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Selection from: DDTJRAC Years ago, I was lucky to run across a wealthy collector in Europe of early erotic stereo cards. The early erotic cards are almost impossible to find and unaffordable to buy even if you do find them. He sold me a large part of his collection in the form of decent quality copy photos. He didn't want to sell me scans, but the copy photos were next to nothing. Really, I just had to pay for the cost of printing and shipping. I also acquired a huge amount of rare non-erotic card copy photos from him as well. Below are just a very few samples from the hundreds I had acquired from him. Vintage Stereo Photography – Vintage Stereo Photography from the Daniel D. Teoli Jr. Archival Collection / Walter Stein Archive (wordpress.com) I don't have time to get them all up right now, but I was able to put up a decent portion of them. I kinda lost interest in blogs after Tumblr deleted many years of my work, trashing 48 of my websites in 2019. Then the Internet Archive deleted my account of over a hundred thousand uploads. Later on, the I.A. restored my account...but it was just by happenstance that it was saved. The ******** in Frisco would do nothing for me. I'm not going to post the explicit porn cards. Go to the link if you are a lecher and have an interest in them. (BTW, a lecher is better than a pervert...so don't be ashamed!) But these explicit stereo porn cards are the rarest of the rare in stereo cards. And he had an unbelievable collection of them! Donna Mae 'Busty' Brown I found that people go crazy when you work in the old cameras into a scene. Something you may want to do with your cine' work. This guy had some stupendous cards. It is nice to be rich! If I was your run of the mill, anal bastard curator that runs an Archive, I would have missed out on this fantastic collection. I had contacted an Archive awhile back and offered to donate a copy of 'Splitting the Difference' which was the cover photo I used in my artist's book Iconoclastic Reporter. The snobby bastard there said they only collect original photos. Hell, I don't even have the original photo of 'Splitting the Difference'. But that didn't stop me from using what I could get. So, I acquired a copy photo from the original photo from a collector and used that. And it worked fine enough for other Archives to acquire it into their collections...but not that one. This all comes under the auspices of...something is better than nothing. But anal bastards don't see it that way. Let me give you another example of how your run of the mill, anal curator works. I had contacted a curator at an institution that was new to the job to inquire if they were interested in any donations. They said they are on a self-imposed acquisition moratorium of 18 months so they can study the collection before new acquisitions are made. GD...that is anal! I would start acquiring before my first day at work! But I'm an ADD curator and not an anal one. Now...if something is too low Q, then I may pass on it. I always tell you I have no prejudice in my collecting - except low-res garbage. And as I mentioned in another post, sometimes I won't sign my name to a project if it is crap and I don't want to be associated with it. But I try to stay away from that type of work unless it is absolutely necessary to a project. Every time you see the garbage it is an eyesore and an embarrassment, but you sometimes need it to round out the story. As was the case in this project. I included low-res garbage in the beginning to round out the story. And every time I see it, I cringe! Internet Archive Search: china doll teoli Getting back to the anal bastard curator that snubbed me...they wouldn't even let me look at their Archive...the NYC hi-brow shits. I run The Peoples' Archive. It is the highest quality, most diverse, open content Archive in the world. Now, it is not the richest or the biggest or the best Archive in the world. But it is the highest quality, most diverse, open content Archive of its type in the world. As an example. This rich Euro collector had a fantastic stereo collection that I could never hope to approach...but that is about it for him. Whereas I have hundreds of areas of collection. Virginia 'Ding Dong' Bell Beside copy photos and digital files, I've got a large number of physical stereo cards in the Archive as well as more modern stereo slides and glass mounts. Here is a sample glass mount from 'Erwin the Duck Hunter' series from Nebraska. If you ever become a curator...don't be an anal bastard curator...check your prejudices at the door and who knows what treasures you will find! <><><><> Selection from Shadows in Time DDTJRAC

Is there somewhere that I can find perhaps a table which would give me which still-photography stocks correspond,closely resemble, or are equivalent to certain film stocks used for motion pictures? Or perhaps you could tell me some well-documented facts or your impressions. :)

Hi everyone, Like several people here, I bet you end up with white a bit of shortends after each shoot. Shortends that barely can make it to the next project. And when I do I keep it and respool it into some old 35mm canisters for shooting stills for my hobby. Problem is, I have used Little Film Lab in Menlo park to develop the film. While they may be great people, their C-41 process of doing it tends to ruin the colours a little. The vision3 I shoot for moving image looksa lot better. And recently I have acquired some Vision3 65mm to be used with my medium format. Problem is, I am looking for a new place to develop these to get the best colours. Does any lab let you develop this low amounts? What if I send it in on a core, does it help? C