FRIDAY SURPRISE: Colored by a point of view.
Friday, August 20, 2010 Filed in:
Friday
Surprise!, History
In 1935, a fellow by the name of Roy Stryker went to work for the federal government. Specifically, he took over the job of managing the Historical Section of Roosevelt's Resettlement Administration. Almost immediately the organization morphed into the Farm Security Administration, and his section became the Information Division.
Without putting too fine a point on it, Stryker's job was propaganda - to give the Administration what they needed to justify spending money that they didn't have. To further this aim, he came up with an idea: he'd send out a bunch of photographers to make pictures that would both tug at America’s heartstrings and provide support for Roosevelt's policies. He gathered a bunch of talented people from varied backgrounds - writers, painters, and budding photographers - and sent them over the country to make pictures.
While we can certainly debate the means of the program, the ends were spectacular. Stryker's team shot over 164,000 pictures, producing hundreds of iconic images and launching the careers of many talented photographers. So good was the group that they would later be transferred to the Office of War Information to document the country’s entry into World War II, though their tenure would last only a year.
Of those hundreds of thousands of images they shot, only 644 were in color. Color film was quite expensive, even for the government's pockets, but more importantly couldn't be reproduced in the newspapers of the day. Its use was therefore quite limited, and the photos somewhat rare.
Here are 70 of those 644, including some from a couple of my favorite FSA photographers: Jack Delano and Alfred Palmer.
(What happened to Stryker? In 1943 he went to work for Standard Oil, who foresaw the need to polish their own public image. Several of the FSA photographers, now unemployed after the OWI cut them loose, went to work to make Standard look good. They succeeded, and the Standard Oil photographs of that period still stand as supreme examples of industrial photography. It’s too bad that Stryker died in 1975 - I’m sure BP could use his services right about now.)
-=[ Grant ]=-
|
FRIDAY SURPRISE: The Leopolds have left the building.
Friday, August 06, 2010 Filed in:
Friday
Surprise!, History
Last year we learned that the last roll of Kodachrome film had been produced at Eastman Kodak. This month, the Wichita Eagle informs us that final roll has been processed.
The roll was shot by photojournalist Steve McCurry, and the images on it range from New York to India to Parsons, Kansas - where the last Kodachrome processing line is located. It, too, will be going the way of the dinosaur this December, when the equipment will be shut down for good.
Bonus points: can you decipher the meaning of my title? Extra bonus points if you can do so without a search engine; super extra bonus points if you can tell me how 'Rhapsody in Blue' is related to Kodachrome.
-=[ Grant ]=-
FRIDAY SURPRISE: Cameras I Have Known - the Pentax KX.
Friday, June 25, 2010 Filed in:
Friday
Surprise!, Things I like
I'm fickle, in that my favorite things change frequently depending on what's in my hands at the moment. "This my favorite! No, THAT'S my favorite! Wait - that one is REALLY my favorite!" Fountain pens, .22 rifles, hats, revolvers (of course), and cameras.
Especially cameras. It's hard to pick just one.
What I do know is that I've shot more frames through one model than any other, by a wide margin: the Pentax KX. I'm not talking about the modern digital incarnation, but the original, all metal, mechanical, manually operated film camera. It was, to my mind, one of the best products ever to come from Asahi Optical and one of the best 35mm SLRs that I ever used.
Images courtesy of Turbof (http://adsl-065-013-121-247.sip.pfn.bellsouth.net/camera_collector/pentax/k/k.html)
The KX is one of those machines that turned out to be a lot more than the manufacturer probably intended. Introduced in the mid-70s, during a time when many other legendary cameras were being manufactured, the KX proved to be a worthy "semi professional" camera of great durability and superb image quality. It was competitive with and contemporary to the Canon FTb, the Nikon Nikkormats, and the upper portion of the Minolta SR-T series.
The KX was a medium sized camera, and its features were common for the day: depth-of-field preview, mirror lock-up, 1/1000 second shutter, aperture display in viewfinder. What set it apart were a couple of things that its competitors didn't have: shutter speeds displayed in the viewfinder and a new, sensitive but linear silicon blue meter cell.
The only camera that really compared to the KX was the Nikon FM, introduced at the end of the KX model run. It was as if Nikon had taken direct aim at the KX, for their new model had features to rival the Pentax veteran (except, surprisingly, the mirror lockup.) The only advantage the new Nikon had was the MD-11 (later MD-12) motor drive. Even with that they were behind the curve, as Pentax had made a special edition of the KX that took a drive as well: the rare KX-Motor body.
Images courtesy of Turbof (http://adsl-065-013-121-247.sip.pfn.bellsouth.net/camera_collector/pentax/k/k.html)
The KX-Motor was exactly like the plain versions, with the addition of the mechanics and circuitry necessary to run a slightly modified version of the attachable motor from the Spotmatic MD model dubbed the Motordrive II. There was no external indication, other than the baseplate, which indicated that this was a special-order-only camera. Since the entire KX model line was only made for three years, that makes KX-Motor one of the rarer Pentax products.
I owned a number of KX cameras, and was fortunate to count two KX-Motor bodies among them. At the time I knew they were uncommon but only now realize how rare they actually were!
KX bodies came in both chrome and black finishes. The black bodies were enamel over brass, which was the common construction method of the time. I once stripped the worn enamel off the brass pieces of one of the bodies, polished them until they were mirror bright, then applied clear lacquer to keep tarnish away. The result was stunning and I became known as "the guy with the gold camera." I later sold that body to a friend to fund my move to Olympus OM equipment...a story unto itself.
In use the KX proved to be a true photographer's tool. Controls fell perfectly to hand, everything worked smoothly, and the silicon blue meter was accurate down to ridiculously low light levels. Of course the quality of Pentax lenses was never in doubt, and the images produced by the combination of body and optics were always superb.
None of that would mean much if the camera didn't hold up. I admit to being rough on gear, to the point that the guy who repaired my cameras regaled his customers with stories about damage sustained by my cameras in various mishaps. Twenty years later he’s probably still telling them!
The KX was incredibly rugged even in my hands, and it's one of the very few cameras that I was never able to break to the point that it wouldn't function. I've broken many others, but despite the heavy use to which I put them never had a KX fail. (Wish I could say the same for Pentax's "pro" camera, the LX.)
KX bodies accompanied me on both personal and professional assignments, from standing in the middle of rivers to crawling around the dirty confines of a foundary and everything in between. I knew that I could always rely on them to bring back the images I needed. They weren't the flashiest or most impressive bodies (save for my special gold model), but they always delivered top notch pictures.
-=[ Grant ]=-
FRIDAY SURPRISE: Cameras I Have Known - the Kodak Retina IIIS.
Friday, May 28, 2010 Filed in:
Friday
Surprise!, Things I like
At one time I was a devoted fan of Leica rangefinder cameras. I owned many of them over the years, culminating with a beat-up example of the much maligned M5 (2-lug) model. Like many photographers I held a special place in my heart for the legendary Leica M3, though mine was the less desirable (and thus cheaper) double-stroke version. One could say that I was something of a Leica snob, and that wasn't too far from the truth.
This makes my favorite rangefinder seem somewhat odd, because it wasn't a Leica.
At one point I picked up a Kodak Retina IIIS rangefinder for next to nothing, largely because I thought it would be a nice decoration on my bookshelf. Along with it came a 50mm f2.8 Schneider Xenar, a superb 35mm f2.8 Schneider Curtagon, and a 135mm Schneider Tele-Xenar. The camera and lenses were in near-mint condition, having been traded in on a more modern 35mm SLR with zoom lens.
The Retina series of cameras were made in Germany by the Kodak-owned Nagel Camerawerk. Most of them were small folding cameras, but the IIIS was unique: it was a solid body rangefinder with interchangeable lenses. It was a large, heavy camera compared to the Leicas (or the rest of the Retina series), but it boasted a large, bright viewfinder with automatically changing framelines and parallax correction!
Courtesy of the superb Retina IIIS article at www.cameraquest.com/ret3s.htm
The viewfinder was terrific, but the really great thing from my perspective was the shutter. The IIIS had a between-the-lens leaf shutter sourced from Compur, which meant that it could flash synch at all shutter speeds. More importantly it meant that the shutter was quiet. Very, very quiet. Next to the IIIS, a Leica M3 sounded like a bomb going off. Those who know the Leica cameras and their reputation for stealth might be amazed, but it was true; even the photographer often couldn't hear or feel the Retina shutter fire.
This made it ideal for surreptitious shooting, but especially for such things as concerts and plays. While the lenses weren't terribly fast, thus limiting their indoor capabilities, it was possible to make very good available-light shots with the camera. I did so on many occasions.
I also loved the depth-of-field indicators. They were two red pointers on either side of the focus point mark, and as the aperture was changed they moved in or out (in sync, one moving left and one moving right) to indicate the zone of acceptable sharpness. This was similar to the way the lenses on the Hasselblad cameras worked, and to this day I miss that unambiguous display.
Over time I grew away from the rangefinder in general, finding the newer compact SLRs to easily take their place. Except for the noise, of course. Today I'd love to have a good digital rangefinder camera, but the only one currently being made is the insanely priced Leica M9. (A solid contender, the Epson RD-1, was recently discontinued and the prices have skyrocketed well past "reasonable." There are some others that boast add-on digital viewfinders, but they stink. The viewfinders, I mean!)
-=[ Grant ]=-
FRIDAY SURPRISE: I'd like a Meatball Marinara please. Oh, wait...
Friday, May 14, 2010 Filed in:
Friday
Surprise!, Things I like
...wrong subway!
I found this some time ago, and thought it was an intriguing site in the growing "abandoned things" genre. It's not just about subways, either - photographer Shawn Dufour has lots of cool sites pictured: factories, hospitals, even a railroad yard.
Have a look at abandonedsubwaytunnels.com
-=[ Grant ]=-
FRIDAY SURPRISE: Cameras I Have Known - the Minolta XE-7.
The XE-7 is one of the cameras I've admired from afar, but never actually owned. This wasn't because of any lack of the camera itself, or of the superb Minolta lenses, but simply because it had been discontinued several years before I got involved in photography. The XE-7's successors weren't nearly as interesting, and their lack of a reliable "pro" camera throughout their history meant that there was no upgrade path. That left the XE-7 sitting on its own little photographic island.
But what an island it was!
Photo courtesy of Stan C. Reade Photo, http://www.stancreade.com
The XE-7 was rumored to have been developed "in conjunction" with E. Leitz, the makers of the famous Leica line of cameras. I'm not sure that was the case, as a tear-down reveals significant similarities to the XK model, introduced in 1972, and both preceded the rebranded Leica R3 version by several years. That assertion does, however, give one a good feel for just how well the XE-7 was built.
The shutter, sourced from Copal, was quiet and accurate. Film advance was as smooth as anything ever made in the 35mm field. Metering was predictable and accurate (as long as the aperture follower, which coupled the meter to the lens, stayed clean - a common weakness of all Minolta MC/MD mount cameras.) The camera was just a joy to use, and those times I took to the field with borrowed XE-7s were magical. The camera was responsive and easy to adapt to; the images were clean, clear, and had wonderful contrast.
Part of the stellar performance was, of course, due to the Minolta Rokkor lenses. Minolta produced some of the very best optics to ever come out of Japan; to this day, knowledgeable photographers wax poetic about the color rendition of their designs. (They were good enough that Leica bought several Minolta lenses, with no change other than mounts, to round out the lens line for their SLR cameras.)
The camera proved to be fairly rugged, the aperture follower issue notwithstanding. One of my colleagues had a pair of them that he used extensively while working as a photojournalist, and they looked like they'd been through a war zone. They still worked perfectly despite the abuse.
Sadly, the XE-7 was discontinued in 1977 to make way for the more modern XD series of cameras. While the XDs were certainly smooth, nicely functioning machines, they weren't the photographer's tool that the XE-7 was. It was because of the lackluster XD that I generally ignored Minolta, despite their uncompromising optics.
-=[ Grant ]=-
P.S.: Regarding Minolta "pro" cameras - yes, I know all about the XK and the XK Motor. I also know, far too well, how unreliable those cameras were in actual use. The XK Motor, in particular, was perhaps the least reliable "pro" camera I've ever seen, with many examples making multiple trips to Minolta for repeated repairs. I liked the XK, and to this day feel the XK Motor to be one of the nicest-handling large SLRs ever made, but they just didn't have what it took in the durability department. More's the pity.
What I did during Spring Break.
I just returned from a visit to Virginia Beach, where I attended the Combat Focus Shooting Instructor Development (CFSID) course. I've been searching my brain for a one-word description of what the class is like, and this is the only thing that even comes close:
OhHolyCrap.
We spent 4 days and just shy of 60 hours learning the ins and outs of Combat Focus Shooting so that we could accurately and efficiently communicate the program to students. We spent the first of those day on the range...no, that's not quite right; for any other course it would have been the first day, but for us it was roughly half of the first day, as the entire session ran well past 9pm. The rest of the week was spent not on becoming better shooters, but learning to be better teachers.
We studied a little of everything: anatomy, physiology, neurophysiology, psychology, philosophy, and more. By the end of the fourth day, which is when testing was done, my brain was fried. I don't even remember the final written test, but I do remember nearly passing out somewhere on page three (serious blood sugar drop, complete with tremors and sweating.)
Apparently I finished it. At least, I think I did!
This isn't like most other instructor courses. Most of the time, an instructor certificate is a matter of showing up, shooting well, and having your check clear. CFSID is different; Rob Pincus is committed to producing good teachers, not just good demonstrators. That showed in the caliber (pardon the pun) of the people who were there, as I'd be confident in recommending any one of them as a competent and knowledgeable instructor.
There's a reason that, historically, less than 50% of Combat Focus Shooting instructor candidates pass the course. It's that tough, and takes a phenomenal amount of mental discipline just to make it through.
----
As it happens, my return trip routed me through Chicago, where I spent nearly three hours waiting for my next flight. Turns out that Tam was in Chicago at the same time. Wish I'd known, I'd have loved to finally meet her.
----
We also got to study some (unintentional) modern art, courtesy of an ancient video projector that refused to hold a sync signal with Rob's new MacBook:
Yes, that's Rob Pincus getting all Warhol on his students.
----
I don't usually plug local businesses, but this one deserves it.
The day before I left, I discovered that my old camera had died. It powered up, but none of the controls worked. (It will still take pictures, but the exposure control is fried and the autofocus appears to be only sporadically active.) We had planned to upgrade our camera later this year, but this forced our hand: we needed it now.
I spent that day not packing, but running all over Western Oregon to find the camera I'd decided on. I finally found the body, but the lens I wanted wasn't in stock anywhere. I decided to pick up a used optic as stopgap measure, while I waited (and recovered financially) for the one I really wanted. Trouble is that none of the camera stores I called carried much (or any) used equipment. About that time I remembered seeing a yellow pages ad for a little one-hour photo place located in a small town fairly close to us. I had it in my mind that the ad said something about used cameras, and since phone calls are free I dialed their number. A pleasant young lady answered the phone and said that yes, they had used gear and that they had several suitable lenses for me.
What I found when I walked into Focal Point Photography blew me away. This is a tiny shop, located in a small farming community in a rural area, and it is filled with photo gear. From Speed Graphics to the Canon EOS 5D Mark II, these folks have a little of everything. Piles of used gear (literally), a surprising selection of lighting equipment new and old, even darkroom stuff, all stuffed (literally) into a two-story building in little ol' Dallas, Oregon. It was like going back in time, to what camera stores used to be before the age of big-box homogenization. I don't know if they do mailorder, but they're so accommodating I suspect they would. If you're looking for just about anything photographic, particularly if it's out of production and now hard to find, give them a call: (503) 623-6300.
I have no affiliation other than as a satisfied, if somewhat amazed, customer.
----
Now, I'm back to catching up on your emails!
-=[ Grant ]=-
FRIDAY SURPRISE: Cameras I Have Known - the ICA Universal Palmos.
Friday, April 16, 2010 Filed in:
My Life, Friday
Surprise!
You may recall that I spent some time as a commercial photographer (and general photographic genius) back in the '80s. During that period I used a wide variety of cameras and lenses, and probably spent an amount exceeding the economies of several Caribbean nations on my vocation/avocation.
Over the next few Fridays, I'll be talking about some of the cameras I've used extensively, or have had close contact with, during my career. For those who lived through the end of the film era, this will be a trip down memory lane. For those who came of age after the digital revolution, here's your chance to hear what things used to be like. (For your benefit, I'll work in a solid rant at the end of the series.)
The camera I've chosen to start is one which even hard core photographers won't recognize: An obscure ICA 9x12cm folding field camera called the Universal Palmos. ICA was one of the four European photography/optics concerns which, in 1926, merged to form Zeiss-Ikon. (Zeiss also marketed a model called the Universal Palmos, but it paled in comparison to the ICA model.) The Palmos utilized 9x12cm sheet film, which was sometimes referred to as "the European 4x5."
The Universal Palmos was reminiscent of the company’s better known “Maximar” model, but had a longer double extension track. The track had two focus knobs, one for the back and one for the front. They could be used singly, but in combination would extend the bellows to the full length of 16”, allowing satisfying closeup shots. Once focused, the knobs could be pulled out to lock the track(s) in place. Even with the tracks fully extended, the camera was still rigid. A better large format field camera one could neither want, nor find. The terminally curious can download the 1925 ICA catalog and see a full description of the machine.
Courtesy of www.liveauctioneers.com
Like all ICA products, it was superbly built. The range of movements on the front standard were greater than any "press" camera, and it had sported a real rotating back. The focus and sliding/rising front controls were gear driven, and machined to incredibly close tolerances. There was no backlash or slop in any of the controls. The metal was finished in a deep, glossy black enamel and the controls were nickel plated.
The 9x12 film was a bit of a problem. While not unknown here in the U.S., it wasn't available in the wide variety of our own 4x5" format. Luckily the two formats are very close in size, and I was able to fabricate a clever adaptor that allowed me to attach a Graflok back while retaining the rotating feature of the camera. I was even able to use a Grafmatic film holder for the ultimate in rapid-fire large format photography!
A slightly larger problem was the lens mounting plate. It was a circular sheet metal affair, which sort of bayonetted into three pegs on the front standard. I was able to demount the old lens and mount a slightly more modern optic, and an acquaintance with a metal shop was kind enough to fabricate a second for me. The small lensboard was serious restriction on the size and maximum aperture of the lenses I could mount, but this was a field camera, not a studio tool - the slower optics weren't a hinderance in the great outdoors.
I shot more 4x5" film through the ICA than through all of my other large format cameras combined. It was handy, compact, superbly constructed of fine materials, and boasted capabilities that no contemporary field camera could match. The fact that I got it for less than $20 was just icing on the cake!
-=[ Grant ]=-
FRIDAY SURPRISE: A shell of former glory.
I usually eat my breakfast in front of the computer. I check my personal email, look in at Twitter and Facebook, read George Ure's blog, look at all the blog feeds to which I subscribe, and maybe even check what's for sale on Craigslist.
One of the Facebook updates this morning was from Rob Pincus, who is heading for Rochester (NY). That brought back memories, as in my former life I traveled to Rochester on an occasional basis, one time staying for the better part of two weeks. Astute readers will deduce that these trips had something to do with the Eastman Kodak Company (EKC, as it was known - Kodak was extremely fond of acronyms and abbreviations), and that deduction would be correct.
In the early- to mid-Eighties, which is when I visited, Kodak owned most of Rochester - and what they didn't, Xerox did. Kodak's facilities were huge even by Detroit standards, all based on sales of film and associated equipment and supplies. As digital photography eroded film's dominance, Kodak (which had been willfully dismissive of the digital threat throughout the period under discussion) saw their business decline precipitously.
Barely into the new century, Kodak was closing buildings at a rapid pace. They demolished a few, auctioned off some others, and sold what they felt they didn't need but which would still generate cash. One of the latter was a complex known as the Marketing Education Center, or - in EKC-speak - MEC.
MEC is where they held seminars, training sessions, and business meetings. Every time I went to Kodak, MEC is where I ended up. It was a gorgeous campus, looking more like a community college than a corporate office.
MEC sat next to the Genesee River, and featured a dining hall with floor-to-ceiling windows that looked out over the river and a placid meadow. The view from the tiered seating was so perfectly New England, regardless of the season, that visitors joked the windows were actually Duratrans - Kodak's trade name for large, backlit transparencies. The food was't bad, either!
This little trip down memory lane got me to wondering: whatever happened to MEC? As it turns out, pretty much nothing. Kodak cleared out and sold it for about $3.5 million to an investment concern in 2004, and it appears to be sitting vacant today. The campus, with 120 acres and four buildings, is currently for sale at an asking price of only $9.9 million.
(In researching this, I came across the blog of a Rochester ex-pat whose family worked for EKC. She chronicles the decline of George Eastman's once-great empire.)
-=[ Grant ]=-
P.S.: Speaking of acronyms...at one point Kodak decided to do some corporate reshuffling, and the technicians who serviced their large photofinishing and photocopying equipment were inexplicably transferred to the control of the newly renamed Consumer Equipment Service. At roughly the same time, those technicians were given the title of “Field Engineers.” The in-joke was that since they were now FEs, working for CES, that their corporate acronym was to be FECES. Upper management was not at all amused.
FRIDAY SURPRISE: Motor City throws a rod.
Friday, February 26, 2010 Filed in:
Friday
Surprise!, History
The decline of Detroit fascinates me.
For many years I've wandered the Northwest visiting ghost towns and abandoned settlements, and always in the back of my mind are the unanswered questions: why did people leave? What was is like to live in a dying town? When did people finally figure out that their town was destined for the dust bin of history? Did it happen suddenly, or was it a slow, agonizing extinction?
These questions come to the forefront as I watch the continuing downfall of one of America's proudest cities.
I'm not saying that Detroit is going to disappear like, oh, Bourne (Oregon) did. It might, it might not. But it's clear that the city's contraction leaves much doubt about its future, and the glorious past of the former powerhouse remains to confront and confound the present residents.
There are lots of great galleries of decaying Detroit around the 'net (I"ve linked to one or two of them), and Yves Marchand and Romain Meffre have produced some of the best.
-=[ Grant ]=-
FRIDAY SURPRISE: Angel wings.
Friday, January 22, 2010 Filed in:
Friday
Surprise!, Completely
irrelevant
Aircraft, as you may have heard, are vulnerable to missiles. Whether launched from the ground or another aircraft, even a small missile can easily down the largest plane. One of the few defenses to an incoming missile is the dispensing of chaff (small metallic particles/strips) and flares, both of which are intended to fool the navigation systems that guide missiles to their prey.
What's odd is how pretty those countermeasures can be.
Even odder, this pic - along with many others - can be found at a site called Environmental Graffiti.
-=[ Grant ]=-
FRIDAY SURPRISE: The Final Frontier.
Friday, January 08, 2010 Filed in:
History, Friday
Surprise!
Recognize this?
Yes, that's the famous Apollo 8 picture titled "EarthRise." Shot in 1968, it became an icon of America's space program. There are others, however.
Air & Space magazine has put together a superb display of NASA's most famous photos. See how many you recognize.
-=[ Grant ]=-
FRIDAY SURPRISE: I'll take "Stupid things I've done" for $100, Alex.
Friday, November 27, 2009 Filed in:
Friday
Surprise!, My Life
Back in the early '80s, I lead small groups of advanced amateur photographers around the Portland, Oregon metro area at night. The goal was to teach them the fundamentals of available-light photography in an environment that was simultaneously familiar, yet unexplored. We'd gather at about 10:pm at a local Denny's, then head out for a few hours of shooting, usually getting home about 3:am.
Let me paint you a picture: say, 5 people. Camera bags stuffed with multiple thousands of dollars (in Reagan-era money) of easily pawned high-end camera equipment. Major urban center. At night. Sparse police presence. Before cel phones. Before SureFire flashlights. Even before our concealed handgun law.
Now I know what you're thinking, and in retrospect I agree with you. But it seemed like a great idea at the time!
The exact itinerary varied a bit, but a typical evening might find us wandering around the downtown core area, through alleys, construction sites, industrial areas, and perhaps even along the east side of the Willamette River. (Today area residents know it as the "EastBank Esplanade": a tribute to a ditzy mayor who was convinced the way to help "poor homeless people" was to build a boulevard for over-indulged yuppies to ride their bicycles between latte stops. Back then, though, it was just a rough industrial riverbank where bums set up camp once the longshoremen had gone home to dinner.)
These events were very popular - we always filled our limit of attendees - because they were, after all, the only way to get shots like this:
While some of the participants used fine-grained films, tripods and long exposures (giving me a chance to share with them the mysteries of reciprocity failure), others handheld their shots using fast films (often pushed in development) and fast lenses. Both approaches had their uses and limitations, and the facilitator (that would be me) had to be well versed in all of it - while simultaneously maintaining some sense of aesthetics. I'll gladly claim the former, and from the shot above you can judge if I have any business talking about the latter.
Today I wouldn't attempt such craziness without an armored personnel carrier and close air support, if at all. Back then, though, it was just us, our "steal me" bags, and lots of film. And the bums.
-=[ Grant ]=-
FRIDAY SURPRISE: Morse code.
The LIFE website this week unveiled a photo retrospective of Project Mercury, America's first human spaceflight program. If you look at the picture captions, you'll notice one name on most of them: Ralph Morse. There's a good reason for that.
Ralph Morse was a staffer at LIFE (and later TIME) when he was assigned to cover a press conference in Washington in 1959. That event was the announcement of the Project Mercury astronauts. Sensing the long term importance of the announcement, Morse contacted his editor and told him that there would be a lot of public interest in these men. He suggested that the magazine assign someone permanently to NASA, which was then less than a year old. Morse got the job.
It was a good choice; Morse had already been with LIFE for over a decade, bringing back some of the most well known pictures in their archives. NASA was a fledgling agency, and Morse had gotten himself in on the ground floor of what would become the Space Race.
Over the next couple of decades, Morse would become an insider at NASA. He got exclusive access, and was even allowed to place his cameras in restricted areas his competition at NEWSWEEK couldn't even dream of. Along the way, he produced some of the most iconic images of the various NASA projects.
It all started at that press conference, where an idiot reporter (some things never change) asked the astronauts which of them expected "to come back alive." Morse grabbed this shot of the astronauts showing their mettle:
Some of his shots were very well known...
...while others weren't:
All of them, though, came from the camera of an inventive genius whose enthusiasm for his job knew no bounds. Were it not for his eye, his ingenuity, and his nose for news, we wouldn't have this great visual record of our nation's greatest achievements. George Hunt, at one time LIFE's Managing Editor, said “if LIFE could afford only one photographer, it would have to be Ralph Morse.”
Ralph is now 92, but unfortunately for us gave up photography some years ago.
-=[ Grant ]=-
FRIDAY SURPRISE: Just the stars.
Friday, September 11, 2009 Filed in:
Friday
Surprise!, Completely
irrelevant
Nothing witty or exploratory today, just a great picture of star trails from the Astronomy Picture Of The Day website. I post it because it's beautiful, intriguing - and shot right here in the state of Oregon.
Grant's Pass, to be precise. (I couldn't help indulging in just a bit of narcissism!)
-=[ Grant ]=-
FRIDAY SURPRISE: Motor City Mildew.
Friday, August 07, 2009 Filed in:
Friday
Surprise!, History
I've featured a number of decay-chronicling websites, but this one is unique. onlynDetroit.com doesn't just show the deterioration of a once-proud city, it gives the why and how of urban decay. In its many pages you'll learn the stories behind the landmarks, where they came from and how they happened to get where they are today. Along with the analysis is the occasional prescription for renewal, and a happy ending or two as some eyesores get refurbished and reopened.
The photography isn't of the same standards as some urban exploration sites, spelling errors abound, and the text sometimes describes scenes for which there are no pictures - but those are minor quibbles that only help prove that the whole is greater than the sum if its parts. onlynDetroit.com is obviously the work of people who have great affection for their city despite its flaws, and the same can be said of their site. A great place to kill some free time.
-=[ Grant ]=-
FRIDAY SURPRISE: By George!
We learned this week that Kodak finally pulled the plug on what was their signature film, Kodachrome. Photographers will fondly recall the fine grain, superb resolution, and vibrant color of Kodak's iconic product, while everyone else will remember Paul Simon's hit song by the same name:
Kodachrome
They give us those nice bright colors
They give us the greens of summers
Makes you think all the world's a sunny day, Oh yeah
I got a Nikon camera
I love to take a photograph
So mama don't take my Kodachrome away
Kodachrome wasn't the first time the company had influenced musical history, however. It's true that Kodachrome was invented by a couple of amateur chemists who were also professional musicians, but the influence I'm thinking of goes far deeper.
As it happens George Eastman, the founder of Eastman Kodak, was an aspiring flutist and music fanatic. His love of making and listening to music led him to found the Eastman School of Music, cementing his place in American music history.
Now you're probably thinking "Eastman School of Music? Never heard of it!" Most people, when asked to name a prestigious music school, immediately think "Juilliard." While Juilliard is a fine school and better known to the general public, those with a deep knowledge of musical education will often quietly refer you to Eastman. Since 1921, Eastman graduates have enjoyed a solid reputation for being "musician's musicians", which persists to this day - it is often ranked as the top music school in the country in major media surveys.
George Eastman was a remarkable individual who also gave major grants to engineering and technical schools such as MIT, and involved himself in a range of social and business innovations. It could be argued, though, that giving the world both Kodachrome and Frederick Fennell would have been enough for any one person.
-=[ Grant ]=-
FRIDAY SURPRISE: Creepy. Then again, maybe not.
Back in 1980 I was working behind the sales counter in a camera shop to help pay my way through college. Without being too immodest, I had a prodigious knowledge of the photographic process, to include everything from vintage cameras and films to the equipment, chemistry, and procedures used to bring the images out of them. (I would later put that storehouse of information to good use when I opened a unique photographic lab that specialized in obsolete and obscure processes.)
Because of my deep base of arcane knowledge, I was often called upon to authenticate or debunk (depending on one's point of view) various kinds of "UFO" and "ghost" images. Over several years I looked at perhaps a couple hundred such anomalous images and, save for one, was able to immediately identify the source or cause.
Oh, that one? It took me a little time and some research, but eventually I was able to show how the image was made. I'm told that the person who paid a tidy sum for that "proof" of extraterrestrial life wasn't at all happy, but remained unconvinced. True believers are usually like that.
With that in mind, check out this gallery of "authenticated" spirit images. Who, exactly, authenticated them is unclear, but I can guarantee it wasn't me!
-=[ Grant ]=-
FRIDAY SURPRISE: Color me amazed.
During the 1930s and 1940s, the Farm Security Administration (FSA) and the Office of War Information (OWI) shot tens of thousands of photographs. The vast majority - and the images we most associate with their work - were in black and white:
However, there were a number of assignments which were shot in color. That number was far smaller, likely because of budget constraints, but produced some stunning images:
This article from Photo District News shows some of the portraiture from the collection. You can view the whole collection at the Library of Congress site for FSA/OWI color images. (If you click on the Subject Index, you can browse by categories.)
-=[ Grant ]=-
FRIDAY SURPRISE: Glub. Glub-glub.
Friday, February 06, 2009 Filed in:
Friday
Surprise!, Completely
irrelevant
When I say "underwater photography", you probably think pictures of colorful fish or grotesque mollusks. Jacque Cousteau, that kind of thing. I know this, because that's what I think of.
Think again.
Many more of these unique images at this link.
-=[ Grant ]=-
FRIDAY SURPRISE: LIFE is what happens while you're busy making other plans.
In 1936, an audacious Henry Luce changed the way we looked at the world. He took a staid publication, gave it a new, photojournalistic makeover, and created the legendary LIFE Magazine.
Luce hired the best photographers he could find, and sent them out to cover whatever was interesting - if not always the biggest story. LIFE became the must-read periodical for the next several decades, owing to a combination of superior illustration and good writing. People of my generation, and those of the previous one, can easily remember at least one great LIFE photo - if not a whole bunch. That's what LIFE was about, and it is not too great a stretch to say that LIFE defined American photojournalism.
Many of LIFE's photographers would become well-known, like Margaret Bourke-White...
Alfred Eisenstadt...
Gordon Parks...
Ralph Morse...
Robert Capa...
Joen Loengard...
Co Rentmeester...
...as well as many more whose names weren't as familiar, but were stupendous "shooters" in their own right. LIFE was THE gig to have, and it attracted (and got) the best talent.
Now, in the digital era, Google and TIME have teamed up to bring the entire LIFE photo archive to the web. The hundreds of thousands of images in the LIFE vault are being digitized and indexed by Google as fast as their scanners will scan. At this moment, only about 20% of the collection has been archived - but more photos are added every day, and they hope to be finished with the project in mere months.
The collection includes everything - photos that have been published, and those that haven't. You'll get to see images that didn't make the "cut", those that weren't good enough to be published, as well as those iconic images for which LIFE was so well known.
Visit the LIFE/Google archive at this link.
-=[ Grant ]=-
FRIDAY SURPRISE: Flipper's got nothing on these people
For the life of me, I don't know quite how to introduce today's post!
Imagine taking snapshots of typical 1930's life. Now, do it underwater. That's it in a nutshell!
These just have to be seen to be appreciated.
-=[ Grant ]=-
FRIDAY SURPRISE: Up, up and away!
I've previously mentioned my appreciation for the work that NASA has done over it's 50-year history. NASA grew up right along with me - or me with it - and NASA was always doing the exciting stuff boys of that era were smitten by: Astronauts. Fast planes. Rockets. The Moon.
(It wasn't just spectacle, though; NASA was the catalyst for technological progress that continues to be felt today. A surprising number of the things we now take for granted can be traced directly back to some NASA project.)
We learned about the exploits of the engineers, technicians and astronauts through NASA-supplied pictures in the magazines of the day. My early interest in science was kindled by those pictures, and some of them I still remember.
NASA documented everything, but not all of their photos were of general interest. A large percentage of their images were never seen by the general public because the media was understandably reluctant to publish anything of interest only to nerds. Through the magic of the internet, however, we now have ready access to some of those great pictures.
The agency has launched a new site just for NASA images. You can search or browse and download your selected pictures, drawings, and illustrations - some of them of quite high resolution. You'll find lots of astronomical images, of course, but you'll find all kinds of other things too.
Two of my favorites from the 1969 launch of Apollo 11, taking the first men to the moon:
Saturn V rocket FTW!
If you're a science buff like me, you can spend large amounts of time on their site. I recommend that you not try this a) at work, or b) when your significant other expects you to be paying attention to him/her/the kids/household chores/your dinner guests. You have been warned!
-=[ Grant ]=-
FRIDAY SURPRISE: "I want to win, but I don't want to see the b***tards go down, either"
That's a quote from one of my favorite photographers, Life magazine's fantastically great Ralph Morse, about his rivals at Newsweek. Ralph, it was said, was of the "old school" - a term once used to describe a code of behavior, before the "hip hop" generation co-opted it to describe MTV's previous seasons.
It's ironic that Ralph's words came on the eve of his coverage of the first Space Shuttle launch in 1981, because it was this article on Soviet cosmonaut deaths which brought them back to me. The combination caused me to think not only about the attitude of the gracious winner, but of the trials and tribulations of the losers in all high-stakes games.
While I'm proud of U.S. achievements in space (I am a child of the Sputnik Era, after all), I'm simultaneously saddened at the loss of life experienced by our (former) enemies. I'm not talking about the maudlin, paralyzing, "new age sensitive man who cries at the drop of a hat" kind of sadness, but rather a genuine empathy for those who attempt something great and leave the world poorer by their absence.
Like our astronauts, the cosmonauts were proud of their homeland. They were willing to put their lives on the line to advance not only their nationalistic pride, but something more. There was an altruistic component to their flights, which they seemed to know were advancing science and technology to benefit all those who were firmly anchored to terra firma. Even as we celebrate our own successes we need to be reminded that we are as much in their debt as they are in ours.
We see where we are today only because we stand on the shoulders of all those who came before us.
(Thanks to Tam, who found the article.)
-=[ Grant ]=-
FRIDAY SURPRISE: Drop in the bucket
Holy cow, it's Friday
already! I've been so busy, it didn't dawn on me until mid-morning
that I had a blog post due today!
Here's one that I really like - stop-action photography of water. Take a look - it's not what you think!
(I was going to write a clever introduction to the work of Harold Edgerton, but you'll just have to research him yourself.)
-=[ Grant ]=-
Here's one that I really like - stop-action photography of water. Take a look - it's not what you think!
(I was going to write a clever introduction to the work of Harold Edgerton, but you'll just have to research him yourself.)
-=[ Grant ]=-
Follow
me!
You're reading...
The Revolver Liberation Alliance!
The blog about revolvers, training, self-defense, and shooting in general (along with an occasional surprise!)
You're reading...
The Revolver Liberation Alliance!
The blog about revolvers, training, self-defense, and shooting in general (along with an occasional surprise!)
Accessories
Ammunition
Blog stuff
Competition
Completely irrelevant
Current Events
Friday Surprise!
General gun stuff
Gunsmithing
History
Humor
Hunting
Legal Issues
My Life
Personal opinions
Political Action
Recent work
Reloading
Revolvers
Rifles
Second Amendment
Self defense
Shooting industry
Shotguns
Techniques & Training
Technology
Things I like
What's New!
Ammunition
Blog stuff
Competition
Completely irrelevant
Current Events
Friday Surprise!
General gun stuff
Gunsmithing
History
Humor
Hunting
Legal Issues
My Life
Personal opinions
Political Action
Recent work
Reloading
Revolvers
Rifles
Second Amendment
Self defense
Shooting industry
Shotguns
Techniques & Training
Technology
Things I like
What's New!
- .38
- .357
- abandoned
- accuracy
- afgwwwtra
- apps
- ar15
- armed.citizens.network
- attacks
- autoloaders
- awareness
- bloggers
- books
- ccw
- colt
- combat.focus
- computers
- dammit
- design
- dogma
- ed.harris
- failures
- flashlights
- futility
- georges.rahbani
- good.pr
- gp100
- grips
- gun.skool
- gunshows
- gunstore.goons
- holsters
- i.told.you.so
- incredible
- jazz
- kaboom
- knives
- legal.stuff
- lever.actions
- lubrication
- magic.bullets
- maintenance
- massad.ayoob
- msm
- music
- my.bad
- mythbusting
- nasa
- nra
- old.technology
- optics
- oregon
- pdn
- personal.defense.network
- photography
- practice
- preppers
- proarms
- prohibitionists
- reliability
- rhino.revolver
- rimfire
- rob.pincus
- ruger
- s&w
- safety
- shot.show
- sights
- snake.oil
- snubby
- sources
- speedloaders
- stopping.power
- stupid.people
- tacticool
- tactics
- thats.odd
- turncoats
- ugly
- uscca
- vintage
- waiting.list
- women