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SAN FRANCISCO

PUBLIC LIBRARY

SAN FRAfvClSCO HISTORY ROOM



Q4




REFERENCE BOOK



Not to be taken from the Library



Digitized by the Internet Archive

in 2010 with funding from

San Francisco Public Library



http://www.archive.org/details/focus171941181942sanf



r-UBLlC LIBRARY
T iE CIVIC CEifTER

SAMFRAMC'.SCOXALlFORFNiiA



FOCUS



Published Monthly in the Interests oj
Professional Photography



941(



Vol. XVII



-^



JANUARY, 1941



Photographing the Grand Canyon



Published by

HIRSCH 6^ KAYE

SAN FRANCISCO



No. 1



-«-








2]



[THE FOCUS for JANUARY, 1941 ]




1/ owly pari of U !






SAFETY BASE
NON-HALATION



Arrow Pan, newest Defender Film, offers speed
cs Its most important feature, a speed two to
four times greater than the next fastest film in
the Defender list. But speed is not all — .



Arrow Pan approaches the ideal in color value
rendition; in efficiency when used with artificial
lighting, including the modern fluorescents, and for
high relative speed by daylight.

Arrow Pan's darkroom behavior presents no
problems — it is like the other Defender Film in
that respect.



For Studio, Portrait or Commercial; for action
shots indoors or out; for any work where both
speed and quality count. Arrow Pan fits in.




DEFENDER PHOTO SUPPLY COMPANY, INC.

ROCHESTER, NEW YORK



=7



THE FOCUS



Prepared and Published
TAonthly




In the Interest of Professioruil
Photography



By HiRSCH & Kaye

239 Grant Avenue, San Francisco

The Largest Independently Owned Complete Photo Supply House in the West



VcL. XVII



JANUARY, 1941



No. 1



INTRODUCING—

Ellsworth Kolb

and
Emory C. Kolb

(See front cover)

This month we gladly tell you about
the two men who, more than anyone
else, have helped to make the Grand
Canyon one of the outstanding tourist
attractions of all the national parks.
They were born in Wilkensburg,
Pennsylvania. Their parents are still
living, their father having reached 91,
their mother, 88 years. Their father
was a grocer and butcher, later be-
coming a Methodist preacher.

While the boys spent much time in
small country towns, they received
most of their education in Pittsburgh.
Emory could never resist the urge to
explore, while Ellsworth, likewise rest'
less and curious, wanted to be a trav-
eler. Emory, the explorer, found much
to interest him in a photo studio, in
1900, and the following year opened
one of his own. That was in the days
when the popular custom was to wear
a photograph, mounted in a gold-
rimmed pin, on your coat or tie. He
even worked this idea in connection
with a house-to-house solicitation.

Meanwhile, Ellsworth, the traveler,
had arrived in Grand Canyon, then
not a national park, and known only
to a few hardy people. Comfortable
auto camps, hotels, Harvey dining
rooms and road signs were not readily
available in those days. Emory oper'
ated a studio in Williams, where he



was joined by his brother. The studio
was closed a year later when the
brothers opened one at Grand Canyon.
Their first activity was photographing
mule -back parties of visitors. Here let
us pause to picture one of their work-
ing problems, as we think of their daily
round-trip of 3,000 feet down to the
river for water for their darkroom!

Here was plenty of opportunity for
the hardiest explorer or traveler. They
learned to know the canyon as you
know your own darkroom. First mo-
tion pictures of the Colorado River
and the canyon were made by the
Kolb brothers in 1911, and because
the same film (35 mm.) is shown to
the public every night, they can rightly
claim the longest running movie shown
in the world. The Kolb brothers are
among the very few people who have
navigated the Colorado River from its
source in Wyoming to the sea and
lived to tell about it. Read their book,
''Through the Grand Canyon by
Boat,'' and be thrilled and fascinated.

It was this book, and articles written
by them for National Geographic
Magazine, Saturday Evening Post, and
others, which focused official attention
at Washington on the desirability of
making Grand Canyon a national park,
which was done 17 years after the
Kolb brothers arrived. No river ex'
pedition is ever considered without
first obtaining expert advice from the
brothers.

But this is not all. Both brothers
can fly a plane. They like to build and
(Continued on Page 5)



4}



[ THE FOCUS for JANUARY, 1941 ]




N



O JEWELER sells a diamond without
first placing it in a suitable setting. The finest per"
fume would lose 90% of its appeal if placed in an
ordinary drug'Store bottle.

In photography the finer the package — which m
photography is the mounting — the more the pho'
tographer can charge and the more profit he makes.

Given a do^en really competent photographers,
there cannot be much variation in the quality of
their ''bread'and'butter'' work. The mounting is
each photographer's real opportunity to individual-
i^e what he has to sell.

Other than mere si^e, what is the tangible diif er-
ence to the customer between various ''styles" of
prints? The mounting, which makes possible a far
greater range in price than cost of the material
would otherwise warrant.



THE GROSS PHOTO SUPPLY CO.

MANUFACTURERS y TOLEDO, OHIO

Canadian Agents: W. E. Booth Company, Limited, Toronto, and Montreal



[ THE FOCUS for JANUARY, 1941 ]



[5



Kolb Brothers

(Continued from Page 3)

work with their hands. Emory is a
Mason, and, having served in World
War I as a Heutenant in the Photo
Division, Signal Corps, is a Legion-
naire. Ellsworth is a member of the
Explorers Club. He was a photogra-
pher of the Katmai Expedition to
Alaska in 1919.

Kolb brothers have appeared by in-
vitation to lecture and speak to some
of the leading scientists of the time.
Teddy Roosevelt knew them well.
Emory is married, and his only daugh-
ter is the wife of the chief ranger at
Boulder Lake. Ellsworth is single and
is especially interested in looking after
his parents at Altadena. During Rip-
ley's Believe-It-or-Not program at the
canyon in May, Emory operated a
boat by short wave remote control.

Now, plan a vacation at Grand

Canyon and have a chat with either

of the brothers, who will tell you they

have lived there longer than anyone

else.

^ ♦> V

r — ♦> — T

A True Story

One of our very good customers
submits this story of an actual hap-
pening, and mentions that it is one of
those things which ''happens only once
in a lifetime.''

A young girl, accompanied by her
husband, visited my studio to have her
portrait made. The young lady was
far from being attractive, but her one
redeeming feature was her large and
beautiful eyes.

The usual sittings were made, and,
of course, I made every effort to bring
her ''redeeming feature" into great
prominence. The usual proofs were
submitted to the young lady, who very
carefully scrutinized them. After a
few moments of silence she spoke very
seriously and rather sorrowfully, say-
ing that she had evidently proved to
be a poor subject, as she ''forgot to
squint."

(Continued on Page 9)



Unfavorable Odds

Not a few individuals look with
envy at the person who owns his own
business. It appears as a highly de-
sirable goal to many employees, an
ideal situation where there are no
tirrue-cards or bosses. But all is not
quite so rosy. The man who owns his
own small business has a tougher
struggle than most employers would
subject him to. Attesting to this, the
Harvard Business figures for 1939
show that only ^5.6 per cent of stores
doing a dollar volume of less than
$150^000 earned a profit.

It's a real job, these figures show,
to get any business past the dangers
of the first few years and into the
expansion stage. Less than one-tenth
of 1 per cent of about two and a quar-
ter million businesses in the country,
for example, have a continuous history
of 50 years or more. The average life
of a business is just 5 J/2 years, Dun &
Bradstreet finds. More than half of
stores doing a dollar volume of under
$300,000 a year lost money. Bigger
business shows much more consistency
of profit. Perhaps being an employee
is not so bad after all.

y- ♦.♦ V

Adjusto Print Press

Here is a popular- price press such
as is often wanted for flattening prints
or drying them under pressure. The
press is sufficiently large to be usable
with 11 X 14 prints. The outside di-
mensions are 12x15 inches and the
press, made entirely of metal, will not
warp or lose its uniform adjustment.
As many as 100 prints between blot-
ters may be placed in the press at one
time and they may be of any size up
to 11 x 14.

The press is easy to handle and con-
venient to use. Four special rubber
snubbers on the base will protect the
top of table or desk on which it may be
used. The upper or removable part of
the press is attached and pressure ap-
plied by means of thumb-screws.

Price $4.35



6]



[ THE FOCUS for JANUARY, 1941 ]



GADGET BAG

New Model 2605-F

Made of smooth, top grain, soft, brown
leather. Outside measurement, iV/z'^
'^^Vz^^Vz inches. Strap-and-buckle-fast-
ened pocket on outside (l"x5%"x8j/2")
accommodates battery case, reflector, etc.,
for synchronized flash-gun unit. Four
snap-fastened pockets (2"x2'') in top for
filters. Behind these a :^ipper equipped
pocket (3''xll") for cable release, table'
top tripod or other small accessories. Two pockets (lI/^"x2j/2"x2!/2" and
Ij^"x2^"x4") at ends with snap-fastened flaps for alternate lenses. Two
large pockets (3"x5''x5j4") iri center for camera, reserve film magazines, lens
hoods, etc. One pocket (6"xll|/2") inside front for exposure meter. Obvi-
ously, the equipment listed for the various pockets is an arbitrary selection
used merely as an example.

Price $12.50

Dealers are invited to send for list of cases of all kinds.

^ ^





[ THE FOCUS for JANUARY, 1941 }



[7



-<-



David S. Merriam

David S. Merriam of the Pako
Corporation died Thursday, Decem-
ber 12. He was one of the Directors
of the Corporation and for more than
20 years helped in the development
of equipment which has made the
Pako Company outstanding in its
line. He will be missed by his asso-
ciates, his distributors, and the hun-
dreds of photographers and photo
finishers who knew him.



A Distinctive New Paper
Surface

A new surface, designated as
''suede,"" which, while matted, is
smooth in texture, has been added
to the Kodabrom and Kodalure lines
of Eastman Papers. The new grades,
which will be furnished in the same
sizes and at the same prices as other
grades of Kodabrom and Kodalure
Papers, are:

Kodabrom Double Weight:

Grade V (Nos. 1, 2, and 3), suede,
matte, cream white

Grade W (Nos. 1, 2, and 3), suede,
matte, old ivory

Kodalure Double Weight:

Grade V, suede, matte, cream white
Grade W, suede, matte, old ivory



Eastman Industrial X-Ray
Film

X-ray Film especially coated and
packaged to meet industrial needs, is
now available. Many manufacturing
and construction firms use x-ray
equipment to determine the quality
of metal and other materials. Anyone
interested in Industrial X-ray Film is
invited to write to us for suggestions
as to the use and handling of film
and other information that may be
wanted.



Infra-Red Film Prices
Reduced

(Effective January 15, 1941)

INFRA-RED Roll Film in sizes 116,
616, 120, 620 and 127 is fur-
nished in 6-exposurc rolls, but not
regularly listed. Prices on these rolls
are hereby reduced as follows:



Film
No.


Negative
Size


Expo'
surcs


List
Per Roll


116


2/2x414


6


$ .40


616


2!/2x4j4


6


.40


120


214x34


6


.35


620


2^x3^


6


.35


127


15/8x2/2


6


.30



These films are subject to the dis-
count schedule in effect and are sold
under the provisions of our Retailer
Fair Trade Agreement.

Listings of Infra-Red 135 and 828
film remain unchanged.

On special order, other sizes of
Infra-Red Film are available. Prices
on these si2,es will be figured propor-
tional to those included herein.

^ — i> — 7

Charles Estey, formerly a well
known Bay Region press photog-
rapher, was found dead in his room,
from pneumonia. At one time he was
a commercial photographer in San
Francisco.

Mr. and Mrs. Piatt of Redding
were in San Francisco for a few days
over the New Year holiday.

>fi ^ >fi

Mr. and Mrs. Lark of Lark's Photo
Shop and Studio, in Hanford, called
at our office during their brief visit
to San Francisco early this year.

H« * >is

Mr. F. H. Sheidler and Mrs. Sheid-
ler made the trip from Redding to be
in the city for the New Year holiday.
* * *

Mr. and Mrs. Kramer of Santa
Cru:: are rather frequent visitors.
They are developing the habit of call-
ing, which greatly pleases us.



[ THE FOCUS for JANUARY, 1941 ]



Synchro-Sunlight with Color

SYNCHRO-SUNLIGHT is the
flash technique pioneered by Kal'
art whereby the Hght from a flash bulb
is employed to balance the sunlight
and produces the beautiful two-tone
lighting effects achieved by Hollywood
Motion Picture Studios with bulky,
powerful lamps.

When using color film outdoors
with the Speed Flash the exposure
should be set for the daylight and the
illumination from the flash bulb should
be sufficient only to fill in the shadows.
This is accomplished by keeping the
flash about 8 to 10 feet from the sub-
ject. Synchro- Sunlight is especially
beneficial with color films as these
emulsions have a very limited latitude
which produces jet black shadows with
no detail.

Outdoor portraits in natural color
can be greatly improved if the sub-
ject is placed so as not to face the
sun directly. In this position there is
no squinting of the eyes, your subject
is more comfortable and the result is
a more natural expression. The shad-
ows are, of course, illuminated by a
flash bulb synchronized with the Mi-
cromatic Speed Flash. The shutter ex-
posure is the same as if no flash bulb
were being used. At this point we
might mention that although the light
from the flash bulb varies in color
temperature during its burning period,
the temperature of the flash pea\ is
approximately equal to the flash as a
whole. It is important, therefore, to
synchronize with the pea\ of the flash
when shooting at speeds of 1/200 sec.
oit faster and at the beginning of the
flash for speeds of 1/50 sec. or slower.

^ ♦,♦ :k

New Phaostron Meter

In advance of mora detailed infor-
mation which will be published next
month, we announce the Model C
Phaostron Meter with greatly in-
creased scale range. Provision is made
for exposure as fast as 1/1000 of a
second and for as long as two hours.



for SPEED GRAPHIC
OWNERS only I

SUPER
SPEEDFLASH SHOTS

ARE EASY WITH

SISTOCUN!




A dance of the Radio City Music Hall Corps
de Ballet, taken by Jimmy Sileo

Here's an instrument designed by news pho-
tographers especially for Super-Speedflash
Photography — it's the Kalart Sistogun. To-
day — ace photographers use and endorse this
focal plane Shutter Synchronizer for 31/^ x
41/4 and 4x5 Speed Graphics.
The Kalart Sistogun is a compact, precision
instrument which really completes your
Speed Graphic. It's low priced, you can in-
stall it yourself. It may be used w^ith battery
cases of most synchronizers. With Sistogun
and long-peak wire-filled flash bulbs, you
can get action shots even at l/lOOO sec.
See the Kalart Sistogun. Try it. You, too,
will say it is made to order for those ivho
tvant real action FLASH PICTURES — at
SUPER SPEEDS! Price $12.00.

The KALART COMPANY INC.

Dept. 01
Taft Bidg., Hollywood. Calif.



KALART



[ THE FOCUS for JANUAPvY, 1941 }



[9



Sodium Carbonate
Pure Photo

(Monohydra+ed)

Characteristics

Anhydrous Sodium Carbonate has
a decided affinity for water, and will
absorb moisture from the air readily,
up to about 15 per cent, where it re-
mains practically stable.

Sodium Carbonate is manufactured
in two types for photographic work:
Anhydrous (dry) and Monohydrated.

The anhydrous or dry carbonate is
the stronger of the two when packed,
having about 98 per cent Na2C03. But
unless it is stored in tight containers
it is not stable, but in time may absorb
water up to about 1 5 per cent. This
creates a margin of uncertainty too
wide for careful photographic work.

To avoid this uncertainty of
strength, Carbonate has been hydrated
to contain 1 5 per cent of moisture, and
at that point it is sufficiently stable for
all practical purposes. There may be
a little variation, but it is so slight that
it is not noticeable in practical use.

Therefore, stabilized, Monohy-
drated Sodium Carbonate offers you
a salt that contributes to uniform den-
sity and printing quality, and to closer,
more accurate timing of development.

Use of Carbonate. To better under'
stand the reason for the accuracy that
Monohydrated Sodium Carbonate of-
fers, it is well to recall the functions of
carbonate.

Alkali in the developer makes it
more active. It is often called the ac-
celerator of the developing agent.

Over-use of Carbonate. If too much
alkali is used it increases the reducing
power of the developing agent to such
an extent that the silver halide grains
are affected, even though they were
not exposed. This causes fog. (See
data sheet on Potassium Bromide.)

Description

(Monohydrated Carbonate.) Pure
white, fine crystals, which, examined



under a glass, appear brilHant, color-
less, and fairly uniform in size and
shape. Free-flowing, little inclination
to cake or lump.

ST0R.AGE

Monohydrated Carbonate relieves
the photographer of much of the diffi'
culty he formerly had with his car'
bonate. Any reasonably dry, cool place
will be suitable for storage.



Eastman Contrast Process

Panchromatic Safety Film,

Antihilation

THE emulsion of Eastman Contrast
Process Panchromatic Safety Film
is identical with Kodagraph Process
Panchromatic Film, but is coated on
regular cut sheet base, intended for
commercial work.

The new emulsion is a decided im-
provement over Process Panchromatic
Antihilation Film, having considerably
more contrast and a slight increase in
speed. This new film will replace East-
man Process Panchromatic Film, but
for the time being stocks of both
brands will be available, and orders
for Process Panchromatic will continue
to be filled until the supply is ex-
hausted.

Eastman Contrast Process Panchro-
matic Safety Film, Antihilation, will
be furnished in the same sizes and at
the same prices as Eastman Process
Panchromatic Film.



A True Story

(Continued from Page 5)
Believe it or not (thank you, Mr.
Ripley), she made a detailed study of
all the proofs and carefully selected
the one which she said was the best,
because ''I find that of all the pictures
this is the one where I squint the most,
and therefore this will make the best
portrait."



10]



[ THE FOCUS for JANUARY, 1941 ]




[ THE FOCUS for JANUARY, 1941 ]



11



From the Birdie's Nest

MANHATTAN'S pioneering
Museum of Modern Art last
week took a plunge. Conservative
U. S. art museums have dipped con-
descendingly into the art of photog-
raphy, buying an occasional print to
store in their basements, sandwiching
an occasional show of fine photographs
between their Cezannes and Rem-
brandts. None of them has ever rated
photographs high enough to give them
a full-fledged department, complete
with curators and permanent collec-
tions. But the Modern Museum, which
had long been flirting with camera art,
last week announced that it would
give photography a large, permanent
place alongside its departments of
painting, sculpture, architecture, in-
dustrial design. As curator of the new
department, the Modern Museum ap-
pointed its librarian, scholarly, gan-
gling Camera Expert Beaumont New-
hall.

For its maiden exhibition, this week,
the Modern Museum's new photog-
raphy department dusted off 60 pic-
tures representing the heavy cream of
camera craft, from early sepia-colored
] 9th-Century primitives down to such
contemporary camerartists as Alfred
Stieglitz, Ansel Adams, Edward Wes-
ton. Picked to show the tremendous
variety of methods and subjects used
by cameramen of the past 97 years,
the exhibition contained prints from
hoary calotype* and wet-plate nega-
tives, documentaries by the Civil War's
camerace Matthew Brady, sentimental
Victorian landscapes, modern news
photographs, dadaist shadographs by
Hungarian-born Moholy-Nagy and
U. S. Modernist Man Ray. Surprised
visitors found that some of photogra-
phy's finest workmanship was very old
stuff.

The man behind the Modern Mu-
seum's new photographic venture is
David H. McAlpin, grandnephew of
the late John D. Rockefeller, Sr. A

•Early paper negative used before the introduction
of glass plates or film.



precise-minded shutterbug who clicked
his first camera in 1906, balding, snap-
eyed Mr. McAlpin spends many a
spare moment from his Manhattan
brokerage business getting fragments
of the world on film. A collector of
fine and rare photographs, McAlpin
has long felt that U. S. museums ought
to do more for photography. When, a
year ago, he gave Manhattan's stodgy
Metropolitan Museum $1,000 to buy
photographs, the Metropolitan's board
of trustees had to hold a meeting to
decide whether photography was art.
They finally decided that it was, ac-
cepted his gift. Cousin Nelson Rocke-
feller's Museum of Modern Art was
prompter. About his own camera
work, Camerarchivist McAlpin is shy.
Says he: 'It's mostly in the snapshot

stage."

— Time.

Kodabrom Paper Name

Changed to Kodabromide

Paper

Kodabrom Paper will henceforth be
known as ''Kodabromide."

Because of the similarity of the for-
mer name to that of Kodachrome Film,
and to avoid confusion, this name
change is being made. However, there
is no change in the characteristics of
the product.

Throughout the year there may be
instances of dealers and customers re-
ceiving packages bearing the name
"Kodabrom." This situation is due to
the fact that there are on hand large
stocks of labels and packaging ma-
terials which will not run out on all
sizes and grades at the same time. This
statement is made so that those receiv-
ing packages bearing the name "Koda-
brom" will understand that the ma-
terial contained is not old, but merely
that we are using the packing materials
on hand.



Save your copies of "The Focus"
for future reference.



-¥-



12 ] [ THE FOCUS for JANUARY. 1941



THE KALART

SYNCHROSCOPE

A Synchronizer Tester . . . without the use of
bulbs, film, or any other photographic material.

THE KALART SYNCHROSCOPE is an entirely new device, electrically
operated from the battery case of the Photoflash Synchronizer which gives
a visual indication of the shutter timing in relation to flash bulb peak intensity.
This is accomplished without the use of a flash bulb or other photographic
materials.

Means is provided for adjusting the Synchroscope for difl^erent time lag
intervals associated with the various flash bulbs now on the market.

The Synchroscope is fastened in front of the lens and shutter to be tested
by sliding the adjustable crossed bars in the camera track. If the camera does
not have a focusing track, the synchroscope is placed on a table close to the
lens. The viewing window is raised or lowered in height to center with the
lens. Electrical connection is established to the battery case by means of the
electrical cord extension. The pin projecting from the bottom of the Synchro-
scope is gently pushed up, the Synchronizer connected tc the battery case is
wound and the shutter cocked. Set the shutter for a speed of 1 /200th sec. or
maximum shutter speed as desired.

The back of the camera is then opened and exposed to the light of an
electric lamp.

While looking directly into the window of the Synchroscope the shutter
is released by means of the Synchronizer and two distinct slits of light will be
visible v;hile the shutter is open.

The action of these slits is designed to correspond in timing with the firing
characteristics of a photo-flash lamp. Their position as observed indicates
whether the shutter is opening with the peak of the flash or whether it is
opening too early or late.

As the Synchroscope is much more critical than any other form of tester,
we have incorporated within it a field of red which covers the safety margin
for synchronization. If the photographer sees any portion of this red area
within the slits of the Synchroscope while making the test, the synchronizer



Online LibraryPacific Publication CompanyThe focus (Volume v.17 (1941) - v.18 (1942)) → online text (page 1 of 49)