart phone) avoids any need to understand or set the shutter speed.

Does this post ‘push your buttons’? Then you are showing your age or enthusiasm.

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cute as a button

drawing of the Ansco Memo from “Cameras” by Brian Coe

Toronto. Professionals in the 19th and early 20th century chose a camera size such that the final print was a contact print, and generally not an enlargement from the negative.  As movies grew in popularity, some manufacturers realized that a small 35mm film frame retained decent resolution even when enlarged to the size of a movie screen.

Photographic prints required far less magnification so some firms made cameras using the tiny 35mm roll film intended for movies. Since there was no standard cassette at the time each company made its own. The tiny cameras used a single movie frame as a negative -what was later known as a 1/2 frame once the Leica took hold with its use of a ‘double movie frame’ (1×1.5 inches).

In 1926/7, an American company, Ansco, in New York made a tiny precision camera called the Memo in various versions. This was the first precision camera made in the States. It went to market just a few short years after the famous Leica in Germany. Using a single movie frame piece of the 35mm film as a  negative for each exposure, it was upright like later TLR camera designs.

The little Memo has appeared in many books including Brian Coe’s whimsical 1978 book titled, “Cameras – from Daguerreotypes to Instant Pictures“, and Eaton Northrop Jr’s 1973 opus, “A Century of Cameras” based on the GEH collection in Rochester. The Memo is also covered by various web sites including  Camera Wiki.

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Lazarus

A ‘new’ Leica M6 courtesy of Leica Camera, AG

Toronto. The famous little Leica and 35mm film have a long and storied history. The evolution of the current Leica Camera group from the old E Leitz organization is nicely covered by Dennis Laney in his 1992 “Leica Collectors Guide“.

Moving to Toronto in the late 1970s, I found Leica in Toronto was called Wild-Leitz – Leitz and Wild Heerbrug had formed a partnership. A few years later Wild Heerbrug, the Swiss microscope and optical instrument maker absorbed the Leitz organization. The camera and other consumer products were moved to a separate organization and later  became totally independent from Wild Heerbrug.

When the balance of Wild Heerbrug was merged with Cambridge Instruments [CI] in England, CI renamed itself as Leica, PLC. The small Leica Camera Group continued to make precision cameras and lenses, choosing quality over quantity.

When digital technology replaced traditional cameras and film, the group slowly moved to digital products and even better lenses at ever higher prices. To expand market share – and keep the old machines operating – the group reproduced the old film cameras and new lenses at significantly higher prices from the original price when first introduced.

Latest in the line of film cameras is Leica’s first small size Leica with built-in exposure reading, the Leica M6. As one executive at  the group said, “In our factories, you can still see old machines dedicated to film cameras in operation. But in 2015, we thought about throwing everything away because we were only producing 500 film cameras per year. But there has been a nice rebound since then and, in 2023, we will produce nearly 5,000 M6 and MP analogue devices.”

Our president Clint Hryhorijiw reminded me of the Leica Camera Group’s decision to reintroduce film Leicas in these articles from Kosmo Foto  and Photrio. Both sources suggest other makers may plunge into film once again. A similar announcement on the M6 was made directly by Leica Camera AG (the group).

A big thanks goes to Clint for noticing this epic announcement. If you visit any of our events, you can pick up a film camera, perhaps even a Leica. Mind you, the newer lenses are very attractive (to those with the cash). And film? Well “it ain’t dead yet” just ask any film enthusiast.

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mr roboto

my IIIf Leicavit Leica base c1958 –  a drop down lever lets the photographer shoot quickly while keeping the camera to the eye.

Toronto. After the 1807s when the faster ‘off the shelf’ dry plates became available, camera makers looked at ways to speed up the photograph taking process. It became evident that the way to speed things up was to find a way to exchange an exposed negative with an unexposed one.

In the dry plate era, some cameras used a mechanical means to ‘drop’ the exposed plate and pop a fresh plate in the ‘film’ plane without opening the camera or resorting to dark slides and swapped holders.

When mini cameras became common, various way were devised to wind a fresh negative in place using a rapid lever or a clockwork spring mechanism. Some camera makers like Otto Berning & company’s Robot line had the mechanism built in so the cameras could shoot in burst mode.

Others used a ‘winder trigger’ in a custom base plate to let the photographer quickly wind the film on one frame after the shutter button was released. These gizmos were often beautiful in their own right like the famous Leitz ‘Leicavit‘ shown here at left. It was made for the IIIf for a decade beginning in 1953. An even more streamlined version was made for some M series cameras.

For professionals, a motorized base was offered. The film was wound to the next unexposed frame by a clockwork mechanism and later by a tiny electric motor.

Modern day users of digital cameras or smartphones have no need for such mechanical  marvels since once activated the digital technology keeps the ‘shutter button’ in an ever-ready state for the next photo, burst, or video.

Note: The post title is based on an iconic 1983 song by the Styx, “Mr Roboto“.

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