Are you old enough to remember?

[chuckroast]

I pulled out a box of flash bulbs and thought everyone might enjoy.

They range from the small 5 to the FF33 that has the ribbon in it. That was a motion picture bulb for ultra high speed motion picture work and had a peak of 1.75 seconds. I used the for high speed work with a Redlake Highcam and shot at 44,000 frames per second.

The really large one is a #3 and was the largest for normal use. Bright!!!!! I lit some huge areas with those. There’s a #2, 22, 40 and a European bulb, the blue one. Also the black one is a GE5 IR. No visible light from those, only IR. They came in all sizes too.

There’s a #11 shown signed by O. Winston Link. Search his name for some great images lit with bulbs.

It's funny, I have a Leica M5 on the way - a lifelong wish fulfilled - and I was reading the manual this afternoon. There is a page dedicated to flashbulb types and sync settings. Say what you want about flashbulbs, but they didn't need recycle time and emitted a blaze of light. One only has to go look at the old news and sports photos of the 30s and 40s realize just what kind of output they could deliver.

 

[Bob Michaels]

What I miss most from those days was Kodak 2475 High Speed Recording Film. Sure there are faster films now with smaller grain today but prints made back then from grainy pushed 2475 negs just told everyone the scene was dim and at night. The world was simpler.

 

[Oren Grad]

I still have a drawer full of metal film cans and snap caps.... Of course my generation saved those metal film cans to keep their weed in. 😵‍💫

I still have a few metal film cans.

Does anybody else remember a letter to the editor in Popular Photography in which a reader told about his dog who loved chewing on metal film cans but was unhappy with the newfangled plastic ones? A few months later a follow-up was published reporting that other POP readers had kindly sent film cans and now the dog had a big pile of metal cans and was happy again. This would have been around 1974.

 

[x-ray]

I worked at Oak Ridge National lab in the mid 70’s and we still shot with 4x5 Speed Graphics and 5/25 flash bulbs. I still used #3’s, 11’s and 22’s into the 80’s to light huge areas.

Those large bulbs with the Edison base could safely be triggered with 110v AC current. They were designed for that but could be tripped with a battery capacitor unit with 22v DC.

Typically we’d string our fixtures together on long extension cords. We’d put in the sockets regular tungsten household bulbs to see the lighting effect, much like modeling lights. These strands of lights were plugged into a relay box we could switch to AC current to light the incandescent bulbs and see the effect of the light and it it was what we wanted. Then we’d set it to “safe mode” and replace the incandescent bulbs with flash bulbs. We calculated our “best guess” exposure and shot a Polaroid with flash bulbs. Any adjustments were made then reload the sockets with flash bulbs and shoot real film.

One of the good features of flash bulbs was being able to put flash bulbs in light sockets like table lamps and floor lamps and preserve the natural look of the room.

There may not have been recycle time but it took quite a bit of time to let everything cool down between shots and reload the sockets with flash bulbs again. You had to do that for every exposure. And, big bulbs were expensive.

 

[Glenn2]

You brought back a funny memory. Many years ago a friend took a flash photo of me as I came up his front steps. Next time he visited I was prepared. I’d put one of the large Edison base bulbs in the porch light fixture.

As he came up the steps I had flash-less camera in one hand, and the other on the light switch. At the appropriate moment I pressed the shutter and flipped the light switch. My friend later told me that he thought he’d been hit by lightning. Must try to find the negative, the expression was priceless.

 

[x-ray]

That reminded me of what I did to my younger brother. When I was in high school my younger brother would wake me up on Saturday and as soon as my eyes were open he’d flash my dads strobe in my eyes.

I got even because he’d often get up in the night and go to the bathroom and flip on the lights. I got even one night by removing the incandescent bulbs from the fixture and replaced them with #3’s. The fixture held 4 bulbs.

He never did his dirty little trick again 😵‍💫

 

[BillBingham2]

Here’s a bulb probably from the 20’s full of magnesium foil.

I remember my first year of High School my photography teacher burning a small sheet of magnesium foil in front of the class and asking if anyone knew what it was used for. I was the only one. I was also the one he asked to get a polaroid shot with the crown graphic of him holding it. I remember painting scenes at night first with bulbs, then my Vivitar 192, my favorite flash of all time.

Spiratone, I think I just got rid of my camera bag from them from High School. My mother made an insert that worked wonderfully until I got a 200/3 lens. We coated it with Armor All and it was still looking great decades later.

B2 (;->

 

[chuckroast]

Spiratone, I think I just got rid of my camera bag from them from High School. My mother made an insert that worked wonderfully until I got a 200/3 lens. We coated it with Armor All and it was still looking great decades later.

B2 (;->

I lived in a very remote part of Alaska in the 1960s and 1970s. Spiratone was like the Sears Catalog for photography addicts. I can well remember filling in my paper order form (for you youngsters, that's what we called a "Shopping Cart") and then waiting anxiously for the mail to get to Spiratone, and the goods to show up - typically 3-4 weeks later.

 

[x-ray]

Painting a scene with bulbs or a strobe, a lost art. This was something we frequently did back in the day. I painted a huge theatre with one strobe in the 70’s. Threw a black cloth over myself and walked around flashing my strobe while the shutter was open.

Exteriors at night were gorgeous when painted with bulbs.

 

[cary]

When I was a student at Brooks Institute in 1976, a gallon of D76 and Dektol was $.75, in a paper packet.

 

[Bob Michaels]

Painting a scene with bulbs or a strobe, a lost art. This was something we frequently did back in the day. I painted a huge theatre with one strobe in the 70’s. Threw a black cloth over myself and walked around flashing my strobe while the shutter was open.

Exteriors at night were gorgeous when painted with bulbs.

I think of O. Winston Link's 1950's steam train photos shot at night illuminated by massive banks of bulbs. O. Winston Link - Biography, Shows, Articles & More | Artsy

 

[raydm6]

The lighting in old B&W cinema was exquisite.

 

[wes loder]

When we lived in Texas, we did quite a lot of caving. Always used flashbulbs. Strobes were too delicate and did not offer a wide enough or strong enough coverage. We were always using wide-angle lenses. We set cameras on B and "painted" a cave room with flashbulbs fired off the button on the flashgun.
Another story. I was a photo officer in the air force and, of course, had airmen photographers working for me. The barracks where they slept had a sergeant whose idea of fun was to hit the lights at 6AM (or there abouts) and yell for everyone to get up. One night the guys replaced all the overhead lightbulbs with screw-in types. Next morning, Flash! The sergeant never did that wakeup again.

 

[Retro-Grouch]

I lived in a very remote part of Alaska in the 1960s and 1970s. Spiratone was like the Sears Catalog for photography addicts. I can well remember filling in my paper order form (for you youngsters, that's what we called a "Shopping Cart") and then waiting anxiously for the mail to get to Spiratone, and the goods to show up - typically 3-4 weeks later.

And then the disappointment would set in. Why wasn't that 12-500mm f/1.2 lens with the built-in psychedelic prisma-color filter making my pictures any better? Those first experiences with GAS were pretty painful! Now, when I have a GAS attack, it's for trinkets that I know will make my pictures breathtaking! 🙄

 

[BillBingham2]

And then the disappointment would set in. Why wasn't that 12-500mm f/1.2 lens with the built-in psychedelic prisma-color filter making my pictures any better? Those first experiences with GAS were pretty painful! Now, when I have a GAS attack, it's for trinkets that I know will make my pictures breathtaking! 🙄

While I didn't order a lot from Spiratone, the only time I had a problem with mail-order was when I ordered professional film that was sent regular mail (a week in transit) through USPS from a different company. They did ship the lens I ordered and I was VERY happy with it. They accepted the film return when I called (no free long distance back then) and explained to them the reason for professional film living in refrigerators or freezers.

Then I moved to NYC and had way too much opportunity to drop 47th street and say hi to Josh Pachet and friends, Ken Hansons, and all the other places that I wanted to spend money I did not have. Though I did get some great deals used stuff here and there. But that was only the 80's.

 

[chuckroast]

And then the disappointment would set in. Why wasn't that 12-500mm f/1.2 lens with the built-in psychedelic prisma-color filter making my pictures any better? Those first experiences with GAS were pretty painful! Now, when I have a GAS attack, it's for trinkets that I know will make my pictures breathtaking! 🙄

After 8 Nikons, 4 Mamiya TLRs, 2 Hasselblads, and 3 Leicas going through my life, I am 100% certain that I am just one camera away from better pix ...

 

[chuckroast]

While I didn't order a lot from Spiratone, the only time I had a problem with mail-order was when I ordered professional film that was sent regular mail (a week in transit) through USPS from a different company. They did ship the lens I ordered and I was VERY happy with it. They accepted the film return when I called (no free long distance back then) and explained to them the reason for professional film living in refrigerators or freezers.

Then I moved to NYC and had way too much opportunity to drop 47th street and say hi to Josh Pachet and friends, Ken Hansons, and all the other places that I wanted to spend money I did not have. Though I did get some great deals used stuff here and there. But that was only the 80's.

Fun story -

Living in Alaska in the early 1970s, I wanted a "professional" 35mm SLR. So I ordered a new Canon F1 from - I think - Altman Camera in Chicago. In these pre-PayPal/Zelle days, the thing to do when living so remotely was to order the goods COD and let the local Post Office mediate the financial transaction.

Well, I waited for weeks (not unusual), then more weeks (grrrrr), and MORE weeks and realized that I was never going to see that camera. I bought a Nikon FTn Photomic in Apollo trim and have been a Nikon shooter ever since.

I have this fantasy that there is a COD package somewhere in the US mail system with a brand new in box F1 and lens that will somehow make its way to me and will be mine for - as I recall - about $300 ...

 

[x-ray]

While I didn't order a lot from Spiratone, the only time I had a problem with mail-order was when I ordered professional film that was sent regular mail (a week in transit) through USPS from a different company. They did ship the lens I ordered and I was VERY happy with it. They accepted the film return when I called (no free long distance back then) and explained to them the reason for professional film living in refrigerators or freezers.

Then I moved to NYC and had way too much opportunity to drop 47th street and say hi to Josh Pachet and friends, Ken Hansons, and all the other places that I wanted to spend money I did not have. Though I did get some great deals used stuff here and there. But that was only the 80's.

I shot Rollei SL66’s for work and bought quite a bit from Ken Hansen. Used to drop in his shop and Lens and Repro when I was in NYC.

For anyone that had never been in these old NYC camera stores they weren’t like a mall store Lens and Repro was sort of hidden and in an old building on non consecutive multiple floors. If I remember right you took a freight elevator to the different floors. Ken Hansen wasn’t much better. At Lens and Repro you’d find plastic laundry baskets full of Hasselblad magazines and old dirty display cases full of exotic view camera lenses and glass cases with rare cameras and others stacked on top of them.

One floor would have rows of used enlargers from old Leica Valoy to 8x10 Saltzman, Durst and Omega F series. Another floor would be lighting from Ascor Sun units to carbon arc. Amazing places!

Altman in Chicago was like a 3 or 4 story modern department store, huge and open with glass cases full of the best gear. As you walked in the front door there were cases of Linhof, Sinar, Leica, Hasselblad, Rollei, Zeiss and every other companies equipment you could think of.

Take the escalator up to the next floor and it was lighting, tripods and grip and studio equipment. Above that was darkroom and then the next floor was motion picture equipment, Arriflex, Eclair, Baleau and Bolex and all the premium lenses.

Then there were those special small dealers like Jim Kuehl. He C sold through Shutter Bug and had premium gear. Jim had been a Leica rep and you felt like you knew him on a personal level. He was old school and a true gentleman and 100% honest. I would call him looking for a lens, for example my 75 Summilux, and he’d tell you what he had and the condition with the price. He’d ask if he could send it to you on approval. If you said yes he shipped it right out with no deposit or credit card, strictly honor system. If you liked it you’d send a personal check and if not just ship it back. I asked once if anyone had ever taken advantage of him and he said no. He said no one had ever given him a bad check or shafted him on an item. Jim was amazing!

A couple of other dealers I delt with that were great was Jimmy Koh at Koh Camera. He’s still around but mostly retired. The other was Alex Thomas in Buffalo. He’s who I learned of Jimmy Koh. Alice had Rollei SL66’s gear, Linhof and nothing but premium gear st good prices and service.

 

[zeitz]

When I worked at a chain of camera stores in a large metropolitan area, we had a big book provided by subscription from the National Pricing Service in Montgomery Alabama. The binder listed every photographic product available, who provided the products and the price. Replacement page updates arrived seemingly weekly. I now wish I had kept all the old pages; no, I now wish I had stolen the book when I stopped working at the store. It was the definitive trove of information. I have only two pages from it.

 

[Bbsteinle]

Back in the ‘70s, a store in Sacramento (Curry’s or McCurry’s?), the sales staff all wore white lab coats.