A century behind the camera
Pennington Camera celebrates 100 years of Durango business

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by Jeff Mannix

“The picture is the rope that ties memory solidly to the stake of truth.”

– Lakota Sioux saying

• the early days of photography – the middle to late 19th Century – photographers were an adventurous lot. In the absence of personal cameras, they made reasonable if not substantial income doing portraits of prominent business leaders, statesmen and families. Many established permanent studios in growing metropolitan areas. Even more traversed the country in wagons equipped as darkrooms, prop studios and line camps. The would stop for a few days to a month in rural settlements to ply their magic and exhaust their appeal before packing up and moving on. And some, most famously Edward S. Curtis and Ansel Adams, used the camera as a palette for creating art. William M. Pennington was of the roving art type, albeit more firmly grounded with wife, three daughters and two sons.

Pennington packed his equipment, family and belongings onto a horse-drawn wagon in 1906 and trundled his way from McKinley, Texas, to Durango. The move was based solely on the recommendation of a fellow photographer from Dallas, Lisle Updike, who waxed poetic about emerging prosperity in the Four Corners and the wealth of images in the Southwest landscape and its indigenous peoples.

At first, Pennington and Updike opened the Penn-Dike studio in the basement of the Grand Central Hotel on Main Avenue. Since George Eastman’s 1891 invention of the “Kodak Box” and roll film, recording images

was now possible by everyone with $5 for a box camera and 50 cents for a roll of film. Pennington and Updike, in addition to taking studio photos on their voracious 5-by-7 and 8-by-10 glass-plate cameras, processed Kodak film, which in those days meant sending the entire Kodak Box back to Rochester, N.Y., to be opened. The film was then developed, and the box reloaded with fresh film and sent back to the dealer along with negatives to make prints.

Updike was the first to become disenchanted with being tied to one place, and he ventured north into the mountains with his cameras to photograph mining operations and alpine vistas. Soon, Pennington also got the itch to travel and set off south and west, making his reputation among Native Americans, much as Edward Curtis did a decade or two later. In 1911, Pennington and Updike were appointed official photographers of the newly designated Mesa Verde National Park. Updike returned to Durango thereafter only as a summer resident, relocating permanently to Phoenix, where he established a string of highly successful portrait studios.

This photo taken by William Pennington in 1920 is of a tribal councilman from Shiprock named Many Whiskers.  A collection of Pennington’s early works will be displayed in the store later this year./Courtesy Photo.

Updike was the first to become disenchanted with being tied to one place, and he ventured north into the mountains with his cameras to photograph mining operations and alpine vistas. Soon, Pennington also got the itch to travel and set off south and west, making his reputation among Native Americans, much as Edward Curtis did a decade or two later. In 1911, Pennington and Updike were appointed official photographers of the newly designated Mesa Verde National Park. Updike returned to Durango thereafter only as a summer resident, relocating permanently to Phoenix, where he established a string of highly successful portrait studios.

As for Pennington, he came back to Durango and teamed up with a young photographer, W.R. Rowland, and expanded Pennington Studio in the storefront that now houses Steaming Bean Coffee. In 1936, Pennington sold his studio and camera shop to his employee, Frank Stepleton. Ten years later, Stepleton moved the business to 1032 Main, next to the present location of the Carver Brewing Co. He ran the business in this location for 29 years, selling to Charles W. Black in 1964. After more than 25 years in business, Black sold the studio part of the business to his operations manager, Dana Helvey. Then, in 2001, Black sold 4 the building and moved Pennington Camera across the street, to its present location in Durango Office Suites. It is now being remodeled as a permanent, historic fixture by Phil Bryson.

“We were developing color film mostly in those days,” said Black, recalling the early days with a shutter. “It would take two men all morning to develop 30 rolls of film, then all afternoon to print the pictures.” The process was a circuitous path that began in a perfectly dark room where exposed film was unloaded from capsules and spooled onto circular trays that were stacked in a cylinder. After time and developing acid, the film made stops in numerous chemical baths and rinses that spanned 20 linear feet. “We’d hang the developed negatives from clips attached to thin wires, then when they were dry, we would take them each to the enlarger and print the pictures, sleeve the negatives and put it all in envelopes to send up to the store for pickup.”

In 1980, the laborious color-film process was put out of operation by ingenious, all-in-one machines that developed, color-corrected and printed in a fraction of the time. Costing $80,000 then and $180,000 now, this machine is able to process color film and produce cut-and-stacked pictures in 12 minutes and do multiple rolls simultaneously. “This was as revolutionary as Eastman’s 1891 Kodak Box,” exclaims Black, “now one operator can do 150 rolls a day.”

“Revolutionary” in 1980 became a misnomer in 1995, when digital photography all but eclipsed the use of film and film cameras. Not to be undone, Black boasts that Pennington’s stocks “24 models of digital cameras in the store, and only two film cameras for the die-hard enthusiasts.” In a nutshell, it has taken only 11 years to make 150 years of technology virtually unnecessary – the same amount of time it would take a child born in 1995 to reach the fifth grade, to put it in frightening perspective.

Nevertheless, Black said Pennington’s continues to fill a niche, perhaps now more than ever. “We have a great deal more educating to do now, with digital photography,” Black says. “The single most important thing people need to know is that they don’t need a computer to process digital prints; in fact you can’t make prints at home as inexpensively as we can at the store.”

And talk about all-in-one machines. Black is proud to say that all customers need do is bring in their memory card or digital camera, sit you down at a self-serve station with a touch-screen monitor, and pick out the prints and sizes they want. With the press of a button, the photo-quality prints come out. And if that doesn’t rattle the chain of most Luddites, digital images also can be transmitted via the internet to Pennington Camera, enabling customers to reuse memory and never run out of space for more pictures.

This year is the 100th anniversary of Pennington Camera in Durango, and Black is assembling a retrospective of William Pennington’s famous early Indian photographs to display in the remodeled store later this year. Also worth noting, but not necessarily on display, is the fact that in this time, each of Pennington’s three owners has made a long career of providing superior service and equipment to amateur and professional photographers alike. And thanks to them, a century of dedication to one of man’s greatest achievements still thrives in our hamlet, flying in the face of the price wars and cheap products or corporate America. •