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LoC I'm not much of a reader. I like looking at photos, movies and hearing some audio. That is how I learn. That is a big reason I got into archival preservation...I learn from seeing history, not reading about it. But sometimes I am forced to dig into the text to get a better picture of things. For years I've collected material on traditional May Day celebrations usually held at girl's schools and colleges as part of the Daniel D. Teoli Jr. Archival Collection. From what I gathered, traditional May Day celebrations had died out. So, I researched it a little to see if it still had some life. Here is something from James Madison University on why schools quit May Day celebrations. Apparently, May Day is not 100% dead. I asked Google about it on 5.1.2026. Simmons University still holds its annual May Day celebration, which is the institution's longest-running tradition dating back to 1912. It is a cherished event typically organized by the sophomore class to honor the graduating seniors, featuring activities like flower crown making, strawberry-themed brunch, and the traditional maypole dance. Key details about the continuing tradition include: The Celebration: It is a celebration of spring that serves to foster community, often involving a 6 a.m. serenade of seniors by sophomores. Modern Aspects: While historic, the event has adapted to modern times and sometimes aligns with student themes, including sustainability and, as reported in 2023, a continued spirit of inclusivity. Active Tradition: As of 2023, the university has continued to celebrate the "sacred" tradition, with students engaging in research and reflection on its history and ongoing evolution. The event serves to strengthen community ties and provides a moment of celebration before the end of the academic year. May Day celebration Bryn Mawr 5.1.1942 DDTJRAC Bryn Mawr College and Simmons University are among the few institutions that still hold traditional May Day celebrations. Bryn Mawr College hosts a renowned, day-long event featuring Maypole dancing, a hoop race, and a feminist May Hole dance. Simmons University continues its long-running, 1912-initiated tradition to welcome spring. Other institutions have adapted the tradition: Wilson College: Continues to hold a "May Day" weekend, though it was renamed to "Spring Fling" in 1996 and includes traditional maypole dancing. Converse University: Hosts a "May Day Weekend" for families and friends featuring community awards and celebrations. These events typically feature the crowning of a May Queen, Maypole dancing, and a gathering of students, alumnae, and faculty. Here is a short video from the Simmons University May Day celebration on 5.5.2011. It has been modernized but gives you a taste of the old school maypole dance. The maypole dancers used to alternate over and under each other to make a braided pattern on the maypole. Simmons University May Day Celebration 5.5.2011 D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive AI People who participate in the traditional folk dance around a maypole, usually on May Day (May 1), are called maypole dancers. They perform a ceremonial dance by holding ribbons attached to the top of the pole, weaving them into intricate, colorful patterns as they move around it, often to celebrate springtime and fertility. Key Details About Maypole Dancers: The Action: Dancers move in opposite directions, weaving ribbons, and then reverse their steps to unwrap them. Tradition: While rooted in ancient European pagan fertility rituals, this dance is now a common tradition in schools, community festivals, and on village greens, particularly in England, Germany, and the U.S.. Costume & Music: Traditionally, dancers often wear bright, festive, or traditional folk costumes, and the dance is often accompanied by music or song. Here is a film that is more old school on May Day from 1959. Very rare to find these. This is a VHS telecine of a 16mm film. May Day Celebration at Mount de Chantal 1959 16mm to VHS Telecine D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Within the Daniel D. Teoli Jr. Small Gauge Film Archive I have about 300 feet of 16mm film from around 1938 of a May Day celebration at a college. I need to get it scanned aka I need to buy a cine' film scanner to scan it. Why don't I just pay to have it scanned? Because I have 3-4 million feet of film within the collection. Here is some more history of May Day celebrations for those interested in it. While May Day celebrations are not 100% dead, I guess one could sum it up as they are 'almost' dead. May Day PDF History Master Collection D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive ...side note All these PDF's were made while I looked into this subject. It is very easy to create PDF's on the fly when you do your research. Just hit print or highlight and print...to PDF. The point is, when you are out and about and see something interesting, PDF it and upload to the Internet Archive to add to the historical record. RPPC - DDTJRAC Well, that is it for May Day 2026! <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Screenshot 02-27-2026 08.42.311145×884 201 KB Over the years I bought a few photos from this seller for my archive. But it is just too $$ now. They keep raising the shipping to crazy prices. Shipping is almost the same as the price of the minimum bid. Add sales tax and you are in the low $40s for 1 photo. Now some photos may be worth it. But most of theirs are not worth that much to me. The last photo I got from them was an interesting glass plate with a bunch of people in an old general store that looked to be in Alaska, and they brought a horse into the store. I have to scan it sometime. Right now, been working digesting 4 -5 feet of old mags to breakdown. Usually not a big deal to scan things, but I have to pull out a special scanner that is in storage that can handle 8x10 glass plates. It would be nice to have an archive with equipment all set up and you walk up to it and can just do your work. Even have a mold room where you can work with moldy material like the toxic waste that it is. Some of the material an archive gets is moldy and sometimes it is just not replaceable. So, you deal with what you got when it comes to digitizing it. If you do have moldy material to digitize you can microwave it. But you have to be careful about burning it. I’ve done lots of work with it…moldy material seems to find me. All the old stores had crates, barrels, glass, ceramic and baskets for their food. No plastic back then. I don’t know if this is a display to sell fruit or just set up to take the photo. It doesn’t look too practical for customers to pick fruit. Although back then I think you asked for what you wanted and the storekeeper got it for you. I’ve seen a lot of old-time bananas. All the bananas I see in the photos look kinda nasty. The bananas have changed over the years due to varieties dying out from disease. The bananas we eat now are low quality compared to the bananas we had when I was a kid. They were tasty as hell back then. But that variety is no longer sold. It died out. I don’t know if it died out 100%, but it died out enough from disease to not be commercially sold. You check it out. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I see some panoramic photos made with pieced together photos. Did they have a special camera for that as well as single shot panoramic photos? Looks like train was moving, yet a pieced together pano. Some of the pan photos had uneven exposure, like they were made with a swing lens camera. Although this is not the best example, it gives you an idea. Did they have swing lens cameras in the early 1900s? What kind of cameras did they use for panoramic photos in the early 1900s? Photos: LoC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Here is an old article I wrote years ago on the history on infrared flash photography. It is not up to date, but it was up to date at the time I wrote it. I had some more samples of Weegee's IR flash work, but they got removed due to broken links. If a photo looks fuzzy or distorted, click on it. January 8, 2016danielteolijr A little history on infrared flash photography… Article Dedication in honor of Araki & Bill ‘Zippy’ Griffith <><><><> Photo by Daniel D. Teoli Jr. Graflex 4×5 Speed Graphic press camera with GE 5R Infrared Flashbulb. The Speed Graphic was a mainstay of Weegee. Loaded with 3 zinc ‘D’ batteries and a film holder, it weighs nearly 9 pounds! The camera fondlers are spoiled nowadays. They complain their cameras that weigh a pound are too heavy. The old press photogs were real he-men lugging this thing around all day. Daniel D. Teoli Jr. Archival Collection Two of the founding fathers of IR flash photography were Weegee and Kohei Yoshiyuki. From my limited research, they were the only two photogs in history that have done any meaningful projects with IR flash photography. see footnote ( a) Here is some of their work with IR flash… Weegee... Lovers at the Palace Theatre – Weegee Source: ICP There are many variations of this photo showing Weegee took various poses of the couple. The dates for this shot vary all over the place…1940, 1943 and 1945. Weegee said he prided himself in reality based photography, but he was not getting what his client wanted for movie theatre shots. So Weegee staged some of the infrared movie theatre shots….”helping realism along” as he wrote in his autobiography. Weegee talks about his infrared flash photography on pages 117-118 of his book Weegee by Weegee. He said he picked up a female model with a “peek-a-boo dress” and a male model from the Art Students’ League. He brought them to a theatre and told them “Don’t look at the camera and don’t laugh. Just make love.” Weegee reenacting how he did his infrared flash theatre photography. He disguised himself as an ice cream vendor. Here is another version… Weegee’s account of his infrared work is confusing. Many of Weegee’s early infrared photos date from the early 1940’s. He would have used a Speed Graphic 4 x 5 press camera in that era. In his autobiography he said he hid his camera in the ice cream tray, which sounds more like the 1950’s when he used small format cameras. It is pretty hard to hide a press camera. While the photo of Lovers at the Palace Theatre fits the bill for his staged infrared theatre photos, it was dated in the 1940’s. From his books timeline description his staged infrared theatre photos were done in the early 1950s. So, there is no telling which infrared shots are candid and which are staged when it comes to Weegee. I’ve been in a number of theatres and have not seen any love scenes as yet. I keep looking. Until then let me offer Weegee this IR theatre homage…part of my yawning series. Photo by Daniel D. Teoli Jr. The next photo is by Yoshiyuki…from his project ‘The Park’ Yoshiyuki’s project centered around taking IR flash photos at 3 parks in Japan (Chuo, Yoyogi, and Aoyama parks) where people would go to have sex (both hetero and homo) and voyeurs would stay in the shadows to watch them. (Sometimes the voyeurs would see how far they could push things and try to sneak into the action!) In a 1979 interview Yoshiyuki said that just as he started to test Toshiba infrared flashbulbs, they were discontinued. Yoshiyuki replaced the discontinued bulbs with Kodak (infrared) flashbulbs. A quote from the 1979 interview done by Nobuyoshi Araki and Kohei Yoshiyuki: Kohei Yoshiyuki “I found out that Toshiba made flashbulbs- infrared flashbulbs. Before I had a chance to use more than a few of them, they were discontinued. Then I looked around for filters, and ended up using two tricolor separation filters. After a while I heard that Kodak had some flashbulbs, so I used them. At that time infrared flash units didn’t exist. Sunpak came out with them after I took these pictures.” I have done extensive research on infrared flashbulb history and have never been able to find any information on Kodak making infrared flashbulbs or any flashbulbs for that matter. I contacted flashbulb historian, dealer and expert Bill Cress about Kodak infrared flashbulbs. Bill’s reply: “Kodak did not make bulbs, if anything they may have had some private labeled by others but not made by them.” Chuck Baker, another historian and collector concurred stating; “As far as I know Kodak did not make their own flashbulbs.” I polled the Flashbulb Collectors Page, a Yahoo Group, on this subject. Unanimous consensus was Kodak never made any flashbulbs whether they be infrared or visible light. Private label or not, nothing ever shows up in the historical record or on the second-hand market for Kodak flashbulbs either in the visible light spectrum or infrared. While it is possible that the Japanese had access to products not available in the USA, it is only conjecture. Yoshiyuki started his Park project before IR strobes were on the market. But as he approached the mid-point and end of his project, IR strobes were readily available from Sunpak. The bottom line is; it is a mystery as to what infrared flashbulb or strobe Yoshiyuki was actually using for his Park project. The General Electric #5R, #22R and Sylvania Blackout 2 and Blackout 25 were the most common infrared flashbulbs of that era. The most popular infrared flashbulb of these four was the GE 5R. In the December 1947 issue of Popular Photography, Weegee said he used “midget infrared flashbulbs.” He goes on to say in the April 1956 issue of Popular Mechanics that he used 5R infrared flashbulbs. Photo by Daniel D. Teoli Jr. Infrared flash photography was developed during WWII as a means of taking photos in complete darkness also known as ‘blackout.’ I don’t know how much the 5R’s cost in the early 1940’s when they were first commercially marketed, but a package from the 1960’s was priced at $3 a dozen. A trade announcement in the May 1949 edition of Popular Photography said Sterling Howard Corp of N.Y.C. was selling infrared flashbulb coating kits to turn white light flashbulbs into infrared flashbulbs. The list price for the gelatin & dye kit was $4.75. https://people.rit.edu/andpph/text-infrared-basics.html BLACKOUT PHOTOGRAPHY This document was taken from Photography: Naval Training Course, Vol. 1, NAVPERS 10371-A, prepared by Bureau of Navy Personnel, 1951. A flash lamp pierces darkness about the way a 16- inch gun salvo rends silence. The ordinary flash lamp, that is. There’s one which is decidedly “un ordinary.” A photographer takes a flash picture in pitch darkness. Only a few feet away there is not the slightest hint of it. But what about the flash? There wasn’t any. A flash picture with no flash? Well, for all practical purposes-yes. Actually there was a flash. But it was made up almost entirely of infrared light, which is invisible. Yet the lamp illuminated the subject quite enough for a clear picture. This is infrared flash photography or “blackout” photography. The special flash bulb is coated with a Lacquer which transmits a maximum of infrared rays while holding back nearly all the visible rays. It must be used only with infrared film and in total or nearly total darkness. Slow shutter speed (1/25 to 1/50) and wide lens opening (f/4 to f/8) are required. The phenomenon of blackout photography will work only at very short distances-usually 10 to 15 feet. But at close quarters it will produce a surprisingly satisfactory photographic record. This procedure might have numerous military uses. An example would be in taking a vital picture when a brilliant glare of white light would tip off your presence to the enemy. There are also less ominous circumstances which would make the use of the conventional flash impractical or impossible. http://www.graflex.org/flash/navy/ An early blackout infrared flash photo from 1945 of Kodak’s Aero Pan film spooling operation. A single GE 22R infrared flashbulb was suspended above each operator for illumination. Photographed with a 4 x 5 camera with infrared film. In 1974 Sunpak introduced the first commercial infrared strobe. The Nocto 400. Photo by Daniel D. Teoli Jr. Photo by Daniel D. Teoli Jr. Photo by Daniel D. Teoli Jr. The Nocto 400 was a revolutionary strobe as it was the first and only commercially produced dedicated infrared flash ever made. It weighed about 886 grams without batteries. It’s downfall was it produced a visible bright reddish / orange glow when it fired. It had a high and low setting and ran off of A.C. or 4 ‘C’ batteries. The low setting produced a slightly lower glow that was only visible if you looked directly at the head. The high setting produced a visible orange glow that would reflect off the object if it was within a few feet and had a reflective nature. The recycle time was 7 seconds on high and 1.5 seconds on low powered by the AC cord. The guide number calculator had a range of 57 feet for the high setting. A few years later Sunpak introduced the model 622 which incorporated interchangeable heads – one head being a dedicated infrared flash head. Photo by Daniel D. Teoli Jr. A technical tidbit… On Flickr, member ‘t6b9p’ wrote : “…the Sunpak 622 IR head is actually fitted with two IR filters. An inner 0.2mm flexible IR filter with 50% transmission at 730nm and a hard outer filter that has 50% transmission at 850nm.” I took apart a Sunpak 622 IR head and sure enough there are two filters as ‘t6b9p’ reported. Photo by Daniel D. Teoli Jr. The spec sheet lists the following information for the 622 Pro IR head: Peak Spectrum: 840 NM Guide Number: 30/100 Angle of illumination: 65 degree horizontal by 45 degree vertical. Coverage: 35mm lens on 35mm camera Weight 3.8 oz / 100 g The beauty of the Sunpak was its systemized design that allowed rapid change of 7 dedicated strobe heads: Standard Head Zoom Head Wide Head Ring Head Infra-Red Head Diffusion Head Bare bulb Head Photo by Daniel D. Teoli Jr. A vintage 622 with IR head installed and the zoom head. The Sunpak 622 was a monster to lug around. While the head is light, the weight of the entire flash unit is very heavy at 1109 grams without batteries. Recycle time with 4 alkaline batteries was 12 seconds on full power and almost instantaneous at low power. This is a very powerful strobe that is said to be roughly 250 watt seconds. Although the flash head still emits a reddish glow it seems a little less than the Nocto 400 emitted. The dual filter array does a good job in keeping this strobe stealthy. http://www.cameramanuals.org/flashes_meters/sunpak_auto622_pro.pdf Photo by Daniel D. Teoli Jr. Sunpak Nocto 400 compared to Sunpack Auto 622 with IR head. If you would like to use one of these vintage film era IR strobes on your digital cam you will need Safe-Sync adapter. Amazon In the 2000’s, third party cottage industries came out with IR flash adapters that slid over small, modern strobes and commercial strobes modified for dedicated IR use. An interesting aspect of infrared flash photography is how it highlights the veins of the body. Dr. Lou Gibson did a number of experiments in this area. http://medicalphotography.com.au/Article_04/09.html A little history on infrared flash photography was taken in part from my forthcoming artist’s books: Piercing Darkness Practice & Techniques of Infrared Flash Photography https://danielteolijr.wordpress.com/2015/08/17/piercing-darkness-update/ Footnote: (a) Ikko Kagari also did some work with IR flash in his project ‘Crowded Train’ on the practice of ‘chikan’ (groping women on the train or subway) in Japan. I think it is from the 1980’s but not sure. And maybe book title is wrong. Very underground and not easy to find the right info as it varies from source to source. <><><><> 10 Minutes after Midnight (Candid) Infrared flash photo by Daniel D. Teoli Jr. **End of Article** ---------------- At one time, from what I gather, I was the world leader in infrared flash photography. Of course it was not hard to do. The few others that had revived the process weren't very good at it. And one never knows everything that is being done worldwide, so who can say. I have not kept up with street photography or IR flash photography. My health went downhill after covid, and I could not pound the pavement like I used to do. Some days I was lucky to just go to the market. I pretty much stick with working archival material now and have retired from still photography with the exception of snapshots and still photography dealing with the archive. When I first got into still photography, I wanted to be a fashion / commercial photographer. Over time I learned I had no skill at it, at least nothing special. So, I found areas that I am skilled at and never regretted it. I took the studio photos in this article and hated doing it. I don't like doing commercial photography. But I had no other sources for the material, so I was stuck with the job. Some of those photos may be fuzzy in the article. That is just how the photo host I used degraded them over the years. When you do street photography...you go through lots of shoes. Photo: D.D.Teoli Jr. Here are some of my infrared flash photos. Everything is candid. Piercing Darkness book - Ohio 2015 Transwoman and Friend - North Hollywood, CA 2015 Araki exhibit / Midori ropework - Museum of Sex, NYC 2018 Homeless Couple - Hollywood Blvd 2015 Pucker Up! - Hollywood Blvd 2015 Living in a cardboard box - NYC 2018 Sad Buskers - NYC 2016 Dancer - OH 2015 Piercing Darkness book This is raw IR flash. You can't overexpose it or the highlights burn out. This is post processed IR flash. From The Americans...60 years after Frank book - Las Vegas 2016 Hollywood 2016 Homeless man selling a candy bar - Las Vegas 2016 Selection from Wide Open book - NYC 2016 I liked to take photos of people yawning and pointing. They help out with boredom when on the street and you can practice fast shooting. When you are on the street, have multiple projects and you will always find reasons to press the button. They may not be masterpieces, but they are good for practice and to keep you warmed up and ready. If you are no good at fast shooting...practice shooting your TV screen. It helps with timing and comp. Here is the deal... You pound the pavement, keep your camera in hand and on the ready, keep your eyes open and you will find stuff to shoot! Downtown L.A. c.1971 NYC I've got thousands of IR photos I never went through. Plus, tens of thousands of non-IR photos from back in the day that need looking at. The archival work took over and there is just no time for it all. If I just worked on the cine' film archive I would we swamped. Here is Bruce Glidden from 2016. Ran into him on the street in NYC. Not IR flash...just IR. Point is, if you pound the pavement there are tons of things to shoot. There is the yawner! Did you notice her? Subway NYC Times Square Food Stand - NYC 2016 I got dual pointers here! NYC From the earliest days of photography, people have been interested in candid photography. IR flash offers the ultimate tool for candid photographers. Source: Internet This was an early IR flash photo I took. c. 2014. I had been working on IR flash for a number of years and getting nowhere. But one day...things clicked! OH 2015 This was the first yawning photo I took in a casino in 2015. That started my yawning project. I got an interesting IR photo of a pointer but can't put it up. Just too much for the forums. Same with much of my other IR flash work. I was an underground social documentary photographer. That means I had no limits. And no limits do not always work on the internet. I hope you found this useful and interesting. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

LoC Post Processing: D.D.Teoli Jr. Here is an example of the problem I wrote about earlier with archives. The LoC only offered low-res for this image. And this was relatively hi-res to some of what the LoC offers. You just don't know with the LoC. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

L.A. c.1972/73 D.D. Teoli Jr. I had just discovered Kodak Royal-X Pan and was just getting going experimenting with it. It had an ASA of 1250. It was pretty grainy stuff. I used it for a short time, then moved on to pushing Tri-X. Did you ever shoot any Royal-X Pan? <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Green Giant store-bought red potato vs. home grown farmers' market potato. Both stored in the root cellar for 6 months. Food photos: D.D.Teoli Jr. I got my start in root cellaring from potatoes. Years ago, I discovered that they treated store bought potatoes not to sprout. They may do this from radiation or chemicals. The store-bought potatoes also tasted different than homegrown potatoes. I could only get homegrown potatoes from summer farmers' markets. So, I tried saving some of the homegrown potatoes in the winter. Now, I don't have a traditional root cellar dug into the ground. I don't have any extra room in the ground to dig it. I got a spot in the garage that gets cold, so I use it. It works pretty good as long as it is cold outside. Temperature varies from 38 degrees F to 56 degrees F in the winter. It only lacks the ability for humidity that is important for storing certain things. I'd go in and out of root cellaring over the years depending on what was happening in my life. Covid revived my interest in root cellaring. Back then I could not get out to shop regularly with all the covid mess. Another year I had hurt my plantar fascia doing some spade work. That took a year+ to heal up and that put a crimp on my regular shopping schedule. It is interesting seeing how food ages when stored in the root cellar. If you keep tomatoes long enough, they start to sprout little tomato plants from within. Beets start to grow in the root cellar. So do carrots. A yam from the root cellar. Squash stores the best. This is a squash stored in the root cellar for 1 year. It gets a little hollow inside after a year, but is still doable. Storing it that long is not my goal, I just get some stragglers I don't get to eating. Even though I do lots of cooking, I don't like cooking. It is one of those love / hate things. It comes under the auspices of...if you want something to eat, then you are going to have to cook something. Most of these people show in the photos are called rehabilitation borrowers. Being an archivist and interested in history I went back in time to see how the old timers did their root cellaring. I learned a lot of things about that era. I will tell you more about it at the end. All photos: LoC All the root cellars I saw use glass jars for canning. This gal must have had an actual canning machine. Can't ask her, she is dead now. That is why we preserve history. Root cellars were built above ground sometimes. If the water table was high or your land had shallow bedrock you built above ground. They would store fermented kraut or pickles in the crocks along with fresh fruit, vegetables, eggs, milk / dairy, lard, canned goods and homemade wine in the cellar. Some people would also store smoked meats. Crock kraut and pickles is different than canned kraut or pickles. Canning with heat and vinegar kills any benefit from fermentation. This setup raised humidity in the cellar. A fan was used to blow air though wet material in the box. Cooperage was a big deal back then. They didn't have plastic, you either used glass, ceramic or wood barrels and crates to store things. Here is a film about the cooper. The Cooper's Craft Williamsburg 1967 VHS D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive This family lived in the cellar. The house burned down and all they had left was the cellar. Some people were very tight on space. Kids made toys out of all sorts of things. My dad said his family gave him an empty can to play with. Blacks were some heavy-duty canners! Some people stored meat in the cellar. Cold storage coops were formed where you could rent a cold storage locker. But that is a different post. This lady has some nice shelving. If you were poor, you stored it on the floor of the cellar. She had to go outside for food and water. (Maybe to poop as well...dunno.) He had to keep the root cellar entrance clean of snow for access and to keep water from melting snow from getting into the cellar. You would have to sort through the food to make sure you didn't have any rotted items that would spread through the food and ruin it. The long, straight squash are Banana squash. Very good cooked as chunks and sautéed in olive oil and garlic. In L.A. they are sold in slabs. Too big for most people to buy. I never knew why they were sold in slabs when growing up. Then I saw what they looked like once I saw some in the Rustbelt. But in the Rustbelt, they are sold as gourd decorations in the Fall. I know what they are, so I buy them for eating. Other than decorations sold at one store, you can't buy Banana squash here. Rehabilitation clients were visited by gov inspectors to make sure they abided by the lending agreement. A more modern-day cellar. Here is the scoop from AI on root cellaring from the late 1930's. A rehabilitation borrower in 1939 was a low-income or struggling farm family who received supervised, low-interest loans from the Farm Security Administration (FSA) to become self-sustaining during the Great Depression. These borrowers were often victims of foreclosure, drought, or falling prices, and they received not just funds for seeds, tools, and livestock, but also direct guidance on modern, efficient farming techniques to "rehabilitate" their financial position. Key aspects of a 1939 rehabilitation borrower included: Supervised Credit: Loans were provided based on careful planning with FSA agents to ensure the family could repay, while also covering necessities like food, clothing, and health. Purpose: The funds aimed to help farmers move away from dependence on relief and become self-supporting. Resettlement: Some borrowers were assisted in relocating to more productive land. Eligibility: These were farmers who had fallen behind due to the Depression and could not secure credit from standard, commercial banks. By 1939, this program was a core part of the New Deal's effort to stabilize the agricultural sector by providing a lifeline to, as some reports indicated, nearly 95,000 farm families for debt adjustments. Rehabilitation borrowers under the Farm Security Administration (FSA) and related federal programs in the late 1930s were strongly encouraged, and in some cases required, to construct root cellars as part of their efforts to become self-sufficient. Goal of Self-Sufficiency: The rehabilitation loans, which grew out of the Resettlement Administration and then the FSA (1937), were designed to help low-income farmers survive the Great Depression and Dust Bowl by promoting home food preservation. Alternative to Refrigeration: In 1939, when most farms lacked electricity for refrigeration, root cellars were vital for storing produce like potatoes, onions, and canned goods over the winter. Agency Guidance: FSA agents and Home Management supervisors, who closely monitored the borrowers' farm and home plans, provided technical advice and blueprints for constructing these "dugouts" or root cellars. Specific Contexts: Similar programs, such as those overseen by the Bureau of Indian Affairs (BIA), specifically provided loans and grants to enable borrowers to "construct or repair houses, barns, outbuildings and root cellars". These structures sometimes doubled as storm cellars or "fraidy holes" in regions prone to severe weather. Families who received grants or loans under the Farm Security Administration (FSA) rural rehabilitation program in the late 1930s, including around 1939, were generally expected to preserve eighty (80) quarts of canned food per person. Goal: This requirement was part of a broader effort to ensure food security for farm families, aiming for self-sufficiency to last through the winter months. Requirements: In addition to canning, these rehabilitation plans often required families to build specialized food storage to handle this volume. Scope: This was a significant part of the rehabilitation, aimed at moving families away from a limited diet (often described as "meat, meal, and molasses") to a more sustainable, self-sufficient, and healthy diet. Some broader recommendations during the era, particularly leading into the World War II period, ranged from 85 to 115 quarts of produce per person. Root cellars were often built above ground or partially embanked in 1939 to overcome high water tables, rocky soil, or shallow bedrock that made deep excavation difficult. These structures allowed for crucial, natural, and inexpensive food preservation, using thick walls, soil insulation, and ventilation to maintain cool, humid conditions for storing produce. Key Reasons for Above-Ground Construction: Environmental Constraints: In areas with high water tables, digging deep would result in flooding. Above-ground or "banked" cellars (built into a small slope) provided the necessary cold, humid environment without the risk of water damage. Soil Conditions: Where the bedrock was too close to the surface, digging down was impossible. Construction Ease & Efficiency: They were often easier to build than fully subterranean, allowing farmers to use local materials like rock, timber, and earth to insulate, ensuring temperatures stayed just above freezing to prevent produce from rotting or freezing. Accessibility & Function: Above-ground cellars were easy to access for storing heavy, bulky, or large quantities of produce, such as potatoes, turnips, and apples <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Here is a full-res screenshot of what is offered for a PDF. You never know when you work will be the last extant copy of something for the historical record. If the original is a poor reproduction, then record it in the archives as a low-res original. Sometimes all the archivist has to work with is shit, so then it is not your fault. No one will hold you accountable for doing crappy work. But if you have the control over the end result...don't produce garbage with your archival work. I've surveyed tons of online archives over the years. The vast majority of them produce low-res garbage. It is really sad how most archives are run. Don't sign your name to shit for the historical record. Have some pride in your work. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

They got lots of steam thresher shows around the country. You can see some of the steam shovels in action there. I don't get out much anymore, but I acquired a collection of about 40 steam shovel video shorts while they were in operation. I also acquired about the same number of diesel cable shovel videos. DDTJRAC Steam shovels are the more interesting, but diesel cable shovels are also interesting. They seldom do, but if a catalog of steam shovels comes up for sale, it is $400 - $600, easy. Sometimes lucky pickers find them at yard sales for next to nothing. Steam shovels are a fascinating area for the preservationist to work in. Most of the online video and photos are amateurish and low quality. If you are looking for a photo, cine' film or video project to work on...this would make for a good one. Do you remember what I told you about the importance of projects for the photographer / cinematographer? Find a project to work on and it gives you direction and purpose. Photos: LoC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

When on the incline the steam box was straightened out. That was what I was told anyway. LoC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Arriscan is pretty slow...how long does it take to scan a big film? Scoped screen recording of original on YouTube. It looks like this is how fast it scans. Look at the movement of the core hubs to get a better idea of speed. Just guessing, maybe 1 or 2 frames per second. Is it triple exposure HDR? <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

DDTJRAC https://archive.org/details/trichrome-printing-autotype-carbro-d.-d.-teoli-jr.-a.-c.-22 Carbro was the predecessor of the dye transfer process. I don't have any video on carbro, but here is an old VHS video on the dye transfer process. (In 2 parts) https://archive.org/search?query=bo...er-process-parts-1-5-vhs-d.-d.-teoli-jr.-a.-c. https://archive.org/search?query=bo...r-process-parts-6-11-vhs-d.-d.-teoli-jr.-a.-c. I did some fade tests on a c1940s -1950s carbro print for a year in the sun. But I can't find the other half of the test print. I lost it in the cine' film room. Maybe it will turn up when I clean up the room. From what I recall, carbro didn't fade. But I need the other half to compare the results. Dye transfer prints will fade, but the Kodak dyes got better, albeit slightly with fade resistance, with every decade that went bye. I've sun tested Kodak dye transfer prints from the 1950's to 1980s. Don't have them handy, but here is a 6-month Agfa C print test. <><><>> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

One of the areas of collection in my archive is back yards. When I looked closely, I found this row of boulders. Screenshot 01-06-2026 08.40.061076×868 98.1 KB Screenshot 01-06-2026 08.39.081494×525 129 KB Photos: LoC I guess if you like climbing you got your own bouldering gym right there. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I Love Lucy LOS ANGELES - SEPTEMBER 21: A behind-the-scenes shot on set of I Love Lucy. In center, Lucille Ball and Desi Arnaz rehearse a dance number in living room set. Image dated September 21, 1951. (Photo by CBS via Getty Images) General View Of The 'I Love Lucy' Set General view of the cast and crew during the filming of an episode of the 'I Love Lucy' tv show, Los Angeles, California, 1950. Visible of the ÔTropicana set,' a man holds a clapboard, in front of actors Lucille Ball (1911 - 1989) (half covered by the clapboard), Desi Arnaz (1917 - 1986) (in tuxedo at right), and others. (Photo by Ruth Orkin/Getty Images) I Love Lucy LOS ANGELES - SEPTEMBER 25: Actors Desi Arnaz as Ricky Ricardo and Lucille Ball as Lucy star in episode #2, "The Girls Want to Go to A Nightclub," of CBS television's "I Love Lucy" on September 25, 1951. (Photo by CBS via Getty Images) <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Screenshot 01-01-2026 10.07.061028×806 94.6 KB 1900s LoC I wonder if people went up to the horses and petted them or made over them in the cities; like they do with peoples’ dogs they see in public. Or if horses were so common that people looked at them like machines, and it was no big deal. Horses had to be taken care of more than cars and trucks. So, you would think people had more of a connection with them. I asked AI about the horse poop. AI Cities in the late 19th and early 20th centuries had professional “poop scoopers,” known as “White Wings” in NYC, who were part of municipal crews that collected massive amounts of horse manure, often selling it as fertilizer, though the sheer volume overwhelmed cities until automobiles emerged. These workers, sometimes called “dirt-carters” or “crossing sweepers,” used carts to gather the waste, but the problem was so big that cities struggled, leading to filthy streets and health issues. How it worked: Official Crews: Cities hired workers, like New York’s “White Wings” in all-white uniforms, to clear streets, especially main avenues. Private Contractors: Initially, contractors collected manure, which was valuable for farming, but demand couldn’t keep up with supply. Crossing Sweepers Some individuals, often paid by pedestrians or shopkeepers, cleared paths through the muck on corners. Manure’s Fate: Collected manure was sold to farmers, used for fertilizer, or dumped in vacant lots, creating huge piles and attracting flies. The “Great Horse Manure Crisis”: By the late 1800s, cities faced a crisis, with projections suggesting streets would be buried in manure. Health Issues: Rain turned streets into filthy sludge, attracting disease-carrying insects, and dry manure became choking dust. The Solution: The rise of automobiles eventually solved the problem by replacing horses, but not before creating immense urban pollution.

DDTJRAC Advertising Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I like their silver safe. Must have been one of many. The Home Of Kodak 1929 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive The I.A. has a low-res PDF copy of it if you prefer a PDF. I like individual, decent res scans for my archive. Plus, I don't have any PDF software. Download JPEGs at link to view without moiré pattern. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

New Jersey Railroad Wikipedia The turntable was used to move trains into service or for repair into the wheelhouse. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Highlight toned Shadow and highlight balanced toned Shadow toned Not toned Mills on the Niagara Gorge 1905 Source: LoC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

How kids kept milk cold at a rural school in the 1900s. VHS clip from 'Anne Of Green Gables' (1934) D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Was this an everyday deal? Once a week, once a month or just a Hollywood creation? Anne Of Windy Poplars (1940) Grand Procession Clip VHS D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Here is a fascinating glimpse back in time to 1952 and Westinghouse refrigerators for the homemaker from a dye transfer sales film. Refrigerator clip from 'Ellis in Freedomland' (1952) D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Source: LoC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Fiberglass 16mm 400-foot film reel Daniel D. Teoli Jr. Small Gauge Film Reel & Can Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography