long, long, ago

Main street in Jackson, CA c 1925. Photo courtesy of Philip Brigandi (1/2 stereo pair).

Toronto. As I mentioned many times before, museums, archives, and libraries often hold photographs which are a rich source of history. The museum in Riverdale, California, while far away is a case in point.

Typical of their holdings is the photograph at left which it is one half a stereo pair. It shows a typical downtown scene c1925. See the (today) old automobiles with nary a horse in sight. The local Drug store touts its stock of cigars – and Kodaks (not cameras). Down the street is another sign stating “Telephone” where the majority of folk could use the instrument, or even buy a personal line. Lots of awnings to fend off the heat of the sun.

Cameras  had been around for years before 1925, but wide use of cameras waited for the invention and popularization of “fast” (instant) film that could be purchased off the shelf. Even in rural Quebec in the 1960s farmers spoke of their “Kodak” regardless of the make of camera they used.

Telephones too were around for decades by 1925 but popularization was slow. A major company in Eastern Canada was established back in 1890. In the 1950s there were many rural pockets of independent telephone companies. Dial phones were slowly replacing the local connections traditionally handled by an operator.

On the right of the photo is a hardware store advertising that the store sells “stoves”. The photograph was discovered by George Dunbar who generously shared it. George writes, “An interesting street scene in Jackson, California 1925. Note the Drugs sign, “Cigars & Kodaks.”

The photograph is just one of the holdings at the California Museum of Photography (CMP) at the UC Riverside, about 50 miles from Los Angeles. Note that the CMP also has an extensive collection of cameras. The camera details are listed, but most photos of them are not online. Have a look at their photo holdings AND  browse the holdings at your local institution in order to see the world through your ancestor’s eyes.

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executive meeting No 42 by ZOOM

PHSC President Clint Hryhorijiw

Toronto. One positive outcome from COVID-19 is the use of ZOOM. In fact, the most recent executive meeting (Wednesday, December 6th, 2023) was our 42nd executive meeting held via ZOOM (it was a pleasant and productive session). 

We were joined briefly by Rita Godlevskis of PhotoEd to review some suggestions for the PHSC. We have agreed to continue our advertising in PhotoEd and her other ideas are being considered.

The PHSC newsletter (under our new editor, photographer Katrin Faridani) is being written and revised with a tentative release date in January 2024. Prefer a personal copy of the newsletter but haven’t yet joined the PHSC? Just drop me an email at news@phsc.ca and I will add you.

We are seeking a new Membership Secretary. Can you help as a volunteer (in this or any other executive position, or at any PHSC event)? Then drop me a note to forward to Clint using this email address: info@phsc.ca. By the way, please note as of 2022, our membership year ends December 31st.

We are presently tidying up our databases and investigating the effect of going pdf vs. hard copy with the journal.

The topic and date of our next Toronto meeting will be announced here as soon as it is released.

Co-editor David Bridge and partner Louise Freyburger have released the latest issue of Photographic Canadiana.  The editing team gave us an overview of the next issue of our journal (49-3), scheduled for release by year end making it the 4th issue of 2023.

As part of our database updates, we are currently updating our MailChimp data. It is important to us that you are notified as each new journal edition is released. If you are a member but HAVE NOT seen any notification for any journal issue since you registered/renewed, please email me at info@phsc.ca.

And a Merry Christmas to one and all from your executive.

early in the December 2023 PHSC Executive meeting

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clowning around

LIFE ad in Oct 1942 for Castle Films

Toronto. Taking a break from stills, my good friend, George Dunbar, found this ad for Castle Films. Most of our members are ‘stills’ professionals or collect still cameras and images. The occasional member is keen on movies as well (the late Bob Gutteridge even wrote about them).

Castle Films saw a niche market in ready-to-view films for the home (8mm, 16mm). The company aimed at those who had movie viewing gear but had lost interest in taking movies. The company must have been mainly a marketing force since beside ordering a movie copy directly, you could often just buy one from a local photo supply store (our drug store carried the Castle line (briefly) along with other photo supplies and services).

The above ad appeared the October, 1942 edition of LIFE magazine. In the late 1950s, our family had a few different Castle Films titles – you  guessed it, bought at the local drug store.

 

 

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selfies galore

A December 1943 group photo in LIFE

Toronto. Photographers both professional and amateur elect or are prodded to record groups – organizations, schools, military, bands, special events, etc.

Some photographers even specialized and used special cameras (e.g. Cirkut) or extreme wide angle lenses (e.g. Zeiss Protars) to capture a group.

Sometimes a stairway was used to ensure everyone in the group could see the camera and be seen. Our late editor, Bob Lansdale, himself a professional photographer, made use of stairways in this manner. Or a high elevation for the photographer might work as shown in the LIFE photograph at left of the 1943 NAM meeting.

George Dunbar writes, “Here’s a great historical photo of the first woman among her peers, all men. Life Magazine published this photo of a National Association of Manufacturers (NAM) meeting in New York in December 1943. The amazing image (80 years ago) identifies only one woman, Ruth Leach (7th from right in middle row).  She was appointed as the first female executive and vice president of IBM in 1943.”

George’s comments brought to mind the terribly long and still ongoing struggle women in business face. When I entered the work force, jobs (and pay) were split into male and female. I worked for a very proactive company that eliminated the male/female job ratings and slowly began encouraging women to reach higher management ranks. The bias of the older work staff made it a tough and lengthy struggle.

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creating a buzz

WW1 POW camp in Germany courtesy of the Sovereign Hill Museums Ascn., Australia

Toronto. George Dunbar sent me an email recently regarding another source of photo-history. George writes, “Another unique online archive gallery here. The site uses eHive which is a CMS (Collection/Content Management System) like WordPress. In fact there is a plug-in for WordPress. eHive was created by Vernon Systems in New Zealand.

They say on their website, “Vernon Systems has more than 30 years’ experience in creating software for the museum, gallery and cultural heritage sectors.  Our systems are used around the world by institutions to catalogue, manage and publish information about collections.

You can join SHMA and share images with others. The example shown here is a POW camp in Germany during WW1. It is from the ‘Sovereign Hill Museums Association‘ in Australia (the SMHA above). This photo is of personal interest as my wife’s two grandfathers fought in WW1 along with some of my relatives.

Image collectors may find this site and others using eHive helpful in their research.

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unintended consequences

M3 metal pressure plate courtesy of Jim Lager and his coffee table size trilogy on Leica

Toronto. In 1954 Leitz blazed a new trail in the minicam saga with the introduction of the M3 model Leica – Its first post war design, the camera had  features galore over the modest screw-mount line. Gone forever was the ‘bottom-place-access-only’ for film insertion.

In the M series, Leitz offered a hinged camera back plus the bottom plate! To complement this camera back feature, the metal pressure plate was replaced with a glass pressure place, eliminating any risk of  ‘tram tracks’ due to a rough edge on the plate and to ensure a solid , perfectly parallel film – lens distance.

Cold dry weather had a surprising impact on the early M3. Fast movement of the film across the plate generated static electricity … this occasionally caused a spark … the spark illuminated the film briefly … and created a lightening like image in the negative.

After manufacturing about 3,000 M3 cameras (Dr Alex Wight’s “The Collector’s Checklist of Leica Cameras ..“, 4th edition, 1980). Leitz swapped the glass plate for a metal plate that used the more conventional smooth edges to eliminate any risk of ‘tram tracks’. During the Summer Olympics in Montreal, I saw a customer who accidentally created the nefarious ‘tram lines’ (and some ghostly writings) in spite of the plate’s change in material – he had scratched his name on the metal pressure plate using the conveniently hinged camera back ….

Note, I have all three of Jim’s massive books published in 1993 – 1998, purchased directly from him as each was first published. A wonderful visual history of the little camera that had such a huge impact on photography.

 

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shelter from the dust …

shutter dust shield added to the Leica Standard, Leica III and later

Toronto. When Leitz produced the Leica, they used a removable base plate to replace films and help reduce the area open to air borne dirt and dust. This worked for models without lens interchangeability.

When the model II gave way to interchangeable lenses, the lens mount offered a gaping opening for dust to penetrate the tiny camera during lens changes. A solution was to add metal barriers to the rolled  shutter curtains previously left open to the lens mount. This change was added to all models after the Leica II.

Sadly some copied versions were based on the Leica II but offered lens interchangeability – and an opening to dirt and dust.

Inspiration for this post came from Dylan’s 1974 song, “Shelter From  the Storm” on his album Blood on the Tracks (I have the CD version).

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not all that glitters …

using a ‘gold’ coating to sell

Toronto. .. is gold. Some camera makers did use a gold coating occasionally to sell a particular model to those with expensive tastes. For example, Leitz sold a Leica model it called a ‘Lexus”. It was made with typical Leica quality and has a special coating – gold on the metal; a rare material for the traditional gutta percha.

Others implied a camera had gold trim or was made of gold. In that case, a word resembling gold was used  in their advertising to sell less expensive, more pedestrian cameras. My friend George Dunbar in his search for photographic history amongst old ads and articles, found this rather small ad by Bass Camera from the mid-west in the first issue of LIFE magazine. Here they call a small half frame (half vest pocket)  ‘folder’ a GOLDI.

The camera may have been made expressly for Bass by a small German factory. The Goldi comes with a variety of lenses and leaf shutters. The version promoted by Bass in this ad is at the less expensive end of the range offered by the maker, Zeh.

 

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après la pluie

after the rain – a rainbow to enhance the landscape photo

Toronto. Landscape photos seem better when we add in some bad weather effects. This example shows not rain, but the effect of rain when it ends.

Rainbows have traditionally meant that better times were ahead. For a photographer, a rainbow can be incorporated in a landscape shot to enhance the impact of the shot on the viewer.

The rain soaked landscape seems to have saturated colours. Puddles or runoff can often be worked into the image to create drama. Both B&W film, colour film and digital cameras can use rainbows (and rain) effectively.

Rainbows remind me of Kermit the Frog on Sesame street and his soulful little song,”Rainbow Connection“. Here the song is sung as a duet by Kermit and Barbra Streisand.

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a real brick …

January 1957 ad in LIFE magazine for the Argus C-3

Toronto. We have commented on the famous Argus C-3 camera many times, but this beautiful ad was just too hard to pass up.

Fondly known as the ‘brick’, the C-3 (C3) was by far the best selling camera of the entire Argus line. The camera was even shown in ‘action’ in some Hollywood movies in implausible jobs or by actors who could easily afford far better quality cameras.

Please excuse the images here. While Photo AI, Affinity Photo, and Focus Magic improve the image and larger text, Photo AI does a number on the small print at this stage in its life.

Thanks to my good friend, George Dunbar, for sharing this wonderful colour advertisement by Argus in the January 28, 1957 issue of LIFE magazine. Film, Argus, LIFE, and the C-3 are but memories to those old enough to have read, saw, or used and relied on such antiquities.

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