Some of the many messages received on the occasion of our Second Anniversary.
IT’S our birthday and we are celebrating it by giving you the biggest issue we—or any other photographic magazine—ever put out. Many famous photographers cooperated in filling this issue with outstanding, authoritative feature articles.
THE fastest exposure is 21,600,000,000 times faster than the length of time required to make a photograph in Nevertheless, photography is still in the Stone Age. Despite tremendous gains in speed of emulsions and lenses, despite remarkable advances in chemistry, photography is a primitive tool.
Select and pose your subject care fully before you shoot. You will make real pictures and save film.
THERE is a great deal of difference between pictures and snapshots. It is the old argument of technique against making pictures. Today amateur photographic technique has run away with itself. I know, for as the sole judge of a nationwide monthly photographic contest I see three to six thousand photographs a month.
NICKOLAS MURAY TELLS WHAT PHOTOGRAPHERS SHOULD KNOW
You cannot expect to make good pictures if you fail to learn certain elementary things about photography.
IN this changing world of ours where some new and fascinating development is announced every day, we, as photographers, are liable to overlook one thing. It is that photography is like everything else; you’ve got to learn it before you can practice it.
The author of America's best known reference book on photography tells you the requirements for becoming a good photographer, either amateur or professional.
C. B. NEBLETTE
YOU ask me what is necessary for a successful career in professional photography. Well, in the first place, there is no formula, no blueprint which, intelligently and patiently followed, will lead to success. Moreover, the requirements for a successful career in one field are not necessarily those of another.
The story of how Lejaren à Hiller, Eugene Hutchinson, Victor Keppler and Martin Munkácsi cooperated with POPULAR PHOTOGRAPHY to show that box cameras can take excellent pictures.
Focusing Vertical Enlargers
ROBERT W. BROWN
IN all the history of photography there has never been a more maligned object than the box camera. For the past twenty years pictorialists have been politely sneering up their sleeves whenever the subject was mentioned. Miniature camera fans have laughed uproariously and cracked rude jokes about “that piece of junk.”
With amazing versatility the famed photographer shows you how your interests or hobbies can serve as sources of pictorial self-expression.
Enlarging Thin Negatives
DID you know that most professional photographers envy you amateurs? We do! Because you, and you alone, have complete freedom. Not for you the assigned subject, the arbitrary treatment, the set time limit. You can photograph what you please, as you please, and when you please.
A patriarch and pioneer of photography explains the fine points of capturing the spirit of dance in expressive pictures.
IN the early eighties, when the discovery of instantaneous photography was first announced, Lafcadio Hearn, then assistant editor of the New Orleans Daily Item, expressed the opinion that the most valuable service of this new invention lay in the possibility of making a visible record of the fleeting grace of dance movements.
Eleanor Parke Custis, second most prolific salon contributor in the country, tells in an interview how she achieves excellent results with simple means.
ELEANOR PARKE CUSTIS tucked a newly purchased Graflex under her arm one bright day in 1933 and set out to explore the possibilities of photography. The extent of the success she enjoyed may be determined by the fact that three years later she was the second most prolific contributor to exhibits in the country.
You'll enjoy this simple description of different types of composition. Vary the rhythm in your pictures and you will produce prints that never fail to create interest.
Roll Film Washer
FLOUNDERING of the average amateur photographer is caused by his lack of conscious knowledge of the elements of composition. Rhythm is one of the most important of these elements. Success arrives as one becomes intimately acquainted with nature’s laws and manmade rules, both of which govern the use of rhythm in pictures.
Keep pace with the newest developments in artificial lighting if you want to make better indoor stills and moving pictures.
Making Your Filters Do Double Duty
WALTER E. BURTON
WHAT is the best light source for making good enlargements? Are there special lamps for color photography? How much does voltage variation affect the output of a photoflood lamp? What is the color temperature of photoflash lamps? What is color temperature, anyway?
The author explains, step by step, the method by which you can obtain the finest enlargements possible from your negatives.
LEO S. PAVELLE
EVERY member of the photographic fraternity wants to be able to make the finest print possible from a negative. Unfortunately, however, for one worker the finest print may mean one with the greatest definition possible, the finest blue-black tone possible.
Famous for her child photos, the author tells you how to pose the youngsters and get pleasing results when shooting outdoors.
WITH the return of spring and the promise of summer not far distant, opportunities for increased camera activities out-of-doors turn up at every hand. Perhaps no other subjects have more universal appeal than children. All you need do is take them to the yard or the park and you have the makings for excellent pictures.
Amusing anecdotes from the life of the famed illustrator who started his career as roving photo-reporter for a great picture magazine.
THE story is told that Edward Steichen, America’s foremost camera artist, was thumbing through the pages of a foreign picture magazine when he came across a photo credited to Munkácsi. Steichen tore the page from the periodical and mailed it to Condé Nast, the publisher of Vogue Magazine, with the following footnote, “Get this man.”
A chapter from the forthcoming book of the author who reminds you of the legal aspects of taking pictures.
Picture of the Month
FRED B. BARTON
ONE way of saving money in photography is to keep your camera out of trouble. Avoid lawsuits! A camera, you know, is treacherous because it is inconspicuous and is taken for granted. People think too little of having their picture taken. You shoot right and left, and make up prints.
LIGHTING gives pictures their peculiar atmosphere. Ullrich E. Meisel of New York City snapped, with synchronized flash, a group of old ladies. Charles Peterson of West Point Pleasant, N. J., shot the scene in an old fashioned general store without artificial light.
The secret of securing natural, unstudied poses lies in letting the model adjust herself with a minimum of suggestions from the cameraman.
MOST girls love to pose. But when they sit in front of a camera and a photographer they don't seem to know what to do with their hands and feet or head and eyes. They can’t see themselves as you see them and it is quite natural that they should expect you to tell them what to do.
Give your subjects any desired background by projection on a translucent screen.
Frame for Diffusing Screen
RICHARD N. BARNABA
LARGE commercial studios are often faced with the problem of taking pictures that require a background which it is impossible to set up or which can be had only by making a costly location trip. It may happen that we are commissioned to make a shot of a group of fashionably dressed young women walking down the Place de la Concorde, or crossing Bond Street in London, or sauntering along Unter der Linden.
Give your movies greater variety by frequently alternating close-ups with long shots. Close-ups produce emphasis.
Amateur Photographer, Madrid, Neb. THE average amateur cinematographer fails to make the most of a very important movie effect, the close-up. After the general action has been established in long and medium shots, the audience expects to see this same action at close range so that it can more easily be absorbed and understood.
H. L. A., Winfield, Alberta. Can.—The pleasant-looking youngster and the dog afforded you good subject material for this shot, and your having tripped the shutter just as the dog yawned provided an additional good touch. Your exposure was excellent and your print has nice quality.
This practical accessory can be built at small cost and will widen the scope of your picture taking.
C. L. BRISTOL
HIGH-SPEED synchronization is easy with the magnetic type of flash gun. An ordinary door bell magnet, arranged to operate the finger trip of your camera and wired to a switch that shoots the “juice” into magnet and flash bulb simultaneously, creates a surefire hook up which is highly adaptable to nearly all types of cameras.
J. F., San Diego, Cal. Having purchased a camera abroad, I find that the tripod I formerly used does not fit the bushing on the foreign camera. Can this situation be remedied so that I can use the tripod? ANSWER: Most photographic dealers can supply you with a bushing adapter which you can screw into the tripod socket on your foreign camera.
For the second consecutive month the Florida Camera Club (Tampa) took top honors in the inter-club competitions being sponsored by the Manhattan Camera Club. The Tampa group thus gained a second leg on the POPULAR PHOTOGRAPHY trophy. No special topic had been assigned.
A monthly list of valuable kinks and hints for the amateur. POPULAR PHOTOGRAPHY will pay $3.00 for each one accepted
Lighting Large Areas
Film Spindle for Agitator
Odd "Photos" Made with Your Enlarger
Light Cord Connections
Clothes Hanger Light Support
Arrangement for Copying
THE broad reflector shown in the accompanying illustration can be used with Photofloods or flash bulbs for illuminating a considerable area, as in taking large group pictures. It is made of 3/32 aluminum and is 24" long, 9¼" high, and 2¾" deep.
THE LATEST optical type meter to make its appearance on the market is the Pierce Exposure Meter. It is held and operated like other meters of the same type. No calculations are required as the meter is presettable. The film speed and filter factor once having been set need not be changed until the filter or film is changed.
OCCASIONALLY one is unable to obtain the particular form of a chemical called for in a given formula. For example, in making up a developer the formula of which calls for sodium carbonate anhydrous, one may be unable to secure the anhydrous form but may have on hand the crystallized or perhaps the monohydrated form.
Passing a junk shop late one night. Ruth Bernhard saw this plaster head which so fascinated her that she took it home and started to work at once with her camera and lights. In the wee small hours of morning her task was completed with the production of this splendid shot.
PHOTIC. Of or pertaining to light. PHOTICS. A general term for the science of light, occasionally used when “optics” is restricted to visual phenomena. PHOTO-AQUATINT. A print made by the gum bichromate process. PHOTO BLUE BULB. An electric bulb with blue glass.
PHOTOCHARTS-THEORY -AMP;AMP; PRACTICE OF EXPOSURE. by Lt. Col. Hamilton Allport. Published by Fomo Publishing Co. Cloth bound, 9x12, 46 pages, descriptive matter, charts, and diagrams, $1.95. A graphical presentation of photography’s main problem, incorporating in succinct form all of the necessary data for accomplishing correct exposure under any combination of conditions.
DID you ever admire some other amateur’s photograph of a rose which showed the petals covered with dew? And wonder just how the photographer was lucky enough to find just the right lighting conditions at the right time to make the picture? This secret is well known to all professional photographers, and probably to m any amateurs as well, but there are likely many others who are not in on the secret.
THE amateur may apply a very interesting effect to his portraits made with a white background, and which makes the figure appear to stand out from the background. The articles necessary for this operation are lampblack, a tuft of cotton, and an eraser.
MOST photographers cannot afford to wait for photoflood bulbs to cool down before changing them, when they burn out just as the exposure is about to be made. It is also often desirable to replace small photofloods with larger ones when it is found that the small bulbs arc not bright enough.
TO safeguard a camera against the penetrating and dangerous salt moisture present when making marine scenes, slip a generously oversize oiled silk bag over the camera. Place the closure underneath, and make the opening watertight by folding and fastening with a strong rubber band.
To have your camera examined at regular intervals for leaks in the bellows. loose parts that may affect good negative making, shutter adjustments. possible readjustment of lens or finder. dirt and grease on the lens. That when exposing negatives you should focus the camera accurately.
—if you fasten or cement large cork or rubber strips on the underside of your trimming board, it won’t slip and slide on even a polished surface. —your viscous sponge will be a lot cleaner and grit-free if you will keep it in a glass jar. Prop the lid open a little and let the air in to dry the sponge thoroughly.
TWO popular numerical systems in this country for denoting film speed are the Weston ratings and American Scheiner degrees scale. Measurement of photographic emulsion speeds is not a standardized, scientific procedure. The effective speed of an emulsion depends a great deal upon a number of variable factors, mainly: spectral quality of the light used (sunlight at noon as compared to late afternoon, photoflood lights as compared to regular tungsten); type of developer used; method and degree of development; and age and storage of the film.
The following tables of comparison of speed rating systems are presented only as a general guide. Mathematical conversion is of course impossible, because the systems have no common basis and vary too widely in application. Practically, however, the various systems of speed rating can be loosely compared with each other to provide a general indication as to where a film's place is in any of the several systems shown below.
IT frequently is necessary for the photographer to convert from the metric to the English system of measurement because many popular imported cameras have their distance and depth of focus scales calibrated in meters. A simple and easily remembered rule for changing meters to feet is to multiply the number of meters by three and then to add to the figure thus obtained the number of meters divided by four.