McCain Rally, 2000

 

 

I was never a photojournalist, but I got a press pass to cover the John McCain Rally at Gonzaga University in 2000, by virtue, I guess, of being the only regular photographer on staff at the University. Gonzaga had a history of being oblivious to the needs of a full time photographer even though photography had played such an important part in the history and work of the Jesuit missions in the West. G.U. is, in fact, home to the Oregon Province Jesuit archives which holds an incredible collection of images from the 19thand 20thcentury missions. The public relations wing of the University nevertheless had a habit of hiring outside photographers in for special events, but I worked for Media Services in the Foley Library as a photographer and graphic artist.  So I got a press pass.

 

I had 2 Leica M3s, one a gift from a Jesuit friend, Bill Yam, sick with emphysema who had worked as a photographer in the Phillipines in the 60s, and the second, a weak sister that had seen its better days and had a dim rangefinder that I had picked up locally for 500 dollars.  But still, 2 Leica M3s! So I waited outside with the crowds for the bus with John McCain to arrive, scouted good locations and had one Leica with a 35mm Summicron and the second with a 90mm Elmarit.

 

There was a lady military vet in the crowd that caught my eye and so I slipped through the mix of students and older visitors in what I thought of as photojournalist aggression, polite but determined.  When she caught my eye she smiled and I got the shot, what I still think of as my supreme “decisive moment” photograph.  McCain Rally

There was a man with a big sign in the street out front of the COG, where McCain would speak and I positioned myself, he saw me turned and smiled and I got that. signman

When the bus pulled up I moved again close near the entryway I was told he would use and got a half dozen shots when he came through shaking hands with his wife Cindy close by.j9hnandcindy

 

pressingpalms

The best shot of McCain was, I think when he stood above, waving to the crowd and gave them a big thumbs up.  McCain was an interesting candidate that year and a lot of young people seemed to be drawn to his ‘wild horse a little out of control’ reputation.thumbsup

 

I photographed part of the speech and was leaving the COG, walking down the steps. People were still coming in, including a guy with 2 cameras with straps identifying the newspaper from Cincinnati that he photographed for.  He was very professional looking and he stopped on the stairs smiling at me and said “A real photographer eh?” I looked closer and saw he carried 2 Leica black bodies.  “Yep.” I said and we went our ways.  Though it was not that long ago press photographers were still shooting film and Nikons and Canons were ubiquitous.  The Leicas were already becoming rarer on the scene.

 

I shoot with a lot of older cameras. Today I have a Kodak Pony 828 around my neck with some film I spooled from a bulk roll of 35mm TriX and even an amateur camera like that can produce a good image.  Nevertheless, for me, using the M3 always feels special and I know in advance that the negatives will have a certain quality from the Leitz lenses.

 

McCain himself seems now like a leftover from the days when national politicians sometimes rose to the status of statesman and when mutual respect across party lines made it possible for good things to happen in the Halls of Congress.  His empty seat will be hard to fill in our current social scene.

The smoky air has cleared today after a morning rain, first time in a month. So on to

Good shooting

 

Bill Kostelec

 

 

 

 

Old Equipment: New Images

In a culture that is economically driven by consumerism, we are impressed with the notion that new stuff is better than old stuff. Get rid of that iphone 4 and get the new, improved iphone 8! Your Hybrid Toyota is 8 years old! Get a loan and buy the 2018 model! Sell off your old film camera equipment and get a new Canon digital with 10 gazillion megapixels! I’ve been, I confess without shame, regularly out of step culturally for most of my life, and so with photography and its tools.

We had our annual Holiday Open House the first weekend of January, where Kathy and I make nearly our whole house a gallery space, cook up some spiced wine, and invite folks in over three days to hang out, look at the prints either framed on the walls or in sleeves in racks. It’s a lot of work but a lot of fun. During that weekend a man who in the Spring is going to take a workshop with us handed Kathy a cardboard box with “some old film camera junk”. I didn’t get a chance to look it until Sunday evening. There were a couple small foldable flashbulb units, some bulbs, a couple odd 35mm cameras, a light meter labeled TOWER and one brown leather case that proved to hold an AGFA Karat 36, a rangefinder folding 35mm camera, made in Germany in about 1951.   With it was an instruction manual.

In such situations my response is to get out a few basic cleaning materials, canned air, Pec12, micro fiber cleaning cloth, and so on, and while cleaning, check things out. I get the back open, check the shutter, move the aperture, and in the process get a better idea of what I have. The next step is to load with film and shoot. This I did the next day on a 2 mile walk with my friend Jerry. Then to home, to the darkroom, process the roll. When the film comes out of the photo-flo distilled water bath I hang it up, turn on the light box hanging flush on the wall and look over negatives with a loupe. Now I know much better what I have.

There is a sense of satisfaction when I find good negatives, on several levels. First, if the camera has worked properly that is good. It becomes a user and I enjoy using older cameras. The second level is just that; the satisfaction of using equipment as old as or older than me. This second kind of satisfaction is one way that I refute and reject that cultural norm that we must use the newest to do good work. It’s simply not true. The third level of satisfaction is making good images in this antique process of shooting and processing film. When I developed my first roll of black and white film, (Verichrome Pan 616) at 11 years old, and had my first look at the negatives in the light, I got the same thrill that I get now when I pull a roll out of the photo flo.

A friend of ours pulled out a big brown leather bag a while back to show us her Dad’s old camera. It is an EXAKTA V, sold about 1951 as well, with three lenses, a nice GE Golden Crown light meter and again, a good instruction manual. Holding it up and looking through the 58mm Zeiss lens was a disappointment. The image was dark, and dirty with just one clear circle at the center. She wanted me to try it out. I took it home and pulled the removable viewfinder. The mirror was yellow and brown with places of missing silver. A front surface mirror like this can be very bright but atmospheric acids and other pollutions had basically ruined it. Such a thing is an affront to my sense of the beauty of old equipment. I got on line, found someone selling an original equipment replacement mirror for a different version of the EXAKTA, a mirror that itself was probably 50 years old. I learned, however, that EXAKTA equipment tends to be interchangeable, and I ordered it even though my friend’s husband said “Aw, she’ll never use it.” When it arrived I did a little research online, found a suggestion, pulled the lens and lens mount and looked closely inside with a lens, figured out what teeny metal strips to bend, and I was able to pull the old mirror out and slip in the new, in about ten minutes.

Now both viewfinders are bright and clean and I am on the third roll of film with the old EXAKTA V.

During the Summer we do a couple outdoor Art Fairs. Our black and white prints turn out to be very rare and unusual at such events. A couple Summers back a lady was very interested as we had on display a print of the campus of Gonzaga University and she told me that her Uncle Leo had worked there long ago and that he was a photographer. “Leo Yates, S.J. ?” I guessed. “Yes!” So I told her I have one of his lens and shutters, a Protar VII convertible, in a Compound shutter. It probably dates before 1920 and I got it in a junk box full of old abandoned darkroom stuff. Only later did I trace it to the Jesuit. But this old lens and shutter has produced some of my best 5X7 negatives over the years. I had to have the cable release plug replaced once and sent it to a camera tech in California, Fred with a German accent who used to work on Ansel Adams’ equipment. Fred called me up and said, “Bill, I have been showing your lens to my assistant. Dis is a good vun. Let me go over the shutter and get everything good again.” So, of course, I did and that was maybe 12 years ago and it is still a good one. I used it to shoot Ektachrome 5X7s at a ghost town in Montana a few years back. No problem.

Old equipment is fun and often beautiful in itself. So often Kathy and I have had people stop us and admire our cameras. Modern lenses are multi-coated and so display more contrast and color saturation than our old ones , but that they are sharper than older lenses is questionable. I had to scan an original 8X10 silver print on matte paper of the first graduating class of Gonzaga University. The glass plate negative was long lost. On the monitor it seemed that the print was extremely well detailed and I made a 16X20 ink jet print from the file. The detailed texture from the brick work on the original Gonzaga College building was indeed incredibly detailed. The photo was made in about 1892 and I was working from a matte contact print. Whatever formula that lens was, it did its job very well. For us, the task is to use such equipment to the best of its ability and get good, printable negatives. And then, on to the first print of a new image.

Bill Kostelec