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Daniel D. Teoli Jr.

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About Daniel D. Teoli Jr.

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  • Birthday 12/09/1954

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  • Occupation
  • Location
    Born in L.A....NYC is 2nd home...Rustbelt is home base.
  • Specialties
    Curator and Archivist for Small Gauge Film / Still Photo / Ephemera / Audio / VHS Archive

    Experimental Filmmaker

    Highest Level Candid Photography

    World leader in Circular Fisheye & Infrared Flash Street Photography

    Underground Social Documentary Photography

    Landmark Artist's Books

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  1. https://www.ebay.com/itm/16mm-Feature-WHITE-CHRISTMAS-1954-IB-TECHNICOLOR-Bing-Crosby/114528777221?hash=item1aaa727405:g:tpQAAOSwubRftojv IB Tech 'White Christmas' with VS. Amazing what the collectors will pay.
  2. The whole process should have been documented. Someday people wont know anything about it. Whenever you take on an important project... get it archived.
  3. Very nice! If you get a chance you should do some in-depth photography there. Would make some good blog material. If you dont have a blog, you can make free blogs at WordPress. You can also upload photos to the Internet Archive. Besides equipment, does the museum collect odd ball short films or just feature films?
  4. https://archive.org/search.php?query=Kodak+Movie+News+Fall+1963+Teoli Different world...huh.
  5. Post a photo of it Phil so we can see it. You can upload a photo to the Internet Archive as well. They have no image examples of what you mention.
  6. You can get a lot of variations in your scans depending on the setting you choose. https://archive.org/search.php?query=Examples+of+5+different+Epson+scanner+modes+teoli
  7. I updated the tone tests to go to 100% saturation. Old silent films frequently used very strong tones that varied throughout the film for night shots, indoors or mood effects of romance, heat or cold. So I thought they may be of interest for that use.
  8. https://archive.org/search.php?query=Sepia+tone+tests+teoli A series of digitally toned photos of Greta Garbo ranging from 0% saturation to 40% balanced saturation. Two additional samples are shown with split toning of 40% highlight saturation / 0% shadow saturation and 0% highlight saturation / 40% shadow saturation.
  9. Yesterday's office... 'Camille' Greta Garbo 1936 https://archive.org/search.php?query=Greta+Garbo+Camille+1936+Teoli
  10. I’ve been using Google alerts for some years. It is a free tool to see online activity related to your name / projects / interests. I go into detail here: https://danielteolijr.wordpress.com/2020/11/16/using-google-alerts-to-keep-track-of-your-online-presence/ They have better alert options if you want to spend some money on it.
  11. I never was into commercials. Within film collection circles there are only so many areas of collection. Commercials is one of the areas. One day I got ahold of an old 16mm commercial about the Slinky. That got me interested. I've put up more of the Westinghouse commercials since I opened this thread and still have more to do. This one is pretty interesting. 'The Westinghouse Automatic Twin Juice Fountain' And look at the old glass milk bottles the milk man would delivery daily. https://archive.org/search.php?query=Westinghouse+Automatic+Twin+Juice+Fountain I also put up one about Westinghouse Nuclear Power from the 1950's.
  12. A few 1950s Westinghouse time capsules from my TV advertising collection. https://archive.org/search.php?query=subject%3A"Westinghouse+Commercial" I have a huge vintage print advertising collection as well as the TV commercial collection. I've been working on getting it scanned, but very slow going. There is somewhere in the area of 45,000 to 50,000 8.5x11 to 11x14 large format ads from the late 1800s to the 1960s.
  13. Well, artists have to dream. If they can't dream , they wont have much creativity. Artist ventures and work has always been a tough go, unless you are very talented or lucky. There is no one formula, so they try different approaches. I wanted to go to Art Center in L.A. But could not afford the tuition. Back in the early 1970's I think it was $1800 a year or so. And it worked out OK anyway. I wanted to be a fashion and studio photog and have no talent for it. When I found out my calling, I set in on it and never looked back. I hate studio work. I guess that is why I'm no good at traditional film work and only like very short experimental projects. Never going to school for any of the work I do I started at an early age trying to learn the ropes on my own. Friday nights were always a big deal for me. When I was a kid my parents used to take me shopping on Friday night after they got home from work. I used to spend all the time I could while they shopped looking at photography magazines at the supermarket. When I got my first job but didn't have a car by dad used to take me to Hollywood Blvd and I would spend all my little paycheck buying photography books. (I think I got about $1.65 a hour back then.) And I bought my first beat up Super Angulon at Henry's Photo in Downtown L.A. on a Friday night with my weeks paycheck.Artists, bohemians and free spirts always march to a different drum...or is it beat? Many of them are chronically low on $$. For me I don't care one bit about $$...other than I need some to do my work.If I have food, a roof, gear and someplace warm in the winter I'm all set. I have no use for $$. And that is how a lot of artists work. Their work consumes them. $$ is an irritating distraction from their art. The problem is photography, film / video and archival work all cost lots of $$. This is especially an issue if you need a sound scanner. Now, if I could draw, I would do so and give up photography. But I would have to be able to draw like Robert Crumb to satisfy me.When I worked in NYC, before the corrosive virus hit, I used to camp out in my vehicle or tent in Jersey City. But even camping out, when you added up the gas, toll roads, food, PATH and subway, etc. it cost me $800 - $900 a week to work on projects. And I still have 23 various projects going on in NYC that I may not ever be able to finish due to the virus. When I was younger and in Pittsburgh, I could take the Greyhound bus for next to nothing to NYC and could sleep out on a bench, Central Park in the daytime or catch some sleep on the subway. But too old for that now.I wrote a detailed post on it to help broke photogs and artists that want to work in NYC. NSFW https://danielteolijr.wordpress.com/2017/01/14/you-broke-and-wanna-shoot-in-nyc-no-problem-you-can-do-it/Here is a snip from from my chopped up bio. It is chopped up because Tumblr banned me and deleted 48 of my websites in 2019...so all those links are dead. And the Internet Archive deleted a bunch of my stuff, so more dead links. And YouTube and Vimeo deleted my videos...but we keep on keeping on no matter what! ...In a 1979 interview entitled Inside New York’s Art World, artist Louise Nevelson said: “I think that when someone is willing to live and die for something…that means it is in the genes.” That pretty much sums up the sacrifices that many an artist will go through in order to do their art – they are willing to live and die for their art. Whether painter, draftsman, photographer, writer, musician, sculptor, actor or poet, artists use their art as a way to see, interpret and make sense of their world.If you’re dedicated to your art and freezing time is in your blood, you MUST produce and keep producing, whether you have an outlet or not to make $…or even have any practical use for your output. Irrespective of recognition, fame and riches, we all have one thing in common…as long as we can keep pressing the button and freeze time, we feel the better for it.So you guys and gals are depressed, keep up with your art. If it is in your genes you need it like you need blood in your veins and air in your lungs. Get some sleep, eat right and some exercise.Things could always be worse...IR flash (Candid) NYC https://archive.org/search.php?query=Living+In+A+Cardboard+Box+IR+FlashSelection from 'Living a Cardboard Box' artist's book by myself Good luck!
  14. Jason, you have to use rewinds to reverse wind a film. https://www.google.com/search?q=film+rewinds&sxsrf=ALeKk03OM270fcwh5ukIACHmJrCSskdfBg:1604442929247&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjDkvDWt-fsAhUJXc0KHQcFDGEQ_AUoAnoECA8QBA If frozen / cold storage you don't have to unwind annually. You just let it sit. When the gas builds up it hastens VS. If not in cold storage then it is good to vent it some. Here is what the film collectors have told me...so far. ------------------------ Paul: This is what I have followed for quite some years www.filmforever.org The only difference is I purchased dri shield 3M anti static bags from digi-key multi sizes for your reels, and use paper tape, or athletic tape that does not have any sticky residue to seal your bags. Paper card humidity gauges can be purchased from Amazon. ----------------------- Steve: I vacuum seal mine.... works great ----------------------- I can't vouch for any of their replies, as I've told you I don't freeze the films and have no experience with it. I have a vacuum sealer, so maybe will try it just to see how it works. But my sealer only handles small things, so could not seal big reals. I understand your interest in the film versus getting DVD or BR-D of it. I had an old VHS of Certified Mail, a 1970's 16mm grindhouse porno film that was transferred to VHS tape. The poor quality VHS had some Beatle's songs on it as it was a true copy of the film. A later DVD of Certified Mail removed the Beatles music, (for copyright?) and substituted some generic music. The point is, when you are interested in something you like to view it is all its versions to see how its evolution evolved. Without the VHS tape I would have never known about the Beatles songs. As I told you before Jason, VS is kinda a slow killer of film. VS never effects my decisions to acquire a film, but I'm not as picky as the film collectors. They are a different breed. Film collectors prefer to watch the actual, faded red film projected than a cleaned up version on BR-D on TV. Me? If I could get high quality scans I don't care about getting the film. All my work pretty much gets digitized, so it just skips some of the middleman if I can get the hi-quality digital first. But if possible, I still like to get the actual film. I used to project more film in the past, but finding bulbs is a hassle and it is wear and tear on the film, so I've cut back on the projection. But projected film has a certain magic to it. People that have never seen film projected are mesmerized.
  15. Got timed out... Dealing with archival material I get some really bad films. https://archive.org/details/the3graces4.32mbd.d.teolijr. But as long as it has not turned to liquid from VS, I will still work with them...if the subject matter interests me.
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