Monochrome

Monochrome (pronounced mon-uh-krohm)

(1) A painting or drawing in different shades of a single color (now rare).

(2) The art or technique of producing such a painting or drawing.

(3) The state or condition of being painted, decorated, etc, in shades of a single color.

(4) A “black-and-white” photograph or transparency (an image reproduced in tones of gray.

(5) By analogy, something devoid of any distinctive or stimulating characteristics; bland or colourless.

(6) In ceramics, a ceramic glaze of a single colour; an object so glazed.

1655-1665: From the Medieval Latin monochrōma (painting or drawing done in different tints of a single color) from the Ancient Greek μονόχρωμος (monókhrōmos or monokhrōmatos) (of the one colour), the construct being μόνος (mónos) (one; single; alone), from the primitive Indo-European root men- (small, isolated) + χρῶμα (khrôma) (genitive khrōmatos) (colour; complexion, skin).  In Classical Latin, the most-used form was monochromos (literally “having one color”).  The sense it’s understood in photography dates from 1940 when (presumably almost instantly), the verbal shorthand became “mono”, exactly the same pattern of use when the need arose to distinguish between color printers and those using only black consumables.  The word was used as an adjective after 1849 although monochromatic (of one color, consisting of light of one wavelength and probably based either on the French monochromatique or the Ancient Greek monokhrōmatos) had been used thus since at least 1807 (presumably it pre-dated this because the adverb monochromatically is documented since 1784.  The alternative forms are both self-explanatory: unicolour used usually single solids and monotint, rare and used mostly as a technical term in art-production where, properly, it describes a reproduction of a multi-color image using just shades of a single color.  Monochrome is a noun & adjective, monochromaticity, monochromy & monochromist are nouns, monochromic is an adjective and monochromatically is an adverb.

Monochromic images of Lindsay Lohan smoking.

The classic mono laser printer of the late twentieth century: Hewlett-Packard LaserJet III (1990) in the HP Museum.

In the narrow technical sense, a monochromic image is composed of one colour or values of one colour (technically also called a monotint).  In modern use, a linguistic paradox exists because an image consisting of just one colour (eg red, yellow, blue etc) is not usually described as monochrome yet most images rendered in multiple gradations of gray-scale (just about any image described as black & white) almost always are.  For most purposes, in casual use, monochrome versus colour is a binary describing both the devices used in the production process and the output.  There’s also a scientific quirk.  Monochromatic light is electromagnetic radiation of a single frequency but, no source of this exists because that would demand a wave of infinite duration which the laws of physics don’t permit.

In fashion, the monochromatic is a place on the continuum of tonality, the effect at its most dramatic when tied to a model’s skin-tone, hair and eye-color.  In truth, what matters most is sometimes less how she appears in the flesh than how well the effect translates to photographs, something complicated by certain combinations suffering under natural light and suited only to artificial environments.  For that reason, when the most uncompromising monochrome ensembles are seen, there’s always the suspicion filters and post-production have played a part.

Lindsay Lohan at the Christian Siriano Fall 2023 show, New York Fashion Week, February 2023.

Slurring effortlessly into the auburn hair, the satin two-piece used shades of copper, burnt orange and peach, the spectrum not disturbed by anything intrusive, a shimmering peach-infused copper eye shadow with flared lashes blended by chocolate eye pencil, a luminescent focus achieved with satin glossed lips while apricot blush and bronzer was applied with an austerity which many should emulate; all part of the monochromatic moment.

Houndstooth

Houndstooth (pronounced houns-tuth)

(1) A two-colour fabric pattern of broken checks (multi-color versions using the pattern do now exist and are also so-described).

(2) Fabric with a houndstooth pattern; an item of clothing made with such fabric.

(3) In botany, as Cynoglossum officinale (houndstongue, houndstooth, dog's tongue, gypsy flower (and “rats and mice” due to its smell), a herbaceous plant of the family Boraginaceae.

1936: A word, based on the appearance of the design, the pattern (in architecture, decorative art, fabric etc) is ancient but the descriptive term “houndstooth” has been in use only since 1936.  The shape is sometimes referred to as dogstooth (or dog's tooth) and in French it’s the more pleasing pied-de-poule (chicken feet), preferred also by the Italians.  In 1936 there must have been pedants who insisted it should have been “hound's tooth” because that does appear in some advertisements but in commercial use, houndstooth quickly was standardized.  The name was chosen a reference directly to a dog’s tooth, not the pattern of teeth marks left by its bite.  The construct was hounds + tooth.  Hound was from the Middle English hound, from the Old English hund, from the Proto-West Germanic hund, from the Proto-Germanic hundaz and was congnate with the West Frisian hûn, the Dutch hond, the Luxembourgish Hond, the German Hund, the German Low German Hund, the Danish hund, the Faroese hundur, the Icelandic hundur, the Norwegian Bokmål hund, the Norwegian Nynorsk hund and the Swedish hund, from the pre-Germanic ḱuntós (which may be compared with the Latvian sùnt-ene (big dog), an enlargement of the primitive Indo-European ḱwṓ (dog).  Elsewhere, the forms included the Old Irish cú (dog), the Tocharian B ku, the Lithuanian šuõ, the Armenian շուն (šun), and the Russian сука (suka)).  

In England, as late as the fourteenth century, “hound” remained the word in general use to describe most domestic canines while “dog” was used of a sub-type resembling the modern mastiff and bulldog.  By the sixteenth century, dog had displaced hound as the general word descriptor. The latter coming to be restricted to breeds used for hunting and in the same era, the word dog was adopted by several continental European languages as their word for mastiff.  Dog was from the Middle English dogge (source also of the Scots dug (dog)), from the Old English dogga & docga of uncertain origin.  Interestingly, the original sense appears to have been of a “common dog” (as opposed one well-bred), much as “cur” was later used and there’s evidence it was applied especially to stocky dogs of an unpleasing appearance.  Etymologists have pondered the origin:  It may have been a pet-form diminutive with the suffix -ga (the similar models being compare frocga (frog) & picga (pig), appended to a base dog-, or doc-(the origin and meaning of these unclear). Another possibility is Old English dox (dark, swarthy) (a la frocga from frog) while some have suggested a link to the Proto-West Germanic dugan (to be suitable), the origin of Old English dugan (to be good, worthy, useful), the English dow and the German taugen; the theory is based on the idea that it could have been a child’s epithet for dogs, used in the sense of “a good or helpful animal”.  Few support that and more are persuaded there may be some relationship with docce (stock, muscle), from the Proto-West Germanic dokkā (round mass, ball, muscle, doll), from which English gained dock (stumpy tail).  In fourteenth century England, hound (from the Old English hund) was the general word applied to all domestic canines while dog referred to some sub-types (typically those close in appearance to the modern mastiff and bulldog.  In German, the form endures as der Hund (the dog) & die Hunde (the dogs) and the houndstooth pattern is Hahnentritt.  Houndstooth is a noun; the noun plural is houndsteeth.  Strictly speaking, it may be that certain use of the plural (such as several houndstooth jackets) should be called “houndstooths” but this is an ugly word which should be avoided and no sources seem to list it as standard.  The same practice seems to have been adopted for handing the plural of cars called “Statesman”, “statesmen” seeming just an absurdity.

Although the classic black & white remains the industry staple, designer colors are now not uncommon.

In modern use in English, a “hound” seems to be thought of as a certain sort of dog, usually large, with a finely honed sense of smell and used (often in packs) for hunting and the sense development may also have been influenced by the novel The Hound of the Baskervilles (1901-1902) by the physician Sir Arthur Conan Doyle (1859–1930).  The best regarded of Conan Doyle’s four novels, it’s set in the gloomy fog of Dartmoor in England’s West Country and is the tale of the search for a “fearsome, diabolical hound of supernatural origin”.  The author's name is an example of how conventions of use influence things.  He's long been referred to as “Sir Arthur Conan Doyle” or “Conan Doyle” which would imply the surname “Conan Doyle” but his surname was “Doyle” and he was baptized with the Christian names “Arthur Ignatius Conan”, the “Conan” from his godfather.  Some academic and literary libraries do list him as “Doyle” but he's now referred to almost universally as “Conan Doyle” and the name “Arthur Doyle” would be as un-associated with him as “George Shaw” would with George Bernard Shaw (GBS; 1856-1950).  Conan Doyle's most famous creation was of course the detective Sherlock Holmes and he wore a houndstooth deerstalker cap.   Tooth (a hard, calcareous structure present in the mouth of many vertebrate animals, generally used for biting and chewing food) was from the Middle English tothe, toth & tooth, from the Old English tōþ (tooth), from the Proto-West Germanic tanþ, from the Proto-Germanic tanþs (tooth), from the primitive Indo-European h₃dónts (tooth) and related to tusk.

Lindsay Lohan in monochrome check jacket, Dorchester Hotel, London, June 2017 (left), Lindsay Lohan in L.A.M.B. Lambstooth Sweater, Los Angeles, April 2005 (centre) and racing driver Sir Lewis Hamilton (b 1985) in a Burberry Houndstooth ensemble, Annual FIA Prize Giving Ceremony, Baku, Azerbaijan, December 2023 (right).  The Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) is world sport's dopiest regulatory body.  Although, at a distance, a wide range of fabrics look like houndstooth, some are really simple symmetrical, monochrome checks without the distinctive pattern and where designers have varied the shape, other descriptors (and L.A.M.B. couldn’t resist “lambstooth”) are used, something which helps also with product differentiation.  Sir Lewis though, sticks to the classics.  Regarded as the most fashion conscious of the Formula One drivers of his generation, it’s clear that assiduously he studies Lohanic fashion directions.

Designers consider houndstooth part of the plaid “family”, the jagged contours of the shape the point of differentiation from most which tend towards uniform, straight lines.  Although for the archaeological record its clear the concept of the design has an ancient lineage, what’s now thought of as the “classic” black & white houndstooth was defined in the mid-nineteenth century when it began to be produced at scale in the Scottish lowlands, in parallel with the plaid most associated with the culture, the tartan (although in some aspects the “history & cultural traditions” of tartan were a bit of a commercial construct).  Technically, a houndstooth is a two tone (the term monochrome often used in the industry to convey the idea of “black & white” (a la photography) rather than being etymologically accurate) plaid in four bands, two of each color (in both the weft & warp weave), woven with the simple 2:2 twill.  One of the charms of the design is that with slight variations in size and scale, different effects can be achieved and color mixes are now not uncommon although the classic black & white remains 

The history in the Lowlands is murky but it seems certain the early fabrics were woven from wool which makes sense given the importance of sheep to the economy and the early garments were utilitarian, often cloak-like outer garments for those tending the flocks.  The early term was “shepherd’s check” which became first “dogstooth” and then “houndstooth”, canine teeth something with which shepherds would have been familiar because of the threat to their animals from the predations of wild dogs.  Fabric with smaller checks could be called “puppycheck”.  Interestingly, despite its striking appearance, the houndstooth pattern remained a generic and was never adopted as a family or clan symbol, a la the tartans.  It gained a new popularity in the 1930s when photographs began to appear of members of the British royal family and various gentry wearing houndstooth jackets while hunting or riding, thus the association with wealth and privilege which so appealed to the middle class who started wearing them too.  By the time designers began to put them on the catwalks, houndstooth’s future was assured.

Houndstooth has received the imprimatur of more than one Princess of Wales: Catherine, Princess of Wales (b 1982, left) and Diana, Princess of Wales (1961-1997, right) in a typically daring color mix.

1969 Holden Monaro GTS 350 (left), 1972 Holden Monaro GTS 308 (centre) and 1977 Chrysler Cordoba (right).  Despite the popular perception, not all the “personal luxury” Chryslers of the era and not even all the Cordobas (1975-1983) were finished in “Fine Corinthian Leather”; except for a one-off appearance in the 1975 Imperial Brochures, the Corinthian hides were exclusive to the Cordoba. 

For passenger car interiors, houndstooth (rendered usually with a synthetic material) enjoyed a late mid-century spate of popularity, used for what were called generically “cloth inserts” and the use of houndstooth trended towards vehicles marketed as “sporty” whereas for luxury cars plusher fabrics like velour were preferred.  The cloth inserts seem only ever to have been paired with vinyl and not used with leather.

Houndstooth (left), Pepita (Shepherd's Check) (centre) and Vichy Check (right).

For decades, it’s been common to refer to the optional upholstery offered by Porsche in the 1960s as “houndstooth” but according to Recaro Automotive Seating, the German concern which supplied the fabric, the correct name is “Pepita” (known also as “Shepherd’s Check”), a design built with interconnected squares.  What has happened is that “houndstooth” has for most purposes in colloquial English become a generic term, used to describe anything “houndstoothesque” and it’s an understandable trend given that not only would a close examination be required to determine which pattern appears on a fabric, unless one is well-acquainted with the differences in shape, most would be none the wiser.  Nor did Recaro use “Vichy Check” for the seats they trimmed for Porsche although that erroneous claim too is sometimes made.  Further confusing the history, when Stuttgarter Karosseriewerk Reutter (Porsche’s original supplier) started production of seats used in the Porsche 356 (1948-1965) a number of fabrics were offered including one in nylon in a similar black-and-white pattern which was neither Houndstooth nor Pepita.

1967 Porsche 911S, trimmed in Recaro Pepita.

The Reutter family founded Recaro in 1963 and in December that year the first Pepita pattern fabrics were made commercially available, used on the later Porsche 356Cs, the 911 (which briefly was called the 901) & the 912.  Porsche’s best known use of the pepita fabric was on the Recaro Sportsitz (Sport seat), first displayed at the 1965 Frankfurt Motor Show and they’re a prized part of the early 911S models, the first of which were delivered in the northern summer of 1966.  At that point, the Pepita fabric became a factory option for the 911 and the last use was in the Recaro Idealsitz (Ideal seat), offered only in 1970–71 in black & white, red & beige, brown & beige and blue & green.  In a nostalgic nod, Porsche returned Pepita seats to the option list for the 911 legacy model, released in 2013 to mark the car’s 50^th anniversary although Recaro was not involved in the production.

Matching numbers, matching houndstooth: 1970 Holden HG GTS 350 Monaro in Indy Orange with black detailing (paint combo code 567-122040) and houndstooth cloth seat inserts in Indy Orange & black (trim code 1199-10Z).  This car (VIN: 81837GJ255169; Model: HG81837; Chassis: HG16214M) is one of the most prized Monaros because the specification includes a 350 cubic inch (5.7 litre) small block Chevrolet V8 (L48) with the “McKinnon block”, paired with the four-speed manual Saginaw gearbox.  Holden built 405 HG GTS 350s, 264 as manuals and 141 with the two-speed Powerglide automatic transmission.  The “McKinnon block” is a reference to the General Motors (GM) McKinnon Industries plant in St. Catharine's, Ontario where the engines were built; the “American” cars exported to the UK, Australia, New Zealand and elsewhere in the Commonwealth often came from Canada because of the preferential tariff arrangements.

Very 1960s: GM's Indy Orange houndstooth fabric; in the US it was also offered in the Chevrolet Camaro.

Introduced in 1968, the Holden Monaro was the car which triggered Australia’s brief flirtation with big (in local terms, the cars were “compact” size in US nomenclature) coupés, a fad which would fade away by the mid 1970s.  It had been Ford which had first tested the market with a Falcon two-door hardtop (XM, 1964-1965 & XP, 1965-1966) but when the restyled model was released, it was again based on the US Falcon and the range no longer included a two-door hardtop, the wildly successful Mustang having rendered it unnecessary.  There was still a two-door Falcon sedan but it was thought to have limited appeal in Australia and was never offered so Ford didn’t have a model comparable with the Monaro until the XA Falcon Hardtop made its debut late in 1972.

Chiaroscuro

Chiaroscuro (pronounced kee-ahr-uh-skyoo-roh)

(1) The distribution of light and shade in a picture.

(2) In painting, the use of deep variations in and subtle gradations of light and shade in color, especially to enhance the delineation of character and for general dramatic effect.

(3) In monochrome painting, using light and dark only, as in the grisaille technique.

(4) The artistic distribution of light and dark masses in images.

(5) A woodcut print in which the colors are produced by the use of different blocks with different colors.

(6) A sketch in light and shade.

1680-1690: From the Italian chiaroscuro (disposition of light and dark in a picture (literally "bright-dark"), the construct being chiaro (clear, bright) from the Latin clārus ((clear, bright, renowned, famous, illustrious)) + oscuro (dark) from the Latin obscūrus (dark, dusky, shadowy, indistinct, unintelligible, obscure, intricate, involved, complicated, unknown, unrecognized; (of character) reserved, secret, close). Related forms are the nouns chiaroscurist and chiaroscurism.  The seventeenth century Italian forms were chiaroclear and oscuroobscure.  Chiaroscuro is a noun & adjective, chiaroscurist is a noun and chiaroscuroed is an adjective; the noun plural is chiaroscuros or chiaroscuri.

De koppelaarster (The Matchmaker) (1625) by Gerrit van Honthorst (1592–1656).

In oil painting, the technique of Chiaroscuro emerged during the Renaissance.  Essentially, it aimed to create the optical illusion of three-dimensional forms by emphasizing the tonal contrasts between light and dark. It’s a clever artistic trick achieved by having light fall against the edges of solid, darker forms and the most celebrated exponents were Leonardo da Vinci, Caravaggio, and Rembrandt.

Three photographs of Lindsay Lohan following the chiaroscuro technique.

Now less fashionable in painting, probably because modern artists are understandably not anxious to seek comparison with old masters, it’s perhaps the dominant technique in photography and when working in monochrome, it can produce fine results.  Called the Rembrandt technique or Rembrandt lighting, it’s also been occasionally adopted by film directors although it’s difficult to execute and ultimately renders a product not at all realistic which sometimes can be the director’s intent; sometimes perhaps not.  In the case of some Soviet cinema, the technique was adopted and is considered a distinctive element in many works in the genre of "socialist realism" although that is something quite distinct from "appearing realistic".  Soviet art was riddled with such paradoxes.

Paris-based Bulgarian photographer Elina Kechichevna (b 1979) created Dior’s 2021 Spring Summer collection (SS21) campaign, emulating Caravaggio’s (1571-1610) masterful handling of the technique of chiaroscuro.  Thematically, Kechichevna explored a number of strands including feminist thought, romanticism and the interplay of chiaroscuro’s layering of light with tricks of geometry in placement.

Triptych

Triptych (pronounced trip-tik)

(1) In fine art, a set of three panels or compartments side by side, bearing pictures, carvings, or the like.  Panels are sometimes hinged so the two wing panels fold over the larger central one; historically, they were often used as altarpieces.

(2) By extension, any group of three people or things, if representative of a particular field or theme.

(3) A hinged, three-leaved tablet, written on, in ancient Greece and Rome, with a stylus.

(3) In philately, a set of three se-tenant (from the French se tenant (holding each other), the present participle of se tenir (to hold each other) postage stamps that form a composite picture.

(4) In film production, a film or video sequence intended to be shown on a triple screen with the use of linked projectors.

(5) In figurative use, any set of three closely connected ideas or concepts with a constant thematic link.

1731: From the Ancient Greek τρίπτυχος (tríptukhos) (consisting of three layers, threefold; of three plates), the construct being τρι- (tri-) (three) + ptych (stem of ptýx) (plate) and ptykhos, genitive of ptyx, (fold or layer) (and influenced by πτυχή (ptukhḗ) (a fold).  The use to describe three-part altar-piece carvings or pictures hinged together was first noted in 1849 and was based on the Italian triptica (which substituted tri- (three) on model of diptych (from the Late Latin diptycha (plural), from the Ancient Greek, neuter plural of δίπτυχος (díptukhos) (folded; double), the construct being δι- (di-) + πτυχή (ptukhḗ) (fold, layer).

The Descent from the Cross (1614) by Peter Paul Rubens (1577-1640).

A triptych is a specific form of the polyptych, the term for all multi-panel works.  Traditionally, the centre is the largest but works can be constructed from identically sized pieces or may be wholly asymmetric.  Triptychs can be an integrated work, thematically connected in some other way, or three unrelated panels.  Origin of the layout is in the sacred art of the early Christian church, and triptychs attained great popularity in the medieval Byzantine church.  Artistic merit aside, the hinged-triptychs were a good design because they could be folded into a type of self-contained packing crate for ease of transportation, probably the main reason for the common 25/50/25% aspect ratio.  The format migrated, first to Islam and Buddhism, later to secular art including sculpture and jewelry.  Structurally, the critical point about the triptych is that it should be displayed with the three components joined together.  If their pieces are intended to be shown together but hung with a gap between, that properly is called "sectional art". 

Yes, Yessongs (1973), polyptych created with two diptychs 

In the era of the 12 inch vinyl long-playing (LP) album, record album, the covers were a sub-genre of pop-art and gatefold covers (two sleeves hinged at the centre) were sometimes used, even when the product shipped as a single piece of vinyl.  Sometimes there were even triple albums (finding that not enough, Chicago issued a set of four), described sometimes by critics as the "dreaded triple album" but in the era, there was little attempt to take advantage of the inherent structure of the packaging to create triptychs, something which seems surprising given the emphasis which was put on the cover art.  Yes, with the release of Yessongs (1973) was one of the few to take up the idea but they used four-fold packaging, creating a sort of polyptych with a pair of diptychs.

Studies in monochrome in three aspects of Lindsay Lohan smoking (2014).

New Zealand photographer Jane Trotter deconstructed the history of the triptych and identified four categories by which they may be classified.  The first is the Three Part Narrative, there images telling a story, the implication of course the beginning, middle and end of the three-act play.  Such a triptych is inherently sequential with each panel contingent upon the other, the whole story not fully revealed unless all three are viewed together.  The second category is Transformation, often the representation of the passing of time or a depiction of something symbolic.  A typical example is the one flower shown as a bud, in full bloom and finally withered, a metaphor of life and death, the transience of beauty and impermanence of life.  Third is what she calls Reconstruct to give New Meaning.  It sounds ominously post-modern but it really describes giving the viewer a new perspective of perhaps familiar objects by using fragments of a whole and re-assembling them in a novel way or having them juxtaposed with something unexpected.  Once something is reconstructed to give new meaning, it is possible some of the new meaning will come from the viewer and that it may differ between individuals who might see different connections between objects or afford some a prominence to the extent others are ignored.  Her final category is Expand Visual Connections.  Sometimes, she notes, a single image isn’t enough to encapsulate or complete the whole visual conception of a work.  This can be done by using three images to create something unified or they can act as agents of disassociation, depending on the effect the artist is trying to achieve.

The Garden of Earthly Delights, oil on oak panels by Hieronymus Bosch (circa 1450–1516)

One of the best known triptychs is the much re-produced The Garden of Earthly Delights (believed to have been painted between 1490-1510) by Hieronymus Bosch; the title is a modern designation and nothing has survived which gives any clue about what the artist intended it to be called.  The three panels represent (1) the Garden of Eden, (2) a fantastical imagining of life which is not Earth yet not quite Heaven and often thought to be the artist’s conception of a utopia and (3) Hell, a subject which Bosch painted several times.  Theologians, art critics, psychoanalysts and others have over the centuries written extensively on the work and while opinion will vary about what their thoughts reveal about the intent of the artist, their pieces can be an insight into their own world view. 

For very good, practical reasons, an artist will often focus more on their relationships with their patron or their critics and less on the viewers of their works.  However, modern technology now allows an objective measure of at least one aspect of the viewers’ reaction to art and a heat-map of the public exhibition space in the gallery of the Prado museum in Madrid The Garden of Earthly Delights revealed visitors spent most time looking at right-hand panel: Hell.  Clearly, eternal damnation draws the eye more than the paradise of prelapsarian Eden or the pleasantly sinful life of man in the world after the fall.  A reasonable conclusion of the meaning of the triptych is that “for everything one does there’s a price to be paid” and it may have been this theme which focused the mind.

Researchers from the Miguel Hernández University in Alicante used spectacles with sensors to track eye movements and responses in a sample of 52 visitors and found that on average, 16 seconds per square metre were devoted to the left panel, 26 seconds per metre to the centre and a winning 33.2 seconds to each square metre of Hell.  The work typically absorbed four minutes of each viewer’s time.  What was also discovered was that the pupils of females contemplating the Eden panel swelled from 5.2 to 5.4 mm when observing the delights panel and reached 5.8 when contemplating Hell.  In contrast, the pupils of men reacted in a different way, at their most dilated (8.6mm) when looking at the delights, followed by the Hell which scored 6.8 and Eden at 6.4.

Three studies of Isabel Rawsthorne (1966) by Irish artist Francis Bacon (1909–1992).

Cammer

Cammer (pronounced kham-ah)

(1) A content-provider who uses a webcam to distribute imagery on some basis (applied especially to attractive young females associated with the early use of webcams).

(2) Slang for an engine produced in small numbers by Ford (US) in the mid-late 1960s.

(3) A general term for any camera operator (now less common because the use in the context of webcam feeds prevailed.

1964: A diminutive of single overhead cam(shaft).  Cam was from the sixteenth century Middle English cam, from the Dutch kam (cog of a wheel (originally, comb)) and was cognate with the English comb, the form preserved in modern Dutch compounds such as kamrad & kamwiel (cog wheel).  The association with webcams began in the mid-1990s, cam in that context a contraction of camera.  The Latin camera (chamber or bedchamber) was from the Ancient Greek καμάρα (kamára) (anything with an arched cover, a covered carriage or boat, a vaulted room or chamber, a vault) of uncertain origin; a doublet of chamber.  Dating from 1708, it was from the Latin that Italian gained camera and Spanish camara, all ultimately from the Ancient Greek kamára and the Old Church Slavonic komora, the Lithuanian kamara and the Old Irish camra all are borrowings from Latin.  Cammer was first used in 1964 as oral shorthand for Ford’s 427 SHOC (single overhead camshaft) V8 engine, the alternative slang form being the phonetic “sock” and it became so associated with the one item that “cammer” has never been applied to other overhead camshaft engines.  The first web-cam (although technically it pre-dated the web) feed dates from 1991 and the first to achieve critical mass (ie “went viral”) was from 1996.  Cammer is a noun; the noun plural is cammers. 

Lindsay Lohan on webcam in Get a Clue (2002) a Disney Channel original movie.

The word came be used for photographic devices as a clipping of the New Latin camera obscura (dark chamber) a black box with a lens that could project images of external objects), contrasted with the (circa 1750) camera lucida (light chamber), which used prisms to produce an image on paper beneath; it was used to generate an image of a distant object.  Camera was thus (circa 1840) adopted in nineteenth century photography because early cameras used a pinhole and a dark room.  The word was extended to filming devices from 1928. Camera-shy (not wishing to be photographed) dates from 1890, the first camera-man (one who operates a camera) recorded in 1908.  The first webcam feed (pre-dating the public availability of the worldwideweb (www) which permitted feeds to the wild), dates from 1991.  

jennicam.org (1996-2003)

xcoffee cam-feed of Trojan Room coffee pot, University of Cambridge, 1991-2001.

It wasn’t the internet’s first webcam feed, that seems to have been one in started in 1991 (before the worldwideweb was available to the public) aimed at a coffee machine in a fourth floor office at the University of Cambridge's Computer Science Department, created by scientists based in a lab the floor below so they would know whether to bother walking up a flight of stairs for a cup, but in 1996, nineteen year-old Jennifer Ringley (b 1976), from a webcam in her university dorm room, broadcast herself live to the whole world, 24/7.  With jennicam.org, she effectively invented "lifecasting" and while the early feed was of grainy, still, monochrome images (updated every fifteen seconds) which, considered from the twenty-first century, sounds not interesting and hardly viral, it was one of the first internet sensations, attracting a regular following of four-million which peaked at almost twice that.  According to internet lore, it more than once crashed the web, seven million being a high proportion of the web users at the time and the routing infrastructure then wasn't as robust as it would become.  Tellingly, Ms Ringley majored in economics which explains the enticingly suggestive title "jennicam" whereas the nerds at Cambridge could think of nothing more catchy than "xcoffee".  

Jenni and pussy.

Although there were more publicized moments, jennicam.org was mostly a slideshow of the mundane: Jennifer studying at her desk, doing the laundry or brushing her teeth but it hinted at the realisation of earlier predictions, Andy Warhol's (1928–1987) fifteen minutes of fame and Marshall McLuhan's (1911-1980) global village.  While not exactly pre-dating reality television, jennicam.org was years before the genre became popular and was closer to real than the packaged products became.

The 1964 Ford 427 SOHC (the Cammer)

1964 426 HEMI in Plymouth race-car.

There was cheating aplenty in 1960s NASCAR (National Association for Stock Car Auto Racing) racing but little so blatant as Chrysler in 1964 fielding their 426 HEMI, a pure racing engine, in what was supposed to be a series for mass-produced vehicles.  Whatever the legal position, it was hardly in the spirit of gentlemanly competition though in fairness to Chrysler, they didn't start it, NASCAR for years something of a parallel universe.  In 1957, the Automobile Manufacturers Association (AMA) had announced a ban on auto-racing and the public positions of General Motors (GM), Ford and Chrysler supported the stand, leaving the sport to dealer and privateers although, factory support of these operations was hardly a secret.  NASCAR liked things this way believing the popularity of their “stock cars” relied on the vehicles raced being close to (ie "in stock") what was available for purchase by the general public.  Additionally, they wished to maintain the sport as affordable even for low budget teams and the easy way to do this was restricting the hardware to mass-produced, freely available parts, thereby leveling the playing field.  The façade was maintained until the summer of 1962 when Ford announced it was going to "go racing".  Market research had identified the competitive advantage to be gained from motorsport in an era when, uniquely, the demographic bulge of the baby-boomers, unprecedented prosperity and cheap gas (petrol) would coalesce, Ford understanding that in the decade ahead, a historically huge catchment of 17-25 year old males with high disposable incomes were there to be sold stuff and they’d likely be attracted to fast cars.  Thus began Ford's "Total Performance" era which would see successful participation in just about everything from rally tracks to Formula One, including four memorable victories at the Le Mans twenty-four hour classic.

1963 Chevrolet 427 "Mystery Motor".

The market leader, the more conservative GM, said they would "continue to abide by the spirit of the AMA ban" and, despite the scepticism of some, it seems they meant it because their racing development was halted though not without a parting shot, Chevrolet in 1963 providing their preferred team a 427 cubic inch (7 litre) engine that came to be known as the "mystery motor".  It stunned all with its pace but, being prematurely delivered, lacked reliability and, after a few races, having proved something, GM departed, saving NASCAR the bother of the inevitable squabble over eligibility.

1961 Ford Galaxie Starliner (left) & 1962 Galaxie with “distinguished hardtop styling” (aka “boxtop”, right).

Ford stayed and cheated, though not yet with engines.  The aerodynamic qualities the 1960-1961 Galaxie Starliner possessed by virtue of its gently sloping rear roof-line generated both speed and stability on the NASCAR ovals; that made it a successful race-car but in the showrooms, after some early enthusiasm, sales dropped so it was replaced in 1962 with an implementation of the “formal” style which had been so well-received when used on the Thunderbird.  As the marketing department predicted (or, more correctly, worked out from the results of their focus-group sessions), what they called “distinguished hardtop styling” proved more commercially palatable but while customers may have been seduced, the physics of fluid dynamics didn’t change and the “buffeting” induced at speeds above 140 mph (225 km/h) limited performance, adversely affected straight-line stability (especially when in close proximity to other cars) and increased fuel consumption.  What the distinguished hardtop styling had done was make the Galaxie less competitive on the circuits, the loss of up to 3 mph (5 km/h) in top speed the difference being winning and losing; Ford’s NASCAR teams dubbed the look the “boxtop”, boxes not noted for their fine aerodynamic properties and years later, Chrysler too would discover just how significant at high speed is the slope of the rear glass.

Beware of imitations: Images from Ford's 1962 Galaxie Starlift "brochure" which didn't fool NASCAR.  

Quickly to regain the lost aerodynamic advantage, Ford fabricated a handful of detachable fibreglass hard-tops which could be “bolted on”, essentially transforming a Galaxie convertible back into something as slippery (and even a little lighter) as the previous Starliner.  Having no intention of incurring the expense of designing and engineering them to an acceptable consumer standard (which they knew few anyway would buy) Ford simply gave the hand-made plastic roof the name “Starlift”, allocated a part-number and even mocked-up a brochure for NASCAR to read.  Although on paper it appeared a FADC (factory-authorized dealer accessory) like any other (floor-mats, mud flaps et al), an inspection of the device revealed it was obviously phoney, the rear passenger glass on each side not fitting the sloping C-pillar, demanding the use of a pair of tacked-on plastic fillers to close the gap and it was obvious the thing wasn’t close to being waterproof.  NASCAR outlawed the scam.  However, because five Starlift-equipped Galaxie convertibles had qualified for a postponed event at Atlanta before the ban, they were permitted to run in the re-scheduled event and on the only occasion it was raced in NASCAR competition it won, the 100% win-record ranking it among the sport’s most successful models.

The 483 cid Galaxie Starlift at speed, Bonneville, October 1962. 

Banned from the circuits though it was, Ford did manage to give the Starlift one final fling.  In October 1962, one fitted with an “experimental” version of the FE V8 with a displacement of 483 cubic inches (7.9 litres) was taken to Bonneville where it was used to set a slew of international speed records, clocked at 182.19 mph (293.21 km/h) and averaging 163.91 mph (263.79 km/h) over 500 miles (804.67 km).  Noting the big numbers, NASCAR took the opportunity to impose a 7 litre (usually expressed as 427 cid) displacement limit, one rule that was easy to enforce.

Galaxies with "sports hardtop" roofline, Firecracker 400, Daytona International Speedway, July, 1963.

Hobbled by the distinguished hardtop styling, Ford managed to win only another four races in a season dominated by Pontiac but the engineers solved the problem in early 1963 with the “sports hardtop” roofline which pleased both the pubic buying cars and the teams racing them.  Remarkably, the revision to the roofline, in conjunction with increasing engine displacement from 406 cubic inches (6.6 litres) to 427 (strictly speaking it was 426 (7.0)) created one of the era’s more improbably successful race cars which enjoyed great success in saloon car events in England, Europe, South Africa, Australia & New Zealand until the lighter and more nimble Mustang became available.

1964 427 SOHC (Cammer).  Note the famously long timing chain.

Ford, which while enjoying great success in 1963 had actually adhered to the engine rules, responded to Chrysler’s 426 HEMI (which had dominated the 1964 season) within a remarkable ninety days with a derivation of their 427 FE which replaced the pushrod activated valves with two single overhead camshafts (SOHC), permitting higher engine speeds and more efficient combustion, thereby gaining perhaps a hundred horsepower.  The engine, officially called the 427 SOHC, was nicknamed the Cammer (although some, noting the acronym, called it the "sock").  The problem for NASCAR was that neither the 426 HEMI nor the 427 Cammer was in a car which could be bought from a showroom.

1964 Chrysler 426 HEMI DOHC prototype.

Not best pleased, NASCAR was mulling over things when Chrysler responded to the 427 Cammer by demonstrating a mock-up of their 426 HEMI with a pair of heads using double overhead camshafts (DOHC) and four valves per cylinder instead of the usual two.  Fearing an escalating war of technology taking their series in an undesired direction, in October 1964, NASCAR cracked down and issued new rules for the 1965 season.  Although retaining the 427 cubic inch limit, engines now had to be mass-production units available for general sale and thus no hemi heads or overhead camshafts would be allowed  The rule change had been provoked also by an increasing death toll as speeds rose beyond what was safe for both tyres and on circuits.

1965 Ford 427 FE.

That meant Ford’s 427 FE was eligible but Chrysler’s 426 HEMI was not and a disgruntled Chrysler withdrew from NASCAR, shifting their efforts to drag-racing where the rules of the NHRA (National Hot Rod Association) were more accommodating (while it's not clear if Chrysler complied even with those, the NHRA welcomed them anyway).  In 1965, Chrysler seemed happy with the 426 HEMI's impact over the quarter-mile and Ford seemed happy being able to win just about every NASCAR race.  Not happy was NASCAR which was watching crowds and revenue drop as the audience proved less interested in a sport where results had become predictable, their hope the rule changes would entice GM back to motor-sport not realised.  NASCAR audiences were a tribal lot and to attract the "Ford people", "GM people" and "Chrysler people", competitive cars from each needed to be fielded.

1966 Chrysler 426 Street HEMI.

It was 1967 before everybody was, (more or less) happy again.  Chrysler, which claimed it had intended always to make the 426 HEMI available to the general public and that the 1964 race programme had been just part of engineering development, for 1966 introduced the 426 Street HEMI, a detuned version of the race engine, a general-production option for just about any car in which it would fit (almost the 11,000-odd made between 1966-1971 went into two door coupés but there were also some 200 convertibles and in the first year of availability a a reputed five were installed in Dodge Coronet four-door sedans (the industry legend being two were special orders for the FBI (Federal Bureau of Investigation) although Chrysler did decline one request for a Street HEMI station wagon).  NASCAR responded quickly, announcing the HEMI now complied with the rules and was welcome, with a few restrictions, to compete.  Ford assumed NASCAR needed them more than they needed NASCAR and announced they would be using the 427 Cammer in 1966.  NASCAR was now trapped by its own precedents, conceding only that Ford could follow Chrysler’s earlier path, saying the 427 Cammer would be regarded “…as an experimental engine in 1966… (to) …be reviewed for eligibility in 1967."   In other words, eligibility depended still on mass-production (ie "mass" as defined by NASCAR's minimum annual production threshold of 500 and "production" meaning available to the general public in showrooms).

427 SOHC installed in a replica (by ERA) of a 1966 Shelby American AC Cobra 427 S/C (Semi-Competition).

Ford, although unable easily to create a 427 Street Cammer, recalled the Starlift trick and announced the SOHC was now available as a production item.  That was, at best, economical with the truth, given not only could nobody walk into a showroom and buy a car with a 427 Cammer under the hood but it seemed at the time not always possible to purchase one even in a crate.  Realising the futility of kicking the can down the road, NASCAR decided to kick it to the umpire, hoping all sides would abide by the decision, referring the matter to the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation), the world governing body for motor-sport, at that point not yet the byword for dopiness it would become.  Past-masters at compromise, the FIA approved the 427 Cammer but imposed a weight handicap on any car in which it was used.

Cutaway Ford FE V8s: the 427 (left) and 427 SOHC (right).

Ford called that not just unfair but also unsafe, citing concerns at the additional stress the heavier vehicles would place of suspension and tyres, adding their cars couldn’t “… be competitive under these new rules."  Accordingly, Ford threatened to withdraw from NASCAR in 1966 but found the public’s sympathy was with Chrysler which had done the right thing and made their engine available to the public.  Ford sulked for a while but returned to the fray in late 1966, the math of NASCAR’s new rules having choked the HEMI a little so the 427 FE remained competitive, resulting in the curious anomaly of the 426 Street HEMI running dual four-barrel induction while on the circuits only a single carburetor was permitted.  Mollified, Ford returned in force for 1967 and the arrangement, which ushered in one of the classic eras of motorsport, proved durable, the 427 FE used until 1969 and the 426 HEMI until the big block engines were finally banned after the 1974 season, three years after the last 426 Street HEMI was sold.

Ford 427 Cammer in 1967 Fairlane.

While the 426 HEMI DOHC never ran (the display unit's valve train was electrically activated), the 427 Cammer was produced for sale in crates and although the number made remains uncertain, most sources suggest it was probably as high as several-hundred and it enjoyed decades of success in various forms of racing including off-shore power boats.  Whether it would ever have been reliable in production cars is questionable.  Such was Ford’s haste to produce the thing there wasn’t time to develop a proper gear drive system for the various shafts so it ended up with a timing-chain over six feet (1.8m) long.  For competition use, where engines are re-built with some frequency, that proved satisfactory but road cars are expected to run for thousands of miles between services and there was concern the tendency of chains to stretch would impair reliability and tellingly, Ford never considered the 427 Cammer for a production car, a breed which, unlike racing engines, attract warranties.  Even some sixty years on there’s still a mystique surrounding the cammer and if one can’t find an original for sale (one sold at auction in 2021 for US$60,000), from a variety of manufacturers it’s possible still to buy all the bits and pieces needed to build one (in a quirk of timing and the overlap of simultaneous product development, some of the very early SOHCs used the top oiler block although most were side oilers and the third party reproductions over the years have always been the latter).  Although the production numbers have never been verified (which seems strange given Ford's accounting system recorded everything which emerged with a serial number), what all agree is the horsepower of a stock SOHC was somewhere over 600, the number bouncing around a bit because there were versions with single and dual four barrel carburetors, different camshaft profiles and variations in the cylinder heads and while it never made it into a production car, it remains the ultimate FE.