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Watermark @strlug.bsky.social · 06/01/2026

August 1973. Yakima,Washington.

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Watermark @strlug.bsky.social · 05/01/2026

Raleigh, North Carolina. Circa early 70's. Nice use of Moire'.

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February, 1972. Unclear on whether this station is in Kansas City, Kansas, or K.C. Missouri.

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Arizona, Circa early 70's. Proof that the "upside-down" ship trend wasn't over yet.

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A bit of color. Unsure whether this interpositive was shot on the Anderson Company soundstage, or Film Effects of Hollywood.

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Scottsburgh, Indiana. October 1970. Note the re-use of NBC's artwork from the original run.

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Baltimore, Maryland. June 1974.

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Winston-Salem, North Carolina. Undated

Greenville, North Carolina. Undated

Bowling Green, Kentucky. I rather like the composition on this one. Undated.

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Undated. Possibly WBRE in Wilkes-Barre, Pennsylvania.

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Phoenix, Arizona. Alas, undated.

One of the first ads announcing the very beginning of the Syndication era. Careful research confirms Monday September 15th, 1969 as launch date for multiple stations who purchased the package from Paramount TV.

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Watermark @strlug.bsky.social · 03/01/2026

A new feature for 2026: Watermark presents a curated series of Syndication ads. Dates will cover a range from Syndication's inception on September 15th, 1969 to the late 1970's. In some cases, as with this one, dating was either inconclusive or unavailable.

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UPDATE: Re: Body Casts. Conjecture: Goldin auction houses' listing mentions Shatner's travel to Spain for a film shortly after the castings. He arrived in Spain March 1967 to begin the shoot for "White Comanche". These may have been taken end of February, 1967 after last shoot day for O.A. 2-22-67.

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Watermark @strlug.bsky.social · 01/01/2026

Another from the Jean Cummings session on the Gower lot. Restored from an original negative, this appears to have been taken in the scene shop. William Ware Theiss is supervising castings which were apparently made to aid in crafting Shatner's costumes.

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Watermark @strlug.bsky.social · 27/12/2025

Reposted and corrected, With thanks to FactTrek--eyestrain and overposting got the better of me. "Elaan" it is.

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Watermark @strlug.bsky.social · 20/12/2025

Another from the Gower lot. It appears that these were taken either by Jean Cummings, or her late husband Roy. Both were members of the Hollywood Foreign Press. Link is posted separately below for more on Jean.

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Watermark @strlug.bsky.social · 19/12/2025

Thank you to all of you who gave advice on large-format scanners and the DSLR approach to bigger material. Experiments will begin in a few weeks on things like this......

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Yours truly in 1975. Yep, that's the AMT iron-on.

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Question for the group: Do any of you know of an outlet or chain than can do large format/large flatbed scanning? The bigger newspaper pages from 66-69 have become so brittle I don't dare use my small flatbed. Can't use one of the feed-through models.

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Same photographer as the last two. Nice shot of the exterior of Stage 9 on the Gower lot.

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Same photographer as the previous frame. This was likely taken during the shoot for "Bread and Circuses" in September 1967, as both the v-neck tunic and background screen are a match.

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Restored from the photographer's original transparency. She was on the lot for quite awhile, and shot dozens of frames that day.

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Slates from "The Empath" have proven to be unusually rare. It seems that not many made it into the batches that Lincoln Enterprises marketed. Here's a look at a true Gem...sorry.

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Shooting a scene during Shatner's absence, with his stunt double, for "The Devil In The Dark".

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Another location slate, this time for "Shore Leave".

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Shooting a close-up for "Bread and Circuses". Like the previous location slate, this was unearthed in a box of unopened packets which had been in storage for decades.

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Location slates (like this from "Bread and Circuses") are always fun to restore. Cast is usually in a good mood after being cooped up on the soundstage for months, and the natural light is lovely.

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