The First 2¼ X 3¼ Speed Graphic and Its Lenses by Jim Chasse…...……1 Different Choices, Just for the Miniature Speed Graphic
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Photo History Newsletters • Vol
THE AMALGAMATED PHOTO HISTORY NEWSLETTERS • VOL. 2-2 2021 We hope that the Covid pandemic soon passes away so we can get back to normal with regular meetings and events. In the interim here are addi- tional newsletters to keeping you read- ing. Please enjoy. Ken Metcalf of the Graflex Journal has another interesting issue which should entertain you well. Another fine newsletter comes from The Western Canada Photographic Historical Association in British Colum- bia with some fine reading content. Permissions granted: Graflex Journal– Ken Melcalf The Western Canada Photographic Historical Association– Tom Parkinsion SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 3 2020 FEATURES some leather that was a good match. Thickness was right, color was good, and the pebble grain was close National Graflex Gets a New Coat by Paul S. Lewis……..….....….....….1 enough. So, I had them send me a large sheet; 12x17. Camera Group - Roger Beck………….…….………...….…..…………....2 Having a good supply would allow for some mistakes Viewing Wild Animals at Night by William V. Ward …….…...…………..4 and assure me that there would be enough length and Hold It! Part 1 by Ken Metcalf.……………….…………….…………….....5 width to cover the missing panels with one complete Graflex Patents by Joel Havens….…..………………...…………….…...12 piece. The source I used was Cameraleather ([email protected]). I did just check with them to be sure similar material is available. The report is that although the material is available, supply is limited. So, with material and camera in hand, the next step Ed: Mr. Lewis is a Graflex Journal subscriber and author was to get the new cover panels cut out and attached. -
History of KODAK Cameras
CUSTOMER SERVICE PAMPHLET March 1999 • AA-13 History of KODAK Cameras KODAK CAMERAS ON THE MARKET ORIGINAL CAMERA NAME FROM TO FILM SIZE LIST PRICE No. 1A AUTOGRAPHIC KODAK 1917 Model Camera 1917 1924 116 $21.00 No. 3 AUTOGRAPHIC KODAK Camera 1914 1926 118 41.50 No. 3A AUTOGRAPHIC KODAK Camera 1914 1934 122 50.50 No. 1 AUTOGRAPHIC KODAK Junior Camera 1914 1927 120 23.00 No. 1A AUTOGRAPHIC KODAK Junior Camera 1914 1927 116 24.00 No. 2C AUTOGRAPHIC KODAK Junior Camera 1916 1927 130 27.00 No. 3A AUTOGRAPHIC KODAK Junior Camera 1918 1927 122 29.00 No. 1 AUTOGRAPHIC KODAK Special Camera 1915 1920 120 56.00 (Bakelite side panels) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) (Back overlaps sides) Focus by thumb-turned gear. 1921 1921 120 79.00 (Only produced for a few months) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) 1922 1926 120 74.00 (knurled screw focusing) No. 1A AUTOGRAPHIC KODAK Special Camera 1914 1916 116 59.50 No. 1A AUTOGRAPHIC KODAK Special Camera 1917 1923 116 91.00 (w/coupled rangefinder and Bakelite side panels) No. 1A AUTOGRAPHIC KODAK Special Camera 1923 1926 116 60.00 w/coupled rangefinder, Model B (Back overlaps sides) No. 2C AUTOGRAPHIC KODAK Special Camera 1923 1928 130 65.00 w/coupled rangefinder No. 3 AUTOGRAPHIC KODAK Special Camera 1914 1926 118 86.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1914 1916 122 74.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1916 1934 122 109.50 (w/coupled rangefinder) Boy Scout KODAK Camera (V.P. -
KODAK EKTAR KODACOLOR •••1' GOLD FILMS HONORS Namic Negative
by Jack and Sue Drafahl EKTAR If you liked the first two Ektar films Ko- dak released earlier this year, then you're going to love the two newest additions to this exciting film family. Kodak just released Ektar 25 Professional, and the medium-speed Ektar 125. Both films are modeled after the first two films, qi Ektar 25 and Ektar 1000, but boast An Unqualified, \ several improvements. EKTAR 25 PROFESSIONAL FILM Categorically Loud, § The best way to describe the differ- Rave Review! \ Ektar 125 is an extremely practical film, with much wider exposure latitude than the slower 25-speed Ektars. ence between Ektar 25 and the new professional version is to use a correla- tion we sometimes give our photo stu- dents. If you went to the finest winery, and selected their top-of-the-line vin- tage, you would be selecting Ektar 25. Now, if you were to select those few bottles that were aged to absolute per- fection, then you would be selecting Ektar 25 Professional. Kodak's manufacturing plant sees to it that all Ektar 25 film must fall within the tight tolerances they set for each distinct layer of film. When the specifications on a certain emulsion are found to be a perfect match in all areas, it becomes Ektar 25 Profession- al, and is refrigerated at that point. This better-than-best film is recom- mended for the professional photogra- pher demanding large enlargements from a 35mm negative. The serious 80 PHOTOgraphic/September 1989 EKTAR its exposure latitude than Kodak's Ko- dacolor Gold films. -
Graflex Historic Quarterly the Quarterly Is Dedicated to Enriching the Study of the Graflex Company, Its History, and Products
G RAFLEX Since 1996 HISTORIC QUARTERLY VOLUME 19 ISSUE 1 FIRST QUARTER 2014 FEATURES Arthur L. Princehorn Arthur L. Princehorn and His Camera by Ken Metcalf with Linda Grimm……………………………………………………...……...1 Linda Grimm writes that in the fall of 1894, Arthur L. Prince- Two Graflex Home Portrait Bodies Made for Big Bertha Use by Doug horn set out from Ohio for New Rochelle, New York, with Frank……………………………………………………………....6 his bride, Agnes, to begin a new career as a photographer and Reviews: Mizu-san, SHORPY and PhotoHistory XVI....………..….….7 naturalist at John H. Starin’s Glen Island Resort. There he Chicken or the Egg...or Evolved Chicken?.....…………………………………………..8 joined his former Oberlin College colleague, Lewis M. McCormick, in a program to develop a natural history mu- seum at the famous family day resort on Long Island Sound. The skills they brought were honed in the college museum and included mounting specimens (taxidermy), maintaining displays, and organizing materials for laboratory classes. In addition, they both had years of experience as amateur field naturalists and shared an avid interest in photography. This was a rare opportunity for two very talented young men, and by all indications they made a great success of it over the ten- year period they worked at Glen Island. The museum grew year-by-year as Lewis gathered material on trips to distant locales in Europe, Africa, the Middle East, Asia, and the Pa- cific. They continued to prepare specimens from the local area and develop exhibits to excite the public’s interest in natural history. Mr. Princehorn increasingly used photogra- phy in his work, seeking images of animals in both natural and captive settings. -
Basic View Camera
PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs). -
Kodakery; Vol. 6, No. 34; Aug. 26, 1948
KODAK COMPANY Vol. 6, No. 34 Copyr ight 1948 by Eastman Kod ak Com pany, Rochester, N.Y. August 26. 1948 Prince 'Shoots' Olympic Eventj Company Lists 3 New Models In l(odak Tourist Camera Line Bodies Pattern ed After Rugged Oriainal ~ Three new m odels of the K odak T ourist Camera - K oda k's n ew strea mlined folding camera - are a n nounced by the Compa ny. T hey are the K odak T ourist f/ 6.3 Cam era, the Kodak Tourist f/8.8 Cam era and the Kodak T ourist Ca mera with K odet Lens. These three additions to t he K odak Tour ist Camera line are patterned a fter the origina l m odel, the K odak Tourist Came ra with K oda k Anaston f/4.5 Le ns, a n nounced last May . Basic d iffer ences in t he cameras are in t he le nses and shutters. Many Features Like t he ir more expensive pred ecessor, the new m odels a re styled around a rugged, cast a luminum body ; removable back ; Kodadur fin ish, a nd d ura ble Tenite top trim. T hey have the same built-in shut Another Tourist_ Mary Flaherty of Dept: 75 a t Camera Works ter release, enclosed e y e - I e v e 1 brushes lens and mountings on the new Kodak viewfinder a nd ·built-in fl ash syn Tourist f/ 6.3 Camera, now in production. It' s one of three new models. chronization. -
GRAFLEX F'~- '3F/Uueu«J ~ with the NEW Ektalite Field Lens GRAFLEX CAMERAS OFFER YOU ALL THESE ADVANTAGES
GRAFLEX f'~- '3f/UueU«J ~ with the NEW Ektalite Field Lens GRAFLEX CAMERAS OFFER YOU ALL THESE ADVANTAGES: • A Sing le Lens System Free From Parallax • Full Vision Ground Glass Focusing • W ide Range, High Speed Focal Plane Shutter • Interchangeability of Lenses • Revolving Back • Interchangeable Film Attachments PLUS The Ektalite Field Lens-Newest aid for better pictures The GRAFLEX Single Lens Reflex at Work ... 1. As you look into the focusing hood you see on the ground glass, up to the instant of exposure, a brilliant, reflected image, right side-up and full picture size, revealing exactly the sharpness of focus and composition of the subject matter that will be recorded on the film. 2. When the pleasingly composed image is clear on the ground glass, the subject is in sharp focus. 3. The mirror reflects the image to the ground glass. When the exposure release is pressed, the mirror swings upward out of the way, instantly releasing the focal plane shutter-securing the desired picture. 4. Focusing is under convenient, positive control to the very instant of exposure. 5. Superior lens gathers ample light for the focal plane shutter, which transmits appreciably more light than does any other type of shutter. Since the lens through which you focused is the lens which makes the picture, it entirely elim inates any problem of parallax. 2U. x 3U. REVOLVING BACK GRAFLEX CAMERA ~S(J~l'ake 9M S(J 9~ '[)~I OMPLETE with standard Graflex fea a complete range of speeds from 1/10 to C tures this camera is a favorite among 1/1000. -
George Eastman Museum Annual Report 2018
George Eastman Museum Annual Report 2018 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 8 Photography Workshops 9 Loans 10 Objects Loaned For Exhibitions 10 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 30 Technology 32 George Eastman Legacy 34 Richard and Ronay Menschel Library 48 Purchases for the Collections 48 Photography 48 Moving Image 49 Technology 49 George Eastman Legacy 49 Richard and Ronay Menschel Library 49 Conservation & Preservation 50 Conservation 50 Photography 50 Technology 52 George Eastman Legacy 52 Richard and Ronay Menschel Library 52 Preservation 53 Moving Image 53 Financial 54 Treasurer’s Report 54 Fundraising 56 Members 56 Corporate Members 58 Annual Campaign 59 Designated Giving 59 Planned Giving 61 Trustees, Advisors & Staff 62 Board of Trustees 62 George Eastman Museum Staff 63 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2018. MAIN GALLERIES HISTORY OF PHOTOGRAPHY GALLERY Stories of Indian Cinema: A History of Photography Abandoned and Rescued Curated by Jamie M. Allen, associate curator, Department of Photography, and Todd Gustavson, exhibitions, Moving Image Department curator, Technology Collection NovemberCurated by 11,Jurij 2017–May Meden, curator 13, 2018 of film October 14, 2017–April 22, 2018 Nandita -
Big Bertha/Baby Bertha
Big Bertha /Baby Bertha by Daniel W. Fromm Contents 1 Big Bertha As She Was Spoke 1 2 Dreaming of a Baby Bertha 5 3 Baby Bertha conceived 8 4 Baby Bertha’s gestation 8 5 Baby cuts her teeth - solve one problem, find another – and final catastrophe 17 6 Building Baby Bertha around a 2x3 Cambo SC reconsidered 23 7 Mistakes/good decisions 23 8 What was rescued from the wreckage: 24 1 Big Bertha As She Was Spoke American sports photographers used to shoot sporting events, e.g., baseball games, with specially made fixed lens Single Lens Reflex (SLR) cameras. These were made by fitting a Graflex SLR with a long lens - 20" to 60" - and a suitable focusing mechanism. They shot 4x5 or 5x7, were quite heavy. One such camera made by Graflex is figured in the first edition of Graphic Graflex Photography. Another, used by the Fort Worth, Texas, Star-Telegram, can be seen at http://www.lurvely.com/photo/6176270759/FWST_Big_Bertha_Graflex/ and http://www.flickr.com/photos/21211119@N03/6176270759 Long lens SLRs that incorporate a Graflex are often called "Big Berthas" but the name isn’t applied consistently. For example, there’s a 4x5 Bertha in the George Eastman House collection (http://geh.org/fm/mees/htmlsrc/mG736700011_ful.html) identified as a "Little Bertha." "Big Bertha" has also been applied to regular production Graflexes, e.g., a 5x7 Press Graflex (http://www.mcmahanphoto.com/lc380.html ) and a 4x5 Graflex that I can’t identify (http://www.avlispub.com/garage/apollo_1_launch.htm). These cameras lack the usual Bertha attributes of long lens, usually but not always a telephoto, and rapid focusing. -
Top Handle Speed Graphics
SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 2 2019 Widely believed to have surpassed all other cycle cam- FEATURES eras in terms of workmanship and materials, the RB Cycle Graphic featured extra strong wood panels, Top Handle Speed Graphics 1912-1927 by Ken Metcalf…..….……..….....….1 Images of American New York Press Photographers reviewed by Davis heavier gauge brass fittings, and red Russian leather Strong………………………………………………………….,,,.…..….7 bellows. For viewers of old black-and- From George Dunbar………………………………………………………...…….8 white movies, this camera may seem My Camera Collection by Steven Rudd………………………………………....9 vaguely familiar. Picture it with an Identifax…………..…….………...……………….………...……………...…......10 added rangefinder and a wire-frame Folmer & Schwing-Century Camera………..……………...………...……..…..10 finder protruding above the front lens From the Collection of Thomas Evans, Long Focus Graphic……..……..…...11 board, and you have the Speed Graphic, the legendary press camera and offspring of the Cycle Graphic.” According to Eaton Lothrop2, “As with many other cameras which are the result of a union of previously established design concepts, the Speed Graphic re- veals its heredity in its appearance. The compactness and basic design of the camera were derived from the ‘bicycle’ of ‘cycle’ type of folding camera which emerged in the 1890s. The Folmer & Schwing Mfg. Co. had produced a ‘Cycle Graphic’ camera as early as 1896 and the introduction of the Graflex line of reflex cameras involved the company in the production of focal-plane curtain-shutters. As early as 1904 the ‘Graphic Focal Plane Shutter’ * was being employed on Folmer & Schwing cameras. One might wonder why, then, it took till 1912 to introduce a camera whose basic features had already been separately developed TOP HANDLE SPEED GRAPHICS [U.S. -
9/11 and the Visual Culture of Disaster Indiana University Press Bloomington & Indianapolis 9
9/11 and the Visual Culture of Disaster Indiana University Press Bloomington & Indianapolis 9/ and the Visual Culture of Disaster THOMAS STUBBLEFIELD This book is a publication of ∞ The paper used in this publication meets the minimum requirements of Indiana University Press the American National Standard for Office of Scholarly Publishing Information Sciences–Permanence of Herman B Wells Library 350 Paper for Printed Library Materials, 1320 East 10th Street ANSI Z39.48–1992. Bloomington, Indiana 47405 USA Manufactured in the iupress.indiana.edu United States of America Telephone 800-842-6796 Library of Congress Fax 812-855-7931 Cataloging-in-Publication Data © 2015 by Thomas Stubblefield Stubblefield, Thomas. 9/11 and the visual culture of disaster / All rights reserved Thomas Stubblefield. pages cm No part of this book may be repro- Includes bibliographical references and duced or utilized in any form or by index. any means, electronic or mechanical, ISBN 978-0-253-01549-5 (cloth : alk. including photocopying and recording, paper) – ISBN 978-0-253-01556-3 (pbk. : or by any information storage and alk. paper) – ISBN 978-0-253-01563-1 retrieval system, without permission (ebook) 1. September 11 Terrorist in writing from the publisher. The Attacks, 2001 – Influence. 2. September 11 Association of American University Terrorist Attacks, 2001, in mass media. 3. Presses’ Resolution on Permissions September 11 Terrorist Attacks, 2001, in constitutes the only exception to this art. 4. Emptiness (Philosophy) I. Title. prohibition. HV6432.7.S78 2014 973.931 – dc23 2014029044 1 2 3 4 5 20 19 18 17 16 15 For C. D. -
Graflex Historic Quarterly the Quarterly Is Dedicated to Enriching the Study of the Graflex Company, Its History, and Products
G RAFLEX Since 1996 HISTORIC QUARTERLY VOLUME 18 ISSUE 1 FIRST QUARTER 2013 FEATURES In 1950 the “45” and “34” Pacemaker Speed and Crown Graph- ics were sold with Graflok backs. An accessory 4x5 or 3¼ x 4¼ The Graflex Graflok Back 1949-1973 by Bill Inman, Sr.………………….1 Graflok back for the Anniversary Speed Graphic also became The Evolution of a Graflex Collection by Ronn Tuttle...……...…………...3 available. All the backs could be supplied with or without a metal four-sided removable viewing hood. The 4x5 dividing The Graflex Electroswitch by Ken Metcalf………………….………..........4 back was also supplied with a Graflok back frame, less the fo- Triple Lens Graphic……………………………………………..………….5 cusing panel. When the dividing back is fitted to a 4x5 Graphic or Graphic View camera with a Graflok back, the focusing The Story of the Century by Jim Chasse..……………….………..…...…...6 panel is transferred from the camera to the dividing back for focusing and viewing the image. THE GRAFLEX GRAFLOK BACK 1949-1973 Copyright 2013 William E. Inman, Sr. Graflok back on “45” Pacemaker Speed Graphic. T he Century Graphic 23, with the Graflok back, was born in The Graflex service department could, on special order, convert 1949 in answer to the demand for a lower-priced press-type the 4x5 Super D Graflex camera to a Graflok back, instead of camera for amateurs, and a second camera for professionals the original Graflex back. who preferred a smaller negative size for 120 color roll film. Competition at that time included the Rolleiflex and the Rollei- The conversion of a cord.