Lights! Camera! Personality! Karsh of Ottawa Collection

Table of Contents:

Introduction

Karsh of Ottawa collection

“To record the human spirit, human soul”

Lights

Cameras

Enlarger

Retouching tools

Introduction

In 1997 Mr. Jerry Fielder contacted the director of the Curatorial Division of the Canada

Science and Technology Museum, Mr. Geoff Rider, with an offer of a donation. Each year the Museum receives several hundreds such bits from across Canada, yet Mr. Rider immediately recognized that this was not an average proposal. Since 1979 Jerry Fielder had been a curator and an assistant to a prominent Canadian photographer Yousuf Karsh.

When five years earlier Yousuf and Estrellita Karsh closed down the Chateau Laurier studio and moved to Boston, they donated prints and negatives to the National Archives of Canada. Now the photographer decided that it was only appropriate to offer his studio equipment to the Canada Science and Technology Museum, and Jerry had been given the

1 task of arranging the donation. On 17 April 1998 Yousuf Karsh presented the Museum’s

Chairman with one of his lenses, the lens, which he used in 1941 to take the famous photograph of Winston Churchill. With this symbolic gesture, Karsh transferred the ownership of his photographic equipment to the Museum. (Photo 1 – KARSH 01)

Karsh of Ottawa collection

The Karsh collection, preserved at the Canada Science and Technology Museum, contains 84 pieces of his equipment. It is not a large collection, considering that the eminent photographer took his first image in 1926 and closed his Ottawa studio 66 years later, leaving to the National Archives of Canada a legacy of 17 000 portraits and 370

000 negatives. Yet Karsh was interested in the art of photography, not in its technology.

He insisted that the techniques of a camera should not enter a discourse on photography, and was reluctant to discuss his equipment. He preferred instead to talk about his adventurous life and the personalities that he photographed. “My spirit has constantly rebelled against the intrusion of the technical equipment with which a photographer must surround himself so obviously and make use of, during a sitting. How much more desirable it would be if all such equipment could be out of sight while the photographer was doing his work!1” (Photo 2 KARSH 02 1997.0319) Despite the fact that he did not like to think about his equipment, or perhaps because he wanted to keep it out of mind,

Karsh bought the best cameras that he could afford, designed to his specific instructions.

In fact, he acquired and used a great number of photographic lights, cameras, and

2 accessories. At the beginning of his career, Karsh carried with him around the world almost 200 kilograms of equipment. His large Chrysler was especially adapted to haul the cameras and lights. The back seat was removed and extra storage was installed on the roof. Karsh took the car with him to Europe in the 1940s and 1950s, but most drivers, hired by the photographer to deliver the equipment to the locations of his photographic sessions, were not used to such a large vehicle packed with delicate lights and cameras, and Yousuf fired them almost daily. (Photo 3 KARSH 03 1997.0320 PTS) Finally, in the

1960s, Karsh decided to maintain three sets of identical photographic equipment. One set was kept in his studio in Ottawa; a second was stored in New York, and a third set in

London. The artifacts, now held by the Canada Science and Technology Museum, were used in Karsh’s Spark Street, Chateau Laurier and New York studios from the early

1920s until 1992, and many travelled with him around the world.

(Photo 4 KARSH 04) The collection includes important pieces of Karsh’s photographic gear: lights, cameras, dark room equipment and retouching accessories. It contains seven lighting units considered by Karsh the most essential technology among the studio equipment. The Museum preserves nine cameras used by Yousuf since the 1940s, complete with lenses, tripods, adapter backs, lens hoods, and filters. One of more interesting objects in the collection is a rare, massive 1920 Saltzman enlarger, which

Karsh ordered for his Spark St. studio, and then moved it to the Chateau Laurier. Other important artifacts include retouching kits, brushes, film hangers, holders and frames, and a little crock in which Yousuf mixed secret ingredients for his gold toner.

3 “To record the human spirit, human soul”

(Photo 5 KARSH 05) Yousuf Karsh was born in Mardin, Turkey on 23 December 1908 to Armenian parent. The family left Turkey in 1922, and two years later, on New Year’s

Eve 1924, Yousuf arrived in Canada. Karsh began his studies of photography at the studio of his uncle George Nakash in Sherbrooke, Que. There, he learned to take, develop and enlarge his first images snapped with an inexpensive Brownie. One of Yousuf’s landscapes won a grand price of $50.00 at a local competition run by T. Eaton Co.

George Nakash recognized potential in his nephew and in 1928 arranged for Karsh an apprenticeship with a Boston photographer and a fellow Armenian, John Garo. At this point in his career, Garo was known well enough to attract to his studio the aristocracy of

Boston and international personage. He not only photographed the powerful and influential, but also developed close friendships with many of his important clients. Karsh was deeply affected by Garo’s art and his personality. (Photo 6 KARSH 06) Like his mentor, Yousuf chose to learn the art of portraiture and be a photographer of the “giants of the earth.”2 To improve his skills, Garo encouraged the young apprentice to study great masters Rembrandt, Rubens, Velasquez. Karsh enlisted into art classes, but since he did not exhibit any abilities as a painter, his teacher often asked him to help with supplies and set up. Arranging still lifes and draping models, Karsh learned more than to draw; he became aware of shades, contrasts, and lights that shaped the subjects. At the end of his apprenticeship, Garo gave Karsh a set of brushes (1999.0361) dating from 1890, which the master used to apply gum Arabic and bromoil to his prints. For the rest of his career

Karsh kept the brushes in a safe and did not allow anyone else to use them. It was

4 difficult for Karsh to part with this treasure, and the brushes were among the last object that Yousuf passed on to the Museum. (Photo 7 KARSH 07 1999.0361)

In 1930 Yousuf came back to Sherbrooke to work with his uncle, but after two years at

Nakash’s studio, decided to move to Ottawa. The capital city was the residence of influential people, whom Karsh wanted to photograph. In 1933 he opened his own studio at 130 Sparks Street. The same year, at the theatre of the Ottawa Drama League (later the

Ottawa Little Theatre), Yousuf took the first photographs that gave him some recognition. He published them in the Saturday Night, and insisted on a credit: Karsh,

Ottawa. (Photo 8 KARSH 08)

Before he took the famous image of Churchill in December 1941 that opened the door to an exceptional career, Karsh spent almost a decade setting a stage for his art. He established his name as a skilled photographer, and became acquainted with some important personalities, artists, publishers, and politicians. And most of all, he developed his own style characterized by the masterful lighting; almost exclusive use of studio equipment, and a careful development and retouching, which allowed him to achieve the goal that he set for himself at Garo’s: “to portray, to interpret, to record the human spirit, human soul.”3 (Photo 9 KARSH 09)

Lights

From all the technical aspects of image taking, Karsh was the most interested in lighting.

Although it is likely that he used some light units at his uncle’s studio in Sherbrooke,

5 Karsh started to experiment with artificial illumination in Ottawa in the early 1930s. John

Garo only worked with natural day light, which dictated the rhythm of life at his photographic studio. The daylight determined the sitting hours and limited the ways in which subjects could have been positioned. It affected the atmosphere during the session and influenced the outcome. Karsh found the artificial lighting fascinating and challenging; he wanted to master it, and make it work for him. He was particularly interested in stage lighting, and learned new techniques watching his first wife Solange direct plays for the Ottawa Drama League. Throughout his career Karsh consistently employed artificial light in his studio and on locations. (Photo 10 KARSH 10)

The collection donated by Yousuf Karsh to the Museum contains seven lighting units from his studios in Ottawa and New York. The main lighting unit (1997.0313), the last used by Karsh in his Chateau Laurier studio, which opened in 1973, was produced in the early 1970s. The unit consists of a stand made by Dyna Lite Inc, a light box manufactured by Colortran Inc., and a Mylar diffusing screen. When assembled, it is approximately 180 cm high, 49 cm long and 41 cm wide. The light box is painted navy blue with a white inside. It is furnished with five tungsten 250 W., 120 v., white ECA photoflood bulbs with a colour temperature of 3200º K. The bulbs have been made by the

General Electric Company. During a typical photographic session, this unit stood approximately 130 cm to the right of the camera, and was placed slightly behind it.

(Photo 11 KARSH 11 1997.0313)

The light from the unit was combined with a fill lighting (1997.0314). The fill unit, also made circa 1970, is quite similar to the main light. Painted navy blue and white, it consists of a Dyna Lite stand, a Natural Lighting Corporation light box, and a Mylar

6 diffusing screen. It is slightly smaller than the main light and is furnished with three GE

ECA clear bulbs. In the standard lighting arrangement, this unit was placed behind the camera, 120 cm to the left. (Photo 12 KARSH 12 1997.0314) Karsh did not arrange the stage for photographic sessions himself. The equipment was always set up beforehand by the photographer’s assistant. First, as a precaution, the assistant checked all bulbs, and placed the main and fill lighting units in a standard arrangement. Next, the assistant assembled backdrops. At the beginning of his career, Karsh used an old Canadian army blanket as a background for his images. He later purchased stands from American

Photographic Instrument Company Inc. and asked his technician and librarian Hella

Graber to make several velvet backdrops (1997.0352), which he combined with home made wooden or vinyl backgrounds (1997.0317). (Photo 13 KARSH 13 1997.0317.003)

Large backdrops were placed behind the subject’s chair, and smaller screens near the edge of the large backgrounds. Hidden between them or directly behind the subject was a small one-bulb light (1997.0315) made circa 1970 by Acme Lite Manufacturing

Company, which illuminated the background and separated it from the sitter. The back light came with two fibreglass cloths. One or both cloths fitted on a metal diffuser were placed over the light to soften it as necessary. (Photo 14 KARSH 14 1997.0315) After setting up the main, fill and back light, the assistant placed one spot light (1997.0312) on each side of the subject. Close to the spots were two stands (1997.0316), which supported hand-made, black cardboard cards. The cards were fitted with a homemade hook resembling a coat hanger, and revolved 360-degrees on the stand. These were primarily used to block the light from shining into the lens of the camera. Unfortunately, the cards were not preserved; they were thrown away when the studio closed in 1992. Karsh was

7 adamant on illuminating his sessions with the lighting units. He disliked flash lights, or as he called them strobe lights, and only used the strobes when the electric power necessary for the floods was not readily available. (Photo 15 KARSH 15 1997.0312)

Just before the session was to start, when all the lights were set up, Karsh would come to examine the stage. He tested the set up with his assistant posing as the subject, and would often rearrange the lights. The main and fill units might have been switched around, with the main on the left side, and the fill on the right of the sitter, or the fill light might have been removed all together. One spot light might be turned on, or both kept off during the entire session. The final set up of the lights always depended on the atmosphere of the session and the mood of the sitter.

Karsh was interested in the humanity of his subjects. He wanted to depict their souls, not their accurate appearance, and used the lights to achieve this goal. While photographing

Marcel Boussac, he pulled back the lights to fade down the entrepreneur’s boldness.

(Photo 16 KARSH 16) The lighting on André Malraux was dim and focused to take the attention away from his big nose. It took particularly long to model Benjamin Britten’s flabby face with the lights and make the composer look healthier. Karsh also applied different light formulas for men and women. When he photographed women, Yousuf always used softer light and turned the main and fill units slightly away, directing the spots on the hair or shoulders to reduce the appearances of lings and wrinkles. If at the end the person still looked cold or unapproachable, and the personality that Karsh wanted to reveal was not reproduced by the camera, he would refuse to print the photo. (Photo

17 KARSH 17)

8 Cameras

Karsh donated to the Museum nine of his cameras, including his principal 8x10 Calumet, and the Calumet from the New York studio; Graflex Graphic View; two Gowlandflex cameras; a Cine-Kodak; Plaubel Peco Universal III camera; an Olympus, and a Polaroid.

Throughout his career, Karsh chose to use large, studio cameras. Although his first images were printed in magazines, and many of his photographs were commissioned by the Saturday Night, Times, and McLean’s, Karsh never wanted to be associated with photojournalism. He was an artist, and his choice of equipment emphasized that fact.

(Photo 18 KARSH 18 1997.0319) The 8x10 bellow Calumet (1997.0319) made circa

1940 in Chicago was Karsh’s main camera. He used it for half a century, first in his

Spark St. studio, and then in Chateau Laurier. For many years he took this camera across

North America and to Europe. With the Calumet Karsh photographed Canadian Prime

Ministers from Mackenzie King to Chrétien, Mother Theresa, Margaret Atwood, Albert

Einstein, Jean Sibelius, and many other personalities. Although Karsh took most of his pictures in 8x10 format, the camera had a removable back and could have been adjusted to size 2x4 and 5x7. The camera was painted pale grey, almost white colour. Karsh explained that “[a] camera need not look funereal.”4 Hella Graber made a focusing cloth

(1997.0351), which Yousuf liked to drape loosely over the Calumet. The cloth was sewn from rich burgundy velvet with a golden lining; Hella embroiled it with Karsh’s initials.

(Photo 19 KARSH 19 1997.0351) Karsh furnished the Calumet with his favourite lens

(1997.0340), a 14 in. (356 mm) Commercial Ektar made by Eastman Kodak Company in

9 the 1940s. The lens board was also painted light grey to match the body of the Calumet.

The camera (1998.0051) used in Karsh’s New York studio was identical to the Ottawa

Calumet, and was also fitted with a 14 in. (356 mm) Commercial Ektar lens (1998.0052).

During a typical sitting, the 8x10 camera was set up on the Floating Action tripod made by Davis & Sanford Co. Inc. (1997.0310). Karsh preferred the tripod leg with the manufacturer=s plate to face the subject. Each leg of the tripod was raised to approximately 105 cm. (Photo 20 KARSH 20 1997.0340)

During the photo session, once the lighting units and the camera were adjusted, Karsh devoted his entire attention to the subject of his photography, depending on the assistant to set the shutter speed, f-stop, and change the film. Meanwhile, Karsh continued the conversation with the subject, keeping his finger on the cable release to click the shutter at just the right moment.

Karsh was, foremost, a portrait photographer, but sometimes he accepted commissions from large companies for promotional photographs. (Photo 21 KARSH 21) He placed a high price on his services to the industrialists. For a two-week session, Karsh charged

Ford of Canada a $10,000 fee; an average wage of the Ford worker was $1.33 per hour.

Even in this milieu, Karsh arranged the scenery and carefully selected workers for the photographs. He styled the images in his typical portrait style, moulding them with lights and framing with the lens of his Calumet.

(Photo 22 KARSH 22 1997.0320) In addition to the Calumets, when shooting on location, Karsh used a 4x5 Monorail Graphic View camera (1997.0320) made by Folmer

Graflex Corporation circa 1940. The camera was fitted with a 3 5/8 in. (7.6 cm) W.A.

Dagor F:8 lens, made by C.P. Goerz (1997.0343). Karsh took images of Bishop Sheen

10 and of Jerry Cunningham for the book This is Rome, published in 1960 with the Monorail

Graphic View. (Photo 23 KARSH 23)

Karsh’s cameras were usually custom-made to his specific instructions. For example, when he ordered, in 1972, two Gowlandflex cameras (1997.0322, 1997.0323) from

Gowland Limited, the photographer specified that the cameras were to include

Gowlandflex body #830, and a Wide Angle 4x5 body; 180mm Xenar in barrel and

180mm Symmar Prontor lenses; special 5x5 Ektalite lens with matte finish; two Super

Angulon 90mm lenses; a Graflock back and focus panel; interchangeable focusing hoods made of rubber; and a magnifying glass showing a right-side-up image. Even though he was so specific when he purchased the Gowlandflex cameras, Karsh rarely used them preferring his studio Calumets. Other cameras in the collection such as a Monorail

Plaubel camera (1997.0324), a 1937 Magazine Cine-Kodak (1997.0345) and a 35mm

XA3 Olympus (1997.0344) were seldom used as well. (Photo 24 KARSH 24 1997.0322)

The collection also includes a Sonar Onestep SX-70 Polaroid camera (1997.0346) made in 1980. Not much is known about the provenance of this camera. In the late 1970s Karsh was invited by Polaroid to test their 20x24 camera, which stood 1.5 meters and weighed over 100 kilograms. He was very impressed by the machine, but did not purchase it.

Perhaps the SX-70 was a gift from Polaroid? The fact is that Karsh was never seen using it, although he would sometime employ Polaroid backs (1997.0347, 1997.0348) with his studio cameras to take test shots prior to a session.

Enlarger

11 (Photo 25 KARSH 25 1997.0309) Just as he preferred large studio cameras, Karsh favoured large format prints. They were, in his opinion, more expressive and vivid. One of the most interesting objects in the Karsh collection is a rare enlarger (1997.0309), custom made for Karsh by Saltzman, J.G. Inc. The enlarger was so large, that when

Karsh moved it to the Chateau Laurier from his Spark Street studio the ceiling in the room had to be raised to accommodate the size of the machine. This extra-large enlarger allowed Yousuf to make photographic prints up to 30x40 in. (76x101 cm) from the original 4x5 in. (10x12 cm), and 8x10 (20x25 cm) negatives. It took up to 30 minutes to print the photographs on this scale. Only Karsh and his printer, Ignas Gabalis, who worked with Yousuf from the early 1950 until 1992 operated the enlarger. Because it took so long to produce the large format images, Karsh called Gabalis, the world slowest printer, but admitted that the quality of his work was impeccable.

Retouching tools

Karsh always developed and retouched the master print himself; he was very meticulous.

He processed negatives in batches of ten, in film developers made according to his own formulas. He used Kodak products to desensitize the film to a very low level of green light, and then used the light to inspect the film from time to time and remove the negatives when they reached the levels of density that Karsh desired.

( Photo 26 KARSH 26 1999.0382)

12 At John Garo’s studio in Boston, Karsh learned the bromoil, platinum, and bichromate gum processes, the development techniques that brought up subtle elements of the image, the contour, depth and suggested texture. After he left Boston, Karsh did not use these techniques any more, but instead developed the photos on a Kodak paper called Opal V.

He chose the paper carefully. It was perfect for portraits; the texture of the paper mimicked the texture of human skin. Moreover, Opal V was coated with a matting agent containing very fine silica or starch, which shifted the light reflection from pure creamy- white to a tint of blue, making the portrait printed on this paper truly unique.

Karsh liked to do all the finishing work himself. His retouching tools (1999.0382,

1999.0374) included various inks, spotting colour sets, brushes, pens and pencils, and

Steadtler and Koh-I-Noor leads. (Photo 27 KARSH 27) Karsh employed the kit to soften and accentuate lines and shadows on prints. He also used a set of retouching Turquoise

Prestomatic pencils (1999.0373); soft pencils produced a greater density of fine lines superimposed on each other, and harder pencils formed less visible light shading on the final prints. Among Karsh’s retouching tools donated to the Museum is also a custom- made glass blade (1999.0376), with which he sharpened lines in negatives, a technique that he learned from Garo. When he was retouching photos, Karsh used a magnifying glass (1999.0377) to examine the effects of his work. Yousuf would allow Hella Graber and his assistants to help with some finishing work. (Photo 28 KARSH 28 1999.0381,

1997.0349) They lightly swept negatives with a polonium Staticmaster brush (1999.0381) to remove the static, and after the photos were mounted, they cleaned them with a fine badger hair brush (1997.0349). Karsh’s assistant was also trusted with a task of mixing gold toner, made according to the master’s recipe in a little stoneware crock (1997.0318).

13 The gold toner was Karsh’s signature; not many other photographers chose to use it. The toner was expensive and had to be applied at just the right moment to coat and replace silver salts, but gold toned prints had especial warm and rich ‘archival’ look. (Photo 29

KARSH 29 1997.0318, Photo 30 KARSH 30)

Yousuf Karsh collection contains many other interesting tools of his trade: lenses, films, adapters, filters, meters and shutters. Supported by the Museum collection of photographic trade literature and behind the scene stories recounted by Jerry Fielder,

Karsh’s artifacts offer a glimpse into his now closed studios and darkrooms. (Photo 31

KARSH 31)

Captions:

Photo 1 KARSH 01

Yousuf Karsh with his camera during a donation ceremony at the Canada Science and

Technology Museum, 17 April 1998

Photo 2 KARSH 02 1997.0319

8x10 bellow Calumet, Mr. Karsh’s main camera draped with a focusing cloth made for

Karsh by his assistant and librarian Hella Graber (CSTM 1997.0319, 1997.0351)

Photo 3 KARSH 03 1997.0320 PTS

14 Karsh’s suitcases bare witness to the photographer’s many travels, and to the wear that his equipment had to endure. (CSTM 1997.0320 PTS)

Photo 4 KARSH 04

The Karsh of Ottawa collection contains 84 artifacts ranging from his cameras and lighting units to small accessories and retouching tools.

Photo 5 KARSH 05

Landscape, 1926. One of the earliest photographs taken by Karsh. The image won a

$50.00 grand price at a T. Eaton Co. competition in 1926. (Courtesy Jerry Fielder, Karsh

Curator)

Photo 6 KARSH 06

John H. Garo, 1930 (Courtesy Jerry Fielder, Karsh Curator)

Photo 7 KARSH 07 1999.0361.

A set of brushes given to Karsh by John H. Garo (CSTM 1999.0361)

Photo 8 KARSH 08

On January 6, 1934 Saturday Night printed photographs taken by Karsh in December

1933 at the Ottawa Drama League’s production of Romeo and Juliet. The images were signed Karsh, Ottawa. Earl of Bessborough, who stared as Romeo arranged for Karsh to

15 meet his father Lord Bessborough, the first Governor General of Canada photographed by Karsh.

Photo 9 KARSH 09

Lord and Lady Bessborough, 1933. The Governor General of Canada, Lord Bessborough and his wife were the first important personalities photographed by Karsh. Their image was published in a double-page spread in the Illustrated London News. (Courtesy Jerry

Fielder, Karsh Curator)

Photo 10 KARSH 10

Foyer of the Ottawa Little Theatre, 1933. Watching the illumination of the stage during play productions at the Ottawa Little Theatre, Karsh became fascinated with artificial lighting, and began to experiment with the application of lighting units to photography.

(Courtesy Jerry Fielder, Karsh Curator)

Photo 11 KARSH 11 1997.0313

The main studio lighting unit (CSTM 1997.0313)

Photo 12 KARSH 12 1997.0314

A fill lighting unit (CSTM 1997.0314)

Photo 13 KARSH 13 1997.0317.003

A home-made backdrop (CSTM 1997.0317.003)

16 Photo 14 KARSH 14 1997.0315

A back lighting unit (CSTM 1997.0315)

Photo 15 KARSH 15 1997.0312

A spot light (CSTM 1997.0312)

Photo 16 KARSH 16

André Malraux, 1954. While photographing Malraux, Karsh dimmed lights and focus them on one side of the face, to make the writer’s nose look smaller. (Courtesy Jerry

Photo 17 KARSH 17

Turban (Betty Low), 1936. When photographing a woman, Karsh would alleviate the lights to soften and smooth the face. (Courtesy Jerry Fielder, Karsh Curator)

Photo 18 KARSH 18 1997.0319

This 8x10 bellow Calumet was Karsh’s main camera. (CSTM 1997.0319)

Photo 19 KARSH 19 1997.0351

The focusing cloth made for Karsh by his technician and librarian Hella Graber (CSTM

1997.0351)

17 Photo 20 KARSH 20 1997.0340

The Commercial Ektar lens made by Eastman Kodak Co. 1940 was used with Karsh’s main camera. (CSTM 1997.0340)

Photo 21 KARSH 21

Rear Window (Gow Crapper of Ford of Canada), 1951. Taken at the Ford of Canada factory, this image displays elements characteristic to Karsh’s art: precise lighting, carefully posed model, and masterful framing. (Courtesy Jerry Fielder, Karsh Curator)

Photo 22 KARSH 22 1997.0320

In addition to his Calumet, Karsh used the Monorail Graphic View camera to take photographs while traveling. (CSTM 1997.0320)

Photo 23 KARSH 23

Santa Croce di Jerusaleme, 1959 taken with the Monorail Graphic View camera.

(Courtesy Jerry Fielder, Karsh Curator)

Photo 24 KARSH 24 1997.0322

A Gowlandflex customized to Karsh’s specifications (CSTM 1997.0322)

Photo 25 KARSH 25 1997.0309

A Saltzman enlarger used by Yousuf Karsh and his printer Ignas Gabalis (CSTM

1997.0309)

18 Photo 26 KARSH 26 1999.0382

Retouching kit (CSTM 1999.0382)

Photo 27 KARSH 27

The glass blade, pencils, and magnifying glass used by Karsh to retouch his negatives and prints (CSTM 1999.0376, 1999.0373, 1999.0377)

Photo 28 KARSH 28 1999.0381, 1997.0349.

A Staticmaster brush and a fine badger hair brush were used by Karsh’s assistants to remove the static from negatives and clean the prints after they were mounted. (CSTM

1999.0381, 1997.0349)

Photo 29 KARSH 29 1997.0318

A crock used by Karsh’s assistant to mix the gold toner according to the artist’s recipe

(CSTM 1997.0318)

Photo 30 KARSH 30

A copy of Karsh’s recipe for the gold toner with his handwritten notes (Courtesy Jerry

Photo 31 KARSH 31 L25893

19 The Museum has a rich collection of photographic trade literature such as this advertisement for a 8x10 Calumet. (CSTM Library L25893)

About the author:

Anna Adamek is Assistant to the Curator at the Canada Science and Technology Museum.

For more information, contact:

Anna Adamek Collection and Research Division Canada Science and Technology Museum P.O. Box 9724, Station T Ottawa, Ontario K1G 5A3 CANADA

E-mail: [email protected] Fax: 613 990-3636 Telephone: 613 991-3077

20 1 Yousuf Karsh. In Search of Greatness: Reflections of Yousuf Karsh. (Toronto: University of Toronto Press, 1962): 104. 2 Yousuf Karsh. Faces of Destiny. (New York : Ziff-Davis Publishing Company, 1946): 7. 3 Karsh : the Searching Eye. (Toronto: CBC, 1986). 4 Ibid., 105.