Sani-Tour – Looking back at the Muskoka Regional Centre

Canada's history with the treatment of mental health is long and sorted. And while we've made great leaps forward, often, many of the historical institutions have gotten lost and replaced along the way. Not that those who were patients in such facilities in the past would want a reminder standing out to them every day. While the Queen Street Asylum is long gone, replaced by the far more modern CAMH facilities, the asylum at Amherstburg has reverted to the historical configuration as a War-Era fort; even Mimicoe is now being used as a college campus. When I was deep into Urban Exploration, exploring mental asylums were a right of passage. And while Canada didn't have much in the way of the massive Kirkbride facilities like in the United States, if you were in the community and the circle of trust, there were some locations. And today, I'm looking back at my first experience with a Mental Hospital, the Muskoka Regional Centre.

Pentax K1000 - SMC Pentax-M 50mm 1:1.7 - Ilford Super XP2 @ ASA-400 - Processing By: Silvano'sPentax K1000 - SMC Pentax-M 50mm 1:1.7 - Ilford Super XP2 @ ASA-400 - Processing By: Silvano'sPentax K1000 - SMC Pentax-M 50mm 1:1.7 - Ilford Super XP2 @ ASA-400 - Processing By: Silvano'sPentax K1000 - SMC Pentax-M 50mm 1:1.7 - Ilford Super XP2 @ ASA-400 - Processing By: Silvano's

Tuberculosis or the white plague has been around since the days of the ancient Egyptian kings and even written about by the great historians of the Roman Empire. But what does TB have to do with the Muskoka Regional Centre? Everything actually, the entire history of the Centre is tied to the treatment of TB in Canada. The earliest form of treatment of TB in the world was through isolation, usually in a place of high elevation and clean air. Known as Sanitariums, the first one in the world opened in Germany in 1854; it was also in Germany that the infectious bacteria was isolated in 1882. In Canada, the fight against TB became the personal mission of noted publishing giant William Gage. Gage, a key founder of the National Sanitarium Association, investigated a site to build a TB Sanitarium in Canada. While many were eyeing Toronto, the small northern Ontario town of Gravenhurst stepped up. The town offered up 10,000$, which was added to the 25,000$ offered up by Gage. The Muskoka Cottage Hospital opened in 1897; the high altitude distance from Toronto made it ideal for the treatment of TB. While the main cottage hospital was a payment facility, in 1902, a free hospital opened a short distance away. A fire in 1920 destroyed both the cottage and the free hospitals, but they were quick to rebuild. The new modern facilities, known as the Gage Complex, opened up in 1923. The complex had beds for 444 patients, surgical suites, laboratories, and support facilities. A second patient building, the Barbara Hayden, would be added in 1936. The discovery of Streptomycin in 1944 allowed for the treatment of TB in an urban environment without the need for isolation. The need for the Muskoka Sanitarium declined through the war and post-war period until it closed in 1960. The hospital reopened as the Muskoka Regional Centre, a satellite to the Orillia Regional Centre and focused on female patients. The place was a nightmare from the start, numbers were too much for the ageing buildings, and staff numbers were far too low. Muskoka houses anyone from those with serious mental illnesses to developmental conditions and disabilities. These resulted in a severe lack of care and abuse of the patients by those in authority. It became so bad that a 1985 report called for a zero admission policy, although the use of such places had declined since the opening of smaller group home support for many patients who would have gone to such hospitals. Muskoka Regional finally closed in 1994, although it would come back into the spotlight in 2015. A lawsuit against the government of Ontario unearthed old wounds. It resulted in a multi-million dollar payout to the victims of abuse at Muskoka who were housed here from 1973 to 1993.

Kiev 88CM - Biometar 80mm 1:2.8 - Ilford Delta 100 @ ASA-100 - Processing By: Silvano'sKiev 88CM - Biometar 80mm 1:2.8 - Ilford Delta 100 @ ASA-100 - Processing By: Silvano'sKiev 88CM - Biometar 80mm 1:2.8 - Ilford Delta 100 @ ASA-100 - Processing By: Silvano'sKiev 88CM - Biometar 80mm 1:2.8 - Ilford Delta 100 @ ASA-100 - Processing By: Silvano's

I can remember my first trip there in 2006, meeting up with a group of explorers that I had only met online. While I had missed the first "Sani-Tour", I was determined to make it to the second one. This was also back when you could only go certain times of the year when the OPP wasn't using the site for training purposes. Meeting up in a large public lot in Gravenhurst proper and travelling in a smaller number of vehicles onto the site. Working our way up to the site, I stood in awe of the Gage Complex; it was my first institution, having mainly explored industrial and houses by this point. We also didn't have to worry about security either. However, I remember dog kennels at either the second or third trip. Upon entering, that wonderful musty smell of a long-abandoned building was left exposed to the elements. Good chance it was pretty deadly to be inside for any time. I had my respirator with me for that first trip like any good new explorer does, but I left it at home when I started working with SLRs; these were the days before live-view. The Centre is also the first location I explored where I got a sense of the spirit of place. It's hard to explain fully, but each time I went inside, I felt a great wave of sadness, at the time, I had no idea of the suffering that went on in this place. Of course, this was all before the lawsuit against the government took place that it made sense. One of the more interesting notes is that eventually, the police stopped using the location. Access could be had year-round if you had the courage to do so because locals started to get wise to people moving in and out of the old property. Yet somehow my luck didn't run out, even exploring the site with a rather large group in the summer of 2011. The irony is that when I was there with the smallest group, including two from out of the country, we ended up getting caught. It was our fault, we were pretty fearless, and snow left a lovely trail of footprints; of course, we also weren't expecting on-site security.

Polaroid Automatic 250 Land Camera - Polaroid Triplet 114mm f/8.8 - Polaroid Chocolate @ ASA-80Polaroid Automatic 250 Land Camera - Polaroid Triplet 114mm f/8.8 - Polaroid Chocolate @ ASA-80Polaroid Automatic 250 Land Camera - Polaroid Triplet 114mm f/8.8 - Polaroid Chocolate @ ASA-80Polaroid Automatic 250 Land Camera - Polaroid Triplet 114mm f/8.8 - Polaroid Chocolate @ ASA-80

There are only a few locations like the Muskoka Regional Centre where I can show the breadth of my photographic journey. The location is also the first where I shot film at an abandoned location in any significant way, almost from the start. In fact, the first trip to the Centre was in 2006 with a simple 4-megapixel super-zoom camera. I can see the beginning of my enjoyment of leading lines, although my compositions were still a little off and limited by the camera's capabilities. Plus, my understanding of exposure is certainly lacking and dependent on the camera for most settings. By the third trip, my camera had been upgraded to a D70s; I was working with aperture priority and manual modes to get longer exposures and letting my eyes determine exposure with the help of the in-camera meter. By 2010 my kit had expanded to include the D300 and a 14-24mm f/2.8 lens; I was also starting to get better with my work in film and exploring how to use the square format in my exploring. Compositions improved significantly with more attention to leading lines, keeping things straight. Focusing on details using handheld, shallow depth-of-field. My Rolleiflex 2.8F and Kyiv 88CM provided terrific results and experimented with Type-100 Polaroid Film. Probably some of my strongest work came out of my trips to the Centre in 2011 and 2012.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Verichrome Pan @ ASA-125 - Agfa Rodinal (1+100) 60:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Verichrome Pan @ ASA-125 - Agfa Rodinal (1+100) 60:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Verichrome Pan @ ASA-125 - Agfa Rodinal (1+100) 60:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Verichrome Pan @ ASA-125 - Agfa Rodinal (1+100) 60:00 @ 20C

Sadly, there was always a chance of being caught like any trip. And while we certainly enjoyed many years without active security on-site, the final journey that I took ended up being in the winter, and security had been positioned on-site. We had the OPP called on us. Thankfully we made it out with one ticket issued and threats of further action should we return. And I stuck to my promise never to go back. Sadly I never made it into the other building on site, the Barbra Hayden. Still, the Gauge Complex provided a tonne of options to see and photograph and given that I visited the area over six years with the only incident happening at the very end, I think that's a good track record. While I did only include film photos in here, you can head on over to Flickr and check out all my images including some of the cringe-worthy early shots.

#photography #agfarodinal #canada #gravenhurst #ilforddelta100 #ilfordsuperxp2 #kiev88cm #kodakverichromepan #muskokaregionalcentre #ontario #pentaxk1000 #polaroidautomaticlandcameramodel250 #polaroidchocolate #rolleiflex28f #ue #urbanexploration #urbex

Sani-Tour - Looking back at the Muskoka Regional Centre

There are a handful of abandoned locations that I've visited so often I can see a noted improvement in my photography. Among them is the former Muskoka Regional Centre. Former TB Sanitarium turned Hospital for wards of the State and finally an OPP training centre.

Alex Luyckx | Blog

Classic Film Review Blog – Fujichrome Astia 100F

When it comes to slide film, Fuji Sensia introduced me to the medium, but it was Astia that made me love slide film. Sitting neatly in the worlds of Velvia 100 and Provia 100, Astia is often an overlooked member of the Fujichrome family, with more people going towards Velvia for rich saturated colours or Provia for a more natural tonality. But Astia was a happy medium between the two; you get a stronger contrast than Provia and more natural colours than Velvia. Astia quickly became my go-to slide film for trips and events where I wanted the magic of slide film with a bit more latitude in exposure.

Film Specs
Type: Colour Reversal (E-6), Slide Film
Film Base: Acetate
Film Speed: ASA-100
Formats Available: 135, Medium Format, Sheet Format

Intrepid - Schneider-Kreuznach Symmar-S 1:5.6/210 - Fujichrome Astia 100F @ ASA-100 - Processing By: The DarkroomIntrepid - Fuji Fujinon-W 1:5.6/125 - Fujichrome Astia 100F @ ASA-100 - Processing By: The DarkroomIntrepid - Schneider-Kreuznach Symmar-S 1:5.6/210 - Fujichrome Astia 100F @ ASA-100 - Processing By: The DarkroomIntrepid - Fuji Fujinon-W 1:5.6/125 -Fujichrome Astia 100F @ ASA-100 - Processing By: The Darkroom

Colour Rendition
As I mentioned in my introduction, Astia is the happy medium between Provia and Velvia. It provides a natural colour palette that seems more in line with their colour negative films than slide film but do not think of the colour palette as soft. Astia produces some of the nicest colours I've seen in a slide film, and that's even comparing it to Kodak Ektachrome E100 (the new stuff). I think the power of Astia comes with the power it has to take on the nature of the colour of the scene it's shooting. Indoors in muted light, the colours become soft, almost pastel, while you get a higher saturation rate in the bright overhead light. And in the fall, you get amazing oranges and reds out the leaves. It even handles low light well, as seen by some of the interior shots from Montreal. Overall, it certainly is a winning film based on how the colour looks!

Nikon F3 - AI-S Nikkor 50mm 1:1.4 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sNikon F3 - AI-S Nikkor 50mm 1:1.4 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sNikon F3 - AI-S Nikkor 50mm 1:1.4 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sNikon F3 - AI-S Nikkor 50mm 1:1.4 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano's

Image Quality
And the hits keep on coming when it comes to the overall image quality you get out of Asista. There is no question that Fuji had a real winner here. Probably the best part about Astia is that you get a bit more forgiveness in exposure latitude than Velvia (100 and 50). I personally find that the quality is amazing, and that's having shot all three formats that could get of Astia. It certainly lives up to having an F at the end of the name, meaning Fine-Grain, while completely non-existent with 4×5 and 120 even in 35mm, there is little to no visible grain. And that's going with digital scanning or projection of a 35mm slide. Asitia again hits a middle group; it has a bit more contrast and saturation in colour than Provia but far less than Velvia. In other words, your slides won't reach out and slap you around with saturated colour and deep contrast. And despite the fine grain, the images remain sharp, both in edge sharpness and tonal separation.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano's

Scanning
One of the hardest parts of working with slide film these days is scanning; at least, that has been my experience. But here, Fuji again has a winner; I had zero trouble scanning Astia film. And even back in the days when I was working with a V500 and using everything on automatic, the Epson scan software had zero issues locking in the right colour balance. Once I started working a bit more manual with my scanning workflow, I was surprised that Astia leaned a bit into the cyan but was easily fixed in post-processing. The film did tend to cup, but back rolling or using a dedicated film scanner helped flatten the negatives. The scans have a bit of aberration, but the noise reduction filter cannot fix in post-processing.

Киев 88 - Биометар 2.8/80 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sКиев 88 - Биометар 2.8/80 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sКиев 88 - Биометар 2.8/80 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano'sКиев 88 - Биометар 2.8/80 - Fujichrome Astia 100F @ ASA-100 - Processing By: Silvano's

Overall Impression
As someone who does not shoot a lot of colour film, I find Astia a superb film stock to work with, and one that I wish still was around as I would probably shoot more slide film. Like Sensia, this was a great next step up in the slide film work for those who wanted to move beyond the 'consumer' films. While it never got the same cult following as Velvia, it certainly makes for a well-rounded slide film that worked well for projection and digitization. These days, with Fuji now down to only a pair of slide films, maybe it's time to bring back Astia to fill the void left with the (American) cancellation of Velvia 100.

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Classic Film Review Blog - Fujichrome Astia 100F

Out of all the slide film offerings from Fuji, Astia remains my favourite. While it's no longer made, I do wish that Fuji had kept Astia and dumped Velvia 100. But that's only my opinion.

Alex Luyckx | Blog