Indian Head company commended by NY Times
A photo lab in rural Saskatchewan has received international recognition for its assistance with revealing images that were captured on film many decades ago. Film Rescue International, based in Indian Head, was recently commended by The New York Times and Photographica World magazine for work on two unique projects.
In an article called, “Ghosts on the Glacier,” from the December 9 online edition of The New York Times, reporter John Branch shared the story of a hiking expedition that ended in disaster fifty years ago. In February 1973, Janet Johnson and seven other Americans set out to hike Aconcagua in Argentina. Part of the Andes Mountain Range, the summit of Aconcagua is the highest point in the Western Hemisphere. Johnson was a teacher in Denver, Colorado at the time and an experienced climber; however, she and another climber named John Cooper never returned from Aconcagua. Some reports indicated that they died from exposure to the harsh climate and natural elements, but others felt there was more to the story. Despite investigations, evidence of foul play remained inconclusive.
Interest in Johnson’s experience declined over the years, but it was revived when another hiker discovered a Nikomat 35 mm camera near the top of Aconcagua in 2020. The camera had Janet Johnson’s name on it and there was still film inside with 24 undeveloped photos. The discovery was shared with John Branch at The New York Times, who was very interested to see whether there really was more to the story of Johnson’s final days.
Because of the age and condition of the camera and film, it was important to seek professional assistance. The Times contacted Film Rescue International in Indian Head, a company that specializes in processing various types of expired film and digitizing old film. Their work ranges from developing family photographs to collaborating with museums or other archivists. Eventually Branch and his colleagues were able to bring the film for development at the office on the corner of Grand Avenue and Otterloo Street in Indian Head. The work done in the Film Rescue lab, along with Branch’s other research, provided the basis for his lengthy article in The Times.
After the article was published in early December, Grasslands News had an opportunity to talk with Erik LaBossiere who is a technician at Film Rescue. He explained some of the challenges typically involved with developing old or expired film, noting how it deteriorates over time since it includes organic substances. Yet, when Johnson’s camera was opened in the Indian Head lab, LaBossiere and others were amazed to find it well preserved by the leather case and camera body. He said the manufacturers deserve credit for the camera’s airtight design.
“I developed the film with New York Times in the room with me,” LaBossiere said. “It was very, very cool to walk out of the dark room, drop the film into the water, and realize there’s a lot of image and it’s very strong.”
The film from Johnson’s camera included surprisingly clear, colored photos of scenery as well as members of the expedition group. Although they do little to solve any mystery surrounding the hiker’s death, the pictures provide unique visual documentation of her trek up the mountain, ending with a shot from the highest point that she reached on Aconcagua.
“They had built a rough plotline of what happened but because we now have images, we can see who was where at the different points as they climbed the mountain. This film allowed them to build a very particular plotline as to what happened,” LaBossiere said. “We were able to add to their timeline in a way that validated where things sit, which is very cool. It’s one thing to be able to present cool images, but to be able to actively offer something that is going to enhance the history of a story is amazing!”
Like the photos found on the frozen camera in Argentina, another image developed by Film Rescue International and mentioned in Photographica World magazine represents a significant preservation of history. This photo dates even further back than the ones from Johnson’s camera and was featured in a magazine published by the Photographic Collector’s Club of Great Britain.
The most recent issue of the magazine included a biography by David Gardner about Miss Evelyn Beatrice Mackenzie (1868-1949), who spent her early years in Australia but emigrated to England at age 31. After giving an overview of Mackenzie’s life, Gardner provided a detailed description of a No1 Kodak camera that belonged to her. It was one of the earliest box cameras produced for personal use. Mackenzie’s camera had a leather case with her name embossed on it and a notebook, called a Memorandum of Kodak Exposures. Along with photography tips, the booklet that accompanied Mackenzie’s camera included notes for photos taken in Australia between November 1889 and May 1890.
Over time, the camera passed from one collector to another until David Gardner obtained it, along with the notebook. He was curious to see what photos had been taken with the camera and made arrangements with Film Rescue International to develop the film.
Using a combination of old and new methods, LaBossiere and his colleague Gerald Freyer reveled one image on the film.
“I went into the dark room with some infrared goggles and a VR headset and I hand developed it until I could see something,” LaBossiere explained. “I was wearing VR goggles that came out last year while I developed film from 130 years ago!”
He then digitized the photo and Freyer used additional digital tools to further improve the image. It appears to be the same film roll inserted in 1899 but the only image on it did not match the descriptions in the accompanying notebook. The design of the camera would have allowed Mackenzie to develop the 29 photos she took and leave the remaining film in the camera.
When the photo is examined closely, the silhouette of two people can be seen. Judging by their attire, the photo was taken some time between 1890 and 1920. Since the film roll was loaded into the camera in 1889, it is the oldest film that has ever been developed at Film Rescue International.
LaBossiere, whose previous experience included digital photography and movie making, has worked at Film Rescue International for seven years. Although some of the work is relatively mundane, he appreciates the opportunity to be involved with these unique projects.
“I like to touch on a lot of storytelling worlds; the stories you get to uncover and the histories you get to bring to light are really the best part about being here,” he said.
