From the Archives: New York City in 1938

Envelopes containing negatives and contact prints, pre-1940

Dear Readers, you may remember that I recently experimented with film packs, in my case GAF Versapan in 4×5" size. I had little experience with this format, but early in the 20th century, various size film packs were common. Before 1939 or 1940, my dad used film packs for all his photography. He bought his first roll film camera, a 35mm Perfex, in 1941 or 1942.

Envelope containing processed negatives from Block-Jones Co., Boston, Massachusetts

He stored his negatives in the envelopes that came back from the processing laboratory or drugstore and neatly filed them in an office box. I recently decided to recheck the negatives. Looking through the envelopes, I saw one labeled "New York Nov. 1938." These negatives were 2¼×3¼ inch size (close to the 6×9 that is common today). I think these were from a Certosport or Certotrop camera. I recall using it a few times around 1970, but cannot remember what lens was on it. My photographic results were quite unsatisfactory, and the unit suffered from light leaks. Back then, you could still buy the small pack film. These 1928 sheets are all nitrate film stock.

Queen Mary SS Normandie with Ellis Island in distance, New York Harbor (scan of a toned contact print) 

Queen Mary SS Normandie and unknown dredge, New York Harbor (scan of portion of 2¼×3¼" negative)

The Battery, Manhattan (scan of contact print)

The Battery, Manhattan, New York (scan of of 2¼×3¼" negative)

My dad and his friends took a boat trip, possibly one of the circle-Manhattan excursions that are still popular. He was lucky to see the Queen Mary Normandie heading out to sea. At that time, the Normandie was the peak of luxury, sophistication, and glamour for those with the funds to travel abroad. Only a year later, the start of the Second World War ended most Europe-bound tourism.

View towards Central Park from Rockefeller Center

View towards East River (?) from Rockefeller Center

View SW towards Empire State Building from Rockefeller center

This group of night photographs may be from The Top of the Rock at 30 Rockefeller Plaza. According to Wikipedia, 

30 Rockefeller Plaza is an American Art Deco skyscraper that forms the centerpiece of Rockefeller Center in Midtown Manhattan, New York City. Completed in 1933, it was designed by Raymond Hood, Rockefeller Center's lead architect. 30 Rockefeller Center was formerly called the RCA Building from its opening to 1988, and later the GE Building from 1988 to 2015. It was renamed the Comcast Building in 2015, following the transfer of ownership to new corporate owner Comcast, though its name is often shortened to 30 Rock. 

In 1938, this was a glamorous example of American architectural and engineering excellence.

Prometheus Statue (1934)

This is the famous Prometheus statue, by sculpture Paul Manship, located in the lower plaza at Rockefeller Center.  "Prometheus, teacher in every art, brought the fire that hath proved to mortals a means to mighty ends."

This ends our short 1938 tour. I will slowly look for more New York negatives as I go through the box.

Appendix

The Model A shown in the catalog from Burleigh Brooks may be my dad's  Certo camera, but I just cannot remember.

Update: A reader alerted me that the ocean liner in the photographs above was the Normandie. He was right. I compared there profiles of the Queen Mary and the Normandie, and the vessel in the photographs is the latter. 

On the Blue Ridge Parkway in North Carolina

The Blue Ridge Parkway, stretching from Cherokee, North Carolina, to Afton, Virginia, is one of the great scenic drives of the world. It winds up and down through the Smokies, passing the higher points of the mountains and bypassing most urban areas. The scenery is sublime, especially in autumn, when the leaves are a brilliant feast for the eyes.

I took most of these photographs in May of 2017 en route to The Vintage car show, held annually in the Asheville area. The weather was perfect for photography with drizzle and low clouds. I could not resist. I have warned you long-term readers before that you will gradually see more "pretty" pictures here. So, no urban decay this time, just nature. These photographs are oriented from west to east, starting a short distance east of the western terminus of the Parkway. We will proceed to a few miles northeast of Asheville.

Balsam Gap Overlook (Hassselblad 501CM camera, Fomapan 100 Classic film)

This mellow overlook is just east of Balsam Gap, through which US 74 and 23, the Great Smoky Mountains Expressway, passes.

Licklog Ridge Overlook (elev. 4602 ft; Fuji Acros film, Pentax Spotmatic camera, 135mm ƒ/3.5 SMC Takumar lens, yellow filter)

During both 2017 and 2018, the weather became more misty and wet as I ascended from Balsam Gap. Both years had perfect soft lighting with just enough contrast to sculpt the trees and lichens.

Richard Balsam Overlook, highest point on the Blue Ridge Parkway (Nexus 4 digital file)

In 2017, by the time I reached the highest spot on the Parkway, the weather had closed in and sleet was falling. Surprisingly, my old car does very well on these hills despite its little 1800cc engine.

Fetterbush Overlook (Fomapan 100 film)

Fetterbush Overlook (elev. 5494 ft)

Pisgah Campground (elev. 4980 ft)

Pisgah Campground (elev. 4980 ft; Fomapan 100 film)

The Pisgah Campground and Pisgah Inn are on a ridge with expansive mountain and valley views to the south and north (except when it is fogged in, which may be common). I had planned to drive here and stay at the inn in 2020 en route to The Vintage, but the Covid Virus ruined our plans. The Inn and Campground are cool during the hottest summer days.

Chestnut Cove (elev 2180 ft)

Heading east towards Asheville, Chestnut Cove Overlook is down to 2180 ft elevation. 

Study in poison ivy, Walnut Cove Overlook (elev. 2200 ft; Tri-X 400 film, 80mm ƒ/2.8 Planar-CB lens, green filter)

Walnut Cove Overlook is only a few miles from Asheville. The land off the Parkway is being developed with McCabins for the wealthy set. At least the developers have not clear-cut the timber.

North Carolina Arboretum, Asheville, NC (Tri-X 400 film, Hasselblad 50mm ƒ/4 Distagon lens, green filter)

The North Carolina Arboretum is a treasure of plant diversity, with trails and waterways. It is within the Bent Creek Experimental Forest just south of Asheville and adjacent to the Blue Ridge Parkway at Milepost 393.

The Parkway passes south of Asheville before turning north and crossing I-40. In 2018, I wrote about the River Arts District of Asheville and the rural decay en route to Hot Springs. Asheville has become a serious foodie and coffee place, well worth a visit.

Green Knob Overview (80mm ƒ/2.8 Planar-CB lens)

Green Knob Overlook (elev. 4760 ft), 

Once you cross I-40, the Blue Ridge Parkway begins to twist and turn and ascend. The Green Knob Overlook is a short distance east of the turnoff for Mt. Mitchell, a worthwhile diversion. In 2017, sleet was falling up at the visitor overlook. 

Mill on Curtis Creek Road in Pisgah National Forest (Fomapan 100 film, Hasselblad 50mm ƒ/4 Distagon lens, 1/60 ƒ/4)

I took the wrong turnoff and plunged downhill on Curtis Creek Road. It was dirt and very muddy, but fortunately I did not get stuck (gravity helped; going uphill would have been impossible in my little 2-wheel-drive car). The road headed down through the Pisgah National Forest. This handsome old mill caught my eye. Finally I reached paved road and found an onramp to I-40 at Old Fort. 

Mr. Catfish John, I-40 rest area, North Carolina

I met Catfish John at the rest stop on Interstate 40. I admired his big old Chevrolet Caprice station wagon. He said he had several and restored them. I wish I had a beard like his as well as one of these wagons.

This ends our short tour on the southwestern part of the Blue Ridge Parkway. It is a fantastic road trip, but rather slow going, especially if you encounter RVs trudging along. Summer is quite crowded, so go on one of the shoulder seasons. During mid-winter, snow forces the Park Service to close parts of the road. These are film photographs, most from 120-size Kodak Tri-X 400 and Foma Fomapan 100 Classic film.

Expired Color Film Treasure: Kodak Gold 100 120-size (Abandoned Films 07)

 

Dear Readers, this is the last (for now) article in my series on discontinued types of camera film ("Films from the Dead").

Kodak's Gold color negative films (for color prints) were famous for consistent and reliable results under various conditions. No matter what a customer did with their roll, a good laboratory could usually recover a decent image. Kodak manufactured the 35mm versions in USA, Mexico, China, and possibly other countries. I was familiar with Gold 100, 200, and 400 in 135mm size for 35mm cameras but had not seen other sizes. Therefore, I was surprised to see this roll of 120 size 100 in the freezer of a former friend who passed away a few years ago. 

This roll expired in 2000, so I wondered if it would work, but it had been frozen all these years. I loaded it in my Hasselblad and took photographs in the area under various light conditions. I exposed it at EI=64, on the assumption that it had lost some sensitivity over the years. 

I sent the roll to Dwayne's Photo in Parsons, Kansas, to develop in C-41 chemicals. Dwayne's has been in business for decades, and some of you old-timers may remember that this was the very last laboratory on earth to process Kodachrome slides. 

I scanned the frames with a Minolta Scan-Multi medium format film scanner operated with Silverfast Ai software. The Gold 100 profile was not quite right and the automatic scan produced very green images. It is very possible that the film had shifted despite its long storage in the freezer. But I corrected the color balance using the grey dropper tool, and the resulting scans look pretty good for 20-year-old film. Please click any frame to see it at 1600 pixels wide. All comments welcome.

Examples

Fixer-upper cars, Old US 80 east of Vicksburg (80mm ƒ/2.8 Planar-CB lens, 1/4 ƒ/16))

Junk yard, Old US 80 east of Vicksburg, Mississippi (80mm lens)

Abandoned school, Thomastown Road, Mound, Louisiana

Abandoned school, Thomastown Road, Mound, Louisiana

Abandoned school, Thomastown Road, Mound, Louisiana

I came across this old school one day while I was biking on a new route in Louisiana. No one is ever around when I have been there and therefore have not been able to ask about the school's history. Was this one of those separate but equal establishments erected quickly in the 1960s or 1970s? Was it closed because of asbestos? The panels from the roof eaves are asbestos, and they crunch underfoot when you walk near the building.

Workshop at the Mississippi River Basin Model, Buddy Butts Park, Jackson, Mississippi

Closed shop, 1016 Raymond Road, Jackson, Mississippi (80mm lens with polarizer)

Lessons of the Discontinued Film Series

What have I learned from these experiments using discontinued film stocks? The main lesson is if the film has been frozen or at least kept cool, it may be perfectly usable:

1. Low speed black and white film should be totally usable. Try exposing with ⅔ or a full stop more exposure compared to the original ISO. There may be more fog. As you saw from my 1960s GAF Versapan film, it provided excellent negatives at EI=64, and it was 50 years old! Northeast Photographic developed it in Xtol.
2. Kodak's Panatomic-X seems to be ageless. I now allow ⅔ of a stop more exposure (EI=20). 
3. High speed film, like Tri-X, may be marginal. But, I have been using 1989 expiration Tri-X 4×5" sheets, and they looks pretty good, although there is some base fog. However, I know the boxes have been frozen all these years.
4. 20-year-old expired Fuji NPS160 C41 film in 120 size (color print): no issue at all. 
5. 1990s Kodak Ektar 25 (120 and 135): Some rolls were ruined, some were OK. They all had color shifts. Its time is gone; Ektar 25 is too old now. 
6. Kodak BW400CN black and white C41film looks gritty and grainy, but usable. Maybe it does not age well.
7. Kodak Verichrome Pan black and white film appears to be amazingly durable.

If any of you readers have experience with expired film, please add notes to the comments. Thank you for reading along.

Another Film Treasure: Ilford Pan-F Plus

This short review is for a film that is still in production (yes, I do sometimes use modern film):  Ilford Pan F Plus. According to the manufacturer:

ILFORD PAN F PLUS is a slow speed, high contrast, black & white film offering exceptionally fine grain, sharpness and detail.

Suitable for bright conditions from sunny days to controlled studio lighting. It suits subjects ranging from architecture and still-life to portraiture and fashion.

PAN F PLUS is perfect for enlargements as negatives show an outstanding range of tone, high-edge contrast and extreme sharpness. It is therefore also suitable for a range of specialist or scientific applications such as photomicrography or the production of black and white slides.

This is a traditional cubic grain film, like the Kodak Panatomic-X that I normally use when I want a fine-grain traditional film. Pan-F has been in production for decades, but for some reason, I never tried it. My friend in Indiana, Jim Grey generously sent me a roll of Verichrome Pan film, but he also included a roll of Pan-F in 120 size and said Go At It. Most reviewers write that it is contrasty, so I loaded it in my Hasselblad and set out for Port Gibson on the last day of 2020, a gloomy day with drizzle (my favorite light). Because of the low light, these are all tripod-mounted exposures. I exposed it at EI (exposure index) of 32.

I sent the film to Northeast Photographic in Bath, Maine, to develop and scanned the negatives with my Minolta medium format film scanner. To the eye, the negatives looked too contrasty. But the Silverfast Ai scanning software has a profile for Pan-F, and the resulting scans looked just about right, with little need to manually adjust the contrast. Here are some examples, all full-frame scans. Click any frame to expand it. Please tell me what you think via the comments.

US 61

Unusual shed at 3316 US 61S, Vicksburg (80mm Planar lens)

Unknown shop or warehouse at Cedars Road, Vicksburg

Former Sonny's BBQ and gasoline, Yokena

I remember driving by this shop/gas station many times and thinking I should take some photographs. But I never did and now it is closed. Bogus.

Port Gibson

Fixer-upper truck, 1097 Shiloh Road, Port Gibson (50mm ƒ/4 Distagon lens, ⅛ ƒ/11)

Fixer-upper cottage, Back Grand Gulf Road (50mm Distagon, ⅛ ƒ/8, minor fill flash)

North of Port Gibson, some shaded narrow roads wind through the woods. One of these leads past the popular Warner Tully YMCA summer camp, known by generations of summer campers. I want to go back and explore some more. You see a lot of trailers with beat-up cars and trucks abandoned on the lots.

Abandoned cottage, Vandeventer Street, Port Gibson (80mm Planar-CB, ⅛ ƒ/11)

Abandoned house, Vandeventer Street (80mm Planar-CB, ⅛ ƒ/11

Store/commercial building, Carrol Street

Port Gibson is pretty rough. Despite its fine architectural heritage, much of the town looks beat-up and dirty. The downtown has hollowed-out, like so many small towns in the US heartland.

House belonging to an artist, Farmer Street (80mm Planar-CB, ⅛ ƒ/11, minor fill flash)

I chatted with the gent who lives here. He graciously let me take a picture of his house. He had interesting items on the porch and in the yard.

Old Hwy 61 bridge over Little Bayou Pierre

This is the old Highway 61 bridge. Looking west, you see it from the current 61 bridge. I tried to find a viewpoint. Some gents at a car shop/garage graciously escorted me through the shop to the muddy banks of the Little Bayou Pierre. I slipped - mud everywhere. They said when the river overtops its banks, they get nasty water in their garage (and snakes). Note the water level stains of the concrete pier.

This is the end of my short experiment with Ilford Pan-F. This is nice film! It is very fine grain, similar to the Kodak Panatomic-X that I like. On this overcast, drizzly day, I did not have any issues with contrast, and cannot comment on its performance on a sunny day. Of course, you can modify development to make a black and white film more or less contrasty. I am not sure if I will use it in the future because I still have 10 or 12 rolls of Panatomic-X in the freezer, as well as some Fuji Acros 100 film and even some Agfapan 25. For hand-held use, Tri-X is more convenient. Regardless, thanks, Jim Grey, for sending me a roll of this Pan-F!

This is no. 07 of my irregular series on different films, but this product is still in production, unlike the other emulsions in the series.

Another Expired Film Treasure: Kodak Verichrome Pan (Abandoned Films 06)

Dear Readers, this is a continuation of my series on discontinued photographic films. Previous posts covered GAF Versapan film packs, GAF Versapan 135 film, Kodak Ektar 25, and Kodak's famous Panatomic-X black and white film.

For decades, Kodak's Verichrome Pan film was a staple in camera stores around the country. It was a medium-speed (ISO=125) panchromatic black and white film intended for box and medium format cameras. Kodak's data sheet stated:

FEATURES                            BENEFITS

• Extremely fine grain            • Excellent for producing high-quality images

• Wide exposure latitude        • Rich tonality maintained with overexposure and underexposure

• Very high sharpness            • Excellent for applications that require a high degree of enlargement

• High resolving power          • Good rendition of detail

Over time, Kodak sold it in 120, 127, 116, 126, 616, 110, 620, and 828 formats. As far as I know, Kodak never packaged it in 35mm cassettes. Note that these are format designations, not width in mm. The 126 was the Instamatic cartridge that was so popular in the 1960s and 1970s, and the 110 was the smaller cartridge for 110 cameras. As of 1996, they even sold it in long roll for Cirkut panorama cameras. Numerous writers on the web enthusiastically claim that it was a superb film. It was such a flexible film, an inexperienced amateur could could load it in a crummy box camera and achieve something that a lab could print. 

For unknown reasons, I never tried any Verichrome Pan, and now it is too late. But good news: my Indiana friend, Jim Grey (author of the Down the Road blog), generously sent me a roll. 

The roll Jim sent expired in 12/1987. He said he did not know its original storage conditions, but he had kept it refrigerated. I took pictures around town with my Hasselblad 501CM medium format camera on a rare day when snow had fallen (yes, it does snow in Vicksburg once in awhile). The light was soft and even, so maybe this was not a very challenging test for this film, but that is what was loaded in my film holder. Because of the age and unknown storage, I decided to add extra exposure and use it at EI=64 (or half the original), meaning one ƒ-stop extra light for each frame. Click any picture to see it enlarged to 1600 pixels wide.

Kansas City Southern tracks from the North Frontage Road bridge (80mm ƒ/2.8 Planar-CB lens)

2624 Washington Street, Vicksburg (80mm Planar lens)

Fairground Street Bridge (permanently closed; 80mm ƒ/2.8 Planar-CB lens)

Pearl Street view north (80mm Planar lens)

Over a decade ago, cottages lined the west side of the tracks (left in this photograph). All have been torn down and the road has been abandoned.

Kansas City Southern rail yard from Levee Street, view east (80mm Planar lens)

Kansas City Southern rail yard view south (80mm Planar lens)

Work shed on levee next to Yazoo Canal (50mm ƒ/4 Distagon lens, 1/30 ƒ/11)

Sycamore Avenue, Vicksburg (80mm Planar lens)

View west from Sycamore Avenue (80 mm Planar lens)

Kansas City Southern tracks along Mississippi River waterfront (250mm ƒ/5.6 Sonnar lens, ⅛ ƒ/16.5)

Well, once again I am thrilled that a 30-year-old film responds so well. What amazing technology. I love the tonality of this Verichrome Pan, at least under these conditions of soft light.

Praus Productions in Rochester, New York, developed the film, and I scanned it with a Minolta ScanMulti medium format film scanner. The Silverfast Ai software did not have a Verichrome Pan profile. Instead, I used the profile for Plus-X film. I read in some old Kodak books that Verichrome and Plus-X responded about the same. I have read that they were almost the same emulsion but one had no anti-halation layer (?). I do not know if that is true, and I had no recent experience with Plus-X. The last time I used Plus-X may have been in Moscow in 1978 (click the link). 

Thank you, Dear Readers, for following along on this exploration of Films from the Dead. All comments welcome.