Last September, I wrote a post about a roll of unprocessed Kodak Super XX 120 film (which turned out to be 5 rolls) that I developed – 62 years after it was shot. You can read all about what I now refer to as the “miracle of the 5 rolls” here.
The skillfully shot photographs that emerged depict Vancouver’s Chinatown and False Creek in April of 1956. As I mentioned in Part 1, there was a name included on the wrapper that I thought may have been the name of the shooter, but I needed to investigate all possible leads in order to determine who shot these wonderful images and to figure out why the films weren’t processed back in 1956.
If you aren’t aware of the story thus far, I strongly recommend you take to the time to get up to speed before continuing with this post.
Men’s public convenience at Main and Hastings, 1956 (cropped). Photo: Photographer unknown, C. Hagemoen personal collection.
After finishing my investigation the mystery the photographer behind these images has been solved! Well, sort of.
From 2006 to 2013, I worked at CBC Vancouver as a Media Librarian in the English Television Archives. While I was there, I saved an exposed but unprocessed roll of film from being tossed out. The roll was in a box of odds n’ sods (unexposed film rolls, take-up reels, and other related non-photographic material) kept with CBC staff photographer Alvin Armstrong’s collection of still photographs – negatives, positives, prints, and mounted enlargements. Armstong was the in-house still photographer at CBUT from April 1, 1954, to April 3, 1973. During his 19 year career, he took about 10,000 photographs (negatives & transparencies); all of which were shot on either 4×5 sheet film or 35mm roll film.
Paper wrapper found around the roll of film(s). Photo: C. Hagemoen
The unprocessed 120 roll film was wrapped in a paper label with “Ron Kelly in Chinatown in April 1956” written on it. Since I was intimately familiar with Alvin Armstrong’s work I immediately recognized his distinctive handwriting on the label. Was this film shot by Armstrong but never developed?
It was possible but seemed out of character with what I knew about Armstrong and the way he worked. He kept meticulous records and this film was not recorded in his logbook. It was also 120 medium format film – he didn’t shoot medium format film for CBC. Also, the fact that is was kept separate from his collection was also a red-flag, but I added him to the list of people that were possibly responsible for these images.
What about the name on the wrapper? Ron Kelly was a producer/director at CBC Vancouver in the 1950s and 1960s. In 1956, he produced and directed a CBC Vancouver film unit program that was set in Chinatown called ‘Summer Afternoon’. It is a fantastic visual document of mid-century Chinatown. [More about ‘Summer Afternoon’ at the end of this post.] It is very likely these shots were intended to be used as location scouting shots for ‘Summer Afternoon’ and the exposed film was given to Alvin Armstrong for safekeeping. But they were never used as such, or even processed for that matter! Why? So, Ron Kelly was also added to the list of potential photographers.
My former colleague and (now retired) Senior Media Librarian at the CBC Archives, Colin Preston, suggested a third possibility – Jack Long, the cinematographer for ‘Summer Afternoon’. It would make sense that he would be the one to take scouting shots for this production. Sadly Jack Long, now deceased, would not be able to provide any insight into this mystery, so we would have to rely on the memories of others.
One telling image shows the photographer reflected in the window of a boat that he is taking a photo of. We can’t see the face of the person, but you can see his hairline and that he is wearing a trench coat (neither very distinctive). It also looks like he is using a Leica-style or folding medium format film camera.
The photographer is reflected in this image (detail). Photo: Photographer unknown, C. Hagemoen personal collection.
Since his name was on the wrapper, making him the obvious person responsible, I started my search with Ron Kelly. It took a little digging, but I was able to obtain his landline phone number as, at 90 years old and living in small-town Ontario, Ron Kelly did not use email or social media. Colin Preston made the cold call since he was more familiar with Kelly’s work at CBC. He told Ron Kelly the story of the photographs and that we believed that they were associated somehow with the production of ‘Summer Afternoon’. During their conversation, Ron Kelly revealed that he was not the photographer and that he was quite sure Jack Long wasn’t either.
Ron Kelly was generous enough to provide his mailing address so that I could send him a hard-copy of my original post and prints of some of the photographs including the image of the photographer above. This way he could review the material in case it might jog a long lost memory and to see if he recognized the person in the reflection.
Several weeks passed when out of the blue I got a telephone call from Castleton, Ontario, it was Ron Kelly. We had a nice chat during which he confirmed that he did not take these photographs and neither did Jack Long. He explained that Long was a very short man, only 5’3″, and he didn’t physically match the photographer in refection. He wished me luck on my search.
So then we were back to CBC staff photographer, Alvin Armstrong now the primary (only) candidate. He died in 1989, but I had contact information for his son, Arthur, who I had first met in 2012 at the launch of the VHF The WALL outdoor installation I curated that featured one of his father’s photographs.
In my email, to Arthur, I gave him the background to the mystery and explained the reasons why I had doubts and didn’t think it was his father who shot these images. I also asked him to take a look at the reflection image to see if he thought it was Alvin. This is what he wrote back:
I had a look at the photo that you sent me along with the photos on your blog. I cannot say with a certainty that the photo you sent me is my father. I am attaching a photo of Dad taken in 1956. As you can see the hairline is similar. I can also tell you he wore a long beige raincoat as did many men of that era. I recall there was a Leica camera around the house, but that was 35mm. Dad did shoot 120 film but used two Rolliflexs that he owned.
If his handwriting was on the film wrapper, he must have been given it or taken the photos. However, two things lead me to believe it was not my father. Firstly, he would never have put 5 rolls of film on one spool. Secondly, he would have cataloged it in some manner. Neither of these actions fit with his personality.
I am sorry to add to the mystery of these photos and hope you get it sorted out. Please keep me posted! Thanks for keeping the memory of old Vancouver alive.
I had to agree with Arthur on his perception of the situation. Though he thought there was a possibility that the man reflected could be his father, the other evidence does not fit with Alvin’s photographic practice. For some reason, Armstong was the caretaker for this film, but we both believed he was not the shooter.
Having run out of possible candidates, the mystery of who is responsible for these images is “solved” in that we have come to the end of the investigation. Therefore, unless new evidence appears (highly unlikely due to how much time has passed) all we know is (with some certainty) who isn’t responsible (Armstrong, Kelly, or Long) for these fabulous documentary images.
Every time I look at the images I am glad that my curiosity didn’t allow this collection to be lost forever. If you ever find an old roll of exposed film I urge you to take the time and expense to get it developed, you never know what exposing the latent image could reveal.
*2021 update: A few people have commented that the most likely scenario is that 5 rolls of film were already developed and were then rolled onto one spool and covered with a couple of winds of backing paper for protection many years ago. I had previously wondered the same thing but didn’t know what the effect of processing film twice would have on the rolls. It seems that processing film twice would have no effect on film once the film has been fixed once. This would explain why the decades old, loosely rolled film had such great looking negatives with no fog. The technician at The Lab would not know that the film was already processed since they were working in full darkness and all film feels the same in the dark.
In 2021, I wrote about this discovery in the latest issue of Geist magazine: Geist 118.
Enjoy some more of these images:
Men reading newspaper. Photo: Photographer unknown, C. Hagemoen personal collection.
Girl in by entrance to Ho Sun Hing Co. Printing on E. Pender Street. Photo: Photographer unknown, C. Hagemoen personal collection.Double exposure False Creek. Photo: Photographer unknown, C. Hagemoen personal collection.House boats/shacks on False Creek. Photo: Photographer unknown, C. Hagemoen personal collection.I love all the black in this image. Chinatown alley 1956. Photo: Photographer unknown, C. Hagemoen personal collection.More of the same theme – narrow view from an alley. Photo: Photographer unknown, C. Hagemoen personal collection.
If you haven’t seen ‘Summer Afternoon’ yet, I strongly recommend you take half an hour to do so. When you compare the visuals in the TV film with those found in the still photos found on the 5 rolls of Kodak Super XX 120 film you can clearly see that they are connected.
Columnist John Kirkwood had this to say about “Summer Afternoon’ in the August 22, 1956 edition of the Vancouver Sun: “The program skillfully produced to capture the desired mood and with a light touch of humour was, of course, a work of art, and, except for a rather too insistent musical score, was an outstanding show”.
The Province Newpaper’s TV critic, Les Wedman, was more critical about the program. Here is his review from August 21, 1956:
I think the passage of time has improved the overall impression of “Summer Afternoon” as we view it with a nostalgic lens. I’ll let you be the judge…
Pacific 13 – Summer Afternoon, air date: 1956-08-20, length: 28:25
“Presented without commentary, this exploration of Vancouver’s Chinatown follows the wanderings of two young boys at play in and around the shops, streets, and False Creek waterfront.”
Last year I took on the challenge of the first-ever Local History Advent Calendar! For 24 days in a row, I presented random historical tidbits I’d collected over the previous year and presented them in the form of “treats” for my 2018 Local History Advent Calendar. This year, the “Heart of Mount Pleasant” was number 1 on Heritage Vancouver’s Top 10 Watch List for 2019. So I decided to choose Mount Pleasant as the theme for the Vanalogue Local History Advent Calendar for 2019. Each day you can “open” a new historical treat. Think of them as holiday cocktail party fodder – 24 facts about Mount Pleasant history that can be used as conversation starters at your next social event.
Contour plan of District Lot 200A (part of Mount Pleasant) showing Brewery Cree, ca. 190?. Source: CoV Archives Map 690
Though it may be hard to believe, Brewery Creek still exists. Yes, it is but a shadow of its former self, however, it is very much still there – flowing deep under layers of asphalt and concrete. The community of Mount Pleasant (Vancouver’s first suburb) developed around the waterway we now know as Brewery Creek.
First Nations people used the creek for thousands of years as a source of fresh water and sustained themselves with the animals and plants that thrived in and around it. In a video on the Remembering Brewery Creek website, Coll Thrush, professor of History at UBC, says the story of Brewery Creek is a story of “settler colonialism” and “industrial capitalism”.
Brewery Creek facts:
It’s one of the many freshwater streams that once flowed downhill to False Creek (including Mount Pleasant’s China Creek).
It carved a swath through Mount Pleasant towards False Creek following an indirect route, crossing Main St. 2x – between 14th and 13th and again at about 10th Ave.
It’s thought to begin in a boggy area known as Tea Swamp (near 15th and Sophia today) where the park is today, but most likely beginning around/under Mountain View Cemetery – according to the old streams map created by the Vancouver Public Aquarium Association.
Named tea swamp because of the Labrador Tea plant that grew in the Bog. First nations people made a tea from it and early settlers took on the habit, as they made the long trek from New Westminster to False Creek and Vancouver beyond.
Mount Pleasant was bisected by an ancient animal and indigenous peoples trail, the future Kingsway. When the European settlers came they took advantage of this path that ran all the way from New Westminster to False Creek.
At the time European settlement began the flow strength of the stream was high. So much so that in the late 1860s, its waters were being transported more than two miles by flume to supply Edward Stamp’s Sawmill on Burrard Inlet (foot of Dunlevy) – Vancouver’s first (and only) industry.
Evidence of its former flow strength can be seen on old maps (see below) in the size of the ravine it flowed within.
By the 1880s, the banks of Brewery Creek and the south shores of False Creek were teeming with all manner of businesses – breweries, slaughter-houses, tanneries, and lumber mills.
Charles Doering’s Vancouver Brewery opened its doors in 1888, at the corner of 7th and Scotia (making it the second brewery in the city). Soon other breweries began operations along the creek, and it was dubbed “Brewery Creek” by locals.
The first time the name “Brewery Creek” appears in print is in the March 7, 1889 edition of the Vancouver Daily World.
Doering was among the first to build a dam on Brewery Creek, harnessing its power to drive a 40-foot water wheel to mill his grain. As demands and dams on the creek increased its flow slowed to a trickle.
As Mount Pleasant became more populated and commercial in the early 1900s the creek was culverted and built over. Now more a hindrance to “progress” than a help, the creek was disappearing from view.
In the early 20thC, the portion of False Creek east of Main Street was filled in, effectively damming (damning) Brewery Creek for eternity.
So, “settler colonialism” and “industrial capitalism” destroyed in only 50 years what had been thriving for millennia.
1912 Goads Fire Insurance Plan showing the end of the line for Brewery Creek. Source: CoV Archives, Map 342b
But all is not lost. Despite our best efforts, Brewery Creek is still very much alive. You can see it in the landscape of the city. Heaving sidewalks and roadways; wonky, tilted fences; and flooding basements and underground parking garages all indicate the power of the creek’s still flowing water (especially after heavy rain). You can hear it as well. Standing near storm drains or manholes along its path (and along the paths of the other buried streams of Mount Pleasant) you can hear the water flowing.
The length of Brewery Creek in Mount Pleasant 1897-1901 from 15th Ave to False Creek. Goads Fire Insurance Plans. Source: Library & Archives Canada
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