Letters to the Editor
Another camera hound and myself spent all day at the New York World’s Fair, in the rain. So it shouldn’t be a total loss, we waited for darkness to fall.
When we started to set up tripods for the lighting effects, we were politely informed that it was against the rules.
Mow do you like that?
Brooklyn, N. Y.
• We don't like it I-ED.
Dear Sir :
The fact that Edward Weston took exception to the word “crop” as now applied to trimming photographs was worth the entire price of admission to the US Camera Annua\.
Such people of fine artistic feeling as Nick Haz havo recently used the word "crop” which, in my opinion, has nothing to do with the esthetic side of life.
I think, if you could induce your contemporaries to cast this word in the ash can, you would have justified your existence in the photographic publishing world. . . .
JOHN WORD CALDWELL
• Everyone is, of course, entitled to his own preferences. The word "crop” is quite correct according to dictionary DEFINITION.-ED.
Your magazine is the finest this side of the Atlantic ... I am a very rank amateur but POPULAR PHOTOGRAPHY and I aie going to be great photographers.
PATRICK J. CORCORAN
• Here’s wishing you much SUCCESS.-ED.
We feel that your analysis of the reason for the flare spot on the photo printed on the Candid Shots by the Editor page of the June issue is incorrect. . . .
Our explanation is that the shutter was opened with the camera partly closed, thereby exposing a small spot in the center of the film. If the shutter was not actually tripped, it was probably blown open by closing the bellows of the camera too rapidly. This latter would be our explanation (rather than a reflection from a brass button).
J. C. PORTER Saltville, Va.
• Your explanation is quite plausible and this might be the ANSWER.-ED.
In the March edition of POPULAR PHOTOGRAPHY you have an article Snapped at 1 /1,000,000 Sec. in which is the statement, “. . . devised this hitherto unused method of speed photography.”
The following quotation from Harmsworth Popular Science (a pre-war publication) may interest you.
“Dr. Cranz invented a new kind of cinematograph camera in which the film moved at the speed of 150 miles per hour. The film was run over two steel cylinders, passing the lens at over 280 feet per sec.
"Light was obtained by a series of electric sparks, some of which lasted only oneten-millionth part of a second. Yet the pictures obtained at this speed are clear and
well defined. As a rule Dr. Cranz takes about 500 consecutive pictures in l/10th second. We can study the action in flight of the swiftest bullet.”
Illustrating the article are reproductions from actual photographs of a bullet piercing a soap bubble, also a stream of bullets piercing a strip of tin. . . .
F. A. BLAKE
Glam., South Wales, Australia.
• Thank you for the REFERENCE.-ED.
. . . All of the underwater equipment described in your story (Take Underwater Pictures, June, 3939 ), with the exception of a small underwater camera box, was perfected and built at Silver Springs, Fla., where it is now used, and Silver Springs is the only place in the world where the PhotoSub is found. ... I would like to state that Mr. Nase gained his prominence in making underwater pictures at Silver Springs. . . .
WILTON MARTIN Silver Springs, Fla.
• Silver Springs is a swell place for making unusual underwater PICTURES.-ED.
Dear Sir :
Regarding the best picture entitled, Fishing in your Pictures from Our Readers section in the May issue. I can’t understand why you selected that picture when it has a very obvious fault. The tree in the back of the boy is clearly growing out of his face. . . .
BILL ROTHMUND Jersey City, N. J.
• In the original print the tree was much more diffused and blended into the background. Unfortunately, the engraving process brought it out more STRONGLY.-ED.
Dear Sir :
It may interest you to know that I have bought close to three hundred dollars worth of equipment and most of it was chosen from advertisements in POPULAR PHOTOGRAPHY and after reading the articles in same on equipment. I have found it a very good guide and my equipment has been entirely satisfactory.
RAYMOND J. TALBOT
United States Naval Station Guantanamo Bay, Cuba.
... I am particularly impressed with the pictures in your Salon Section. However, why is it that in your detailed descriptions of these pictures you do not supply such vital information, from an amateur standpoint, anyway, as to what filter, if any, was used, and the various papers on which the pictures were printed?
RALPH D. REED
Newark, N. J.
• When a filter has entered into the making of ¡i picture, we do give that information. The type of paper cannot possibly be made apparent in the reproductions, so this information is OMITTED.-ED.
Dear Sir :
Anyone working in the darkroom for special effects by the sepia toning method is bound to be pleased with the article Sepia I'ouing by Priscilla M. Pennell in the April, 193 9, issue of POPULAR PHOTOGRAPHY.
Nevertheless, there is a point about the use of sodium sulphide as a toner that should be mentioned. It gives off a disagreeable odor. If this odor is allowed to permeate any kind of sensitized material it will fog it very quickly and for this reason a sodium sulphide solution should never be used in a chirkroom where sensitized materials are stored or where films and papers are about to be developed.
HARRY W. MOLDT Los Angeles, Calif. • Your advice is an important addition to the subject of toning. Fortunately the toning of prints need not be done in a darkroom but can be carried out on the back porch or in some in Daddy s mouth. other ROOM.-ED.