History of Seagull TLR Camera

The SHANGHAI GENERAL Camera Factory is located in Song Jiang County, about 50 kilometers from Shanghai itself. This factory was formed in 1978, when the Shanghai Camera Factories numbers 1, 2, and 5 moved out from the city to the countryside location. The factory has 130,000 square meters of manufacturing area, with a like amount of space as housing for a portion of its workers. Those who don't live at the factory ride one hour each way on a company-provided bus.

One of the most interesting cameras made at this factory is the Red Flag 20, a copy of the Leica M4. It was made on the orders of Chiang Ching, the last wife of Mao Tze Dong. During the Chinese Cultural Revolution of the late 1960s and early 1970s (officially 1966-76, also known as the 'ten years of unrest', in Chinese). At that time, Chinese firms were trying to show the outside world that they could produce first-class quality goods. Camera factories were no exception.

The Shanghai Camera Factory's line of twin-lens reflexes began in 1959, at about the same time as the 58-II camera was being produced. Called the 58-III in the early stages of development, it was marketed as Shanghai. Based on the Rolleiflex, it even has some parts that are interchangeable.

The Shanghai TLR has an f/2.8, 75mm viewing lens labeled only with the company logo and a serial number. The taking lens is an f/3.5, 75mm labeled with the Shanghai logo, and a completely different serial number from the viewing lens. It also has some other markings on it. The series S13-111-1 is in front of the serial number. The camera serial number is located on top of the body casting, just above the nameplate. All Shanghai TLR's numbers begin with 63XXXXX.

In 1964, when it was decided to enter the export market, the Seagull name was chosen as the registered trademark of the Shanghai Camera Factory, and all cameras then in production had their names changed to reflect this.

Therefore the Shanghai TLR became the Seagull-4 TLR. No physical changes were made in the camera, only the names are different. A new serial number configuration was also used, serial numbers for the Seagull-4 now began 4-63XXXXX to indicate the model.

Since both the Shanghai TLR and the Seagull-4 have automatic film advance, (though the shutter isn't connected, and must be reset manually), they lack the ruby windows found on most Chinese 120 cameras. The frame number appears in the center of a window in the film advance knob. Later, a film advance crank was added and the model designation changed to 4A. The depth of field scale for both the Shanghai and Seagull-4 is found in a clear window in the focusing knob. The latest version of these cameras is called the 4A-103. It incorporates a single action focusing hood. A 4A-1 with an old-style focusing hood, a fresnel focusing screen, and a four-element three-group taking lens instead of a three-element three-group Cooke-type lens used on all other Seagull TLRs was produced. It was made for the upscale market and had limited success.

The 4B camera was designed, on the other hand, to sell on the down-scale market. It uses ruby windows and the three-element Cooke-type lens of the 4A. The good part of this is that with two ruby windows, you can choose between 6 x 6cm, or 6 x 4.5cm negative format. The 4B comes with a slip-in metal mask for the 6 x 4.5cm negative size. The 4B-1 has two ruby windows, and the same three-element lens as the 4A-103 and 4B, but comes with an accessory hot-shoe and fresnel focusing screen. All these TLRs have in common a manually set between-the-lens shutter with speeds of 1 to 1/300 second and bulb.

The chart below shows 9 Seagull TLR models.

Night Photography

My First Night Photos

© 2004 Martin Liew

Night photography generally refers to photographs taken outdoors between twilight and dusk. Originally night photographers had a choice between using artificial light such as flash units/torchlights or leaving the camera on a tripod and using a long shutter exposure, often for seconds or even several minutes to hours per exposure or multi-exposures, in order to give the film enough time to capture enough light to record a proper exposure.

As of today, with the progress of films and lenses and the increasing power of urban lights, night photography can often be achieved using available light e.g. floodlights, warm tungsten spotlights, and even under full moonlight, however, this does not make the use of long exposures or a flash obsolete. Night photography, by its very nature, is a subjective study. Almost every photographer at some point gets curious and wanders into the darkness with camera and tripod in hand.

Night Photography has the ability to take a scene and cast it in an unusual light - much like the golden hour surrounding sunrise and sunset where it can add an element of mood and uniqueness to a sunlit scene. The night has always been associated with romance, mystery, fear, and the unknown. The most magical thing about the night is the element of surprise. One can never be sure of what will happen when the shutter opens after dark.

Before I was really serious about night photography I did lots of day shootings (which I still do) and I discovered that most photographers pack up their cameras after sunset and call it a day. As I wanted to do totally different things from the others, I started out my first night photography with excitement and enthusiasm. The first camera I used was a modified Holga 120 toy camera with a fixated plastic lens. It works like a pin-hole camera.

I chose to shoot in B&W film because it has this timeless sense and creates a unique mood. When night falls, the night scenes are filled with many shadows and dark areas creating high contrast visions and most colors are flushed out. Therefore I don't see the point in taking color pictures, unlike nocturne photography which is a whole lot different subject. Using medium format film has more advantages over 35mm film, as it is able to record more tonality and details, basically because the 120 negative is much bigger. I love the square format (6x6) as it poses a great challenge in composing your subjects.

Initially, it was a trial-&-error process for me as I learned to estimate the long exposure timing based on reciprocity failure. The faster film speed (400 and above) at a wider aperture (f5.6 - f2.8), it requires shorter exposure timing. The slower film speed (200 and below) at the smallest aperture (f8 - f22), the longer exposure timing. Not to forget about Depth of Field which depends on how much is required on the subjects based on personal preferences and the art of seeing.

The results from the Holga were really bad but I did not give up easily. I switched the camera to an old Shanghai TLR (equivalent to a Seagull-4) which I inherited from my dear mother. It is the first model and predecessor of all Seagull TLRs (I'll touch on the history of Seagull TLRs soon). I got better photographs out of it and use it ever since. As I made more night pictures, I learned from my mistakes and finally came up with a set of long-exposure timing. I recorded every single exposure detail on my small notebooks and it really helps a long way. As Stever Harper stated in his article "Dark Venture: A Study of B&W Night Photography".

"Night photography remains an experimental subject primarily because it is uncontrollable in its further reaches. Even if one wishes to reshoot exactly the same photograph the following night, the end result will be different because one is dealing with the imponderables-the atmosphere and the unexpected things that happen in front of an open shutter during a time exposure. Consequently, each effort is fresh, exciting, and filled with new insights."

Through all the endless sleepless Saturday nights in photo-making, I got more serious about my photographic work and thus my Nite Projekt was born. I truly enjoy taking pictures in the night, for its beauty, tranquility, and calmness. Maybe it's a way of seeking solitude I guess. Nothing is more pleasing and relaxing than taking night pictures in the wee hours all alone. Night photography makes me think harder on every single exposure before I press that shutter release. I've learned to be more self-critical about my own work. Photography is all about self-expression and night photography gives me that freedom and space for expressing my artistic views.

Talking about local security, never take it for granted. Once a photography instructor told me, "Never take night pictures alone. Always go out in small groups." Well, he has a point there. It's a lie if I say I've never encountered any incident/situation during all those night outings. Yes, I did encounter it once and it was a strange one though. In spite of this, Post-9/11 is a tough time for night photographers, not only in the States but globally. Don't let it put you down. With each individual's art of seeing, there are still many possibilities in taking night pictures at any "safe" locations.

Ngee Ann Photographic Exhibition 2006

'Lurking...'

© 2005 Martin Liew

'Under The Flyover'

© 2004 Martin Liew

'Quiet Alley'

© 2005 Martin Liew

'No Parking'

© 2004 Martin Liew

Ngee Ann Photographic Exhibition NAPE 2006

This was the second year Ngee Ann Cultural Center has organised such mass group exhibition where they called on all local photographers, young and old to participate so as to promote photography as an art form and encourage more people to pick up photography as a life-long hobby. They are organising this event annually. I was told that they have confirmed in organising early next year in March but no exact date yet. Well there might be changes later on. Who knows? If you're interested in taking part, do watch out for their island-wide advertisement in local photography magazines and posters in all major photographic stores. I took part for the second time this year and four of my night photographs were selected for the exhibition, as shown above. All photographs were made with an old twin-lens reflex (TLR) camera on 120 medium format films. They are selected from my Nite Projekt series which I'll put them up on the next post.

As for next year's exhibition, I'll submit some of my best nocturne photographs (in color) which I will be uploading here soon. Do drop by often for more updates.

Eye é City 2005

Eye é City 2005:
A Visual Account of the Last 24 Hour of 2005
2005年岁末二十四小时人文记录

This was the fourth year of Eye é City. Through this project, the organiser encourages the documentation of social changes, recorded through photographs on the last day of the year to form the collective memories of Singapore from the eye of ordinary individuals. While for the past few years, they have had being collating photographs of amateurs, novices and professionals alike, and showcased them at exhibitions and in publications. Last year they also invite Secondary School and Junior College students to join in this meaningful event which they hope to see Singapore through the eyes of our young future leaders.

It was my first year participation in this event. It was a fun and fruitful day on 31st Dec 2005 Saturday. Six months later, on 12 June 2006, Monday, I received 2 emails from the Organising Committee. One stated about the launch of photo-book and photographic exhibition which will be featuring the 100 B&W pictures selected for the photo-book. Here the details of the event:

Book Launch cum Sharing Session
新书发布与分享会
Date: 8th July 2006, Saturday
Time: 2:30pm - 5:00pm
Venue: National Library Board, Central Lending Library @ Basement 1
100, Victoria Street

Exhibition Period: 01 - 31 July 2006
Opening Hours: 10am - 9pm

A talk (in English) by Mr Lee Tiah Khee, Chief Photographer of Lianhe Zaobao, has also been scheduled for you on the 29th July 2006, Saturday at 3.00pm at the same venue. Everyone is most welcome with their friends or colleagues to attend this talk to gain some insight on photojournalism.

All above mentioned events are free admission.

The second email is a good news for me. It stated that one or more of my submitted photographs was/were selected to be printed in the photo-book and for the exhibition as well. As a compliment, I'll be receiving a copy of the photo-book. This is really exciting for me! Awesome!

I'll post the selected photograph here on that actual day. Watch out for it!

'Lurking...' #3 《另途之期望》 三

'Lurking...' #3 《另途之期望》 三

'Lurking...' #3 were taken on 02 Feb 2006. As part of the series, #3 have a different perspective of Life. #3 symbolizes leadership and self-improvement. With every single step on the stairs, one learns the Way of Life and be a better Man who leads and guides others to attain their own Life achievements.

'Lurking...' #2 《另途之期望》 二

'Lurking...' #2 《另途之期望》 二

'Lurking...' #2 was taken on 15 Jan 2006. As part of the series, #2 has a different perspective of Life. Individual's fate differs but when it comes to the end of the road, we are all the same. #2 symbolizes to those who lead a well-to-do and luxurious lives as the many lights from the lamp posts shown in the picture.

'Lurking...' series 《另途之期望》 系列

'Lurking...' series 《另途之期望》 系列

After making many successful B&W nite pictures, I'm proud to know that I have a representative series of work and I titled it 'Lurking...'. Yes I have it in Chinese titles too. It's pretty much in metaphors about Life. It's still ongoing and I'm planning to have a series of 12 monographs. So far I have 3. More coming soon.

'Lurking...' #1 was taken on a Friday night dated 18 March 2005. I walked past this underpass towards Fort Canning Park. Upon reaching the other end of the underpass tunnel, there's a 2-way divergence. In front of me, one spiral stairs to climb up and on my right, a low steep curvy slope path with 2 high walls on each side, both leading to the same destination.

I took a walk to the latter one, walking up & down, looking & observing the area. Finally i found myself back to the starting point and set up the camera at a lower angle. I took 2 bracket shots of different angles. This is the 2nd exposure with the best result.

I like this shot becuz the curvy pavement leading to a right angle turn making you think what's behind there. There's some mysterious impact that makes this picture much interesting and appealing. Just in Life, one will never know nor predict the future, as in this case, what lies beyond the other side of the path. Life's path is never be straight and smooth as there are highs and lows and many other obstacles where one has to learn to overcome it with great courage and strength. As one moves along the way, one may lose his/her ways and this is when that light from the lamp post, which symbolizes hope and future. It guides us through our lives.

DWELL IN THE NIGHT

Quiet Alley

DWELL IN THE NIGHT is a personal photographic project which started out in late 2004. The objective is to capture the cold and calmness of the night where time and space standstill. The scent, the climax, the beautiful night vision, and the most neglected night scenes send off the sentimentalism or nostalgia value of one's own feelings to his/her surrounding environment.

Some mysterious combination of feeling light and the smell of an unrecognized plant bring back to some men the sense of childhood, and of future hopes, and to others the sense of something which has been lost and nearly forgotten.

DWELL IN THE NIGHT, by its very nature, is a subjective study. It may covers or touches on a wide aspect of night photography but howsoever, every single picture made that captures the very moment at that time and space which are intangible enough (I hope) to interlink them together.

Therefore DWELL IN THE NIGHT is opened for interpretations...