Dave Romm has died

Kind of a shock; nobody seems to have known of any reason to expect any such thing any time soon. A phone call had reached Sharon and Richard (who were hosting the Minn-StF meeting yesterday) just 5 minutes before Lydy and I walked in.

The information that’s reached me so far is that he probably died quickly of a heart attack in his home about September 4th, but wasn’t found until the 14th (hence the lack of certainty on date and cause of death).

So it was a bit of a subdued meeting with a lot of reminiscence.

Dave, who most of the years I knew him insisted on the capital “E” in DavE (but mostly dropped that after becoming a Baron of Ladonia), moved to Minneapolis quite shortly after I became a permanent resident here, I think in 1978. He was already a photographer and interested in the history of fandom, so we had that in common, and he was an accomplished bridge player and this was during Minn-StF’s bridge period. He moved into the apartment I vacated in the basement of the Bozo Bus Building when I bought Finagle’s Freehold.

I will say that, Facebook profile to the contrary, he did not live in Memphis Tennessee.

Oh, about that Barony—DavE described himself as being “a real baron of a fake country.” The people running Ladonia appear to have properly granted him that honor in line with their historic traditions (which go back to 1996, it looks like).

Here are a few of my photos of DavE over the decades:

Near-Total Eclipse of the Eclipse

We drove down into Iowa Sunday, to put us in striking range of a variety of viewing sites in the totality zone on Monday.

Even Sunday, we encountered traffic and crowding on Interstate 35; we had to wait for a table at a Culver’s down in Iowa.  We did seem to be a bit ahead of the crowd, since our hotel’s parking lot was nearly empty when we got there (or maybe the people on I35 had planned ahead further than us and had hotels down in the totality zone).

Weather forecasts looked fairly dismal. We poked at them a lot, and on Monday morning we chose Falls City Nebraska as our viewing site.

The route there was all back roads, and we encountered no particular traffic. However, the town was quite active, with clear eclipse events at various places, and many optimists hoping to sell $20 parking. We ended up in the parking lot of an empty fast food facility, with a good view of the clouds overhead. A number of other group showed up there shortly.

We can see the sun!

There were thinner spots in the clouds, and occasionally you could tell where the sun was; or even see the disk (filtered by the clouds; at this stage, with the eclipse protective glasses you could see nothing at all, you couldn’t even tell where the sun was behind the clouds).

This raised a technical point I hadn’t really planned for. With the eclipse glasses, or the solar filter over the lens on the camera, you could see nothing at all. Sometimes the clouds were heavy enough we couldn’t tell where the sun was, but when they thinned and you got hints of the sun, sometimes a view of the full disk, you still couldn’t see anything through the filters. This made it difficult to get the camera trained and ready to capture anything that might briefly show through the clouds.  It also left me bouncing back and forth between filters and no filters, trying not to expose my eyes or even the camera sensors to the bare sun, but needing to use bare eyes and sensors to find it much of the time. (There don’t appear to be any weird blind spots in my eyes today, I seem to have been careful enough or lucky enough.)

A bit after first contact, shot through a solar filter (and the clouds).

The clouds thinned out a few times, and we got views near first contact, and occasional views thereafter.

We got some very heavy-duty insectile assistance while waiting for the eclipse to start. Looks like a very big wasp, and we saw it entering and leaving a crack in the pavement, so I guess ground-dwelling. Carrying something even bigger than it was; food for itself or for the next generation I guess.


The light seemed to dim in definite steps as we neared totality, not continuously. It was a weird effect, and repeated a number of times. People watching seemed to agree on when a step had happened.

It did get very dark. We had something like a sunset (except that the sun wasn’t there) all around the horizon; it was dark overhead, but light on all sides, with the sun out there clearly lighting up the clouds. Not sure one would see this effect without the clouds; though just the diffusion of light passing through the air might be enough to give a similar effect.

Half a hair short of totality, through clouds but without solar filter (nothing at all was visible through a filter).

And we got a very brief view in early totality through the clouds, where you could see a bit of corona. I got one photo then, too.

We stop to check out the reappearance of the sun when the clouds suddenly clear after totality.

We hung around to watch the sun come back, and got to see a bit for a while, until the clouds got serious.  Then we headed out—and the clouds cleared and we got bright sun a few minutes later (clouds had been solid to the horizon before) and we got some good clear views of the late stages (I didn’t take photos of the sun then).

Again, nothing much in the way of traffic delays on the back roads, but Interstate 35 was jammed. We had lines for the bathrooms at every stop, and visibly heavy traffic (and much heavier than the southbound traffic) all the way back up to the Twin Cities.  The trip back was over 3 hours longer than it should have been, due to these traffic delays.

Very close to sunset, we did run into a very nice double rainbow.

And got home by 1:30.


Choosing Photos

I’ve spent a lot of my life picking photos—the ones to keep, the ones to print, the ones to give a client, the ones to put online, the ones to show friends. All sorts of different constraints and considerations apply. (To confuse things, this process is sometimes called “editing”; traditionally a photo editor at a newspaper, or highschool yearbook, is responsible for selecting the photos to publish.)

I found some years ago that housemates looking over my shoulder often want me to display a larger percentage of the photos I shot than I generally do. I, on the other hand, think I ought to be considerably more selective than I am for the snapshot album exhibits.

So, here are some examples and thoughts on the question, based on part of one roll I scanned this last week. The photos are from Keycon 7 (1990), in Winnipeg.

I’m discussing these as snapshots (pictures of people you know) or photojournalism (snapshots of people you follow at a distance), not as art!

I’m going to show you the contact sheet, and then the ones I scanned, and for a few of those explain why they don’t show in the final collection, or why they do. (The scan decision was made with this article in mind; I scanned some just so I could exhibit them in this article.)

(A “contact sheet” used to be made by putting the negatives on a sheet of photo paper in the darkroom, putting a sheet of glass over them, exposing for a measured time using the enlarger or some controllable light source, and then developing the sheet of paper. This gave you a nice index of all the negatives on that roll on one sheet, all at the same exposure so you could predict exposures for later pictures once you’d made a good print of an earlier picture. This so-called contact sheet is a scan of the negatives in their Print File archival storage page on a flatbed scanner with transparency capability.)

What’s on this roll

We’ll just go through them in order. I’ll be identifying them by the negative number, which you can see below the photo in the edge printing (also above, except on the first row where it was cropped off).


This one is mediocre, but I ended up including it. Nobody shows their face that well (the two at the edges are both looking quite a bit down, and Geri in the center is looking sideways. Also Peter on the right isn’t at all interacting with the other two. Still, they’re all in focus and decently exposed.


Didn’t scan this at all. Ruth is half behind the head of hair in the foreground. There really doesn’t seem to be much point to this photo as it turned out. Probably I didn’t see the foreground person coming.


This is a bit sketchy technically; underexposed, and I haven’t manage a great job on color correction. However, the two people in back are clearly interacting, plus what makes it, the person sitting on the floor smiling up at the camera.  This ends up being a semi-decent picture.


Alternate version of 16; the lighted wand in the back is interesting but doesn’t really communicate anything. However, the great expression in the front is missing, so this was not the one I chose.


The flaw here is the person in yellow in the background. They’re too hidden to contribute anything, but the bright yellow and enough face to get your attention are still there. However, the three in front are great; Geri’s eyes are closed, but she’s so clearly laughing hard that’s okay, and the two flanking her are clearly engaged. This is pretty decent.


Wanted a photo of Dave Clement, and this one is decent, but Nate’s eyes are closed, so the photo as a whole doesn’t do much good. If photos of Dave were seriously rare I’d just crop this down or something, but while I don’t seem to have another on this roll, I’ve got hundreds through the collection as a whole; not rare. I scanned this so you could see for sure Nate’s eyes are closed, I could tell from the contact sheet.


Best one so far, I think. Fairly nice of both Kara and Ruth, and they’re clearly having an interesting conversation as well as eating dinner. Distracting background, but the flash exposure has brought the foreground up enough that the background is rather suppressed, and that’s generally unavoidable in snapshots anyway.


This could have been interesting, but my timing was off, so the guy on the chair completely disappears behind his arm.


Missed this one first time through, but it’s actually quite nice, and shows us who the person on the chair in the previous shot was.


No scan, no hope. Victor’s hand blocking Beth’s face, Polly a bit out of focus.  Again, if Victor was a terribly rare find I’d use this in some way, but he isn’t.


Ruth getting something out of a bag. Fairly nice.


Mostly bad. Victor could probably be extracted if pictures of Victor were rare, but we just dealt with that above. Beth is interacting with the person behind Victor’s hand, and that person is, um, not looking their best in this shot. No point in this one.

Still no Moon Colonies

Here’s how I was marking the occasion, 48 years ago:

Shot off my parents’ B&W television

While we’ve done amazing things with remote sensing and with robotic exploration, we haven’t done much more with manned exploration. Given the success of the robots, we couldn’t have gotten that much information for the same money with men. But as somebody who grew up on “the conquest of space” it’s still a major disappointment.

I have several rolls of such shots. They’re all Kodak Tri-X, bulk loaded, shot with my mother’s old Bolsey 35 I believe (I didn’t get my Miranda Sensorex until December of 1969). Developed with stainless steel tanks in a dish pan down by the laundry sink, contact printed in the waterless darkroom the other side of the basement.

The white bands diagonally across many pictures shows that the shutter speed of the camera wasn’t well-enough synced to the scan rate of the TV. The TV scan rate would be extremely accurate or the picture would be complete hash, so the shutter was off.  This was a leaf shutter, not a focal-plane shutter, which affects the symptoms.

This was roll 108; I started the numbering system at 100 to make room for filing older negatives as I found them and organized them.  This was so long ago that the negatives were in glassine sleeves.

Glassine sleeves!

A few of the individual photos:


So, as you may have noticed recently I got a copy of Jerry Stearns’ old Mpls. in ’73 t-shirt from the surplus archive collection. It was in good enough shape that I scanned it, and gave a passing thought to maybe doing a modern edition—if I could get the various people involved, whoever they were, on board.

So I ran into Jerry Stearns early at Minicon, and confirmed that he thought it was a good enough idea. Also that the artwork was by Ken Fletcher (it’s not signed). And, even more useful, Jerry had with him a collection of paper prints from the same screen.  Those are much higher resolution, not as distorted, and much easier to scan.

The best scan seems to be the red channel of a 48-bit color scan of the version with blue ink on orange paper (contrast!).  With a bit of cleanup it currently looks like this:

Red channel from blue on orange paper print

So, I’m getting ahead of myself here, but it’s fun to work the scan and see what I can get. I guess I’d better talk to Ken soon!