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"...the most beautiful, perhaps the most dignified theater in the world." -comedian Jack Benny
upscale French Renaissance vaudeville theater and 20-story Majestic Building designed by German-American architect Edmund R. Krause (1859-1935) and 27-yr.-old assistant George L. Rapp (1878–1942) • briefly tallest building in Chicago • steel frame with terra cotta cladding • 2,000 seats • built and operated by Kohl and Castle • opened New Years Day, 1906 • later that yr. Rapp and brother Cornelius W. (1861-1927) formed architectural firm Rapp & Rapp, went on to design over 400 movie theaters • Krause had office in this bldg. • Majestic Theatre photos
Newport Hotel and Gambling House preceded Majestic on this site, razed 1904 • Majestic ladies' lounge had phone booth for free calls -- approx.100K phones in Chi. at time -- later became city's 1st pay phone • was "continuous vaudeville house," same 15 acts (incl. 1 movie) played repeatedly from 1:30 PM to 10:30 PM, 6 days/wk • Harry Houdini, Lily Langtry, Eddie Foy, Fanny Brice, Sarah Bernhardt, Marx Brothers, Katherine Hepburn performed here
became part of the Orpheum circuit, 1920s • went dark 1932 • reopened as Sam Shubert Theatre featuring Broadway shows, 1945 • Booth Hansen retained to supervise interior restoration, 2002, facade restoration by Koenigsberg Engineering and Bulley & Andrews Masonry Restoration • approx. 1,400 terra cotta pieces replaced over all 4 elevations • $40MM restoration uncovered a stairway used by African Americans to reach the colored balcony • theater reopened w/1800 seats, 2006 • now Bank of America Theatre, building a Hampton Inn • designated Chicago landmark, 2005
The Curtiss JN-4 was one of the most popular aircraft in the late 1910s and early 1920s. Designed by Englishman Benjamin Thomas, formerly with the Sopwith Aviation Company, it was manufactured by the Curtiss Aeroplane Co. of Hammondsport, New York. The JN built upon the previous Curtiss Model J and Model N series of trainers that had developed before the First World War. The name “Jenny” came from the JN designation and is associated with the American (Curtiss Aeroplane Co.) variants of this aircraft. It was originally developed as a training aircraft in response to a U.S. Army competition seeking a two-seater biplane (student in front, instructor behind) with dual controls. The JN-4 model first appeared in 1916 and sported a 90 hp Curtiss OX-5 water cooled V8 engine. By 1918 a larger 150 hp Hispano-Suiza engine was installed to provide more power. LINK - albertaaviationmuseum.com/in-formation-curtiss-jn-4-jenni...
The Curtiss Model 41 Lark was a commercial biplane manufactured by Curtiss Aeroplane and Motor Company that was used by pioneering airmail, airline and bush pilots in the 1920s. Patrica Airways operated a Lark for early bushplane operations. The aircraft flew with floats in warm weather, and skis in the winter. The aircraft was pressed into service as an early hearse once, with the cargo needing to be seated upside down in the open seat and secured with haywire.
(The Gazette newspaper - Montreal, Quebec, Canada •
Friday, March 12, 1926) - AIR SERVICE FOR RED LAKE DISTRICT - Company is Formed and Flying Boat and Cruiser Purchased - Red Lake, which was brought within one and half hours of the outer world on March 3, 1926 when the first airplane flight was made in from Hudson, as compared with from ten to twelve days previously, made with dogs, is to have an even better service with the formation yesterday of the Elliot Fairchild Air Service and the purchase of one aeromarine, seven passenger, all metal flying boat, together with a large deluxe cruiser passenger boat. Jack V. Elliot who inaugurated the original service with two machines, spent yesterday in Montreal making arrangements with the Fairchild Aerial Surveys Company of Canada Limited, with the result that a company has been formed and a charter applied for. To date there has been a daily service into Red Lake from Hudson, three planes being in operation and carrying two passengers and 500 pounds of baggage each. They cover the 140 miles separating Hudson and Red Lake in one hour and a half. Air mail is carried from Hudson, the post office address for Red Lake being via Rolling Portage, Ontario. Stamps for the air-mail service may be purchased from the post offices at Hudson (Hudson being the rail road station and Rolling Portage the post office address). Toronto. Winnipeg, Montreal, Ottawa. North Bay, Sudbury, Cobalt, Haileybury and Timiskaming. When navigation opens about May 1, a boat service is to be provided from Hudson to Pineridge, two-thirds the distance from Hudson to Red Lake, and the large flying boats will take passengers, mail and express freight the balance of the distance into Red Lake. Heavier packages and canoes are to be taken in by Indians, who will be brought back by airplane. The passenger cruiser, which has been purchased for the boat service, will have three staterooms with sleeping accommodation for 16 and day accommodation for 50, the journey by water taking seven or eight hours. It has been planned to erect a broadcasting station at Red Lake, Hudson and on the boat so that communications may be kept up between these three and the outer world at all times. President of the new company is Elwood Wilson, M E.I.C., and Jack V. Elliot is vice-president and general manager. LINK - www.newspapers.com/article/the-gazette-air-service-for-re...
(The Daily Sun-Times newspaper - Owen Sound, Ontario, Canada • Monday, March 22, 1926) - NEW AIRPLANE FOR HUDSON TO RED LAKE ROUTE IS ON THE WAY "The Lark" Leaving Buffalo for Toronto and There Will Take on Sleeping Bags, Etc. (Canadian Press Despatch) BUFFALO, N. Y., Mar. 22, 1926 -The new airplane, "'The Lark", to be used in the Lake service, by the Patricia Airway and Exploration company, arrived here shortly after noon, yesterday, from New York, with "Casey" Jones, test pilot for the Curtis Airplanes Corporation, in charge, and two passengers. Frederick Griffin, press writer, and Captain W. R. Maxwell, Director of the Ontario Provincial air service. The Lark expected to continue its northward flight, to-day, by way of Toronto, Sault Ste. Marie, Orient Bay, Sioux Lookout and Hudson. Roy Mitchell will replace Mr. Jones in the pilot's seat from this point. At Toronto the ship will take on snowshoes, sleeping bags, and food, preparation for an overland tramp, in the event of ship coming down unscheduled, in northern territory. LINK - www.newspapers.com/article/the-daily-sun-times-new-airpla...
(The Toronto Star newspaper - Toronto, Ontario, Canada •
Tuesday, June 29, 1926) - RED LAKE MAIL SERVICE - F. E. Davidson of the Patricia Air Service into Red Lake, made an announcement this morning that starting today all mail will be carried into Red Lake via Sioux Lookout instead of via Hudson. All letters should bear the mark "Via Sioux Lookout." The Elliot Fairchild service has been carrying mail since March 20th. From now on the Patricia Air Service will be permitted to issue their own postage stamps. The government intends to redeem the old Elliot-Fairchild stamps but in the meantime old stamps are good for carriage over the Patricia Air Service. The new Patricia stamps can now be purchased at post offices for 25 cents apiece. The Patricia Air Service makes the trip from Sioux Lookout to Red Lake in about 60 minutes. It also makes trips to Woman Lake, Pine Ridge and to Bull Dog Lake, Manitoba. The Elliot Fairchild boat service still continues. LINK - www.newspapers.com/article/the-toronto-star-red-lake-mail...
(The Toronto Star newspaper - Toronto, Ontario, Canada •
Wednesday, June 30, 1926) - Patricia Airways • Exploration- Above is reproduced a facsimile of one of new postal stickers of the Patricia Air Service, operating airplanes into Red Lake. The postmaster has granted the company permission to issue these stickers in future, and they can be procured at any post office for 25 cents apiece. The old Elliot-Fairchild stamps are being redeemed, but can still be used for letters. In future letters to Red Lake should be marked "Via Sioux Lookout." LINK - www.newspapers.com/article/the-toronto-star-patricia-airw...
Sherman Mills Fairchild (April 7, 1896 – March 28, 1971) was an American businessman and investor who founded over 70 companies, including Fairchild Aviation, Fairchild Industries, and Fairchild Camera and Instrument. LINK - en.wikipedia.org/wiki/Sherman_Fairchild
John "Jack" Vernon Elliot (1893 - 1964), was a pilot in the western Ontario area providing passenger service and flights for thrill seekers in the early 1920's. By 1925, he had his own flying school and by purchasing partially completed aircraft, managed to complete his own aircraft. LINK - www.semiofficials.ca/elliot_1.html
Now classify your gymnastic articles and equipments within trademark class 28 before if you want to register these goods for a mark name.
Since I returned from my 3-day Glacier Park trip, I've been busy writing articles for contribution to the National Parks Traveler's monthly photography columns. I like to get as many articles written as I have ideas for so that I'm not scrambling around to write up something a couple of days before the article is actually due. Plus, I'm always afraid of writer's block, so I like to write up my ideas when I think of them. As of now, I have written articles that will take me up through June. It gives me a little breathing space to think of more subjects for articles.
To that end, I have been rummaging through various archives of national park photos to re-work, re-size and insert into my articles.
This photo is not a part of any national park. It happened to be in my Colorado photo folder (where my Rocky Mountain National Park images are located). I remember wondering why on earth I captured this image. I wasn't much impressed after looking at it. Then, I recently downloaded some Nik software (free from Google). With those new tools, I was able to pull out the details that helped me remember why I *did* take this photo. I was intrigued by the long white-barked tree trunks and the golden leaves and the darker shadows. I shot this just outside of Telluride, Colorado, on my way to Mesa Verde National Park.
Copyright Rebecca L. Latson, all rights reserved.
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
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