Kodak Six-20

by Posted in Camera Collecting, Camera Collection, Cameras, Kodak Six-20 Leave a comment
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With the acquisition of this camera I’ve broken two of my rules for collecting cameras.

The first is that I would not acquire a camera that I could not or would not use. I’ve on occasion acquired a camera that was supposed to be working, but turned out to be non-functional. However, I’ve never bought a camera that I knew I wouldn’t use. I think it’s unlikely (but not impossible) that I will use this one. Although you never really know until you try to use it, I believe this camera works. Unfortunately, the film (620 film) was discontinued in 1995. Although the actual film is the same as 120 film (which is still available), the spools are different. The 620 spools are slightly shorter and have a smaller diameter. It is possible to cut down a spool of 120 film to fit or to re-spool some 120 film onto 620 spools in a darkroom or changing bag. Some people do this and sell the result, so it is still possible to get this film. However, it’s difficult to find and expensive. More important, I’ve read that the camera takes terrible pictures. I’m might get my hands on a roll of 620 film and try it out, or because of the apparently poor quality of the images I might not bother. I haven’t decided yet.

Second, I had long ago decided not to collect Kodak Folding Cameras. While they certainly have their charm I was afraid of going down that particular rabbit hole in case I couldn’t make my way out.

So why then did I acquire this camera? The reason is that I’ve decided to start collecting bakelite and art-deco cameras. This one is an excellent example of the latter. Unfortunately, these cameras tend to be old and use film that is difficult (and in many cases impossible) to obtain. Most of them look great though.

I’ve found a great site: Art Deco Cameras, which has a wealth of information on such cameras and how to use them. I imagine it will become my guide to finding addition leads.

This one is a Kodak Six-20 and according to Art Deco Cameras:

The Six-20 Kodak was introduced in 1932 but from 1933 it was redesigned to become the Six-20 model C. It is a self-erecting folding camera. It has angled ends to the body which is covered with pig-grained leatherette. It has a brilliant finders that swivels to cater for both portrait and landscape views. It does not have a folding frame finder. It features black enameled side panels with nickel lines. The shutter plate is octagonal with chrome and black enamel deco pattern as well as bright red highlights. It has a swiveling red window cover. The struts are chrome and ornate unlike the redesigned Model C which are quite plain.

It supported two combinations of lens and shutter. These are a Doublet lens coupled with Kodon shutter or a Kodak Anastigmat f/6.3 with a Kodon shutter.

I believe mine is the former i.e. the one with the doublet lens, which is a pity because if I did choose to use it I’m sure the latter would produce better images.

Art Deco Cameras also rates the cameras as to the extent to which they have the characteristics of an art-deco Camera and describes this camera as follows:

Iconic: Famous, well-known and celebrated

  • Produced during the main Art Deco period.
  • Octagonal face plate design with red highlights.
  • Ornate chrome struts.
  • Angled ends to body.
  • Enameled side panels with nickel lines.
  • Raised diamond and octagonal motifs
  • Pig-grained leatherette
  • Octagonal film winder
  • Chrome and black enamel brilliant finder

Taken with a Sony A7IV and Venus Optics Laowa 85mm f5.6

The Making of “Exiles”

by Posted in Photographers, Reading Leave a comment
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This is the kind of book that makes me want to give up photography. The images are just so far beyond anything I’d ever be able to make.

I subscribe to many photography-related YouTube channels. T. Hopper‘s is one of the more interesting. She recently posted a video on Joseph Koudelka. Other than the famous picture of the arm, the watch and Prague, and that he was a Magnum photographer I didn’t know much about him. Since I don’t need much of an excuse to buy a photobook I immediately went online to buy one. This is what I came up with.

At the moment I’m so blown away by this book that I’m at a loss for words, so I’ll content myself with merely copying what Amazon has to say about it. Later, when I’ve had more time to absorb it I may come back with some thoughts of my own.

“Koudelka’s unsentimental, stark, brooding, intensely human imagery reflects his own spirit, the very essence of an exile who is at home wherever his wandering body finds haven in the night.”–Cornell Capa

In 1988, Josef Koudelka published what was to become one of his most famous and canonical series: Exiles. These gorgeously austere black-and-white images described the travels and everyday life of the peoples he encountered while roaming Europe. Josef Koudelka: The Making of Exiles is an exploration of the genesis and the making of this photographic journey.

Enhanced by numerous photographs that have never been published―in particular the photographer’s self-portraits―and captions by Koudelka, it includes numerous archival documents (such as reproductions of his travel journals), thumbnail reproductions of the book’s layout, an introduction by curator Clément Chéroux and an essay by photo-historian Michel Frizot, who spent hours interviewing Koudelka.

Josef Koudelka was born in Moravia in 1938. Initially an aeronautic engineer, he launched full time into photography in the late sixties. In 1968, he photographed the Soviet invasion of Czechoslovakia, publishing the results under the pseudonym P.P. (Prague Photographer). Koudelka left Czechoslovakia in 1970 and was briefly stateless before obtaining political asylum in England. Shortly afterwards, he joined Magnum Photos. In 1975 he published Gypsies. Koudelka has exhibited at the MoMA and at the International Centre of Photography in New York, at the Hayward Gallery in London, the Stedelijk Museum in Amsterdam and the Palais de Tokyo in Paris.

V. Everit Macy Grave Site

by Posted in Cemeteries, History Leave a comment
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A little over a month ago I did a post on A Wealthy Man. In that post I included a picture I’d found on the internet showing his grave site (actually it’s not just him. His wife, Edith is also there as are a number of other Macy’s). I wasn’t too happy with that picture so I returned to Sleepy Hollow Cemetery with a friend to take my own pictures.

The gravesite is actually on two levels. The lower level seems to be empty. The upper level contains a large bench overlooking the graves themselves and the River Hudson.

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View of the bench.

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Another view of the bench.

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Grave of V. Everit Macy. For more information see: A Wealthy Man

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Grave of Edith Carpenter Macy. For more information see: A Wealthy Man

I had walked past this grave site many times before and was surprised that I had not noticed to whom it belonged. I guess that was before my involvement with the Briarcliff Manor-Scarborough Historical Society.

I was even more surprised to discover that next to this gravesite is another magnificent monument, this time to James Speyer. I’d even taken a picture of this before (See: Sleepy Hollow Cemetery- Structures, Final Picture). The Speyer and Macy gravesites are right next to each other, just as their estates were across the road from each other in Briarcliff Manor. I was amazed that I’d missed the Speyer gravesite on the many occasions I’d walked by it. My house is on what used to be the Speyer Estate. (See: Here’s where we live).

I took some pictures of the Speyer grave site too. It looks a lot different from when I took the earlier picture. Then it was difficult to make out anything. It was extremely dirty. Now it looks as if it’s been recently cleaned. I’ll post the pictures soon.

Taken with a Sony RX100 M3.

Wells Fargo Mural

by Posted in Around the Neighborhood, Buildings/Structures, Miscellaneous artwork Leave a comment
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A while ago we (the Briarcliff Manor-Scarborough Historical Society) learned that the empty Wells Fargo bank on Pleasantville Road was to be demolished, but it wasn’t until just before the demolition was to take place that we learned the exact date. We weren’t all that interested in the bank building itself. Rather we were concerned about the fate of a mural inside the building. It was likely that the mural could not be saved, but we thought that we could at least get a photograph of it so that there would at least be some record.

We rushed over, but unfortunately we were too late! The mural had already gone. Needless to say we were disappointed.

However, our Executive Director, Karen Smith was recently going through some boxes and she came across what we believe is a paperweight. On one side it has a picture of the mural with the words: “Wells Fargo Mural” and on the other side an index to all the elements used in making the mural. Everything is encased in glass.

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The paperweight (if that’s what it is)

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The front of the paperweight. Challenge to Briarcliff Manor Residents: How many people, places or things do you recognize? Don’t cheat by looking at the index on the rear of the paperweight (next photograph).

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The rear of the paperweight provides an index to the individual elements used in the mural. It’s difficult to read. If you’re in Briarcliff Manor you might want to come to the Historical Center and check out the original.

Taken with an iPhone SE II (first two pictures, remaining pictures scanned).