PHOTOGRAPHY-36

 PHOTOGRAPHY-36

EQUIPMENT-2

In the previous edition,  I attempted to trace the broad outline of aspects critical to the trade.Perhaps not fully aware of the implications of restricting the inflow of sensitive emulsion-[a glorified name for photo films, papers, X-Ray films] , India was caught on the wrong foot because the medical diagnostics heavily leaned on X-Ray investigation of critical organs and skeletal system. All leading hospitals in the country suffered from poor supply of films ,and it resulted in quota system that unfailingly ‘developed’ bribery, permission, clearance and every other known malady in the public distribution system. The most important lesson ever learnt   was –photography is not entirely a domain of luxury as medical investigation had to rely on ‘non-invasive diagnostics’ using X-Ray imaging of relevant body parts. With heavy demand for optimal supply of raw stock , India favoured regulated in flow of different brands like ILFORD, ORWO, FUJI, MITSUBISHI, besides of course KODAK and AGFA. Among them the major beneficiary was ORWO [an abbreviation for ORIGINAL WOLFEN –the birth place of film manufacture in the undivided GERMANY before its political bifurcation as E. GERMANY or GDR and WEST GERMANY           [FRG] or the liberal system that favoured growth by competiton promoting the onset of AGFA. Always politics has had a say on the fate of markets for commodities which are of external origin. So much disturbance plagued photo films and Cinema industry in India which had technicians adept with certain brands; but had to reorganize their work practices to get the best out of new and less familiar filmstock . South Indian Cinematographes quickly adapted to changed needs and kept the business alive [in b&w ] while Hindi movie makers completely restricted themselves to colour films which had to be allowed for  ‘import of films USA/ UK –KODAK]. In a way it proved a boon in that photo industry quickly came to terms with using of different brands, their specificities in treatment and the best fit option for a select requirement and so on. The then semi urban system like Madurai fielded most of the brands of film known as world class products . Indeed it was a God-sent opportunity to have a first hand experience of handling each film variety and most of them   were moderately priced. Parallely there was a shift in accent on film from that of 120 format to that of 35 mm; it meant more cameras in the market though through unofficial channels . Late 1975-80s were time of SLR PRESENCE AND PROMINENCE, with most amateurs longing to possess SLR camera as the ultimate in proving vital for any need. 

Leaving aside the story of fortunes for imported films in India [almost all brands are of foreign origin] , the story of the short lived Indian Film INDU deserves an exclusive edition. As for Camera manufacture KODAK was concentrating on basic beginner cameras , AGFA ventured a little deeper and had different camera versions though with no item in the SLR category . Among the film makers ILFORD and FUJI were quite different with FUJI still in the race with its SLR VERSIONS in the digital era as well. ILFORD was a conceptual revolutionary in that they marketed a camera named “ADVOCATE”in  pure white exterior , justifying the contention that camera has to be light proof and interior blackened to avoid reflection and why should the exterior be black too. Till date no brand has brought out colourful exterior designs for cameras [save a couple of amateur basic models] no matter how astronomical the price is. Unlike in the marriage market [in the Indian context  of course], even the prestigious brands rich by price revel in being black and the feature stays with Flash guns as well

Mnore to follow.   K.Raman