Found Film: Korea, 1946 – Part 3

This is the third installment (in what will eventually be 4) in a series of posts about a fascinating project I have been working on.  Rather than the usual “found film” which I find undeveloped, this is a set of four rolls of already-developed photographs I have scanned and gradually restored over the past weeks.

The photographs are a window into a part of our military history that does not appear to be all that well-documented (and at times controversial), from the perspective of a group of infantry lieutenants serving in an engineer/boat unit in Korea, circa mid-1946 and for the next year or two.

There’s nothing marking the rolls to indicate the order in which they were taken; but they all appear to be somewhat different, and were probably taken throughout the photographer’s deployment.

Found Film: Incheon, Korea, 1946, roll 3

This roll is a hodge-podge of photos taken in different locations with few identifying features. I like the shot above, which seems to have somehow been taken from directly overhead. There are a few large buildings which may still be in place in or near Incheon.

Found Film: Incheon, Korea, 1946, roll 3

Found Film: Incheon, Korea, 1946, roll 3

A former adjutant of the boat battalion belonging to the same regiment as the photographer – if not actually in the same battalion – describes his early impressions of the country:

I had limited contact with Koreans when I served in the boat battalion. A boat shore regiment has two elements. It has a boat battalion which runs the boats and keeps them repaired and then it had a port battalion which furnished the beach people. In our situation it did the stevedoring both on board ship and in the tidal basin. The ships would come close to the harbor. They couldn’t come into the tidal basin because that couldn’t take any more than a LST. A Baltic class freighter, the kind of thing the “Pueblo” was, could get in. Most of the supplies came on Liberty size ships and everything had to be lightered ashore. We ran the lighters and the port battalion provided all the stevedore troops. They, the port battalion, after the big exodus of World War II veterans, began to hire fairly large numbers of Koreans as stevedores, primarily. We used some of them for our maintenance operations. We had some wooden hull boats, some command boats, and the Koreans were very, very good shipwrights, good boat carpenters. I will never forget the first time I saw a Korean shipwright drive a long screw through the outer planking of one of our things and into the hull member with a power driver. He had a look of beatification on his face like nothing you ever saw. It would have taken him hours to get that thing in. We also hired them for kitchen help, for barrack cleaning, the donkey work in the motor pool. We didn’t hire very many skilled ones and didn’t come in contact with very many educated ones.

This photo of Korean stevedores loading the American ships is one of my favorites in the roll:

Found Film: Incheon, Korea, 1946, roll 3

Found Film: Incheon, Korea, 1946, roll 3

There is reason to believe that the military unit the photographer belonged to was stationed on the island of Wolmido, which is said to be a kilometer off the coast of Incheon – but with all of the dredging and terraforming that has taken place to transform the port and coastal areas, appears to be contiguous to the mainland. The photo below may be of the fishing harbor on the island at that time. There are few photos to compare from that time, and it’s almost useless to try and compare with modern photos as the landscape has been utterly transformed. In fact, Wolmido Island is now the setting for an amusement park, a modern boardwalk and countless other things to do.

Found Film: Incheon, Korea, 1946, roll 3

The writer of the previous passage concerning Incheon – who would later go on to become an Ambassador to Korea – was not impressed with Incheon in the mid-1940s.  He continued:

I thought at the time that Korea was hopeless as a society. It was this curious mixture of more or less 20th century and 15th century. You could smell it forty miles at sea — the so-called honey pits — the only fertilizer they had was human excrement. Honey wagons were all over the place. Our places were serviced with honey wagons. The agricultural tools that they used were all out of the remote, remote past. If you went up to Seoul you saw street cars and relatively modern buildings and that kind of thing, but in the countryside between Inchon and Seoul why agricultural and other methods were ox carts and that sort of thing were way, way out of date.

Found Film: Incheon, Korea, 1946, roll 3

The people were not excessively friendly. I had a house on the side of a hill in Wome Do in what had been an old Japanese complex and summer resort. Our club had been the governor’s mansion. There were four hotels out there; we managed to burn them down. Each of our companies was billeted in one of these hotels which was joined together by wooden passageways with a long passageway out over the water to join a square pavilion where they had their parties, etc.

(photo from a previous roll)

Found Film:  Incheon, Korea, 1946, roll 2

But I lived on the hillside in one of the separate cottages which they also maintained. But we let the Koreans live in all of the others. But they were very aloof and there was no fraternization, which we respected mightily. If a man was looking for a woman he had to go up to Seoul, possibly because most of Inchon was off limits. Up to the time I left, there was no inter-marriage, no real fraternization of any sort.

Anyway, I did not conceive any great love or liking for the Korean people at that point. I really didn’t know any other than those we hired. My job didn’t put me in contact with any.

The photographer appears to have had more affection – and probably contact – with the Korean people at the time.  As in other rolls, he showed an interest in photographing children.

Found Film: Incheon, Korea, 1946, roll 3

Found Film: Incheon, Korea, 1946, roll 3

He also appears to have worked with this interpreter, who appears 5 or 6 times on the roll.

Found Film: Incheon, Korea, 1946, roll 3

She appears to have worked in the same office as this sergeant. I tried to zoom in a bit on the calendar to try and figure out the date of the photo, but it just gets blurry the more you zoom in.

Found Film: Incheon, Korea, 1946, roll 3

Finally, there’s the guy I like to think of as the “First Sergeant” – who appears several times throughout the four rolls of photos. At all times, he is photographed in the same position – on his back, in bed. But anyone who has worked with First Sergeants knows, he probably managed to somehow keep things under control in spite of this – and kept his lieutenants out of trouble as much as he could. This is a great portrait:

Found Film: Incheon, Korea, 1946, roll 3

For the rest of the roll, you can check out the complete album on Flickr.

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Indian Portraits from the 1950s and 1960s

Between Chennai and Pondicherry is an area with an especially high proliferation of “junk stores.  I suppose the owners would prefer we’d call them antique shops – but there actually aren’t that many actual antiques, just lots of oddities and strange treasures, many of which are made to look old.

In the back of one of these shops, the owner has stacked hundreds of old photographs.  Most of them are marked or stamped as having come from a photography shop in Madurai, not too far from here, and there is the occasional photo with a date identifying it from the late 1950s or early 1960s.  I thought they were fascinating to go through, and thought you might enjoy seeing some of them too.  I’ve scanned them with the attached mattes partially showing so you can see the full effect.

This is a proud bicycle owner.

Vintage Photos from Madurai

My Five Sons. I love how they have all been carefully placed into these photos by the photographer.  I imagine him instructing: “OK, stay in that position…and look natural!”

Vintage Photos from Madurai

No one looks happy – but not smiling in photos is very common in this part of the world.

Matriarch

Backdrop

I was able to repair much of the damage to this extended family photo, except for some of the faces, which are tough to fix without knowing what the people look like. I’d love to know the story behind this photo.

Vintage Photos from Madurai

What is the ITPT Company, what was Mr. Jones’s job there, and where are all of these people now?

Vintage Photos from Madurai

The selection above is only about half the photos I picked up.  You can check out the rest here on Flickr.

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Found Film: Korea, 1946 – part 2

Last week I posted about the first of four rolls of already-developed film I had come across via a seller on eBay, and have been scanning and restoring one by one.  This is the second roll, which provides a whole new set of clues as to the photographer and their living conditions in Korea, just after the end of World War II.  Today is the 70th anniversary of the D-Day landings in Normandy; I’m guessing these photos stem from roughly 12 to 14 months after that day – between June and August, 1945.  I’ll explain why below.

I was excited to see the results of this roll, because I could tell as I was putting them on the scanner that there were a number of close-up portraits.   I could be completely wrong, but I suspect the following photo is of the photographer himself.  On the roll, the portraits immediately precede a series of photographs that show the inside of a Soldier’s room.  As a veteran myself, who has deployed overseas and left my family behind, I imagined he might be taking these photos to share with loved ones at home – exactly as I did myself, almost exactly 60 years later in Afghanistan.

Found Film: Incheon, Korea 1946 roll 1

His rank insignia identifies him as a lieutenant – we can’t tell whether he’s a second (more junior, gold bar) or first (more senior, with a silver bar) lieutenant – and the crossed rifles on his other lapel identify him as an infantry officer.

Found Film: Incheon, Korea 1946 roll 1

Found Film: Incheon, Korea 1946 roll 1

He appears to have lived in pretty Spartan conditions, don’t you think?

Found Film: Incheon, Korea 1946 roll 1

From another source, I know that the 592nd Engineer Boat and Shore Regiment’s boat battalion was stationed on Wome-Do, an island near Incheon. I think the officer we are looking at here was the commanding officer of one of this battalion’s companies. Why? On the chair in the last photo above, we see a seahorse on an oval background, above the letters, “C.O.” This insignia was worn by members of the Engineer Amphibious Command from October 1942, and in June 1946, became the official insignia of the 2nd Engineer Special Brigade. We also know the photos were probably taken no earlier than June or July of 1946 because of the photo below:

Found Film: Incheon, Korea 1946 roll 1

This is a copy of “Coronet” magazine, printed in May, 1946. How long would it have taken to arrive in Korea back then, and why did the photographer take 3 pictures of it, only one of which was light enough to make out this detail?

And then we have this photo, which may depict the unit’s arrival at this location in Korea. Even today, Soldiers arriving at a new location will be told to grab their duffel bags from the truck and line up to be assigned to barracks rooms.

Found Film: Incheon, Korea 1946 roll 1

In 1945, lieutenants often found themselves in command of companies (normally commanded by captains) – so our C.O. was probably a first lieutenant, with anywhere from two to four years of experience under his belt.

The building below is probably one of the buildings they occupied and used as barracks. Or maybe the officers stayed here – who knows? In any case, there was a reason for the photographer to snap several shots, and those look like military-issue sheets and towels hanging from the line!

Found Film: Incheon, Korea 1946 roll 1

We can learn about what these guys did from a 1995 interview of an officer who may have actually served in this unit at the time these photos were taken.  In fact, he may be in one of the photos.  He explains:

When I got overseas, they lined everybody up on the dock and told every fifth guy to step forward and I ended up in the Corps of Engineers as adjutant of the boat battalion of the 592nd Boat and Shore Regiment, which was the outfit that ran the boats in the harbor of Inchon. So I spent all of the time in Korea living on the island of Wome Do — “Do” means island and “Wome” means moon tail — located in the port of Inchon.

When they broke up the battalion and transferred everybody I went to the Corps of Engineers in order to get a promotion and then they broke up that battalion and turned us all into a transportation port company. I ended up commanding the whole thing the last eight months I was there. Anybody with any points went home and we weren’t getting any experienced boat people so I had a nice little fiefdom out there on Wome Do.

We were on an island and our looks were always to the sea. We operated lighters to and from the shore. We were on duty 24 hours a day and you may recall something of the tide problem in
Inchon. They later built the big tidal basin of which Wome Do is actually now part. Inchon when I was there was the port with the second highest average rise and fall of tide in the world, next to the Bay of Fundy, and you had to operate strictly in accordance with the tides. You couldn’t get in or out of the tidal basin unless the tide was correct. You couldn’t even get up to Charlie Pier in Inchon harbor for much of the day. You would look over the area one hour and see nothing but shining water as far as the eye could see and six hours later it was nothing but shining mud as far as the eye could see. But we operated LCMs and LCTs, which the Navy had left us. All of the supplies at that time for Korea for the 24th Corps were coming in through Inchon because the railroads were broken to Pusan. Pusan was more or less inoperative anyway and the troops were all up towards the 38th parallel.

The narrator of this account would go on to be a distinguished ambassador in the 1970s, and passed away at the age of 82 in 2005. You can read his obituary here.  The photos below closely parallel his description, almost as if he could have taken them himself. First, we can see the LCMs or LSTs (Landing Craft, Mechanized / Landing Ship, Tank), followed by the mud flats he refers to. Note the tiny figure of a man in the third photo.

Found Film: Incheon, Korea 1946 roll 1

Found Film: Incheon, Korea 1946 roll 1

Found Film: Incheon, Korea 1946 roll 1

Then, shots of some of the other equipment they must have worked with.

Found Film: Incheon, Korea 1946 roll 1

Found Film: Incheon, Korea 1946 roll 1

Found Film: Incheon, Korea 1946 roll 1

Then there are a few more portraits, such as this guy, who appears to have infantry officer insignia and is a bit older, so may have been the battalion exec or commander:

Found Film: Incheon, Korea 1946 roll 1

…and this guy, who shows up several times in this set of four rolls, and who I suspect was probably the unit’s First Sergeant.

Found Film: Incheon, Korea 1946 roll 1

This was a pretty skilled photographer – there are sixty photographs on this roll, each of which tells a story, and I have only managed to show a fraction. There are probably many other clues I’ve missed, as well as several more close-up portraits. If you have a moment to take a look and see if I might have missed anything, I encourage you to have a look at the complete roll, which can be found at this link. Next week I’ll profile the third roll in the set.

Found Film: Incheon, Korea 1946 roll 1

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Random Scenes from Bangalore

We took a stroll through “Gandhi Bazaar” in Bangalore – also known as “Basavanagudi” – last weekend, and I thought I share some random – if occasionally odd – photos.

DSC00101

The first photo is literally a bunch of leaves. It’s “paan” – or betel leaves.  These leaves are used to wrap a mixture of substances often including betel nut that usually have a stimulant or psychoactive effect.  Often ladies are seen selling the leaves, and they will stack them as seen in the photo, which makes them easy to count, as they typically cost around 1 rupee per leaf.

DSC00100

What’s being sold here? It’s jewelry, of course!

DSC00110

This statue of Gandhi was placed unfortuitously underneath a giant tree. It looks like the cover several feet over the statue’s head was added at some point afterward. I’m guessing that too many birds were roosting in the tree, leaving their mark on the statue’s bald head. Hey, it would have been a shame to cut down the tree, don’t you think?

DSC00117

These young Indian women have stopped to check that the salesperson applying mehendi – a henna paste that is used to create intricate ceremonial designs on the hands and feet – is charging the tourist a fair price.  Once they satisfied themselves that he was, they smiled and moved on.

DSC00115

This little fella didn’t seem at all perturbed by all the tourists walking around. Just doing his part to clean up the streets, I guess.

DSC00123

I had to stop and snap a shot of the cutest little girl – who had fallen sound asleep on a tabletop. No worries, aunty and uncle were there to make sure she didn’t roll off!

DSC00130

Finally, I think the street dogs in this neighborhood must have been some of the healthiest (i.e. “fat”!) I have seen in any large Indian city. This one seems quite content and had no problem posing for a photograph.

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Found Film: Korea, 1946

A few months ago I came across a post on eBay where someone was selling four rolls of already-developed film.  The seller professed being unsure about wanting to get rid of the film, so I offered to buy them and scan them, and restore them as much as I could, so they would be available for both of us – and everyone else.

It turned out to be an amazing find.

The first roll had several photos with Japanese writing on them, and one or two shots with (US) military context – a jeep, a few signs…a picture showing the sea…a couple of soldiers here and there. So I assumed, as the seller had, that these had been taken by US military personnel in Japan at some point.

I decided to ask a Japanese friend on Facebook if she could identify any of the locations, either from the writing on the photos or the surroundings. After a bit of silence, she said, “I think these are photos of Korea.” Huh???

Well, this is the photo that gave it away:

Near the top, you may see “仁川” – which apparently means “Incheon” in Korean (but written in Japanese script).

Over the next few days, I learned a lot about Korean history. I learned that Korea was a Japanese protectorate from 1910 to 1945, under Japanese occupation. And that some of the policies in the latter parts of this period had led to an increased phasing-out of Korean script. Here is a produce shop covering all its bases:

This first roll provides an interesting insight into life just after the end of the second World War – in fact, in mid-1946. Key clues to the time period will come in future rolls, but for now I provide the date for context.

Additionally, there are several military unit signs. Based on photos I scanned later, I am pretty sure the photographer snapped this photo because it identified his own unit, the 592nd Engineer Boat and Shore Regiment.

The 592nd EBSR, a part of the 2nd Engineer Special Brigade, had seen action all over the Pacific by the time these photos were taken. The 592nd EBSR had been the 592nd Engineer Boat Regiment until it was redesignated the 592nd Engineer Amphibian Regiment on 1 October 1942. On 18 February 1943, the Regiment left San Francisco by ship headed for Australia, where they trained from June to October 1943. On 4 July 1943, it was redesignated as the 592nd Engineer Boat and Shore Regiment. They headed to New Guinea in October 1943 and participated in military action in the Admiralty Islands, the assault on Leyte in the Philippines, as well as many other landings in the Philippines including Corregidor, for which they were awarded a Presidential Citation in May 1945. Along with units of the 1st Cavalry Division, the 592nd EBSR was one of the first units to land in Japan upon its surrender.

Apparently after the war, most of the 2nd Engineer Special Brigade was sent back to the United States and deactivated. However, I am pretty confident that elements of the 592nd EBSR came to Incheon close to the time when General Hodge landed there on September 8, 1945, and stayed at least until May 1946.

Politically, the role of the U.S. in this period of Korean history is somewhat disputed – the Cold War was well under way by this time, and a “People’s Republic” had been announced two days prior to the arrival of the Americans.  This had been viewed with distrust, and the Americans came, got rid of all the Japanese bureaucrats, and replaced them with the Koreans who had worked directly for them – effectively leaving in place the police structures the Japanese had used for 4 decades to maintain order.  One Army Civil Affairs specialist at the time described it (in 1990) as follows:

We didn’t know much about Korea in those days. However, in the first few days, we all recognized that Korea was a friendly country and not an enemy. We realized this because 90% of the Koreans were friendly. There were a few who were committed Communists, who viewed the occupation askance. We had some problems with them, but generally speaking the atmosphere was very friendly. It is ironic, of course, that the Japanese, who were the defeated enemy, governed themselves under the general direction of MacArthur and his headquarters, whereas the Koreans who were our friends were governed directly by an American Military Government, with Americans directly in charge down to the county level in the beginning.

As I look back on it, I am not sure the issue of whether to have a military government — as contrasted to the Japanese pre-war model — was given much thought. I was strictly at the working level and had no policy responsibility, but we must have recognized that someone had to run the country.  Once the Americans had decided not to accept the People’s Republic which  had been proclaimed two days before we arrived, then who else except the Americans? The process then established was that the military government would be imposed as a transitional phase. The Japanese who had governed the country were sent home. They were to be replaced at the lower levels by Korean bureaucrats who had worked for the Japanese. That was a poor decision, but at the American working level it seemed sensible at the time.

Some historians argue that Korea would have plunged into civil war without intervention, and the Korean War in 1950 was in some ways inevitable. But through these photos, I prefer to focus on what life must have been like for the people who took these pictures, and how they might have experienced the world around them, which must have seemed so foreign to them back in 1946.

It’s a fascinating series of photos – I’ve spent hours trying to reach back and research who they might have been. The next few rolls hold a few more suprises, and I haven’t even scanned the fourth roll yet as of this writing. As an aside – the pictures were all taken on a “half-frame” camera – i.e. one which took photos half the size of a standard 35mm frame. Those cameras were not widely available until they were popularized by Japanese camera companies in the 1950s, so I have no idea what kind of camera this might have been. But it does mean that this particular roll of 36 “normal” exposures has resulted in 60 quality, scannable exposures in “half-frame” size. You can check out the rest of this roll here.

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Impressions of Koyambedu

Koyambedu Wholesale Market Complex is one of Asia’s largest perishable goods market complexes.  Spread over an area of 295 acres, the complex consists of more than 1,000 wholesale shops and 2,000 retail shops.  The market has two blocks for vegetable shops and one each for fruit and flower shops. In Phase II, a textile marketand in Phase III, a food grain market have been planned to be developed in the complex.

Koyambedu

Flower Transport

The vendors conduct their sales on the inside of the complex, and each shop has an outward-facing door through which they can bring their goods.

Transport

Bananas and Plantains

These photos are just a sample. You can see the rest at this link on Flickr.

Reflection

Lilies

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Photographing Chennai’s Kids

A number of different photographer groups in Chennai regularly organize photowalks – walks through various neighborhoods in Chennai. The potential photographic subjects will vary – sometimes it’s market vendors, or stately old buildings, still life, fishing villages. In certain situations, exercising your abilities as a photographer can be difficult, because – rather than you seeking out subjects and situations to photograph – the subjects will instead seek you out.

This is often the case in neighborhoods where there are lots of kids. If you’re walking around with a camera – especially if you already stand out as a foreigner – and there are kids around, you’re an instant target!  Occasionally this can be overwhelming.

We went walking on “Burial Ground Road”, a street on the “Island Ground” – more than half the island in the Coovam River is a parade ground, and there is also a military base, a couple of cemeteries, and a small, working-class neighborhood.  With lots and lots of kids.

First it was moms and dads asking us to photograph their kids – but once the other kids saw, everyone wanted in on the action.

Father and Daughter

 

Mona Lisa Smile

Serious

With shouts of “Uncle! Uncle!” or “Auntie – photo!” or tugs on our sleeve, the kids never tired of first posing for pictures, and then crowding around to see the result on the LCD screen afterward. I had a film camera as well, but quickly realized the kids would be frustrated by my inability to explain why they couldn’t see their photos. When I showed them their pictures on the digital screen, many of the kids would try and “swipe” the screen to advance to the next photo; but trying to explain film processing proved completely impossible.

 

Eyes

It wasn’t only the kids who asked to be photographed, either!

Friends

Couple

In the photo just above, the husband insisted on having a picture taken with his wife, but his wife kept pushing him away. He kept insisting, and the photo above represents the compromise.  We plan to print the photos and come back for another visit to pass them out.

To see the rest of the photos we took on this photowalk, check out this link and this link.

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Found Film Friday: Yellowstone Part 4

This is the last of four posts on a big pile of found film I got recently – 13 rolls of Ektachrome slide film requiring processing using E2 and E3 chemical processes, neither of which have been available since the early 1970s.  The photos were mostly in and around Yellowstone National Park; a few rolls were marked “eclipse” (they didn’t turn out) – and then there was this roll with an odd mix of photos on it.

This batch of photos all came out way too dark after processing (in black and white chemicals) – with a thick additional layer that I could probably have worked to remove, but was afraid to damage the image (see part 1 in this series).  They were too dark to be picked up by my scanner, so I had to use my Coca-Cola case lightbox trick again.  I photographed them with a backlight, which produced something like this:

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I then used photoshop to invert the digital image (using black and white processing turned what should have been “slide film” into negative film – which produced something like this:

DSC_0012Step2

This was then converted to a black and white photo and then I adjusted contrast, brightness and a few other things, and then rotated 90 degrees, ending up with this:

Found Film: Yellowstone Trip Extras

In the end, I had images, but I didn’t really know what they were of.  Most of the photos in this batch were similar.  Was the photographer photographing mushrooms?

Found Film: Yellowstone Trip Extras

Found Film: Yellowstone Trip Extras

Found Film: Yellowstone Trip Extras

Then there was this odd shot – some sort of amusement park? Does anyone know what this is?

Found Film: Yellowstone Trip Extras

And finally, my favorite in the bunch – a guy working on his model train.

Found Film: Yellowstone Trip Extras

The best part of this picture is his buddy, on the left – who appears to be wearing an engineer’s hat! Am I right?

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What do our TV ads say about us?

70 or 80 years from now, what will people think of us when they see the television commercials that we use to sell products to each other?  If attitudes shift as much as they have over the last 70 to 80 years, it’s truly hard to imagine.  Take a look at these television commercials from yesteryear – they’re public domain files available at The Prelinger Archives, but I cut the file apart for individual viewing.

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Make Your Own 3-D Camera!

I was checking out the latest copy of Photo-Era Magazine (the latest I own, anyway) – dated April, 1929 – here’s the cover:

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It’s chock full of interesting articles on photography – and ads for the latest cameras, including this ad for an unfortunately named Voigtlander.  One of the articles that caught my attention was a description of how you can make “your own stereoscopic outfit – for less than two dollars!”  Stereoscopic viewers allowed people to view dual side-by-side photos as a single, “3D” photo, as early as the late 1800s.  If you’re old enough, you may remember the “View-Master”, which operated on the same principle.  I wrote about stereoscopic photos in this previous post. 

It is, of course, possible to use ordinary digital cameras (identical ones is best) to make stereoscopic or full 3-D photos, viewable through 3D glasses after processing with one of any number of computer programs.  But that’s boring.  I thought it would be fun to do the project as described in the article.  Here’s the first page, for reference, with the rest of the article below (click on the images if you want to see them in full size).

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For my “stereoscopic rig,” I decided to use two 1930 Kodak No. 2 Model C “Anniversary Edition” box cameras. These were reissue models of a camera originally released in 1913 and sold for about 2 bucks each. Technically the 1913 model is not in keeping with the tone of the article (“less than $2” total); but the 1930 anniversary edition was given away for free! Assuming I had two kids turning 12 in 1930, and managed to snag a couple of the cameras being given away in May of that year. Or on eBay, 83 years later, where they cost well more than 2 bucks each. A handful of rubber bands to hold them together and a bit of masking tape to keep them from sliding, and voila:

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I loaded them both with some Ilford Pan 50 and went for a walk around the neighborhood.  And got some odd stares as I was taking photos.  But ultimately came up with a handful of usable shots (some were a bit blurry, or dark).  I had to do a little work on them – you can see if you look closely at the masking tape on top that the two cameras are slightly out of alignment – which makes enough of a difference as you move away from the camera.

Once I processed the film and corrected for alignment, I had two options.  First – and the option which ultimately worked really well – I printed the images side-by-side in a piece of 4×6 photo paper (matte would have been best, but I only had glossy), and viewed the pair through a stereoscope.  I didn’t pay attention to which was the right or left eye – I suppose it matters, and maybe I got lucky, because the images I printed POP into 3d.

Since you probably don’t have an 1890s stereoscope laying around, I turned some of the images into gif files where the two images alternate back and forth.  As you see the pictures below, they probably don’t flicker on your screen – but if you click on the images individually, they should open in a new window, and after a few seconds, start flickering.

These are the two that, in my opinion, turned out best.

Rickshaw

Rickshaw

street dog

street dog

And this is what the printout looks like for the stereoscope:

rickshaw dual print

This should be pretty easy to do with any camera, provided you have two of them and fix them about eye-width apart; or figure out a clever way to take two pictures right after another, about 3.5 inches apart.  Here is the tutorial on making the gifs.

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Found Film Friday: Yellowstone part 3

Found Film: Yellowstone National Park

This is the third week I’ve been posting from this set of 13 rolls of film, from in and near Yellowstone National Park….but 13 rolls is a lot of pictures!  I know not everyone is particularly enamored with these photos – after all, anyone who has ever been to the park probably has a lot of the exact same shots – but I think they are great. This will be the last week of Yellowstone…next week I will post a fourth set, from the same photographer but a different style/setting. I’m currently working on scanning and restoring the next “found film” series, which I think is pretty amazing, and I think you will agree.

Meanwhile, here are this week’s pictures.

The first one is a 40-million-year-old redwood tree…and a recent shot. I guess something that’s 40 million years old doesn’t change much in 50 years.

Found Film: Yellowstone National Park

A Petrified Tree

I like the photo below. Is it Mammoth Hot Springs?

Found Film: Yellowstone National Park

And of course no trip to Yellowstone is complete without a picture of Old Faithful!

Found Film: Yellowstone National Park

My favorites are Castle Geyser (thanks to Mike for identifying them for me) – below are two 50-year-old photos each followed by a recent shot. Supposedly the rim of the geyser changes over time as minerals are deposited. You can check for yourself to see if this is true.

Found Film: Yellowstone National Park

Castle Geyser erupting in B&W

Found Film: Yellowstone National Park

Another geyser

Finally, here’s a shot of one of the stained-glass windows in the Church of the Transfiguration in Grand Teton National Park, one of the stops our photographer made in and around Yellowstone. This is what it looks like in color.

Found Film: Yellowstone National Park

Hope you enjoyed discovering these 50-year-old photos with me!  You can see all 50+ photos in this set by checking out this album on Flickr.

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Found Film Friday: Yellowstone Part 2

Last week I posted the first installment in a series of posts in which I share images from a collection of 14 rolls of Ektachrome slide film requiring an outdated chemical process, but which I decided to develop with black and white chemicals.  In this set of pictures, we see the photographer’s continued photographic journey through one of the most photographed parks in the United States, along with additional clues suggesting the age of the film – we are probably in the neighborhood of 1970.

Found Film:  Yellowstone National Park

The deer, above, is taken during a roadside stop. Another photo can be seen in the collection where the cars are seen along the edge. Then there’s this bear who decides to amble across the road. We believe the VW Beetle is 1968 or 1969, while the car on the left is a 1963 Cadillac Coupe de Ville. So the photos are likely 1968 or newer – but not much newer because the E2 and E3 film processes were being replaced at this time.

Found Film:  Yellowstone National Park

Found Film:  Yellowstone National Park

While the bird appears to my uneducated eye to be nothing more than a common crow, I am impressed – given that I have used cameras of this time period – at the photographer’s ability to get the right thing in focus. The late 1960s saw a lot of cheaper, plastic cameras without much ability to focus much (imagine Instamatics and their precursors) so this may have been a higher-end camera given the number of photos its owner snapped on a trip to Yellowstone. But oddly, never had developed…

Given we know this was at Yellowstone National Park, the photo just below appears to be one of the geysers. But what is the marker in the photo just below that?

Found Film:  Yellowstone National Park

Update: Thanks to Mike for identifying the above location – “Fountain Paint Pot” in Yellowstone.  This would have been great in color; here’s a contemporary shot of the same place.

Found Film:  Yellowstone National Park

The photo below appears to be a covered bridge (there is another murky photo in the collection that appears to be the same bridge from the outside). You can search by image in Google now, and all searches lead to the photo just below, “Honey Run Covered Bridge” in Chico, California.  Unlikely that’s the bridge – but does anyone know of a similar bridge in or near Yellowstone?

Found Film:  Yellowstone National Park

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Then there is also this unidentified building, which must have been significant enough to photograph; and finally, the grave of “John C. Fenex, an old-time cowboy.” I don’t find anything about this grave on the internet – is it a well-known Yellowstone sight? I’ll have to go and visit someday.

Found Film:  Yellowstone National Park

Found Film:  Yellowstone National Park

Update:  a bit of sleuthing by my Mom reveals that the grave of John Fenex is in Fort Fetterman Cemetery, just north of Douglas, Wyoming.  The photo was taken well outside of Yellowstone – east of the national park.  Likely the photographer was either heading to, or from the park on their vacation, and briefly left Interstate 25 for this photo-op.  It’s a relatively obscure cemetery so it seems a little odd that they would have ended up there.  Here is more information on the grave.

While I was reading about John Fenex, I stumbled across another photo from Douglas, Wyoming – a postcard showing a rarely photographed angle of Ayres Natural Bridge, just south of I-25, that shows an abandoned power station in the background.  Most photographers avoid showing the building and will photograph the bridge head-on.

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This ended up being a close match to one of the photos I ended up not posting, but will share now:

Found Film:  Yellowstone National Park

You can view all of the found film in this set from Yellowstone (including a number I haven’t shared here) in this Flickr album.

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Checking in with Rocky

I recently had the opportunity to meet Rocky Braat, the subject of an amazing documentary called “Blood Brother,” winner of both the Audience and Grand Jury Prize at Sundance 2013.  The film tells the story of a disillusioned young American who goes to India to find meaning in his life and finds it at an HIV AIDS hostel in rural India.  Before you go on, check out this trailer for context:

Rocky currently lives in a rural village near the shelter featured in the film.  I accompanied an SUV-load of items donated by local Americans to Rocky and his village, just a couple of hours south of Chennai.  Here we are getting ready to head out.

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We headed into Saturday afternoon traffic thinking this would be a 1.5 hour one-way, but nearly 3 hours later, we were still fighting traffic.  At a certain point, our non-English speaking driver appeared to be lost, but we knew we were close when we stopped at this rail crossing, which features prominently in the film.

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Once we linked up with Rocky at his village, it was smooth sailing.

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After unloading the donations, we had a walk through the village. Everywhere we went, Rocky was followed by children. They saw my camera, and everyone wanted their picture taken. This was not limited to the kids – adults too wanted some of the action. Here are some of the best shots.

In the film, “Blood Brother,” Rocky’s work at a nearby orphanage/shelter for women and children suffering from AIDS is highlighted.  We didn’t visit that shelter; we just visited the local village where Rocky teaches English, computers, and other subjects, and it’s the kids in the village you are seeing in these pictures.  But Rocky told me about a great project he and the NGO he is forming are working on.  You see, when the boys and girls in the shelter reach a certain age, by Indian law they can no longer stay in the mixed shelter.  That age is 16 for boys and 18 for girls.

When the HIV/AIDS shelter was first established, there was little anyone could do for its residents – few drugs, few treatments were available, and it was more about hospice than anything else.  Now these kids are surviving with the help of new drugs and treatments available in India.  When they “age out” of the shelter, they need a place to go, a way to earn a living.  And that’s where Rocky’s latest project comes in.

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He’s building a center for these kids to do things like photography, other jobs and vocations they can do which don’t require them to be on their feet for 8, 10 or more hours a day. So we discussed ways we might be able to help out, and we’ll be checking in in the future to see how things are going.  He’ll be needing lots of help to keep this project moving.

After we looked at that project, we headed back to his place and got to see the reactions of some of the local village kids as they received their share of the donations.  See for yourself:

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If you’d like to learn more about ways to help Rocky and some of southern India’s most vulnerable kids, you can visit the Blood Brother (that’s the name of the film) website here.

Here are a few more scenes from the village.

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Shooting with a 115-year-old Camera

That DSLR you bought a couple months ago – do you think it will still work in the year 2130? Sounds ridiculous? That’s basically the equivalent of taking photos with a Cycle Poco No. 3, manufactured by the Rochester Camera Company between 1893 and 1905. This one is from after 1897, because the finder on the side has a 1897 patent date stamped on it. But the crazy thing is, there is no reason to think it won’t still function in 2140, if it’s looked after properly.

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Not only does this camera get high marks for longevity, it’s also quite something to look at.  Crafted from mahogany and red Russian leather, with intricately marked brass fittings, it initially looks delicate. It’s strange to think that this camera was specifically designed to withstand rougher use than most cameras of that time period: it was designed to be hung on the crossbar of a bicycle, for a two-wheeler photography outing – hence the name “cycle” poco (Italian for “small”).

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You can still buy film for this camera.  It comes in 4-by-5 inch sheets.  But making a photo using this camera is quite a production.  The sheets of film fit inside one of these holders – two-sided, meaning you have to bring one of these holders, pre-loaded in complete darkness, for every 2 photos you intend to make on your photographic bicycle outing.  The black plastic cover, which above has been pulled out of the way, protects the film from light.

Rochester Camera Company Cycle Poco No. 3

So you’re out on your bicycle outing, and you spot something you want to photograph.  You set this camera up, preferably on a tripod.  Would you believe, in the 150 years of photography, with everything that has changed, one thing that has remained exactly the same is the size of the screw which attaches a camera to a tripod?

Rochester Camera Company Cycle Poco No. 3

You then have to focus on your subject. This can be estimated, and then you can move the lens/shutter assembly forward or backward (see distance gauge on the right) until the image should be in focus.  Once you have that, you rotate the brass lever in front of the lens to the left, as it is shown now.  On the left of the photo above is a level, with a metal bearing, to make sure your camera is level; and in theory you should be able to use that device as a viewfinder to see what’s going to be on your photo, but in reality the image is very dim and hard to see.

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You can also focus by lowering the back flap, which reveals a 4×5 pane of frosted glass, onto which the image is projected from an open lens (you set it to “B” and click the shutter).  This can be confirmation of your estimate.  This is where that familiar “old time” image of photographers comes from – to see this image, it’s best to throw a cloth over your head and work in darkness.  Once that’s done, close the shutter, close the flap, and slide the negative holder between the back panel and the camera (it’s connected by springs) as shown in the photo above.  Then you slide out the black plastic cover, exposing the negative, you set your speed and aperture, cock the shutter and press your button.  Replace the black plastic cover to protect the negative, and once you flip the holder around, you’re ready to take another picture!

If my explanation has been confusing, you can also try another Cycle Poco How-To.  The difficult part, I think, is knowing which aperture and shutter speed to use.  The “sunny 16” rule says that for sunny conditions, set your shutter speed to match the film speed, and the aperture should be f/16.  However, the camera’s top speed is 1/100 and the film is 400 ASA.  So a little math is required.  I took the photo below from our roof, in full sunlight, at 1/60 second with f/32 aperture and 400 speed film:

Cycle Poco No. 3 Tests

Not the greatest subject matter, but the point was to see whether this thing works. And it appears that it does! Then I looked at the second photo, flipping the negative holder:

Cycle Poco No. 3 Tests

What??!!

Then I saw what happened when another negative fell out of the holder. It appears that, in the dark, I somehow loaded two negatives. I’m not sure how I managed to develop the one in the back, but here it is.

So I decided to give it one more shot, reloaded the whole thing, and found two willing subjects:

Cycle Poco No. 3 Tests

This just reinforces the importance of checking – once more – after you’ve done all the setup above and fiddling with all the settings and dials, which way your camera is pointing. But bottom line, the camera works! The settings on this one were 1/100s and f/16 with Ilford HP5 Plus 400 speed film.

In the reflection of the third photo, you may catch a glimpse of the photographer.  Go pick up a Cycle Poco now – they start from only 10 bucks!

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Just a side note about scanning 4×5 negatives.  There are scanners that will do 120 film, but I don’t know of home scanners that can do this size.  So I scanned each one twice (top half and bottom half) and then merged them in photoshop.  It’s tricky but can be done.

See additional photos taken with this camera at this Flickr album.

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Found Film Friday: Yellowstone, Part 1

I’d say “everybody has pictures from a trip to Yellowstone,” if I had ever been myself.  But I have previously posted a “found film” roll that featured shots from that national park.  A few weeks ago, I received 14 rolls of film I had bought – for a pretty good price, if they ended up containing photos – from someone on eBay.  The rolls that were marked were identified as “Yellowstone” or “Eclipse.”

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When the film arrived, I was disappointed that I might have been too hasty – as all of the film was Ektachrome slide film, marked E-2 or E-3.  Modern slide film is processed using the “E-6” process.  So I was worried it might not turn up anything, particularly because Ektachrome resembles “Kodachrome” – which is also nearly impossible to develop these days.

The E-2 process was used between 1942 and 1966; the E-3 process, in the 1950s to 1976. And there’s the Kodacolor-X roll on the far left, which was manufactured from 1962 to 1974.  And there were two unused rolls with the lot, one stamped with an expiration date of 1970, and the other 1973.  So I think we can safely say this film all dates from the early to mid-1960s to the early 1970s.  And then it sat for years in someone’s closet, until it was inherited by an unknown guy who lives in Santa Cruz.  Who gave or sold it to another guy, who posted it on eBay, and now it’s in India.

So a bit of research convinced me to develop it in black and white chemicals.  I used HC-110 for most of it, if not all, and used about 8 minutes for developing time.  The first roll came out with a sort of squishy layer of film that appeared to have swollen a bit.  Some websites talked about removing this with cotton swabs.  So I tried that, and it didn’t work too well – I scratched off some of the image:

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So then I decided to just leave the film on, and let it dry. And then I scanned it. In color, so you can have an idea what it looked like:

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When you use photoshop to turn that image into a black and white image, and then reverse it from a negative, and then clean it up a bit and play around with the brightness and contrast, here’s what you end up with:

Found Film: Yellowstone Roll 1…which I think is pretty cool.  Google’s “search by image” function will reveal that this is Artist Point, “one of the most photographed views in Yellowstone.”  It’s a snapshot taken nearly half a century ago, which ended up forgotten in the back of someone’s closet, until now.  Here is another shot, from the Jackson Hole website, taken from nearly the same spot, in 2006:

canyon_1a 2006

Here is another shot, also followed by a recent counterpart – sent to me by my wife’s cousin, Lynn Daniels Anderson:

Found Film: Yellowstone Roll 1

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This one’s probably my favorite in this group.  I’m amazed at the detail that is still visible in this film from so long ago:

Found Film: Yellowstone Roll 1

And then there are a few more:

Found Film: Yellowstone Roll 1

Found Film: Yellowstone Roll 1

There were 13 rolls in total – some of them didn’t turn up any pictures at all, but there are a lot more great Yellowstone (and other) photos to come. I will post the rest on future “found film” Fridays. You can see all of the photos from this batch at this Flickr Yellowstone album, or see all my “found film” in this Flickr “Found Film” album.

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Multi-Camera Composites

I came across an interesting image-producing technique a few months ago, the “multi-camera composite,” on the Flickr page of Tony Kemplen.  [Sidebar: Tony Kemplen is known for his “52 film cameras in 52 weeks” project, which he started in 2010 and is now in his fourth year.]  The idea behind the multi-camera composite is, you take multiple pictures from the same spot, using different cameras, and then stitch them all together using Photoshop.  Here is one of his examples:

St. Andrew's Church

So I thought I’d give this a shot myself. The challenge, of course, is to find a good subject. You usually find a good subject when you happen to NOT be carrying 4 or 5 cameras around with you. And vice versa. Also, when you take a few photos with different cameras, you have to fill up all the rolls before you get them back, and remember what you were up to when you started.

So here is what I came up with. I tried photographing along the length of an old building in town. But I think it’s better if you don’t leave gaps.

Building Composite

From left to right, the first, second and fourth camera are from a 1950-ish Kodak Retina 1a and some inexpensive Kodak film; the third photo is a 1957-ish Ricoh 500 with Fuji Superia film; and the photo farthest to the right is from a mid-1990s Ricoh Kr-5 Super II, using TX100 film. So another option was to grab just a couple of photos, and see how that would look:

Building Composite

The photos are from a 1957-ish Ricoh 500 with Fuji Superia film; and the b&w photo is from a 1950s Kodak Duaflex II with old, expired Dynapan brand film.

I tried the same thing at another location, from a bridge spanning the Adyar river. For the first one, the color photo is taken with a 1957-ish Ricoh 500 with Fuji Superia film; and the black and white photo is taken with an early 1990s Ricoh Kr-5 Super II using Kodak TX-100 film. So yes, the camera with the black and white film is almost 40 years newer!

Bend in the Adyar

Bend in the Adyar

In the second photo, the color photos are both taken with a 1950s Kodak Retina 1a using cheap Kodak 400 film (they look different because I changed the light settings); and the b&w photo is a 1950s Kodak Duaflex II with old, expired Dynapan brand film, from “who knows when.”

For a few other combinations, you can check out this album on Flickr.

I’d be curious if anyone else has ever tried this.

There is a similar technique I’d like to try which involves taking a bunch of photos in rapid succession, all slightly different, and then mashing them together.  I did one of those by mistake using a film camera – a Canon FTb I was testing out got stuck at the end of the roll of film (it would no longer advance).  As a result, the photos I was trying to snap of this guy washing his cows all ended up on top of each other.

Accidental Composite

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Kasimedu Fishing Harbor

At the northern end of Chennai’s coast, just north of the Chennai port, where, at any given time, hundreds of trucks stretch in a long line waiting to load or unload goods, is Kasimedu fishing harbor – also known as Royapuram fishing harbor, for the town section nearby.

The harbor has a capacity of 575 fishing boats, but the space is currently used by 1,395 boats.  This number includes six hundred 45-foot boats (each operated by 11 people); two hundred 30-foot boats (each operated by 4 people) and three hundred fiber boats with outboard motors (each operated by 3-4 people.  Plus hundreds of catamarans.  Here is a clip of the harbor from the air:

The harbor includes an auction hall visited by nearly 30,000 daily, with 200 tons of fish being sold every day.  When I went to visit, a 45-day fishing ban was in effect – it runs from April 15 to Ma 29, and is designed to give the fish time to breed.  So there were not many fishermen.  However, the area is also home to a boat building/repair area, and when we arrived early in the morning, the men could all be seen heading to work.

Dock Workers

Some of the boats looked like they had been there for a long time, in a state of permanent disrepair.

Seen Better Days

However, others were actively being built or refurbished, and it was clear that there is quite a bit of shipbuilding know-how here, with big fishing boats being built with relatively simple tools.

Shipbuilding

And then there was this guy, bathing his cows.  You don’t see this every day.  He brought his cows down to the water and was scrubbing them as they stood patiently, even down to washing their tails by hand.

Washing Cows

Others were hard at work doing who-knows-what on their boats while the fishing ban was in place.

Boat Workers

It was a pretty good day for pictures. Some of the photos you see above were taken with one of my favorite cameras, a Kodak Retina 1a, an early 35mm camera made from 1949 to 1954. But I also had an opportunity to test out a 1971-73 Canon FTb that I got in a box of cameras I ordered, but was missing its winding knob, had no battery, and no lens. I bought a cheap 80mm lens and you can actually get a winding knob loose, and screw it on. The light meter still doesn’t work even though I found a battery for it. But I think the pictures turned out pretty good. These are a couple of my favorites.

Fishing Boats

Fishing Boats

And finally, this one:

Hull Number

If you’d like to see additional pictures from Kasimedu harbor, you can check out this album on Flickr.

Also, this is a pretty good short documentary clip someone did about the actual fish market, which we didn’t see.

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Found Film Friday: Two Dim Color Rolls

With old film, conventional wisdom says it’s best to develop it in black and white chemicals, regardless whether the film was originally color film or black and white.  Apparently the different colored dyes not only break down more quickly than black and white chemicals, but also at different rates.  I decided to try anyway with two older rolls of color film, of the same type, but different sizes.  The larger roll looked like this:

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The smaller roll was similar, but 127 size.  And it turns out that conventional wisdom was accurate, as both rolls are not only dim and hard to make out any images, but you can also see where the colors have degraded at different rates.

The smaller roll was found in a Kodak Starflash from Kentucky.  A Kodak Starflash is a relatively inexpensive plastic camera from the late 1950s and early 1960s that looks kind of like this one:

Brownie Starflash

Despite being pretty cheap, it is possible to take somewhat decent pictures with this camera.  Here’s one I took recently with one:

Oregon Ghost Town

These are the only four pictures that came from the roll.

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I’m not sure what’s going on in the last two photos – some sort of harvest decoration – pumpkins and cornstalks? Anyway, I like the fashion of the day in the first two.

In the case of the second roll, the seller helped try and figure out the origin of the film.   apparently she had a collection of cameras, and this particular roll was inside one of those cameras, a Kodak Tourist folding camera.  This model was a pretty high-end camera for its time – 1948 to 1951 – and can be seen below.

Kodak Tourist Folding Camera - 1950 or so

In any case, she notes that the roll was in the camera for “at least 25 years, maybe more since I don’t remember when I purchased this camera.”   However, despite the age of the camera, the film itself was not introduced until 1972, meaning it is anywhere from 25 to 40 years old.  Apparently the owner left the film unnoticed in the camera until very recently.

I’m guessing the camera’s owner (before the person who sold it to me) used her last roll of film to document what looks like a holiday season dinner for two. Or maybe several dinners.  Maybe the dinner didn’t go well, or maybe it went well, but in either case, she never bothered to develop the film.  The photos show the same uneven, age-related color dye degeneration as the roll above.

The photos probably would have turned out better in black and white, but at least I gave it a shot.

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…and in the final photo, we catch a glimpse of who must have been the dinner guest.

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Repurposing Indian Doors

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If you have an old camera or two, it looks nice on a bookshelf with a couple of hardcover books.  But what do you do with 75 old cameras?  Who has that many bookshelves?

It seemed a shame to have them packed away out of sight, but I wondered what kind of shelves would be appropriate to display so many old cameras, ranging anywhere from 40 to over 100 years old?  And I thought to myself, “What about repurposing some old doors?” (the other en vogue term is “upcycling”)

Blue Door

R.G. Swamy Electrical works

Driving through Chennai, you come across different “groupings” of shops – there will be a row of hardware shops, then a row of shops selling clothing, then a street with construction items…and eventually you will come across an entire section of road where they are selling nothing but doors. Old buildings are demolished, and the doors, often much more ornate than the ones above, are purchased, sanded down, refinished and turned into new doors. So I stopped by one of these shops and in broken English the shopkeepers kept asking about the size of door I needed, and showing me their newly refinished doors. I kept confusing them by going back to the stacked doors they hadn’t had a chance to strip yet. Then, once I had picked a few “half” doors out, they insisted they would finish them and repaint them, and this led to even more confusion.

Eventually I managed to convey that I wanted their dingy old doors with the chipped wood and multiple layers of paint peeling off, and then, once they realized I was crazy AND had some money to spend, the bidding war began. I’m sure I paid way more than I needed to. But I got my doors.

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Technically, they’re all “half” doors – each of these would normally be connected with hinges to another just like it, latching to another pair (again, see photos above).  After dusting them off a little, I sawed them all in half lengthwise, and paid something like pennies for a dozen or so metal brackets and screws to hold them up.

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Then, using some acrylic craft paints, I mixed colors to roughly match the natural wood and the layers of paint, and successively painted splotches of paint to make the brackets look like the doors.

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Finally, lots of measuring and drilling, and the shelves were hung on the wall.

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Finally, it was time to load them up.  Here’s the end result.  Now all that is needed is some lights to illuminate them properly.

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We Two Ours One

As foreigners living in India, we constantly see things around us that leave us scratching our heads.  There’s simply not enough time to chase them all down and figure out what they mean, so often we just accept them and move on, and eventually stop noticing.

But every now and then, we figure one out.  And just for a moment, we feel like we’re finally starting to fit in, and maybe just for a few minutes we don’t feel like the lost foreigners we are in this strange land of a billion people….

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Painted on the back of nearly every truck – er, lorry (because we fit in now), are various combinations of the words above.  They all say “sound horn” and “stop” – pretty much as viewed above – or sometimes it will say “horn OK please”.  And very often, somewhere it also says “we two ours one”.

So here’s the story, or at least as I’ve been told.  Apparently, the Indian government created a slogan to encourage people to think about family planning – in Hindi, it’s something like “hum do, hamare do”.  And the meaning is probably much more obvious in Hindi, but in English, it’s “we two, ours two.”  As in two kids.  And I’m also told that when lorry drivers went to register at the local transport registration office, they were encouraged to paint this slogan on their trucks to help promote awareness.  No word yet on whether they got a tax break or whether it was mandatory.

And after awhile, in this land of 1.2 billion people, the slogan was “upgraded” to “we two, ours one.”  Which apparently doesn’t make that much sense to the general public.  This Indian blogger talks more about it, as well as sharing what he thinks about population density overall.

So now we can rest a little bit easier, because we know a little bit more.

Unfortunately, I still haven’t decoded the purpose behind  “sound horn,” “horn OK please,” or the ubiquitous “stop.”  But it’s good to leave some mysteries unsolved for the time being.

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Found Film Friday: Year Round

This week’s “found film” is the last of four rolls that were found in a storage unit in Worcester, Massachusetts.  There’s not a whole lot to say about this week’s roll, other than it makes me think of how we used to take pictures, compared to how we take pictures now.   This 24-picture roll spans the seasons – there are a handful of shots from Christmas, some baseball shots, kids in shorts in the summertime. I thought it was taken over a six month period, but there’s a young boy who clearly ages a couple of years from one photo to the next – so it’s a roll of film that was probably taken over the span of two or three years.  Nowadays, we’d take that many in five minutes.

This week’s roll is also is interesting in that it’s a roll of “Advantix” – Kodak’s brand of film under the “advanced photo system.”   APS or Advantix film didn’t last very long – it was sort of a stepping stone between completely analog film, and today’s digital cameras, in that information about the photos was stored in the cartridge, to assist in processing.  The film itself was also stored in the cartridge after processing.  The format was introduced in 1996, and was discontinued by Koday in 2004 – and by others in 2011.  So this roll is likely about 15 years old. That fits with the VHS tapes in the living room – no CDs or DVDs to be seen.

I also like that this family displays a large poster of Bruce Lee in their living room…

I decided not to share a couple of the photos, though I’m sure the family who took them would have appreciated them for their own photo album; they are of kids on Christmas morning, in an expression of joy – but in their early Christmas morning underwear.

It’s also interesting to think about this – a roll of film gets spread out over a couple of years, and this is what they took pictures of?

Let’s all have a smoke!

Check out the VHS tapes and the cassette player!

Don’t the picture above and below seem to be the same kid at different ages? Maybe I’ve got it wrong? Although this is the baseball shirt from the kid with the bloody nose…

I love what she’s done with the sleeves on that t-shirt!

Christmas recital!

Love me some Bud Ice on Christmas Eve!

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Celebrating Five Years of TAZM Pictures

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On the occasion of TAZM Pictures celebrating five years on the web, I thought you might be a bit more forgiving as I write a more self-indulgent post (wait, aren’t they all self-indulgent?).

tazmpictures dot com….but why make a website?  No, it’s not because “everyone has a website.”  Actually, the initial idea for TAZM Pictures had to do with making videos.  I had been editing videos in some form since 2004 or so – if you don’t count in-camera editing or the camera-to-vcr editing I did from the early 90s.  In 2006, a tour in Afghanistan with an 8mm (digital) tape camera and many spare late night hours practicing with our digital editing suite really got me hooked on the art of recording and editing video.  In February, 2007, I uploaded my first video to YouTube.  It was pretty lame, but I wanted to test out this “new” website for video – “you-tube” – that everyone was talking about.

Back then, it was already technically possible for anyone to do nonlinear video editing on a home computer, but not many people were doing it yet.  The software was still clunky and expensive, and it hadn’t really caught on with the masses.  But I thought it would be fun to “brand” my videos and started tagging them with “a TAZM Pictures Production.”  I thought it might even be possible to make money editing short videos, maybe to help illustrate products on websites.  So I started asking around how people were making websites these days, and my friend Jamie told me how I could buy a domain name, and suggested WordPress as a way to create a site.  After a whole lot of trial and error in March and April of 2009, I finally got TAZMPictures dot com as a way to offer video editing and other services, and in parallel, I blogged about home video editing.

The name TAZM Pictures is nothing more than an acronym of my family’s first names.  Many of my first videos were collaborations with “M”, especially.  Now that one (Z) has moved out and the other (M) is soon to follow, I thought about a rebranding – but “T and A Films” just doesn’t have that same ring to it!

Unfortunately the business end of things never really took off, as more and more people were starting to do the low-end video editing thing themselves; and people were willing to spend thousands to get a high-end video for other purposes.

So then we turned to video contests.  Most of the early ones (and many still today) were basically just companies trying to “crowdsource” cheap video ads for them, and then publicizing them by having contestants competing for public votes.  In the beginning, it was still pretty easy, as there weren’t that many entries in each contest.  Our first video contest, a collaboration with my youngest, ended up netting us both prizes – a new laptop for her, and a copy of Adobe Premiere Elements (4) for me!  We’re still pretty proud of that video:

In the beginning, the contests were lots of fun.  We ended up winning a few laptops, software, and well over $1,000.  But they quickly became frustrating – you’d put hours and hours of work into them, and then, inexplicably, the judges would choose one that didn’t follow the contest rules.  Or (what we considered) an inferior video would run away with the popular vote prize.  As the prizes stopped rolling in, the biggest honor was that the Armed Forces Network would shamelessly copy one of the ideas I had submitted to an Army Safety Contest:

All of the contest entries we created during that time can be seen here and here.

My youngest and I also collaborated on the first “how-to” videos I did – which I quickly learned were very popular on YouTube.  In fact, with almost 220,000 views, this simple video on how to make a fishpond is the most popular video of the 219 videos I have posted on both the TBrouns and TAZMPictures channels. And it’s followed closely by a video on how to make a henhouse.

Then came retirement from the military.  I think I had pretty much accepted I wasn’t going to make any money at this, around the time I made this silly video, which started out as an attempt to mash up two songs, “da da da” and “La Bamba”, and then I had to figure out what kind of video footage might go with it.  This was the result:

Not everything during this period was silly – as YouTube clamped down on copyrighted music, I was forced to make my own, like in this little documentary (my first, I think), about a baby blackbird in our yard; or this mood piece about windmills.  [Some of the music I did is available above, under the “free music” tab]

But eventually it became time to go back to work, and we moved to Namibia – a photographer’s and videographer’s paradise!  We did so many videos in and around Namibia – I can’t even begin to choose a favorite.  If you’d like to browse them on your own, a playlist of some of the better ones is embedded below.  If you click on the title at the top, I think you can select the individual videos.

But it was in Namibia that really steered TAZM Pictures toward photography.  In Namibia, you pretty much just point a camera in any direction and press the button – it’s hard to fail.  Fortunately, I uploaded the best photos and videos, because Namibia is also where I had a camera and 2 laptops stolen from my home.  The best photos from Namibia are in this collection.  And of course, there was also Madagascar.  And Victoria Falls.

It was also in Namibia that our involvement with vintage cameras began.  Again, my youngest, who has been most involved in the videos, was the catalyst.  She asked about an old vintage camera we had sitting on a shelf for years, wondering if it would still work.  And we ordered film for it from Amazon within the hour.

Within a year, the vintage camera collection would balloon to over 75!  You can see the whole collection, and what I’ve done with them, at the tab on the top of this page.  Nearly all of them work.

And finally, there has been this obsession with Found Film.  And our move to India, which has resulted in a shift from wildlife photography to street photography.

But all of that has been recent.  This was meant to be a retrospective post.  I’ll talk more about the things we did in India, and places around, when TAZM Pictures turns ten.

In the meantime, if you’re interested in referring back to any of the posts of the last five years, I found something that makes it a bit easier to search the archives – click “Archives” in the top menu.  And added a “related posts” widget.

Posted in Random Thoughts, Observations and Weird Stuff | Leave a comment

Baby Olive Ridley Sea Turtles

Sea turtles have been on this earth for 110 million years, compared to humans’ 200,000.  If my math is correct, relating Earth’s 4.6 billion-year existence to a 24-hour clock would have seen sea turtles arriving at around 11:26 pm…and humans arriving at 11:59 and 56 seconds.  Yet we’ve been tremendously successful – there are now over seven billion of us.  No one knows how many sea turtles there are, because males never come to shore and are hard to keep track of.  Although they are listed internationally as “vulnerable”, it’s pretty clear their days on Earth are numbered, if we don’t help.

Olive ridley sea turtles are considered the most abundant type, of seven different varieties of sea turtle.  In 2004, it was estimated that two million females came ashore to lay eggs.  Four years later, this estimate was only 852,000.

The coast of Chennai, in southwest India, is one place where these amazing animals come ashore to lay their eggs on the beach.  An organization called the Tree Foundation, founded by Dr. Supraja Dharini, has done a lot to reduce the mortality rate of these animals, through outreach to local communities and actual intervention by reburying nests in protected locations and ensuring the hatchlings make it safely to the sea.

Sea turtles mate at sea, and the females come ashore to lay a clutch of about 100 eggs.  This is where things get dicey.  Nesting females are sometimes slaughtered, and while they are in shallow water, they are threatened by fishing nets and boats.  Once the eggs hatch and the young turtles make their way to the surface, they become food for all sorts of predators.  The hatchlings are drawn toward the reflected light of the sea at night, but in areas where development has taken place near the beach, artificial light draws them in the opposite direction, where they end up on roads, or dying from dehydration.  They usually return to the same beach every year to lay their eggs.

Organizations like Tree Foundation protect the eggs in hatcheries so that predators don’t dig them up.  When it becomes time to hatch, they will release them on the beach, and volunteers use lights to ensure the turtles know which way to go, as well as keep predators away to ensure the animals can safely reach the sea.  We had an opportunity to take part in this activity recently – it’s an amazing experience.  The video I made while standing in the water with a light is below, and it may be my most expensive video to date.  As I was filming the last little guy, a wave caught me from behind and doused the camera.  We’re waiting to hear from the repair shop but the prognosis is not good.

Enjoy the video.  You can see the founder of the Tree Foundation, Dr. Dharini, still participating in the release of the hatchlings.

Posted in Good Causes, Wildlife and Nature | Tagged , , , , , | 1 Comment

Found Film Friday: Hannah’s Tenth Birthday

This week is the second of three “found film” Friday posts in which I’m sharing film that was found (by someone else) in a storage unit in Worcester, Massachusetts.  The first post, last week, was a 110 cartridge from what appeared to be a young girl’s first camera.  I decided her name was “Hannah”, although the clue for that doesn’t appear until this week’s roll, in which she appears to be celebrating her tenth birthday!

The film is a roll of ordinary Kodak 35mm film.  Like the previous roll, it was never developed, so Mom and Dad have no record of that magical tenth birthday.  I think it serves them right, for having failed to develop Hannah’s 110 film, possibly having failed to nurture a hidden talent that would one day lead to greatness.

Found Film:  Worcester, MA roll 2

For Hannah’s tenth birthday, she chose a Tweety theme. But she also likes unicorns. And mom and dad let her hang unicorn posters in the dining room. For the party, anyway. Maybe all the time!

She also likes horses.

Hannah invited her best friends to her party. There’s this girl, posing in front of the 2-liter generic soda our moms all used to get when a dozen kids were coming over for a party:

And this girl:

Here they are again, with (probably) Dad in the background:

Here, let’s get a closer look at that guy.

And of course there were also grownups at the party.

All in all, it looks like Hannah had a pretty good time. Unfortunately, unless she reads my blog, she’ll have to rely on memory to recall her tenth birthday party.

By the way, there were two other photos on the roll, one of which told me this roll is from the late 1990s, or maybe 2000.

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Vintage: Testing the Houghton Folding Ensign 3 1/4A

If you’re at all interested in my occasional posts about trying to make old cameras work, read on – this one is the oldest one yet.  The Houghton Folding Ensign 3 1/4A was manufactured in London around 1912, and is gigantic by modern standards, at about a foot tall, 4 1/2 inches wide, and a good 2 inches deep.

Folding Ensign 3 1/4A

It has three shutter speeds – 1/25, 1/50 and 1/100 second – plus “B” and “T”, as well as six aperture settings ranging from f/4 (!) to f/128. Focusing is accomplished by moving the bellows – the front end clicks into one of four slots marked 5, 10, 25 feet and infinity. I wonder how much success they had with those options at f/4!

Folding Ensign 3 1/4A

“Victus” refers to the shutter, manufactured by Wollensak, and “G. Gennert” is Gottfried Gennert, who sold photographic supplies in the mid- to late 1800s.  You can see one of his catalogs here.  Possibly he supplied the lens for this camera – there’s not much information on the ‘net about the camera, so I’m guessing in some cases.

For a 102-year-old folding camera with leather bellows, this camera is in remarkably good shape. It’s common for folders half as old as this one to have tiny pinholes in the corners of the folds; sticky shutters; or any other number of problems. When I discovered that this one appeared to be in full working order, I wanted to see if I could actually take some pictures with it.

There was just one problem – the camera is designed for 122 film – “postcard” sized at 3.25 by 5.5 inches – which hasn’t been made for years. The widest film currently available is 120 film, which is just over 2.25 inches wide.  Below, a 122 spool is shown for comparison with a 120 spool.

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So…I acquired an old roll of 122 size “found film” (the roll had no salvageable photos, but I needed the additional spool and the used backing paper), and then I ordered some “sheet film” – which comes in 4×5 inch individual sheets. (As a side note, figuring out the packaging and directions for sheet film was a separate problem to solve.  I was afraid I’d open the box and inadvertently expose the whole $25 pack!  Check out this link if you’re curious about how they address these concerns and others)

In complete darkness, I used a piece of cardstock cut 3 1/4 inches wide to trim 4 sheets of 4×5 sheet film down to 3.25 by 5 inches.  I had prepared by marking the backing paper where the first four exposures were indicated with a tiny piece of masking tape.  This is necessary because you manually crank the film forward and the number on the back of the paper tells you when to stop.  See the photo below.  The idea is to have a sheet of film (in the box) at the right place in the camera (facing the lens) when the little number 1 is showing in the window at the bottom left of the back of the camera.

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Then, in the dark, I unrolled the backing paper and taped four of the modified sheets to the backing paper with masking tape.

Just for the record, it’s really hard to tape things into place with masking tape in complete darkness.  But I rolled everything up, switched on the lights, and loaded up the camera.  Off to take some pictures!

I snapped four shots and came back home, planning to unroll the film in complete darkness.  I opened the camera and discovered that one of the four film sheets had somehow been pulled off the backing paper (messy masking tape job, probably) and was now taped exactly across the exposure area, blocking all the other film!.  Not only was this one ruined, there was no way to tell which of the four this was – if it was the first one, all the other shots would be ruined as well!

As it turned out, sheet #2 was the one that became detached, blocking sheets #3 and #4, as well as tearing the edges of the backing paper in about 10 places.  So in the end, I got one single picture.  You can even see the masking tape…

With a bit of editing and cropping, we have this result:

Not bad for a 100-year-old camera. How many of the cameras we currently own will perform as well in 2114?

I look forward to trying to salvage what I can of the backing paper and giving this another try.

Posted in Tips and Tricks, Vintage cameras | Tagged , , , , , , | 1 Comment