Re: studio cameras circa 1950s

----- Original Message -----
From: "kris" <kris@eq-photo.com>
To: <alt-photo-process-l@sask.usask.ca>
Sent: Sunday, May 28, 2006 8:05 PM
Subject: studio cameras circa 1950s

> hey all--
> i'm trying to find out info on the types of cameras and
> films used for work in photo magazines in the early 1950s
> (such as in Life--both in the field and in studio).
>
> either specific resources or places to start would be
> greatly appreciated--on or off list.
>
> all the best
> kris
>

   If you are refering to the cameras used in major
commercial photography houses doing advertising work, the
most common format was 8x10 with some 11x14 as well.
   The most common camera was probably the Kodak 2D. The 2D
is a very sturdy camera but with limited movements, it was
also about the cheapest of the high quality field-studio
cameras. Other transportable cameras were the Agfa, later
Ansco Commercial View and Universal View, both of which had
somewhat greater movement range than the 2D. Both Kodak and
Ansco made large studio cameras which were usable only on
heavy duty studio stands of the twin-post variety. Kodak
sold their studio cameras under the Century trademark. I
believe these were made in both 8x10 and 11x14 sizes, Ansco
made only 8x10.
   Deardorf was double the price of the Kodak so not too
many were used. Deardorf made a very fine and elaborate
large studio camera in both 8x10 and 11x14 sizes. These were
the best of class and very expensive. The standard Deardorf
stand was a twin post type which could put the camera at
nearly floor level to whatever the limit of the stand was.
Two or three sizes were made, the tallest being 12 feet.
   The smaller cameras were usually on Saltzman monopole
type stands. These were also available in several heights,
the tallest being 12 feet.
   Some smaller format was used, 5x7 for some field work,
4x5 for field and hand held work. A lot of industrial
photography was done with Speed or Crown Graphics.
   Calumet and Burke & James also made view cameras but the
familiar models were not made until the late 1950s and
later.
   By 1950 multilayer color film had largely supplanted the
earlier one-shot beam splitter color cameras but some were
still in use. For studio work these were usually 5x7 and
smaller size, 4x5 or 3-1/4 x 3-1/4, were used for field
work. Nearly all of these cameras, used for advertising or
commercial work in the USA, were made by one of three
companies: National Photocolor, Devin-McGraw, or Thomas S.
Curtis. All of these companies also supplied materials for
three color Carbro printing and suitable film or plate
combinations. By 1950 the Kodak Dye Transfer printing
process had largely displaced Carbro. Dye transfer could be
made from either color separation negatives from a one shot
camera or from Ektachrome/Ektacolor originals shot in
conventional cameras. Kodachrome in large format sizes was
discontinued about 1949.
   A great many B&W films were available, the choice being
up to the photographer. Typical films were Kodak Plus-X,
Portrait Panchromatic, Super-XX, Tri-X, and several
orthochromatic films. Films with both straight line and "all
toe" type characteristics were available. Ansco, Defender
(by then part of Dupont), and some smaller companies all
made films of various types for product, industrial,
portrait, photography.
   The best source for more information are old catalogues
and date booklets.
   Photo journalism has always used a variety of cameras,
most of smaller sizes. One good source of information are
early editions of the _U.S.Camera Annual_ which began
publication in 1936. Technical details of many of the
pictures are given and each has a section dedicated to news
and other journalistic pictures. My own informal survey of
editions from the first through about 1955, shows the most
common cameras to be Speed Graphic, Rolleiflex, Leica in
about that order, with a wide variety of cameras following.

---
Richard Knoppow
Los Angeles, CA, USA
dickburk@ix.netcom.com