‘The Birth of the Beatniks’
Selection from ‘The Beatniks’ artist’s book by Daniel D. Teoli Jr.
Daniel D. Teoli Jr. Archival Collection
Selection from ‘Blow Man Blow’ artist’s book by Daniel D. Teoli Jr.
A collection of early erotic photography from the 1890’s to 1920’s from the Daniel D. Teoli Jr. Archival Collection
Althoff Circus, Americans at Work radio show, animal rights, Ben Barkin, Bertha Denham, Billy Wilson Smart, Birma, built up roof, Cahill Elementary in Edina, Central Park Zoo N.Y.C., Chessington, circus elephants, Circus Vargas, Clark County Fair, Cleveland, Cleveland Press, Clyde Beatty - Cole Bros. Circus, Clyde Beatty Cirrcus, Cole Brothers Circus, concrete incinerator, Daniel D. Teoli Jr. Archival Collection of Found Photography, diving horses, Elephant, elephant history, Elephant retirement, England., Ernie Palmquest, fairy tale roof, fantasy roof, Floyd Smith, Flying Wallenda, Frank Alexsandrowicz, Franklin Park Zoo, Ft. Myers, Ft. Myers Ringling Brothers, Gimael, gingerbread roof, Glenn Zahn, Gloria Paul, Great Wallendas, Hamid-Morton Circus, hansel and gretel roof, Hattie the elephant, Honey the dancing elephant, Jean Allen, Joe Stephens, Joel Starr, Jordan International Circus, Lisa D. Finoer, London Zoo, Madison Square Garden, Malkia, Mario Wallenda, Mott Haven Yards, Nicéphore Niépce, no more circus elephants, Ohio zoo recover escaped elephant., pachyderm, peta boycott, peta boycott of ringling brothers, Photo by James Mell, Richard Van Nostrand, Ringling Brothers and Barnum & Bailey Circus, Ringling Brothers and Barnum & Bailey miniature circus created by Ernie and Virginia Palmquest., ringling brothers retire elephant acts, ringling brothers retires elephants, Roosevelt Memorial Museum of Natural History N.Y.C., Rosemary Adair, Rowland Ward taxidermy, Shane Smart, Shirley Peterson, Shrine Circus, Smilin Ed's Gang, So many things going extinct for the social documentary photog to archive., Spokane Coliseum, Spokane Interstate Fairgrounds, Susan Bible, Sylvie Pénichon, textured roof, The Circus Elephant..an end of an era., Togni Circus, Tom Perraro, Tom Perraro ponders the cleanup of a circus elephant that died during a heat wave in N.Y.C., Troy Metzler, Virginia Palmquest, William 'Buckles' Woodcock
in Honor of
Sylvie Pénichon & Nicéphore Niépce
After 146 years Ringling Brothers and Barnum & Bailey has closed. One of their most recognized acts was their elephants. Here is a post from the archives in honor of the elephants service through the years in entertaining us.
Shrine Circus elephant – Ohio Valley
Photo by Daniel D. Teoli Jr.
As our world change and things become history it is very important for photogs to document what once was for future generations.
When I was growing up in L.A., textured roofs were fairly common near the Miracle Mile. One day when I was visiting I noticed they were all gone except for a single example that I could find. That roof was leaking and scheduled for replacement as well.
Another relic from L.A. was the concrete incinerator. Most houses had them in the back yard. They were very popular for burning trash. In the 1950’s they were outlawed
Not that long ago when there were high diving horses on New Jersey’s Steel Pier. Many people don’t know this. Even after decades of operation there are only a few photos of the act to be found. So many things going extinct for the social documentary photog to archive.
The circus revived the diving horse act for a short time, but has discontinued it.
1961- Shirley Peterson with ‘Gimael’ diving into a 38,000 gallon tank at the Hamid-Morton Circus. A note on the back of the print says ‘The negative was lost!”
If PETA has its way all animals used for enjoyment and forced labor would be stopped.
No more rodeo.
No more hunting.
All the zoos would be emptied.
Equestrian games and horse racing stopped.
Bullfighting would be extinct.
1936 – Mexican bullfighter in Madrid substituting for a Spanish matador, who are on strike.
Is all this good or bad?
I don’t take sides…I just document my world.
In any case, the circus has a long history of using animal acts to entertain people and the documentation of that history is the purpose of this post.
1840 – Palmyre Annato
1886 – Chiarini Chikanobu
Even if no animals are used there is pain, suffering and death in the circus….
1962 – Mario Wallenda, who was crippled in a fall, watches his family perform.
Here are some vintage press photos and snapshots from the Daniel D. Teoli Jr. Archival Collection to memorialize the end of an era…the circus elephant.
1921 – Minnie, a dying zoo elephant. In the photos that follow you will see a lot of hand retouching. Before Photoshop, it was not uncommon to add some art handwork to the press photo if things needed improving. Here they have drawn in some background.
1922 – Trying to right a sick ‘Hattie.’ – Central Park N.Y.C.
1922 – Preparing a taxidermy specimen. The largest female elephant ever killed. Roosevelt Memorial Museum of Natural History N.Y.C.
1923 – Langer Circus School, England.
1926 – Recovering a five ton escaped circus elephant that terrorized Kansas for 4 days.
1929 – Republicans christening their mascot.
1934 – An elephant looking for snacks at the London Zoo.
1934 – Osceola Seminole Indians – Florida
1936 – Children mesmerized by the elephant circus parade.
1936 – Loyola Lions visit the Los Angeles Zoological Park.
1937 – Trainer Jean Allen and aerialist Bertha Denham leave the Chicago train station and arrive at the Cole Brothers Circus via pachyderm.
1938 – Madison Square Garden, a Ringling Brothers and Barnum & Bailey Circus elephant plays dead in a rehearsal.
1939 – Quebec, a 8 foot long, 6 foot high snow elephant made by 2 boys.
1939 – Photo by James Thomas
1939 – N.Y.C. Ringling Brothers and Barnum & Bailey unloading a train full of animal acts at the Mott Haven Yards for a show at the Garden.
1940 – With a heat wave in Chicago nearing 100 degrees, circus elephant ‘Nancy’ cools off.
1940 – Americans at Work radio show. Jack Knell interviewer is siting atop ‘Ruth’ a Ringling Brothers and Barnum & Bailey Circus elephant at Madison Square Garden, N.Y.C. with Eric McGill, Producer / Director listening.
1940 – Cleveland Zoo recovers escaped elephant. – Ohio
Photo by James Mell
During the WWII years of 1941-1945 the historical record is slim for photos of circus elephants. All domestic efforts were concentrated on the war.
Here is a before and after comparison to show you the amount of post processing that was used for some of the photos. The press photos varied from very good to poor in image quality.
1946 – Cleveland, OH – Back of photo marked ‘Reversed print.’
Photo by Glenn Zahn
1947 – Patricia Cooney and Dennis Hughes at the Ringling Brothers and Barnum & Bailey show at Madison Square Garden N.Y.C.
1947- Edward Raymond, clown for the Shriners Circus visiting kids at the Shrine Hospital. – Chicago.
1950 – The ‘circus comes to town’ parade. – N.Y.C.
1951 – Pre-show practice. – Spokane, WA
1951- Four year old Nanette Sharkey of Baltimore, MD greets ‘Betty’ at the Paris Vincennes Zoo.
1951 – Elephants keeping in shape while wintering in Ft. Myers, FL. at Ringling Brothers and Barnum & Bailey compound.
1952 – Gift to the Franklin Park Zoo. – Boston, MA
1952 (est) – Rosemary Adair of the Clyde Beatty – Cole Brothers Circus. – Sarasota, FL
1952 – Clyde Beatty Circus. – Spokane, WA.
1952 – ‘Teola’ , Nino Marcel and Ed McConnell in elevator at CBS Television City, Los Angeles, CA for show Smilin Ed’s Gang.
1953 – Trainer Floyd Smith and assistant Joe Stephens work on ‘Honey’ the dancing elephant who has irritated feet from too much contact with concrete. – St. Louis, MO.
1953 – Shrine Circus elephant scoops up a trunk of snow in Chicago.
1953 – Ringling Brothers and Barnum & Bailey Circus. – Spokane, WA.
1953 – San Diego Zoo new arrival ‘Peaches’, an African elephant from Portuguese East Africa.
Photo by Richard Van Nostrand
1954 – London Zoo
1954 – ‘Babe’ 4 ton circus elephant. – St. Paul, MN.
1955 – Off US-31 in Holland, MI, ‘Roxie’ a 5 ton circus elephant lays on her side with a bad case of colic. Susan Bible tries to comfort her after the vet pumped thousands of units of penicillin and glucose into the elephant.
1956 – Street cleaner Tom Perraro ponders the cleanup of a circus elephant that died during a heat wave in N.Y.C.
1956 – The Big Top!
1956 – Lorraine Parker (left) and Annette Sinclair meet ‘Dumbo’ at the London Zoo.
1957 – Pre-show practice. – Cleveland, OH.
Photo by Frank Alexsandrowicz
1957 – A tiny Dik-Dik stands between a massive elephant at Rowland Ward’s taxidermy shop in London. Both are taxidermy mounts.
1959 – Althoff Circus – Nuremberg, Germany.
1959 – Secretary of State Robert Zimmerman (Rep) rides ‘Blanche’ at the Circus Museum in Baraboo, WI.
1960 – El Paso Zoo, Texas.
1961 – ‘Bimbo’ the worlds only waterskiing elephant. – San Diego, CA
1961 – London Zoo
1961-Togni Circus, Rome
1961 – A gift from the children of India arrives at a port in Norfolk, VA. A crane is used to hoist it off the ship where it will be loaded onto a truck to be delivered to a zoo in Washington, D.C.
1961- Ringling Brothers and Barnum & Bailey Circus elephants taking a water break after being unloaded off the train for the show at the Coliseum in Spokane, WA
1962 – 18 year old Gloria Paul taking a ride on ‘Candy’ at the Zoo in Chessington, England.
1963 – Ringling Brothers and Barnum & Bailey Circus arrive in Spokane, WA parading the animal troupe en route to the Coliseum traveling on West Riverside, north on Division and west on Boone.
1967 – Zoo in Europe.
Photo by B. Miedza
1971 – Wild African Elephant
1971 – Description on verso: Ethpawura – the wall of elephants whcih runs around the Ruwanveliseya Dagaba, Anuradhapura, Ceylon / Alternate description: Ruwanwelisaya in the sacred city of Anuradhapura in Sri Lanka
1971 – Spokane, WA
1971 – Reading, Berkshire, England – ‘Birma’ with four year old Shane Smart, son of Billy Wilson Smart of the famous circus family.
1973 – Ringling Brothers and Barnum & Bailey Circus elephants taking a food break after being unloaded off the train.
1974 – Ringling Brothers and Barnum & Bailey miniature circus created by Ernie and Virginia Palmquest.
1974 – Ringling Brothers and Barnum & Bailey Circus with William ‘Buckles’ Woodcock.
1975 – London Zoo
1975 – Zippity Zoo night – Cleveland, OH
1975 (est) – Circus Vargas
1980 – ‘The Elephant’ in the ‘Stone Forest’- Kunming, China
1981 – Ringling Brothers and Barnum & Bailey Circus elephant arriving by train. – Cleveland, OH.
Photo by David I. Andersen
1984 – Ringling Brothers and Barnum & Bailey Circus. – St. Petersburg, FL
1984 – ‘Lucy’ the Elephant – Margate, NJ
1984 (est) – Circus Vargas
1986 – The Greatest Show on Earth! Ringling Brothers and Barnum & Bailey Circus – Cleveland, OH
1986 – Ben Barkin
1990 – Joel Starr at the Clark County Fair
1991 – Shrine Circus – Spokane Interstate Fairgrounds, WA
Photo by Lisa D. Finoer
2012 – Shriners Circus – Ohio Valley
Photo by Daniel D. Teoli Jr.
2013 – Shriners Circus – Ohio Valley
Photo by Daniel D. Teoli Jr.
2013 – Pittsburgh Zoo
Photo by Daniel D. Teoli Jr.
Photographs used herewith were taken in part from the following artists’ books by Daniel D. Teoli Jr.
The End of an Era
In Their Day
Girls of the Beat Generation
A forthcoming 6 volume artists’ book series by Daniel D. Teoli Jr.
A complete list of artists’ books by Daniel D. Teoli Jr.
In Honor of
Arthur Tress & Clarence John Laughlin
and in special Memory of
Dye Transfer Printer
Founding Father of Dye Stability Testing
Selection from Dye Stability Testing of Color Imaging Media – Edition II artist’s book by Daniel D. Teoli Jr.
PrintFile’s archival preservers mid 1990’s vintage (left) ~ new 2016 PrintFile’s archival preservers (right). After 2 decades of normal household (dark) storage PrintFile’s archival preservers turned yellow. Test was conducted in a non smoking home.
The pages show the yellowing best when placed in a small pile. Single pages do not show the change as dramatically and may go unnoticed by the archivist.
Single 2016 PrintFile’s archival preserver page on left – Single 1990’s PrintFile’s archival preserver page on right
Sample fade tests from Edition I of Dye Stability Testing of Color Imaging Media :
Selection from landmark 6 volume artist’s book series Girls of the Beat Generation by Daniel D. Teoli Jr.
A complete listing of artist’s book by Daniel D. Teoli Jr.
In Honor of
George Tice & Horace
Here is the bottom line from Scape Martinez
“Never give up! Don’t listen to the haters. Don’t try to be an artist unless you can work and live in isolation, without any thanks….bleak, but needed until you get to the much lauded place.”
While good advice, the reality is 99.9% artists will never get to the much lauded place…still we keep working. If you need someone to hold your hand while you do your art, you will probably never amount to much. Art and the rejection associated with art is soul crushing…still we keep working.
With respects to photography…there are 2 billion cell phone cams roaming the earth…still we keep working. But none of this matters. If freezing time is in your blood, being a do-gooder, trying to change the world or making $ does not matter. If your dedicated to your art, you must produce and keep producing, whether you have an outlet or not to make $…or even have any practical use for your output.
We can’t do good work if we are working for ‘likes and thumbs up.’ I mean, are you working for them or for you? If we are not being paid, we need to be working for ourselves to express what WE want to.
I’ve been on forums where likes are given out as one would hand out a million dollars. But just because no one likes my post after 4oo viewings, that doesn’t mean anything to me. I don’t do my work for others, I do it for me.
Art is the way many of us make sense of our world. A wordsmith sifts it all through their brain and writes a book or article, a musician composes a song, a poet pens a poem, an artist sketches a drawing or does a painting, a photog shoots a pix, a sculptor forms a statue, a choreographer creates a dance. We each express what is in us and make sense of our world through our art.
Irrespective of recognition, fame and riches, dedicated photogs all have one thing in common…we know time. Time is our life blood and as long as we can keep pressing the button and freeze time, we feel the better for it.
In honor of
Walter Gropius & Staatliches Bauhaus
On the photo forums the perennial question would always pop up on what to charge and how to estimate commercial photography.
I’m not a commercial photog, but I came across a sample quote for a pharmaceutical portrait job involving 12 photos and thought it would be interesting to share with you.
Here is the quote…
Here are the shoot specs:
Shoot Concept: Portraits and photojournalistic manufacturing lifestyle images
Licensing: Unlimited use of all images captured in perpetuity
Location: On location at a pharmaceutical manufacturing facility in the Northwest
Shoot Days: One
Photographer: Northwest-based portrait and lifestyle specialist
Agency: A Small Northwest-based agency
Client: A mid-sized pharmaceutical company
Creative/Licensing: One of our Northwest-based photographers reached out looking for help pulling together an estimate for a library shoot for a local mid-sized pharmaceutical manufacturer. The agency had contacted the photographer requesting a quote for a one day shoot on location at one of their client’s manufacturing facilities. The project called for 12 setups: four environmental shots of the facility/labs, seven photojournalistic lifestyle images of employees “at work” and one lit/staged portrait. The client required unlimited usage of the library of images. We see a lot of projects along these lines, but this project was a bit unusual because the 12 setups were relatively specific. They didn’t seem to offer a lot of opportunity for variations (as opposed to more dynamic scenarios that may allow for a greater degree of variety in the space, subjects and available actions/activities). Shot one, in particular, was much more carefully composed and art directed because it would be used in trade ads, while the other 11 shots would only appear in collateral pieces. After speaking with the photographer about the hefty shot list, we wanted to make sure the client was aware that it was doable, but perhaps a bit ambitious, and that the day may require some prioritization if we were unable to move around as freely and quickly as expected.
Library fees can start around $7500 a day and will often include unlimited or perpetual usage of all images captured. It should be noted, however, that “library” does not necessarily mean unrestricted use (although it did in this case), and may be used to refer just to the volume of imagery. Accordingly, it is important to make the initial assumption that the client is willing to limit the use in some way. Often, clients are willing to limit either the duration of use or quantity of images for a library shoot, so it is best to begin the conversation with that assumption in mind to avoid inadvertently “giving away” more than necessary. Unfortunately, this was not one of those instances, and the client did, in fact, require unlimited, perpetual use of all images captured. Interestingly, the ambitious shot list helped to minimize the value of the library because the photographer would have to move so quickly from one shot to the next that the variety captured would be severely limited. Additionally, five of the 12 shots were very specific and didn’t allow for variations of any substance. Factoring the volume of shots, limited production footprint, type of client, intended use (including the very specific trade ad shot) and otherwise straight forward nature of the shoot, I set the rate at $10,000 for this shoot.
Client Provisions: I was sure to note exactly what the client and agency would provide: locations, staff “talent,” staging area(s), wardrobe, props, releases and necessary technical and safety advisors. The advisor was important to highlight since we wanted a client rep to be on set to ensure the facility and staff were up to snuff from a technical and safety standpoint. There’s nothing worse than wrapping up a shot and finding out that the subject was supposed to have been wearing safety goggles, so we were sure to put that responsibility on client’s shoulders.
*Tech/Scout Day: Due to the challenges associated with accessing this particular facility, the client was unable to allow for a tech/scout day. It’s generally a very important part of a production such as this, but unfortunately, our hands were tied.
Assistants & Tech: I estimated for a first assistant and a digital tech for the shoot. All but one shot would be captured using available light, and mobility within the facility was a concern, so the smaller the crew footprint, the better. The photographer wanted to tether a laptop on a tripod, so we didn’t need a full workstation rental from the tech, hence the lower rate.
Equipment: I estimated one day of gear rental from a local rental house including a DSLR system, a backup body, a handful of fast lenses, a small lighting and grip kit and a laptop to tether.
Styling: I included one stylist to manage basic hair, makeup, and wardrobe needs for the staff and talent. The talent would be wearing a branded uniform which the client provided, so we didn’t need to do any wardrobe shopping.
Shoot Processing for Client Review: This covered the photographer’s time for the initial import, edit, color correction and upload of the entire shoot to an FTP for client review and final image selection.
Selects Processed for Reproduction: I included basic select processing as a lump sum based on 150/image in this case. This protects the fee in the event the client ultimately selects more or less than 12 images.
Casting and Talent: Since the portrait concept called for a relatively tight shoulder up shot of the talent, they agency was comfortable with a digital casting and reviewing recent comp cards to make their selection. The casting fee covered the photographer’s time to reach out to a couple of local talent agents to request current head shots and share them with the agency for review and selection. The talent fees, in this case, were quoted by the local talent agency. Though this is a very reasonable fee for the usage, we’re often able to negotiate slightly lower fees. The fact that this was for a pharmaceutical client put a little bit of a premium on the talent cost.
Mileage, Meals, and Miscellaneous: Finally, we estimated for miles, meals for the production at the on-site cafeteria, and a bit extra to cover any unanticipated miscellaneous costs.
Results: The photographer was awarded the project and luckily, both the client and agency were very easy to work with, and the facilities proved to be as manageable as we had hoped, all of which allowed the photographer to crank out the entire shot list in a normal 10-hour day.
Source of quote and shoot details: Wonderful Machine.
From Girls of the Beat Generation
A forthcoming 6 volume artist’s book series by social documentary photographer Daniel D. Teoli Jr.
A complete list of artist’s books by Daniel D. Teoli Jr.
A midget in a nudist camp., bold street photographer, daniel d. teoli jr, pussy generation, safety for the street photographer, Shoot first...masturbate at home., social documentary infrared flash, social documentary photography, table-top photography...a plain case of mental masturbation.
in Honor of
David ‘Chim’ Seymour & Walker Evans
Here is a snip from a Clint Eastwood interview and his take on the Pussy Generation…
We live in more of a pussy generation now, where everybody’s become used to saying, “Well, how do we handle it psychologically?” In those days, you just punched the bully back and duked it out. Even if the guy was older and could push you around, at least you were respected for fighting back, and you’d be left alone from then on….I don’t know if I can tell you exactly when the pussy generation started. Maybe when people started asking about the meaning of life.
Weegee also sums things up for the timid street photog wannabee when he said,
” There are sheltered souls, who are afraid to mingle with strangers. Some of them go in for table-top photography…a plain case of mental masturbation. To make (street) pictures, you can’t just be polite. You have to go around sticking your nose in other people’s business, same as a midget in a nudist camp.” (quote condensed)
Generally speaking, the bold street photog does best – not the timid one that is scared of their own shadow.
Here is a short video on Weegee…”You can’t be a nice Nellie and do street / news photography.”
Backup link for audio:
Even if your balls are the size of shriveled up, freezer burnt, green peas there is hope for the timid photog. What they need to do is to perfect their candid skills so they have little or no fear of being caught.
The young guns coming up are too politically correct to shove their cam in people faces. Society also makes it tough for male photogs to shoot kids. An old guy in his 60’s like me is labeled a sexual predator if they are caught shooting kids on the street.
Well…that is if you are caught!
Many photogs are overthinkers, worried at every possible opportunity. By the time they do all their mental masturbation, the shot is long gone. Shoot first…masturbate at home
There are bold mushroom hunters and there are old mushroom hunters…but there are no old, bold mushroom hunters. That was what an old time shroomer told me that when I told him he was not bold enuf in his foraging. We were discussing edible mushrooms and pushing the edibility envelope.
As a street photog ,boldness is an important part of the success equation. But like anything else, too much of good thing can be harmful. As an example – water and air are life sustaining, but in excess they can kill.
Here is my formula for staying safe on the street and still bringing home the goods with a balance of boldness and street smarts.
Don’t fall into these self-defeating traps…
On the Rangefinder Forum, a camera fondler gave up shooting the red rooms of Amsterdam before he even got in town. In his mind he was convinced he would fail. He quit before he started.
Camera fondlers are always blaming their equipment. Over nearly 50 years of shooting I have used many types of cams. I can tell you if the camera is capable of recording the scene and you don’t get the photo…it is not the cameras problem, the problem is with you.
As the timid photog perfects their candid skills, they will be able to work with impunity right up in people’s faces.
Infrared flash helps, but invisible flash or not, you still have to stick your cam in people’s faces. Once you master your skills you can work between the 2 mediums seamlessly picking the best technique for the subject.
Selection from Iconoclastic Reporter artist’s book
by Daniel D. Teoli Jr.
Selection from The Americans…60 years after Frank artist’s book by Daniel D. Teoli Jr.
I’ve always know how tough it can be for photogs to get ahead. But until I watched Ken Burns series on the history of Jazz I didn’t know they shared all the same issues.
Highly recommended series that showcases the bohemian life and what the artist goes through to practice their art…get it from your library.