Daniel D. Teoli Jr.

Great work! You did a wonderful job. Too bad your 8mm conked out. But why did you even want 8mm? For a retro look or what? It is tough trying to vacation and shoot a film or do a photo project. I could never do it well. I'd be all project and not much vacation. And that was for easy still photo projects. Cine' projects are much worse. I love old steam trains. If I had the $$ and nothing to do, I'd hit all the historic rails across America taking train pictures. I've got a fantastic old clip on a DVD on how they changed the wheel covers or skins on the trains. I will have to cut it out someday to upload. You wont believe it. I've heard that some of the historic rails are having a hard time finding young people to carry them on. No one sticks with it. The repairing part that is. Here is a list of vintage rails in the USA if any of you got some time to travel... List of heritage railroads in the United States - Wikipedia Here are some old steam train photos for you train devotees from a blog post I did in 2018... https://danieldteolijrarchivalcollection.wordpress.com/2018/05/13/what-would-i-shoot-if-i-didnt-shoot-social-documentary/ It must have been something seeing one come down the rails back in the day! Belching all that smoke and soot. I'm surprised the environmental people have not shut them all down as yet. O. Winston Link was the king of train photography in the latter part of the steam era... Here is one of Link's most famous photos... I try and not do much pre-grading in the scanner. Now, all I have is a Retroscan, so I'm no expert, but the post software should be better than scanner software. Although some of that color correction software for Lasergraphics looks pretty impressive. Regarding soft footage? You gotta pretest everything.

I use a lot of loupes both with the archival work and especially with cine' film. I'm always losing them. The old vintage Agfa 8X Lupe is the standard for budget loupes / lupes. Just an outstanding magnifier for the money. But you have to search used ones out on eBay. The modern Agfa Lupe and the various clones of it have poor optical quality and are nothing like the vintage Agfa Lupes. And you can waste lots of time on eBay looking for a clean vintage Agfa Lupe. Being short on time, I decided to survey what new options are out their for quality, budget priced loupes. Here is the complete rundown on 18 loupes / lupes and magnifiers I surveyed... https://danieldteolijrarchivalcollection.wordpress.com/2021/07/23/loupe-shootout-budget-priced-loupes-compared/ Of course, all this is personal opinion done with my eyes. You can try them all out and see what fits you best. If you don't want to bother sifting through the shootout, I did find a good replacement for the vintage Agfa 8X Lupe. It is a 10X Carson Stand Magnifier

Thanks...That is complex stuff!

Film collectors said they are cue or sync marks, but for the projectionist. Here are their replies. Cue Marks In Technicolor Film D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive

Forgot something...was in a rush to finish a blog post on loupes and sent in the uncorrected photo above. When you get in a rush, you get sloppy. I don't like to sign my name to SHT. Here is the finished photo with color correction. Film has shifted color, so can only get so much correction done.

OK, the blue stripe with 2 white squiggly lines is the optical sound. Why are the sprocket holes and both edges of the film colored? Do they serve any purpose? This is a scan from a 35mm scope teaser of Indiana Jones and the Kingdom of the Crystal Skull.

They were walking about transferring sound from a nitrate print. What kind of machine is this? Found on LinkedIn for Simon Daniel Sound.

I had read on Krebs that some companies can restore, but it is cheaper just to buy the key. So they go for the least cost to restore.

Just one update... The Peak loupes that are good are the high priced loupes. Peak makes cheaper loupes, they are generally crap. I will do a shootout survey of the cheap loupes when I get some time.

This post is probably more interesting to the Large Format photography forum, but they banned me years ago...3 times. So I gave up on trying for #4. Process cameras were mainly used for shooting screened halftones or continuous tone copies of oversize originals. You had glass or film halftone screens and generally used 20 x 24 inch film. The Art Department gave you the finished size of the reproduction and you used a hand calculator to figure the ratio adjustments. Or you could use the ground glass and a ruler. But the company didn't want you to do that. The size adjustment was outside and the ruler was in the darkroom. Too much wasted time going back and forth. In the left corner of the photo above is the vacuum pump for the vacuum film back. I'm in the process of finishing a vacuum easel for my copy stand right now. It is similar to the vacuum back. But I'm holding down paper originals which and not film to the vacuum easel. The vacuum film back is below. On the back was a vacuum film holder. You could put a halftone 'film' screen , which was oversize, over the film or raise or lower a glass halftone screen over the film. The film screen was just that, a high quality repro on film of halftone dots. It was $2.35 an hour back then. Here is a baby process camera... Below is / was the worlds' largest process camera Daniel D. Teoli Jr. Archival Collection It had carbon arc lights. Process camerawork was big back in the day. All the department stores used it for newspaper ads. Robinson's, The Broadway, May Co., Sears, Montgomery Ward. If you wanted to run newspaper ads you needed halftone artwork ready to go. I got on this topic today as my order of Loupes arrived from B&H. I have been using the old Agfa 8X Lupes from the 70's. I got my first Agfa Lupe from my first job in graphics arts. The new Agfa Lupes they make now are crap. And after going through the pile of loupes from B&H...most are crap as well. Terrible focus and spherical aberrations. But I found one loupe that is a good replacement for the Agfa. It is the Carson 10X stand magnifier. Peak also make good loupes, but they are $$. Loupes were an important tool back in the day. We used them to focus on the ground glass process camera and I used them for large format view cameras as well. But I use them even more now with cine' film scanning. I have a bunch of old Agfa lupes, but they seem to keep disappearing all the time. I never have enough loupes! PS... If you like this throwback in history also check out my post on Nitrogen Burst processing. https://danieldteolijrarchivalcollection.wordpress.com/2018/08/24/how-we-did-it-back-in-the-day-nitrogen-burst-processing/

You got a middle initial Phil? Try using that. Spell out out Phillip and use the middle initial, see if that helps. Of course it wont be like magic. If it works better then you start from scratch with that name online. I dealt with comix artist John Howard. His name is the same as the former Prime Minister of Australia. So he was hard to find as well. Maybe a middle initial would have helped him out too.

I was driving by an art center in WV and stopped by their show. They had a watercolor exhibit going on. One gal had some nice work and I was going to congratulate her for winning best in show. This was her entry... http://www.wvwatercolorsociety.org/wp-content/uploads/2021/07/AQU21_StineP_Gotcha.jpg But you can't find her. She has work all over the net, but no easy online contact. If you want work, don't be like her. I've told you this before, Google yourself and see what pops up. And do it in the regular search, image search and video search options. They had a kid on Reddit submit an outstanding 1 minute reel. But no easy way to contact him in the reel. Spell it out! And getting back to art shows...always expose yourself to all forms of art, theatre, music, etc. You never know what will set you in motion on a new direction with your work. I'm not big on watercolors, but what the heck, the show sponsored this post.

Blackmagic discontinued their previous scanner and now have a C-Drive (capstan) and S-Drive (sprocket) scanner both w HDR. Their previous model was said to be poor at handling warped 16mm film. Is the current C-Drive scanner the same at handling warped film like the previous model or did they improve warped film handling? Thanks

What is the deal on this unit? When was it in operation? Any comments about it? Was it related to the Cintel scanner being sold now from Blackmagic or is Cintel just a word thrown around? Thanks

Are there any samples of this type of work online or is it your original idea OP? I had seen some reconstituted parts of lost silent films made from the paper contact prints of the films sent to the copyright office. But they were not looking to go low fi. You had better run a test OP of your idea to see it real time. It would be sad to do all that work only to find out it is crap. I've done experimental things like that, months of work and $$ lost, so don't be like me....TEST!

Here is a sampler 1944 cartoon from the Private Snafu series called Censored. Private SNAFU 'Censored' D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive On another disc they had an old WW2 instructional film with a counter at the bottom and a blocked out watermark. These are all public domain films so I am suspecting they took it from stock footage company I know of that puts counters at the bottom of all their films. What an ugly mess. In an interview, Scorsese said he desaturated the blood at the end of Taxi Driver to meet censorship demands of not receiving an 'X' rating. Maybe that original footage is lost or faded? He never did fix the brown blood even is the super duper Blu-ray editions. That is what $$ and greed does. If it was my film, I would not have desaturated a thing. (But I'm not money driven and broke.) You know everyone would want to buy the X rated version of Taxi Driver; so I'm sure greed would have made the bright red blood edition happen. Getting back to the military film with the counter. Wouldn't it be sad if someday all that is left for the historical record is that crappy res film with a counter and blocked out watermark? It wasn't some great film, just saying how greed **(obscenity removed)**s things up. With open content work, none of these issues comes up. You just do the best work you can.

Yes, you can do body weight exercises and yoga anywhere. I need to get back into it and work on terrible sleep as well. Last night was first time in a few weeks I got a solid 5.5 hours sleep. My goal has been 6.5 hours. Sometimes I get 3.5 hours.

Looks good to me. I thought the backpacks were distracting, but they give context. Maybe boy in #5 could be improved on with color balance a little. Send in some clips, but I don't think you need much criticism.

Must be a take off on Alice in Wonderland. Albert In Blunderland D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive I started collecting old cartoons in the Archive now. Many are very hard to come by. The ultimate one is Coal Black and De Seben Dwarfs. Said to be one of the best cartoons ever made, despite its racist complaints. I've seen faded 16mm copies go for near $140. I picked up a collection of Private Snafu. Not the films, they are on DVD. Made by the Gov to show to soldiers. Will cut them up sometimes. Many are on the I.A., but in crappy res. I've seen 2 reels of Snafu come up on eBay in 2 years. Goldbrick Snafu sold for $89 with shipping. Snafu Censored sold for $105. Both were 16mm reels, a little over 4 minutes long each. But even if you got the $$, they very hard to come by. I like the underground and banned cartoons, but have some regular ones as well. They have them all over the net...but in crappy res.

I know they punched holes for ID at the lab. But I've come across some finished films that have holes in the beginning. I wonder if they were reject copies? You would think by the time they got distribution copies they would have everything ship shape.

Wanted Beta/ Betamax VCR Good Working Condition (does not have to record.) DVD Recorder, prefer with digital tuner and HDD write direct: w1000w@aol.com Dan

That's a monster at 4 feet. Biggest I've seen is 6000 feet.

Media License contract from the UK : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive I am submitting a copy of the release for your perusal as well as commentary about some of my personal experience with contract releases. Maybe it will be of interest to someone. This contract has been stripped of the companies name and info. They wanted me to release some of my Archive for their use. There was no fee involved. The fee was not an issue, but I won't sign any release contract as I make no claim to owning copyright to anything I have in my Archive. Some of the material may be public domain, but I don't know. And to release things for no fee is nuts...nothing in it for me except possible troubles for no $$. The only way I license things is with Creative Commons for educational, editorial and historical purposes. Not for commercial use. Another issue with this release was it was a blanket release. They never named what they wanted. CBS did the same thing to me, not naming what they were using, but CBS was happy with a email release of yes or no to their inquiry as to abbreviating my name. I found out with CBS, once you give permission, good luck with getting them to reply to emails any more. Now it does not matter to me at all if people use it for commercial use, just don't ask me for permission to do it. Same with my personal photography. I shoot mainly candid street photography. I never get model releases, so no commercial use of my own work. Some film festival in L.A. contacted me a while back about one of the first films I ever made back at L.A.C.C. Film Class 101 in the 1970's, Gone! Up in Smoke. They said they would give me a small honorarium for its use. I told them to go ahead use it. Now, I didn't care about the honorarium and it was a good thing as I never got a penny from them. nsfw https://archive.org/details/GoneUpInSmoke Another person writing a book on Clara Bow wanted me to give them copyright release for some photos of Clara Bow. I told them the same as I said above...CC license only. They were mad and felt like I cheated them somehow for wasting their time...even though that is the first thing I tell people wanting a release from me. People are really demanding nowadays and expect you to give them the world...for no fee. And again, the fee does not matter to me, I'm just saying, for no money they are demanding a lot. I already give everything to people for free as my Archive is open content, but it is just not enough for some of them. They need to go to a stock photo agency or stock footage companies if they want contracts. In the past I have signed hundreds of 'Deed of Gift' releases to museums and and special collection libraries for donations of my work. They are different. They also ask you to release copyright, but you can strike it out, so you have to be careful to really read them.

Well, started the Kickstarter last night. I have to get banking info and submit for approval. Just depends if they accept it as some of the Archive contains prohibited sexual material. I found out you have to pay taxes on it, so if you do try Kickstarter, figure in taxes and commissions. If your company / project has any of the following people involved you are in luck...you get special consideration. Black Indian (American) Woman Queer Disability Refugee / displaced person Sadly I am at the bottom of the totem pole...actually not even on the totem pole...I'm an old white guy. Well, white guys and old people are not too popular nowadays. Hopefully I'm judged on my work. and if not, I just suck it up and keep plugging as I've done for 52 years. Photo: D.D. Teoli Jr. So will see what happens when I get it submitted. It is somewhat similar to applying for a Guggenheim Fellowship. Pretty straight forward. I recommend it for those seeking some funding. Whatever $$ you ask for has to be funded within 60 days max or it fails. I'm looking for $135,000 to fund a sound scanner, taxes, scanner accessories and any leftover to acquire short subject films. It is hard for an open content non profit archive on a low budget to compete against stock footage companies that bid up films to sell the footage by the second.

Didn't know they make them that big. Is it rare? BTW, photo of clock is from internet...fair use.