TeleTales #20…A True Rarity. Television’s Only Six Shooter
This is the six lens EMI Emitron camera from 1951. That I know of, no other camera had a six lens turret. There were a couple of five lens turrets over the years, but I think this is the only six shooter. This is a monochrome studio camera used by the BBC. Enjoy and share. -Bobby Ellerbee
August 1960, Boston’s Fenway Park This TK41 is shooing from center field in a test of their ability to colorcast Red Sox baseball. This is just after WHDH moved into it’s new all color facility and there is an RCA color truck here as well as a support unit just in case. This game may […]
The RCA TK42, Au Natural… This photo is in regard to two post just below and show the TK42 in it’s factory configuration. Notice there is nothing sticking out of the front…that’s because the lens is internal, much like the RCA Iconoscope cameras. The TK42 had an internal zoom lens, but the Iconoscope internal lens […]
Picture Parade #1…Followup Photo, Kukla, Fran And Ollie This is the KFO studio at WNBQ in 1951, three years after their network debut on this day in 1949. From left to right: Beulah Zachary, producer (seated); Harry Glyer, boom operator; Jack Fascinato, composer (at piano); John Kinsey, stage manager; Bruce Berquist, cameraman; Kukla and Burr […]
Dumont Electronicam/Captain Video Although the show, ‘Captain Video And His Video Rangers’ was done live five and sometimes six days a week from 1949 till 1955, at least one Electronicam was used on the show daily after 1952. It seems that in ’52, real sci-fi writers like Arthur C. Clark began writing scripts and, a […]
This is film’s only six lens camera, an experimental model from the 1930s.
I remember see a five lens turret TV camera, I’m not sure, but I think was a Bosch Fernseh model from the 60s…
I was surprised to see this described as an Emitron camera. I hadn’t realized (until I just now checked it) that most European manufacturers did not produce Image Orthicon cameras. They went right from the Super Emitron (Image Iconoscope) tube in the 30s to the Vidicon in the 60s. The “neck” of the Super Emitron tube must be on top, resulting in the viewfinder tube being mounted so high in its “penthouse”.