Don McDaniel's '50s & '60s

Looking up Tryon Street from the Wilder Building.

A view to the west, with Crowder's Mountain in the distance.

Doug McDaniel (left) and friend on W. Trade Street in front of the Merita Bakery. Not far behind the bus is Irwin Creek. Today, I-77 looms over that area.

Don and his ride. Fat whitewalls and fender skirts were in vogue then, as were plaid seat covers.

That’s Don (right) and old high school friend Jerry Dixon in a pool room on W. Trade by the old Merita Bakery.

Televising a Carolina's Carrousel Parade. In 1950 Hopalong Cassidy was guest celebrity. An estimated crowd of half a million onlookers lined Tryon St.

Hank Warren in his photo lab. He was showing Don the basics of "shootin' pitchers."

Another shot of Hank. These are "practice" photos by Don, testing his camera settings.

Hank developed this film roll, but the photos were never printed.

Don recently rigged up a lightbox, and shot these negative frames with a macro lens on his Nikon. Then, with Photoshop, he reversed the shots from negative to positive, and here they are.

Getting in place to shoot a program in the early '50s.

Don with one of WBTV's first cameras, with a Zoomar lens. He zooms in and out by pushing or pulling that metal rod in his right hand.

At the old Griffith (later Crockett) Park in what is now called Southend.

In those days Charlotte's baseball team was the Hornets.

On Mar. 1, 1956 Channel 3 premiered "Spectrum," the station's first regularly scheduled color program. Co-hosts Barbara Bender and Jim Patterson on the set.

The sweeper is Wisner Washam. He went on to NY and became head writer on "All My Children."

The director goes over the rundown with Barbara and Jim. One-camera shows were difficult to plan and execute.

WBTV's lone color camera (and the only one for quite a while).

Turn up the air conditioner, this behemoth needs all the light you got.

The executive producer, Bob Rierson, has joined the discussion.

Bob Carroll, in the striped shirt, was a graphic artist and set designer in WBTV's Art Department.

Pianist Ziggy Hurwitz and crewman Gene Birke on the Spectrum set.

On March 3, 1959, ABC (with WBTVs help) televised a Charlotte performance of the Ringling Bros. Circus. The host was Ernie Kovacs.

In those days, a "concourse" at Douglas Airport was a long open wooden shed with 5-foot sides. Designers call it the Cow Barn motif. The "gates" were occasional openings in the sides, through which passengers walked through puddles to their plane.

Covering an ACC basketball game for ABC Sports in 1961.

At the 1964 New York World's Fair to shoot a Betty Feezer feature segment. Don McDaniel and Stan Seiler (with the gear).

Don McDaniel & Betty Feezor gearing up for the flight to NYC.

Dot Holland went along, according to a source who asked to remain anonymous, "to protect Betty from Don and Stan."

Betty, Don and Dot with the iconic Unisphere in the background.

Don, Dot, Betty and Stan enjoying lunch high atop...somewhere.

Don capturing scenes in a parade staging area.

Don with the old reliable silent camera, the Arriflex S.

Stan Seiler, cinematographer for the program department.

Producing a 30-minute special "Marlena," starring Marlena Shaw. The Loonis McGlohon-produced show aired on Sep. 8, 1973 at 7:30pm.

Another special with Loonis' band. Title and date unknown.

Ooooh. The popular rotating kalidoscope effect.

Second sax player from the left is George LeCroy. He was also a member of WBTV's engineering staff.

The announcer looks amazingly like Robert D. (Bob) Raiford. Is is actually him?

These are photos taken during production of an Arthur Smith Show taped on Grandfather Mountain.

Cameras and other equipment being unloaded.

Engineer Jim Davis adjusting Bob Chandler's camera.

Director Don McDaniel checking out the camera positions.

Atop a Grandfatherly crag Don and the group go over the next song. That's sound engineer Wally Gosnell in right foreground.

In position for a solo by tommy Faile.

That's Clint Pressley, left, and Bob Chandler

Ralph and Arthur about burst into song.

A difficult setup under the Mile High Swinging Bridge.

This is the shot: The Shuylers, Jackie and Dick.

Maggie Griffiin maneuvering to her mark on a precipice. She was heard to mutter, "This looks like a job for a mountain goat."

The hills are alive with the sound of music.

Getting a high angle shot. Reg Dunlap on the ground.

Dick Schuyler and Director Don taking a rest.

A mountain lake, for a change of page.

The shoot is over. The caravan inches its way down the mountain.

Another location shoot at the Santee-Cooper Lakes in South Carolina.

A dug-out camera position. Maggie Griffin on the beach.

Doug McDaniel at the camera.

A group-sing on the picnic grounds. Clyde McLean at far right.

Tommy Faile, standing. Clyde McLean to his left.

Some of the crew. Planning a mutiny?

Out on the jetty are the inimitable and unrivaled Counselors of the Airwaves.

A break for some fishing.

Jackie and Dick Schuyler duetting.

Bob Chandler and Don frame a shot.

JP's all purpose utility vehicle, fondly referred to as "the golf cart."

An early JP commercial, made at a familiar location: our own building.

And just inside our "side door," where receptionist Helen Bassett used to sit.

That's actor Williard Waterman. To those of you over 60 (70?), he was "The Great Guildersleeve" on radio and TV.

Mr. Waterman and canine friends.

Another day, another commercial.

The agency producer with the spokeslady.

And another....

... for some bath & beauty product.

Don coaching a young "talent." We called all performers "talent."

Don directing a studio session from the mobile unit. That's producer Peggy Van Dyke at left, sound engineer George LeCroy behind them.

Forward view of the mobile control room.

A bevy of beauties situated in a setting of simulated snow.

Gunilla Knutson, the Noxema Shaving Cream "Take it off. Take it all off" girl.

That's a wrap. The crew joins in. The men, from left: Dan Preston, Don McDaniel, Bob Chandler, Bob Huntley

Gunilla was likely the only actress flown in from NY. The others were "local talent."

Shooting a spot for ... golf clubs?

That's Doug McDaniel facing camera.

A food product commercial, one of a great many produced at Jefferson Productions..

Food stylists made it look more appetizing than it really was.

Two big variables: weather and cows.

Don talking to the "talent."

Mapping out the shots for a Skippy Peanut Butter spot.

A well-lit set is a happy set. Crewman kneeling in prayer...or asleep.

This is called a "black limbo" shot, where darkness plays a major role.

Then there's "white limbo" with perhaps a dash of colored light.

A sleep aid commercial?

A product shot made in Alaska?

Nope, on a tabletop.

Another "frigid" set.

A very early JP spot using WBTV's equipment. Engineer Wally Gosnell in foreground.

Birds-eye view of the "backyard" set and WBTV's B&W remote unit.

A low-budget production, no doubt.

Something going on in our front yard.

Preparing for a shoot on the grassy hill beneath the microwave tower.

Kids crawling through boxes.

With clients in the old JP control room. JP's Reg Dunlap facing camera.

An edit session. Don looking at stopwatch, Wally Gosnell in white shirt, Reg Dunlap standing.

Editing (and production) is a tedious process, slowed by indecision, doubt, anxiety and other psychological disorders.

It isn't brain surgery, but you'd think so, what with all the tension.

Taping a furniture display.