WE WERE interested in an item recently clipped from the Pasadena Star-News and brought to our attention. It’s about Don Downie. contributor to POPULAR PHOTOGRAPHY, whose most recent article “Pinch-Hitting for a Staff News Cameraman” appeared in the October issue.
IN JERUSALEM they asked, “Which Christmas do you want to see?” Not understanding such a question, I inquired, “How many have you?” “Two big ones,” explained the clerk in the tourist agency. “The first one comes December 25, another important one a couple of weeks later in January.
ONE of the toughest problems ever to come up in a photographic darkroom appeared just the other day. It happened in this way. I hurriedly went into our large darkroom and tried to turn on a white light but the light didn’t go on. On examination I found that out of the seventeen circuits carrying more or less electricity fifteen of them had failed.
With simple equipment the amateur cameraman can record the varying moods of childhood.
CHILD portraiture, while not the easiest branch of photography, is certainly one of the most fascinating. Nearly everybody appreciates a spontaneous, sparkling picture of a happy youngster. Aside from being intensely interesting—and almost inexhaustible in its scope—this work has another decided advantage.
Nature burst forth in the South Seas and Don Thatcher, with calm deliberation, made the only photographs of the catastrophe.
L. D. RASHALL
IT WAS a sultry afternoon in the port of Rabaul, New Britain, in the most remote corner of the South Seas, northeast of Australia. Hell broke loose that afternoon as it can only in those hot, southern waters. A low, subterranean rumble was the only warning.
Two winning sweepstakes tickets put them in business—but the story from then on is one of clever ideas enthusiastically applied.
WHEN lightning strikes twice in one place, that’s news. When a winner in the Irish sweepstakes turns around and repeats, that's a miracle! But I am not writing a racing story—I am going to tell you how two lucky women invested their winnings in a photographic enterprise that has become the eighth wonder of Hollywood.
SILOM S. HORWITZ says in POPULAR PHOTOGRAPHY for September, ". . . fine grain as popularly understood (misunderstood) is a myth.” Mr. Horwitz has bravely attempted to build up a case on very little foundation. He is to be commended on having been able to concoct an acceptable article of such flimsy material, but lest any unwary soul be tempted to take his dicta for gospel, I propose a look at the other side of the subject.
THE background often makes the difference between an ordinary snapshot and a really good picture. Photographs generally should have one center of interest. All other objects or contrasts of tone appearing in the picture should be subordinate to this one thing of dominant interest.
STUDENTS of practical photography who follow many of the hints and tricks of old time photographers will sooner or later find themselves in inexplicable grief. Many of these stunts, continued by oldsters and youngsters alike despite patient warnings of the more scientific technicians, must be listed as photographic superstitions; there is no other explanation; they are based on such physical and chemical fallacies that they can’t be labeled traditional.
Grabbing hot news pictures has become an exciting and profitable occupation for New York's Arthur Fellig. This story of his work is packed with thrills.
IT WAS four in the morning. Heat held New York in its grip. In the little room on Center Market Place, just across from headquarters, the teletype, seismograph of crime, was recording only routine precinct bulletins of heat prostrations, fires, and occasional berserk eruptions from parboiled tenements.
IN 1928 photography was introduced into the nation-wide news service of the Associated Press. Last month we surveyed its growth from the period when photographs were dispatched by fast train, motorcycle, and plane to the present day transmission by wire.
A student of painting and sculpture, Paul Outerbridge turned with success to the camera as a medium of artistic expression.
IN THIS issue, we nominate Paul Outerbridge, color camerman extraordinaire, for the hall of photographic fame because better than most any living lensman today, he combines classical line and form with pulsing, fleshly beauty. An arresting example of the Outerbridge craftsmanship is the accompanying “Gilded Venus” which we more mundanely term the two-tone torso.
A visit from Santa Claus—colorful festivities —family gatherings. The amateur movie maker will surely want to record these happy holidays for his film library. The author gives many helpful suggestions and new ideas.
Robert H. Unseld
DID you ever stop to think what grand movies Charles Dickens would have made if he could have played around with a camera in old England? Just about a hundred years ago Mr. Pickwick spent Christmas with the Wardles, the nicest Christmas anyone has ever been able to tell us about.
Don't freeze up when winter comes—read what Pat Terry has to say about taking frosty snapshots and how he makes some of his best pictures in the winter.
I WOULD rather take pictures in winter time than at any other period of the year. For one thing, I have less competition. In the second place, more things happen. Thirdly, the sports which occur in winter are more dramatic. As a fourth consideration, there is less foliage to create monotony in the cold weather months, and the winter light is more pictorial in that it casts longer shadows.
Dear Mr. Nesmith: After perusing your interesting article in POPULAR PHOTOGRAPHY, "Editors Give Me the Jitters,” October, page 33, I began to muse on some of the humorous points brought out by your vast experience in furnishing photos of all sorts on short notice (to editors of all sorts).
I HAVE been a newspaperman and free lance for about 15 years, therefore on the lookout for any subject material I might turn into cash. So when a large chunk of farm land near Buhl, Idaho, suddenly skidded on a short-cut toward China, bringing editorial wires from as far off as London, England, I saw a good chance to sell some pictures.
MOST amateur photographers have little need of an elaborate and expensive desk for retouching negatives, yet would like to have a convenient way of doing little retouching jobs on occasional negatives. One such amateur constructed one of scrap materials around his shop in half an hour’s time and it worked so well he never felt the need of a better one.
Pictures of animals in their natural surroundings do not necessarily have to be made outdoors. You can take some swell ones at home—if you know how.
HENRY B. KANE
TIME was when there were only two kinds of nature photographers —purists and fakers. The gap between them was wide and impassable. To the purist anything was taboo that had been altered one iota from nature’s original setup. He was the man who built blinds in swamps and tree-tops, who stalked his game relentlessly through tangled undergrowth and over open plain.
Enlarging is not difficult, and this article will help the amateur to master the use of the equipment and the process by which large pictures can be made from his negatives.
THOSE who have followed this series of articles in the last few issues of POPULAR PHOTOGRAPY have been taken through the process of developing film and making contact prints. Now we venture into the fascinating field of projection printing—making enlargements from our favorite negatives.
PHOTOGRAPHY marches on! Just at press time comes a startling message from Agfa, who announce three new films with an amazing increase in emulsion speed. A few years ago the development of fast panchromatic films tripled and quadrupled the previous “par-speed" films of our childhood.
AGAIN we present a cover made by Gordon Coster, Chicago illustration photographer. The original photograph, a 35 mm. color transparency, was made on Kodachrome film Type A (for use with artificial light). The illustration was carried out according to a layout furnished to the photographer, and the minor details and refinements of lighting were perfected in the studio.
Amateurs who want to make their own photographic Christmas cards will find here suggestions for some that are different from the ordinary greetings.
C. G. HAMMOND
NOVEMBER heralds a flood of Christmas card salesmen, each with his kit of samples showing what is new and different for the year. In order to obtain something unusually nice in the way of a personal greeting we are often forced to pay twenty-five cents or more per card.
Worming in and out of a crowd of distinguished celebrities, the author and her camera assistants bring back a pictorial record of milliner Lilly Daché's swanky party.
WHEN you go out to photograph a glamour party, you’ve got to be prepared for anything. And I mean anything! You may be confronted—as POPULAR PHOTOGRAPHY'S camera staff recently was—with lovely ladies star-dusted with wine; bacchic young men in faultless tails; a golden lamb, life-sized; flame colored marble floors; limitless magnums of champagne; bunches of orchids as large as potato sacks; bejewelled Byzantine door knocker; and young Chinese girl attendants, proffering rare foods.
This famous beauty specialist explains why a woman's photographic beauty is largely a matter of makeup.
MANY a man believes his wife is as alluring and lovely as Myrna Loy—until he tries to take her picture with his new camera. Then he looks at his first finished print and is shocked. The little woman’s nose does seem a trifle long. And where did those fatal lines around her neck come from?
M. B. Trenton. N.J. Since the rays from every point of light reflected from an object strike all parts of the lens, how can a sky-filter hold back the blue of the sky while the rest of the view receives full exposure? ANSWER: The very fact that every point of light from the sky strikes every portion of the lens before it is focused on the film proves that a sky filter is at best only 50 per cent efficient.
If you like collecting as a hobby and the items you want are too costly or space-consuming, make your collection on film.
PAUL W. KEARNEY
ARE you one of those grown-up little boys who can never resist the lure of collecting things? Of course, you may be high hat enough to call yourself a numismatist, or a philatelist, or antiquarian. But the basic idea is that if you have a yen for old coins, stamps, Indian relics, antique glass, or snuff boxes, you’re missing a bet if you don’t use your camera to the limit.
The guests' cards for admission are their prints, especially made for the occasion, on assigned subjects.
DR. BURTON J. GOVE
DID you ever find yourself in the photographic doldrums? So bored by lack of camera activity that you had almost forgotten the difference between a lens shade and a filter? My wife and I found ourselves in that predicament last winter. We had developed all the films we had exposed during the fall, and then, generally speaking, hit a photographic slump.
The camera is a versatile instrument, finding beauty in the structures of man or nature with equal facility. Here the camera has glorified equally the grain in the fields of Hungary and the storage elevators in Cedar Rapids, Iowa
Where have you seen this face before? In millions of magazines, for it is the face of Underwood & Underwood's most versatile male model ... Yet few realize that this master model is none other than Lejaren á Hiller, the world-famous photographic illustrator . . . the camera genius who can perform with superlative distinction at either end of the lens
Multiple arrangements offer real inspiration to an enterprising photographer seeking something different .... These two camera artists have created effects that would almost certainly be overlooked if they considered their subjects singly
To capture the mood of his subject simply, without artifice and without props, is the aim of a good cameraman ... In these two excellent examples . . . the eighty-two-year-old patriarch and the youthful ragamuffin ... this aim has been achieved
Every object in strong light casts a shadow, and therein lies the secret of many an excellent photograph . . . Paul Charles Kirsch, of Jersey City, N, J., illustrates how novel designs can be obtained by maneuvering a single spotlight against simple household objects
"POP” PHOTO in the spirit of good honest fun pauses to wish a Merry Christmas and Happy New Year to some of its contemporaries. Quite naturally the camera assignment went to lack Hazlehurst, ably assisted by his usual solitary model...this time eighteen year old Frances Neal of Texas
Although a head waiter in an Ottawa hotel, he has become one of the Dominion's foremost pictorialists.
JOHAN HELDERS, whose pictures are prominent in international photographic exhibitions, has a philosophy about photographic art. It is an ethical philosophy, and he believes artistic ability is a privilege in return for which the artist owes a great debt to society.
HERE we are at the studio with Jack Hazlehurst and his model, piquant Frances Neal, so recently from Texas that her drawl is a delight to everyone. Thought you’d like to see how the “great” Hazlehurst works, see how the feature on page 52 of this issue was made, after having his stuff crammed down your necks for so long.
In company with a student, Bowman was headed for a nearby gorge in search of picture material. Shortly after starting up the trail, which is used both to haul out firewood and as a bridle path, tney crossed the bridge shown. Looking back Bowman was so struck with the beauty of the scene—the gray bark of the beeches against a background of snow, the dash of green furnished by the hemlocks, and the long shadows of the late afternoon— that he lost no time in making a picture.
Few amateurs realize how much a lens shade will improve the quality of their prints or how simple it is to make one.
DR. I. CLYDE CORNOG
HERE and there in photographic literature one finds advice concerning the lens shade. The advice seems never to be very complete, but usually incidental in nature and limited to some sort of general statement to the effect that the lens should be protected from all light not directly concerned with the field to be photographed.
N. C. B., Zanesville, Ohio—Whatever faults this print may have, there is much to be said for its photographic quality and fine range of tonal gradation. Careful exposure and intelligent use of a filter were undoubtedly responsible for this feature.
A STUDY of the photograph discloses the simple construction of a combined lens shade and iris fading attachment for your 8mm. motion picture camera. The basic materials are the bellows, lens mount, and iris diaphragm from an old Vest Pocket or similar folding camera.
A NEW TRIPOD head which makes it possible to swing your camera from horizontal to vertical, without having to remove it, is being manufactured by the Ingledue Co., 709 Broadway, Glendale, Calif. The head “pans” and tilts as well, and all three movements lock firmly in position, insuring steady pictures.
IF YOU should ever find yourself “in a spot” for a spotlight to emphasize some part of your subject, this idea may help you out of the difficulty. Clamp together two reflectors, as shown, using large paper clips or wooden clothes pins.
INDIANAPOLIS CAMERA CLUB held Its annual Invitational Exhibit of Pictorial Photography during the month of October at the John Herron Art Institute. Eleven clubs competed for the Warren Munk trophy, which is awarded for permanent possession to the club presenting the 16 prints most meritorious in the judgment of the jury.
D. Dauer—marking on German shutters equivalent to B ("bulb”). DAGUERREOTYPE. Early process for obtaining a camera picture, invented by Daguerre. D & P. An abbreviation meaning "Developing and Printing.” It is used by firms who do developing and printing for amateurs.