Photojournalism, People and RelationshipsPhotojournalism is devoted to recording current events or situations to preserve them for the future. News, features, man and man's environment,

© Lake County Camera Club. No material may be reproduced in any manner without written permission of the Newsletter Editor or the material’s specific contributor.

A Message From The President 3

An Edition from Panama 3

What It’s Like To Be A Photojournalist 4

The World of Photojournalists 5

Why More Megapixels? I Can’t Get Enough 7

April Competition - DPI Awards 8

April Competition - DPI HM 9

April Competition - Small Monochrome 10

April Competition - Small Color 11

April Competition - Large Monochrome 12

April Competition - Large Color 13

Challenges 14

A Brief History of Photography Part 6

KODAK and The Birth of Film

15

Now I Lay Me Down To Sleep

Volunteer of the Month

18

Dates To Remember 18

Photojournalism, People and Relationships A Message From The Editor

Photojournalism is the visual documentation of what is going on around

us all. Nothing illustrates this more accurately than photographs of people

doing the things people do.

Henri Cartier-Bresson (1908-2004) was a French photographer who is

widely considered the father of photojournalism. His phrase the “Decisive

Moment” is one that many photographers know well.

Mark M. Hancock writes, “A journalist tells stories. A photographer takes

pictures of nouns (people, places and things). A photojournalist takes the

best of both and locks it into the most powerful medium available - frozen

images.

Photojournalists capture verbs.

Although photojournalists can take properly exposed and well composed

photographs all day long, they hunt verbs. They hunt them, shoot them

and show them to their readers. Then, they hunt more.”

This edition of Exposures includes several articles to help us

understand the relationship between a basic image and the

important elements of the worldwide photojournalist language.

Who? What? When? Where?

As a Photojournalist, you can’t be a mindless button pusher behind

a piece of glass. You must do plenty of research. A striking

difference between amateur and professional photographers is that

pros have mastered the art of collecting information about their

photographs. Try to capture the emotions of the event in your

compositions. You may need to start some casual conversations

with those at the event.

Concentrate on writing good captions. If you can’t get the facts

straight and write them in a clear, concise and accurate caption, you

will not make it far in the business of photojournalism.

Shooting with a purpose is the most important way to share

moments and share photography.

Inside This Issue

Share Moments - Share Photography

May 2014 Volume 6, Issue 9

© Bob Kruzic

“The Heartache of Deployment”


2013 - 2014

Board Members President Mike Trahan

President Elect Mark Theriot

Past President John Williams

Secretary Terry Ferguson

Treasurer Jim Ross

Vice President, External Operations Michelle Cox

Vice President, Internal Operations Bill Sullivan

2013 - 2014

Committee Chairpersons

LCCC is a proud member of the

Chicago Area Camera Clubs Association

and the Photographic Society of America.

The club’s mission is to promote, teach and share the ideals, skills, techniques

and good practices of the art of photography and the use of cameras and

photographic equipment.

Visit the club’s website www.lakecountycameraclub.org.

The club meets at 7:00pm on the first Thursday of every month at:

University Center. 1200 University Drive, Grayslake IL

Questions or comments about this newsletter?

Please contact Ken Johnson, Newsletter Editor at:

[email protected]

Exposures - May 2014 Volume 6, Issue 9 Page 2

CACCA Representative Bob Kruzic

Challenge Coordinator Linda O’Rourke

Competition Chair Bob Kruzic

Community Involvement Coordinator JoAnn Sullivan

Company Contact Coordinator Open

Continuing Education Coordinator Jim Ross

Critique Coordinator Liz Rose Fisher

DPI Competition Coordinator John Rouse

Educational Events Coordinator Open

Event Communications Coordinator Sue Baron

Facilities Coordinator Bill Sullivan

Gallery Coordinator John Williams

Historian Egon Shein

Hospitality Desk Margie Hurwich

Judge Procurement Tony Roma

Librarian Larry Chua

Long Term Planning Mark Theriot

Mentoring Program Coordinator Open

Membership Chair Terry Ferguson

New Member Coordinator Judy Reinhardt

Newsletter Editor Ken Johnson

Photo Excursion Coordinator Debra Olson

Program Chair Stevan Tontich

PSA Representative Egon Schein

PSA Photo Travel Coordinator Birgit Tyrrell

PSA Photojournalism Coordinator Linda Kruzic

PSA Projected Image Coordinator Ron Sheade

PSA Nature Coordinator Jeff Bark

Small Group Coordinator Ron Sheade

Webmaster John Rouse

Year End Party Coordinators Jeff Bott

Sheldon Wecker

http://caccaweb.com/

http://psa-photo.org/

http://caccaweb.com/

http://psa-photo.org/

http://www.lakecountycameraclub.org

https://maps.google.com/maps?q=University+Center,+1200+University+Drive,+Grayslake,+IL&hl=en&sll=37.0625,-95.677068&sspn=42.85226,93.076172&hq=University+Center,+1200+University+Drive,+Grayslake,+IL&t=m&z=15

mailto:[email protected]


A Message From President - Mike Trahan

Activity has been continuing behind the scenes on several club initiatives. John Rouse and Larry Chua have been working on a

lending library capability though our website, www.lakecountycameraclub.org. While it's not 100% ready yet, you can start

loading information on any books or materials you'd be willing to loan out to other members. Look in the Members section of the

website.

Liz Ross Fisher and Jim Ross have been working on piloting an online critiquing capability. Sign up with them if you want to

participate in the pilot. John Williams has enrolled us in Meetup.com for better coordinating our excursions and other activities.

We've already had several new members join through seeing us there. For existing members, be sure to enroll in Meetup.com,

Lake County Camera Club, if you haven't yet.

Jeff Bott and Don Storner are working on the year-end party. They are planning on some different twists to the members' choice

year-end photo competition. We'll hear more from them down the road.

Our own Mark Theriot is doing a presentation on bird photography at our May program night just in time for the Spring songbird

migration. Based on a past excellent presentation on air show photography, we really are looking forward to Mark's program

on May 1st.

Spring has finally sprung! Time for some comfortable outside shooting.

“New Gorgona” “Volcan Baru”


All photographs © Ken Johnson

“The Panama Canal” “The Bridge of the Americas”

An Edition From Panama By Ken Johnson

This edition comes to you from Panama. Yes, no rest for the weary editor even while on vacation. The Internet is both a blessing

and curse. Judy Reinhardt and I left on April 5 and will return on May 5. We flew to Panama City. One thing I can say for

certain is that the traffic in Panama City is worse than any place I have ever visited. There aren’t any street signs or directions at

all - nada! We used cabs during our short stay in Panama City. We did see the Panama Canal and one fantastic fireworks

display during the grand opening of a new “bypass”. After five days, we rented a car, crossed over the Bridge of the Americas

and headed west through the Pacific “Gold Coast” area, a little fishing village (New Gorgona) and we are now in the mountains,

the Volcan/Boquette area. For nature lovers, this area could be called a paradise. I much prefer this area over the Gold Coast.

The temperature is “spring like” all year round. If you are a “birder” you would think you were in heaven.

“Grand Opening”


© Brent Stirton

What It’s Like To Be A Photojournalist By Nicoal Price

Photojournalists can’t rely on elaborate lighting equipment or Photoshop to craft award-winning shots. Instead, they must to wait

for the crucial moment when all elements of their photographic story come together. Every day they are challenged to combine

context and aesthetic to tell a visual tale.

In this video, photographers from the 2013 Pictures of the Year International Awards share their insights about what it’s like to be

a professional photojournalist: https://www.youtube.com/watch?feature=player_embedded&v=RsDpVG_3qyg.

The responsibility of a photojournalist is to document situations for the world to see. Paul Hansen describes his role as a “voyeur

of life.” His images bear witness to realities that others may never experience. Similarly, Judy Walgren sees it her job to give a

voice to people whose predicaments may otherwise go unnoticed.

All of the photographers in the video discuss the significant impact of their photographs. A photo of an event unfolding is a piece

of instant history that captures a distinct moment in time and lets the viewer think about what happened before and after the

shutter clicked.

According to the featured photographers, the key to success as a photojournalist is to be an empathetic storyteller. Though the

journalism piece of the career is vital to success, it’s even more critical that a photojournalist can relate to his or her subjects.

The photographer must put herself in each subject’s shoes in order to understand the story and the emotions that are to be

shared.

Reprinted with permission from PictureCorrect http://www.picturecorrect.com/tips/what-its-like-to-be-a-photojournalist/


© Paul Hansen

© Paul Hansen © Paul Hansen

http://www.poyi.org/

https://www.youtube.com/watch?feature=player_embedded&v=RsDpVG_3qyg

http://www.picturecorrect.com/tips/what-its-like-to-be-a-photojournalist/


The World of Photojournalists By Bob Kruzic

Have you ever taken a picture that tells a story or conveys a strong emotion? This is the essence of Photojournalism.

Photojournalism images consist of pictures that have informative content and emotional impact. Photographs which may

misrepresent the truth, such as manipulation to alter the subject matter, or situations which are set up for the purpose of

photography, are unacceptable in Photojournalism.

Photojournalism is devoted to recording current events or situations to preserve them for the future. News, features, man and

man's environment, human interest - all are included. Photojournalism provides an opportunity for photographers to learn to

capture events effectively (whether for family records, a private collection of historical happenings, or publication) and to share

these images with the world.

We, of course, have seen photojournalism displayed in some of the world’s best

newspapers and periodicals. Magazines like Time and National Geographic have great

examples of world-class photojournalism. However, most of us will never be war

correspondents or official photographers at the White House. Most of us feel that we lead

pretty ordinary lives. But, there are many things going on all around us that we take for

granted.

The city of Chicago for example, offers tremendous opportunities to document our lives,

the lives of others, and how we interact in our environment. On any given weekend in the

city, especially in the summer, there are festivals, celebrations, concerts, demonstrations,

newsworthy events, and people enjoying the lakefront. A couple of recent examples would

be the Zombie Walk in Grant Park, the Air and Water Show, and music concerts in Grant

Park and Millennium Park. At these venues, pictures that capture the main attractions are

great, but, in addition, some of the most interesting photojournalism images are shots of

the people attending those events.

Most of us think of photojournalism photos as very serious – and many are. Images

depicting the homeless, photographs that capture the aftermath at the Boston Marathon

bombing, or the tornado devastation in a community, but photojournalism can be lighthearted as well. Think of kids playing in the

fountains in Millennium Park in the summer. Some of the most effective photojournalistic pictures are of everyday people in

normal situations. Things such as bicyclists along the Lake Michigan shore, a couple holding hands while they walk in the park,

or a child laughing with his parents in the playground – all of these can fit into the category of photojournalism.

One characteristic that is most often found in photojournalistic pictures is

that the images are always candid, with no posing of the subjects. Often

times, the subjects never know they have been photographed. Someone

might ask if this is ethical, or even legal. The answer is that none of us,

legally, (especially in this day and age) has any “expectation of privacy”

in public places. Therefore, you will not run afoul of the law by taking

pictures of people in public. However, the photographer needs to

exercise common sense and good judgment. In situations, such as

funerals, it might be highly inappropriate (though not illegal) trying to take

a photograph of a grieving widow. Likewise, taking pictures of small

children that you do not know can also be a problem. The point is just

because you are allowed to take a picture, doesn’t always mean you

should. Sometimes a long lens will help to diminish this dilemma. With a

short lens you need to often “get in someone’s face”, but with a longer

lens, pictures can be taken from a less intrusive distance. No one can

decide for you what sort of subject matter you should pursue, it’s largely

up to your comfort level.


Continued on next page

© Bob Kruzic

“Chicago Sunbathing”

“Working For A Higher Power”

© Bob Kruzic


Many of the best photojournalism images capture people exhibiting extreme emotions.

Think of many of the images you’ve seen in the newspapers of athletes in sporting

events. Think “the thrill of victory, and the agony of defeat” The best photos often depict

the athlete’s face (or spectator) twisted in a grimace of pain, exhaustion, triumph, or utter

dejection. One of my favorite sports pictures is the iconic shot one photographer got of

Cassius Clay taunting Sonny Listen after he knocked him to the canvas in his first

heavyweight title fight back in the 60’s. But you don’t need seats to pro games to get

these shots – high school and amateur athletes have these same moments, waiting to

be captured.

Most of us have kids or grandchildren that participate in extracurricular activities. After

you’ve taken your usual “snapshots”, try to approach the event from a new angle. Take

pictures before and after the event trying to catch emotions such as anxiety,

nervousness, disappointment, or excitement. Sometimes you don’t even need to focus

on the person you came to see. You’ll find good pictures by trying to capture the

emotions of the moment.

Picture our lives and the lives of those around us as a series of stories – photojournalism

is all about capturing those stories through pictures. The best stories are able to capture

the attention of the viewer through commonly shared emotions that most of us have also

experienced, such as love, joy, comedy, relief, loneliness, grief, sorrow, outrage, anger

and cultural differences, just to name a few. In situations depicting daily life and ordinary

people, there are stories waiting to be found and shared. It is the photographer’s job to

tell those stories through their images.

While most of us are not professional photographers, and usually feel most comfortable

shooting familiar subject matter, photojournalism presents a new avenue for shooting.

It’s a different way of thinking when looking through the viewfinder. Things move quickly,

and shots that are missed may never be repeated again, but this area of photography

presents a challenge to any of us who feel the desire to try something different.

As members of the Lake County Camera Club, everyone is encouraged to participate in

our regular interclub competitions. But, in addition to those regular contests, there are

three individual photojournalism competitions at CACCA held in October, December and

February. Any photographer may enter up to four images per competition. All images

must be mounted on the small 11x14 boards. You may give these images to our CACCA

representative at our regular club meeting prior to the CACCA meeting. Also, our club

participates in four PSA interclub photojournalism contests where our entries compete

against other clubs from throughout the world. These images are all in the DPI format,

and are submitted through our website.

For those with a desire to take something other than their usual subject matter, join the

world of photojournalists documenting our lives and the world around us.


“Honoring a Friend”

“Under The Watchful Eye”

“The Heartache of Deployment”

Continued from previous page

All Photographs © Bob Kruzic


Why More Megapixels? I Can’t Get Enough By Egon Schein

Simple! It has to do with composition! I have differences with many of the "experts" as to

what you must do to make a good picture. (I said picture, not photograph, for these

"principles" apply to all kinds of images). Simply put, I am convinced that almost any

image, as it leaves your camera, can be improved and in several ways. How often have

you looked at your pre-production image and thought, "Hmm. That's not exactly the way I

saw it!" (Do we need to use quotation marks for thoughts)? So we have tools to not only

resolve the image to agree with our conception of the subject, but to improve upon it - if

only in our own eyes, competition be damned! Cropping is the one tool almost all of us

have used, and a wonderful tool it is. But if it is very constructive, it can also be

destructive. In the new, wonderful world of digital photography we have the ability to

visualize a myriad of images in an instant, and select what pleases us - for that is what

this whole expensive hobby is all about. For some, it's the final image, for others, the

process is the joy! I am in the latter category, when I finish a picture, I really don't care if

I ever see it again - well, most of the time.

We have a small group of monochrome fans who meet at Bill Jackel's house. Bill has a

real, honest to goodness darkroom, and produces some of the most beautiful prints you

ever want to see there. Of course it may take him months to produce one with which he

is reasonably satisfied (Yes, months)! We critique one another's prints, and Bill brings

out his expensive framing device - two pieces of cardboard cut from a mat board -

and we place these on prints to find the most pleasing or creative crop. Often the main

subject of the photograph is relegated to a minor role or cut out entirely. (OK, Not THAT

often). Lately I went through some dresser drawers wherein I had stored some old

painting and drawings I had made 30-40 years ago and was never pleased enough to

frame them. Using these "very expensive" pieces of cardboard I found there were

several pictures inside of these renditions that were far better than the whole thing. We

can do a lot of this without adjuncts of cardboard on our computer. My point is; fool

around with your images (make sure you use non-destructive methods or make copies first)!

About the megapixels. The more resolution you have, the smaller the areas of the image

which can be manipulated successfully. I still may throw the images displayed here away,

this is just for "illustration" purposes - except for the 40 year old pencil drawing of my

daughter and her little cousin which my wife won't let me discard. There is no law saying

you can't deviate from the commonly accepted proportions. A mat can be cut to any size, if

framing is your thing. Competition is important as a learning process, but don't make that

your end all goal

HAVE FUN!



April Competition - Digitally Projected Image (DPI) As our membership continues to grow, so does the number of DPI submissions. These are the images that received an Award

in each class. All of the Award winners competed ‘head-to-head’ for DPI of the Month. The DPI of the Month was awarded to

Julie Boatright for “Dinnertime” designated by the blue ribbon. (scores shown in brackets)


© Mike Burquist

Class B Award “I Know I’m Handsome” (22)

© Jo Herbst

Class A Award “Stay Away—Mine!” (25)

Class B Award “Dinnertime” (24)

© Julie Boatright

Class A Award “Lifeguard Off Duty” (23)

© Mike Trahan


April Competition - Digitally Projected Image (DPI) These are the images that received an Honorable Mention (HM) in each class. (scores shown in brackets)


Class B HM “Plus Two” (23)

© Bob Marx

Class A HM “On A Summers’s Day” (23)

© Larry Chua

Class A HM “Double Duty” (23)

© Margie Hurwich

Class B HM “Carmel By The Sea” (23)

© Shel Wecker

Class B HM “Stormy Day Out On The Farm” (22)

© Sue Matsunaga

Class B HM “Inle Lake Net Fisherman” (22)

© Toma Blowers


April Competition - Small Monochrome These are the images that received an Award or an Honorable Mention (HM) in each class. All of the Award winners competed

‘head-to-head’ for Print of the Month. The Small Monochrome Print of the Month was awarded to Liz Rose Fisher for “The

Dance Teacher” designated by the blue ribbon. (scores shown in brackets)


Class A HM “As The City Sleeps” (23)

© Bob Kruzic

Class A HM “Comrade” (23)

© Larry Chua

© Liz Rose Fisher

Class B Award “The Dance Teacher” (22) Class A Award “Passing Storm” (23)

© Jeff Bott


April Competition - Small Color Awards These are the images that received an Award or an Honorable Mention (HM) in each class. All of the Award winners competed

‘head-to-head’ for Print of the Month. The Small Color Print of the Month was awarded to Liz Rose Fisher for “Julia” designated

by the blue ribbon. (scores shown in brackets)


© Linda Kruzic

Class A Award “Julia” (24)

Class B HM “Baptismal—Queen Of All Saints” (22)

© Don Storner

© Mark Theriot

Class A HM “Angry Falls” (24)

Class B HM “Pollen Party” (22)

© Sue Matsunaga

© Liz Rose Fisher

Class B Award “Julia” (24)

Class A HM “Going To Navy Pier” (23)

© Ron Sheade

Class A Award “Snowy Eyes” (24)

© Mark Theriot

Image Not Available


April Competition - Large Monochrome These are the images that received an Award or an Honorable Mention (HM) in each class. All of the Award winners competed

‘head-to-head’ for Print of the Month. The Large Monochrome Print of the Month was awarded to Bill Sullivan for “Artistic Ceiling

of Polish Parish” designated by the blue ribbon. (scores shown in brackets)


Class A HM “A French Chateau” (22)

© Bill Sullivan

© Mike Trahan

Class A HM ”Arid Landscape” (23)

Class A Award “Artistic Ceiling of Polish Parish” (23)

© Linda Kruzic

© Marlene Pietranek

Class B Award “Solitary Confinement” (21)

© Mike Kukulski

Class B HM “Slide Blues” (21)

Image Not Available


April Competition - Large Color These are the images that received an Award or an Honorable Mention (HM) in each class. All of the Award winners competed

‘head-to-head’ for Print of the Month. The Large Color Print of the Month was awarded to Linda Kruzic for “A Renaissance

Courtyard” designated by the blue ribbon. (scores shown in brackets)

Class A Award “A Renaissance Courtyard” (23)

© Linda Kruzic


Class B Award “Misty Mountain” (23)

© Marlene Pietranex

© John Williams

Class B HM “Altar—Holy Trinity” (21)

© Don Storner

Class A HM “Holy Trinity Parish” (23)

© Bill Sullivan

Class A Award “The Frozen Morning” (23)

© Stevan Tontich

© Tony Roma

Class B HM “Glowing Ice” (21)

Class A HM “Our Lady of Sorrows” (23)

Image Not Available Image Not Available


Challenges By Linda O’Rourke

It is with such pleasure that I sit here this evening to put this article down on paper, the sun is out and it reached 60 + degrees

today, I am so looking forward to the warmer weather. The Still Life Challenge had several interpretations and that is what

makes it so much fun. It is how you all interpret the theme. For “Still Life” we have:

“A Great Appeal” by John Rouse – I’m Bananas for this one!

Carol O’Donnell presented “Sunflower

Behind Glass” This Abstract presentation

is just great.

“Copper and Colors” by Ken Johnson is

lovely.

Leslie Harris, “In My Finery” I just want to hug this one.

“Flowery Egg”, by Ron Hahn shows us a still life with various textures.

Sue Matsunaga’s “Ivy” is Bonsai’ish, a great presentation.

I mentioned the warmer weather and am hoping that many of the

club members will be able to get outside in April to start shooting

outdoor sights, as the April Challenge is “Let’s Go Outside” and that

you will submit them to the Challenge Gallery through the LCCC

Website. To our new members, I encourage you to give it a try! It is

always fun to see your images included in the Gallery and there is

no competition.

Please take a look at the Challenge Gallery on the LCCC Website; there are more images for your viewing. For those of you

thinking ahead the May Challenge will be “Spring Scenes”.

Images must be newly taken images between the day the assignment is given and the end of the given month. Up to ten images

may be submitted on a monthly basis by an individual. Give It Your Best Shot!


© Sue Matsunaga

© Ron Hahn

© John Rouse

© Carol O’Donnell

© Ken Johnson

© Leslie Harris



A Brief History of Photography Part 6

KODAK and The Birth of Film By Mike Kukulski

In 1883 George Eastman had just expanded his photographic dry plate mass

production operation in Rochester, New York, and seemed to be in a strong

position to dominate the market. Eastman’s initial entry into the photography

world had introduced him to the complexities and physical burdens the early

technology entailed; toxic chemicals, heavy equipment, short working times, and

a need to technically master these challenges. As a result, his entrepreneurial

efforts were fueled by a compulsion to continually improve the science of

photography, to make it easier for the common man to employ, and to broaden

its appeal, “to make the camera as convenient as the pencil.” This compulsion,

combined with the technical contributions of his associates and competitors, led

to photographic innovations that still serve us today.

While dry plate technology was a vast improvement in convenience and

performance over the wet collodion process, sensitized glass dry plates were still

bulky, relatively heavy, and breakage prone, and therefore inconvenient for

photographers in the field. The search was on for a tough, flexible, waterproof

and chemically impervious optically transparent support material for light-

sensitive emulsion that addressed these deficiencies. In the mid-19th century, a

promising new material was developed that promised to address these needs –

celluloid.

Between 1855 and 1873, Englishman Alexander Parkes and Americans John and Isaiah Hyatt spearheaded the development of

what came to be known as celluloid, using a mixture of oils and gums, and eventually camphor, as a solvent for nitrocellulose,

seeing it initially as a substitute for ivory in such applications as dominoes and billiard balls. John Carbutt, an Englishman who

emigrated to the United States and worked as a professional photographer, saw potential in 1888 in the products of the Hyatt’s

Celluloid Manufacturing Company; the Hyatt brothers had patented procedures to manufacture large clear blocks of celluloid,

and a slicing machine that could produce uniform sheets of celluloid as thin as 0.01 inches. In Carbutt’s innovation, these sheets

were then pressed between heated metal plates to remove the slicing marks. The sheets could then be coated with light-

sensitive gelatin emulsions similar to that used with glass dry plates. This resulted in thin, light, tough and moderately flexible

substitutes for heavy, brittle glass plates. As much as this was appreciated at the time, these celluloid films were still too thick to

be readily rolled.

The concept of rolls of light-sensitive emulsion in a camera had been around for years by this point; in 1854 Talbot’s calotype

paper-based negatives were gummed together and wound on rollers in the first roll film device patented by J.B. Spencer and A.J.

Melhuish. In 1875, L. Warnecke developed a 100-exposure roll film device employing paper with dry collodion emulsion. These

devices suffered from the combined effects of immature emulsion technologies and inadequate engineering. When George

Eastman teamed up with William Walker to develop a roll film device, the result was a great photographic leap forward. Patented

in 1885, the Eastman-Walker Roll Holder employed interchangeable parts, making mass production possible. The device

featured paper-based gelatin emulsion film wound around a wooden spool, stretched across a flat plate to a take-up spool; this

assembly was fitted inside a wooden case which attached to the back of a camera in place of the normal glass-plate holder.

Winning gold medals at exhibitions in London and Paris, the roll film holder permitted photographers to increase their production

from two or three images an hour to 50 images per hour, all in a device that weighed just 2.75 pounds loaded.

As well received as the new roll film holder was, the photographic community was less enthralled with the quality of the film

Eastman offered with it. The paper-based film, even though made translucent via oiling, still suffered from the image softening

effects seen in the earlier calotype negatives. Professional photographers used to the sharpness of daguerreotypes, wet

collodion, and dry glass plate processes would not accept the inferior results of this paper-based film.


Figure 1: George Eastman (1854 - 1932)



Faced with rejection by the professional photographers, Eastman took a marketing turn that

was both unexpected and providential. Instead of trying to develop a product for the elite

photographer of the day, Eastman saw the need for an easy to use camera that any man or

woman on the street could own and enjoy. He developed a new camera, essentially a simple

leather-covered wooden box, featuring a fixed focus lens (manufactured by newly immigrated

German lens makers Bausch and Lomb), a fixed aperture equivalent to f/9, and a single

shutter speed of 1/25 sec. Most importantly, the camera came preloaded with a 100-

exposure rolled film.

The camera was simplicity in operation as well; one wound a key to advance the film (4 clicks

per frame), armed the shutter by pulling a cord, and then released the shutter by pressing a

button on the side. There was no viewfinder – you simply pointed the camera in the general

direction of the desired image to take a “snapshot.” The camera was also accessible cost-wise to the masses, priced at $25

when it was introduced in 1888 (about $610 in current dollars). Most importantly, there were no darkroom tasks for the fledgling

photographer. After taking 100 exposures, one shipped the camera back to Rochester where Eastman employees would open

the camera, develop the film and print the 2-1/2 inch diameter round images (designed primarily to compensate for the poor

image quality offered by the lens in the image corners), reload the camera with a fresh roll of film, and then return the lot to the

buyer, for a processing cost of $10 ($244 today).

This camera was the original Kodak, marketed under the famous slogan, “You Press

the Button, We Do the Rest.” (Eastman and his mother coined the name “Kodak” for the

camera using his favorite letter ‘K’, ensuring the word was short, distinctive, and

pronounceable in any language, and was completely original and had no prior meaning,

so that its use could only refer to their product.) So successful was the Kodak camera in

popularizing photography for everyday users and in cementing the Eastman Company's

reputation as a photography powerhouse, that in 1892 the company’s name was

changed to the Eastman Kodak Company.

Because the earlier “negative paper” roll film had not

been especially welcomed due to its inherent image

quality limitations, Eastman introduced an improved roll film in 1885, called “American stripping

film.” The stripping film consisted of the silver-gelatin emulsion applied over a water-soluble

gelatin layer, in turn applied to a paper base strip offering 100 exposure frames. When the

exposed film was returned to the Eastman factory for processing, the film was first steamed to

dissolve the soluble layer, and the emulsion layer was then transferred to a clear gelatin or glass

base for further development and processing. These stripping films, despite the additional

processing steps, provided superior image quality over paper negatives and were the preferred

roll film type until supplanted by an even better improvement.

In 1887, after 20 years as a parish rector, Hannibal Goodwin of Newark, New Jersey, applied for

a patent for a celluloid-based roll film process he had developed in private experimentation as an

amateur photographer. Due to vague wording in the patent, it would not be granted until 1898.

In parallel with Goodwin, George Eastman was well aware of the limitations of paper negatives,

as well as stripping films, and was actively pursuing improved methods with his research chemist, Henry Reichenbach, as early

as 1884. Early in 1888, Eastman and Reichenbach began actively considering celluloid as a roll film base, and by April 1889

had filed patent applications on what they saw as a quantum leap in roll film technology – production of the new transparent base

nitrocellulose film began in earnest in August 1889. Soon the photographic world was abuzz with the prospect of a light, thin,

rollable film that possessed the transparent qualities of glass, was processed with the same chemicals, required no stripping or

other special processes, and yielded image quality comparable to glass plate negatives. The film was available in roll size to fit

virtually every size camera, as well as in sheet form, and at affordable prices. The demand was so great for the new film that

English and French manufacturing plants had to be built to supplement the Rochester-based facilities. While beyond the scope

of this article, this development of celluloid film is what made practical the development of motion picture photography, which in

turn ensured a huge demand for film production for the next 100 years.



Figure 2: 1888 Kodak Camera

Figure 3: 1888 Kodak Advertisement

Figure 4: Kodak Image of George

Eastman Taking a Kodak Picture

Aboard Ship


In 1900, Hannibal Goodwin finally established his own celluloid film production company,

but he was unfortunately injured in a streetcar accident and died from his injuries before

production commenced. Anthony and Scovill (Ansco) purchased Goodwin’s patent after

his death, and then sued Eastman Kodak for patent infringement in 1902. This lawsuit

dragged out in court for over 10 years, finally resulting in a ruling in 1913 against Kodak,

“not on the ground that Eastman had copied the process, but that Eastman’s process,

though an improvement, came within the Goodwin patent claims.” The court awarded

Ansco $5 million, a paltry amount considering the profits Kodak had earned through

celluloid film sales in the intervening years.

In 1900, the U.S. was in mild recession, Kodak was experiencing a sales decline, and

George Eastman sought a remedy. While the Kodak (and improved Kodak No.1, No.2,

etc.) camera had popularized amateur “snapshot” photography upon its 1888 introduction,

its cost was still beyond the means of many average buyers. Eastman realized this and

again recognized a unique marketing strategy. He reasoned that if a simple and cheap camera could be affordably made, cheap

enough for even children to own and use, he would be securing a future market of camera and film buyers. The concept also

paralleled the shaving razor marketing model, where the initial purchase cost (the razor holder, or camera) was low, but the cost

of the consumable (the razor blade, or film) was relatively high.

The outcome of this strategy was the cardboard and wood Brownie camera, introduced in

1900 for a price of $1.00 ($28 in current dollars), featuring 6-exposure rolls of 2-1/4 inch

square 117 size film, selling for 15 cents each ($4 today). 150,000 Brownie cameras were

manufactured and sold in their first year, supported by a huge advertising campaign that

capitalized on the popularity of the “Brownie” series of children’s cartoon books. For 80

years, the Kodak Brownie name lived on through almost 100 camera models, epitomizing

popular photography for the everyman, and introducing generations of future

photographers to the art of photography – how many reading this today can still fondly

remember their first experience with photography behind a Brownie?

(Next Time: Color Film History)

This is the sixth installment of an ongoing series on the history and development of the art of photography. It is inspired by the History of Photography class

taught by Professor Jeff Curto in the College of DuPage Photography Program. While not a slavish copy of his work, I freely admit to following his general

course outline and sharing many of the perspectives he has developed. I would encourage anyone with a greater interest in this subject to follow his course

online via video podcasts, at http://photohistory.jeffcurto.com.

Sources: A World History of Photography, 4th Ed, 2007 by Naomi Rosenblum History of Photography Podcasts, class lectures with Jeff Curto from College of DuPage http://photohistory.jeffcurto.com The American Experience, “The Wizard of Photography “ YouTube Video in 3 parts, https://www.youtube.com/watch?v=UfhsM15nElM The American Experience, “People & Events: William Walker”, http://www.pbs.org/wgbh/amex/eastman/peopleevents/pande08.html & “People & Events: William Stuber”, http://www.pbs.org/wgbh/amex/eastman/peopleevents/pande07.html National Media Museum, “Celluloid and Photography”, http://www.nationalmediamuseum.org.uk/~/media/Files/NMeM/PDF/Collections/Photography/CelluloidAsASubstituteForGlass.ashx, http://www.nationalmediamuseum.org.uk/~/media/Files/NMeM/PDF/Collections/Photography/TheDevelopmentOfCelluloidRollfilm.ashx, http://www.nationalmediamuseum.org.uk/~/media/Files/NMeM/PDF/Collections/Photography/TheBeginningsOfCinema.ashx National Media Museum Blog, “C is for Celluloid”, http://nationalmediamuseumblog.wordpress.com/2012/12/20/a-z-photography-collection-c-is-for-celluloid/ National Media Museum, “Kodak Number 1”, http://www.nationalmediamuseum.org.uk/Collection/Photography/PhotographicTechnology/CollectionItem.aspx?id=1990-5036/1369 Camerapedia, “Rollfilm”, http://camerapedia.wikia.com/wiki/Rollfilm Camerapedia, “Kodak No.1”, http://camerapedia.wikia.com/wiki/Kodak_No._1 Wikipedia, “Hannibal Goodwin”. http://en.wikipedia.org/wiki/Hannibal_Goodwin The Brownie Camera Page, “Brownie Box Cameras”, http://www.brownie-camera.com/200.shtml Shutterbug, “Classic Cameras; The Final Countdown; The Top 20 Cameras Of All Time”, http://www.shutterbug.com/content/classic-cameras-final-countdown-top-20-cameras-all-time-page-2 Image, Journal of Photography of the George Eastman House, Sept, 1955, “Picture By the Roll”, http://image.eastmanhouse.org/files/GEH_1955_04_06.pdf PetaPixel, “Blast from the Past: Photos Captured 125 Years Ago with the Kodak No. 1”, http://petapixel.com/2013/09/30/blast-past-photos-captured-kodak-1-125-years-ago/ The Franklin Institute, “The Kodak Brownie”, http://www.fi.edu/learn/sci-tech/kodak-brownie/kodak-brownie.php?cts=photography-recreation Jack & Beverly’s KODAK COLLECTIBLES, “Our Replica Original Kodak Camera (1888 string set Kodak)”, http://brightbytes.com/collection/kodak_orginal.html Kodak, “About Kodak: History of Kodak – Milestones (1878-1929)”, http://www.kodak.com/ek/US/en/Our_Company/History_of_Kodak/Milestones_-_chronology/1878-1929.htm Wikipedia, “Eastman Kodak”, http://en.wikipedia.org/wiki/Eastman_Kodak Wikipedia, “George Eastman”, http://en.wikipedia.org/wiki/George_Eastman PhotoSecrets, “The Rise & Fall of Kodak”, http://photosecrets.com/the-rise-and-fall-of-kodak Video Preservation, “History; Science, Preservation and Treatment of Cellulose Nitrate Still Film”, http://videopreservation.conservation-us.org/library/history_storage_of_cellulose_nitrate_film_v26.pdf Wired, “May 2, 1887: Celluloid-Film Patent Ignites Long Legal Battle”, by Randy Alfred, http://www.wired.com/2011/05/0502celuloid-photographic-film/ Photographs from the 19th Century: A Process Identification Guide, by William E. Leyshon, “Chapter 3: Flexible Negatives”, http://sharlot.org/archives/photographs/19th/book/chapter_3.html Buzzle, “George Eastman – The Kodak Man”, http://www.buzzle.com/editorials/2-27-2005-66330.asp



Figure 5: Typical Kodak Circular Print

Figure 6: 1900 Kodak Brownie & Box

http://photohistory.jeffcurto.com

http://photohistory.jeffcurto.com

http://www.pbs.org/wgbh/amex/eastman/peopleevents/pande08.html

http://www.nationalmediamuseum.org.uk/~/media/Files/NMeM/PDF/Collections/Photography/CelluloidAsASubstituteForGlass.ashx

http://www.nationalmediamuseum.org.uk/~/media/Files/NMeM/PDF/Collections/Photography/CelluloidAsASubstituteForGlass.ashx

http://www.nationalmediamuseum.org.uk/~/media/Files/NMeM/PDF/Collections/Photography/TheDevelopmentOfCelluloidRollfilm.ashx

http://www.nationalmediamuseum.org.uk/~/media/Files/NMeM/PDF/Collections/Photography/TheBeginningsOfCinema.ashx

http://nationalmediamuseumblog.wordpress.com/2012/12/20/a-z-photography-collection-c-is-for-celluloid/

http://camerapedia.wikia.com/wiki/Rollfilm

http://en.wikipedia.org/wiki/Hannibal_Goodwin

http://www.brownie-camera.com/200.shtml

http://image.eastmanhouse.org/files/GEH_1955_04_06.pdf

http://petapixel.com/2013/09/30/blast-past-photos-captured-kodak-1-125-years-ago/

http://www.fi.edu/learn/sci-tech/kodak-brownie/kodak-brownie.php?cts=photography-recreation

http://brightbytes.com/collection/kodak_orginal.html

http://www.kodak.com/ek/US/en/Our_Company/History_of_Kodak/Milestones_-_chronology/1878-1929.htm

http://en.wikipedia.org/wiki/Eastman_Kodak

http://en.wikipedia.org/wiki/George_Eastman

http://photosecrets.com/the-rise-and-fall-of-kodak

http://videopreservation.conservation-us.org/library/history_storage_of_cellulose_nitrate_film_v26.pdf

http://videopreservation.conservation-us.org/library/history_storage_of_cellulose_nitrate_film_v26.pdf

http://www.wired.com/2011/05/0502celuloid-photographic-film/


Challenge Due: ‘Let’s Go Outside’ April 30

Program Night: Back Yard Birding May 1

CACCA Special Category Due: Steeples May 3

PSA: Photojournalism Due May 5

PSA: Travel Due May 5

CACCA: Meeting 11:30 AM for Critiques and 1:00 PM for Competitions May 10

LCCC Board Meeting: May 15

Shutter Café 8:00 AM May 17

Newsletter Articles Due: Landscapes and Nature Theme May 21

Challenge Due: ‘Spring Scenes’ May 30

Photo Excursion: Backyard Birding / Bird Walk May 31

Dates To Remember


Now I Lay Me Down To Sleep

Volunteer of the Month By Ken Johnson

Ron Hahn is our Volunteer of Month for April. Ron is a photographer in

Chicago, and has been a member for six years.

Area Coordinator Kristin Cashmore nominated Ron for this honor. She

feels he is deserving of this recognition because he always seems to step

up and take sessions when no one else can.

According to Kristin, he recently took two sessions in one day even though

it meant leaving a family party to do so.

"I recently spoke with a nurse from a hospital near Ron and she wanted

me to know how grateful they are to have Ron. The last session he took at

their hospital was for a family who lost twin babies. The nurse said that

Ron was extremely kind and patient and at one point put his camera down

to sit with the family and talk with them as a friend," Cashmore said.

Kristin went on to say that Ron is often requested by several hospitals

because of the great concern and care that he shows to the families he

serves.

"I am truly appreciative to have Ron as a volunteer and I would like him to

be recognized for his efforts," said Cashmore.

Congratulations Ron! Please accept our sincere thanks for being a

wonderful volunteer. https://www.nowilaymedowntosleep.org/

https://www.nowilaymedowntosleep.org/

https://www.nowilaymedowntosleep.org/

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Photojournalism, People and RelationshipsPhotojournalism is devoted to recording current events or situations to preserve them for the future. News, features, man and man's environment,