PICTURE OF A MAN being versatile: he interviews a Life photographer just back from the South Pacific, discusses tropical development and how to fix balky synchronizers on shipboard, and then sits down and writes a thrilling camera-adventure story of the war ... he writes and illustrates technical articles ... he conducts a camera column for a big-city newspaper ... he takes darn good pictures himself . . . and then he comes along and writes one of the most important contributions to photographic thought in many a moon. . . .
The first in a new series which leaves stuffy theories to the long-haired artists and tells you how to put a picture together
The Roots of Composition
Theories of Composition
PICTURE OBJECTS AS SIMPLE GEOMETRIC FORMS
AN OBJECT HAS MEANING AS WELL AS SHAPE
The Scope of Composition
The Photographic Approach to Composition
Two Phases of Composition
REVERSE MOTION TITLES
MOVIE IDEA SOURCE
THE needle in the haystack is commonly cited as the example of the almost hopeless quest. But imagine that you didn’t know in which one of a score of haystacks it was. Imagine furthermore that you weren’t any too sure just what you were looking for—in fact, you weren’t certain that there was anything in any of the haystacks, except hay.
From Classroom to Darkroom With the U. S. Marines’
FBANK H. RENTFROW
STARTLING war pictures are being circulated widely in the country’s newspapers. Some of these, shot through a haze of battle smoke, show U. S. Marines surging into action. They are remarkable pieces of photography. You can feel the tense drama of the situation as you tighten your lips in sympathy with the Leathernecks in action.
ANSWERS TO EVERYDAY QUESTIONS FROM AMATEUR PHOTOCHEMISTS . . .
Clock as Darkroom Timer
THOMAS T. HILL
AND now,” said the chairman, “comes the question-and-answer part of our meeting. This is your chance to ask those questions that come up when you are working in the darkroom and run into something that stumps you.” Before me sat two dozen employees of the Edwal Laboratories—shipping clerk, switchboard operator, stenographers, packers, sales manager, auditor, junior lab technicians—all members of the company’s camera club, all enthusiastic amateur photographers.
There’s room for a topnotch inner sanctum in the smallest home if you convert available facilities for your purpose
MANY photographers are finding it difficult to continue with their hobby because they are living in small, cramped quarters. They can take pictures easily enough, but when it comes to developing and printing, the problem of a darkroom is discouraging.
The print-marking method that "pros" use to make topnotch pictures will help you improve your photographs
PHOTOGRAPHY begins with enlarging, assuming that you have a good negative. Up to the moment of enlarging, a picture is a merely technical matter involving a black box, a lens, chemicals, and more or less good taste coupled with the ability to photograph an object.
If you want to "go pictorial," try this fascinating printing process which any careful amateur can master
JAMES H. THOMAS
EVERY camera owner who aspires to make good pictures has looked with envy at the artistic bromoil prints produced by recognized pictorialists and exhibited in national salons and photo annuals. But few have had the courage to entertain the thought of trying this old and tried printing process.
Make your Kodachrome transparencies and Kodacolor negatives serve a double purpose
HARRIS B. TUTTLE
IMAGINE photographing a scene of your family bathing at the beach, making a picture of yourself pulling in a three-pound trout, or taking a similar action some night this winter in your darkroom. Think it can’t be done? Well, it can—and you need only the average amount of equipment found in almost every amateur’s darkroom.
Learn proper fixing and washing methods to insure long life for your valuable negatives and prints
Faded Prints and Films
Causes of Fading
How to Produce Permanent Films and Prints
Kodak F-6 Fixing Bath
CLEAN DEVELOPING TRAYS WITH HYPO
J. I. CRABTREE
G. T. EATON
IF you have ever looked through a batch of prints many, many years old, you’ve seen some that were faded and stained, and perhaps an occasional one that still retained its original “snap.” What a thrill it is to find such a picture in good condition, telling its interesting story of days gone by.
Great art demands great critics—in this article the words of Walt Whitman are applied to "double-talk" camera writers
IS MECHANICS the curse of photography? Child of a technological age, the camera is a mechanical invention, the first instrument of modern times to have resulted in a new art. But is it art? The controversy aroused by this foolish question has been going on for several decades, but an eighth art has not yet been added to the classic seven.
The sheen of sunlight on water emphasized by the range of tones between black and white in these prints illustrates another technique of the darkroom. Sparkle is obtained by keeping the blacks black, grays gray, and whites white in printing.
Some pictures make startling use of gray tones, accented by black and white. These are examples. Note the wide range of gray shades in the ship, below, the contrast between the house and trees, above. (For Technical Data, seo page 60).
Specialized techniques 1 i k e the Mortensen Abrasion-Tone Process are used to obtain exquisite texture. S u c h m e t h o d s require craftsmanship, but are well worth the effort. (For Technical Data, see page 60).
For rare beauty and delicacy, high key pictures are unsurpassed. Low key pictures, on the other hand, have dramatic — often startling — qualities that are very effective. Tonal key, of course, depends upon the balance of light and dark in the picture and requires careful control in printing.
A darkroom can be used for making pictures as well as improving them. Photograms, like the one above, are made without a camera by placing opaque objects on sensitized paper which is then exposed to light. This photogram was made by projecting a positive transparency onto the paper with an enlarger, plus the use of ordinary dark room equipment as shown in the picture at the right.
FOR A LONG time only two kinds of people were the small brass “U.S.” on their uniform shirt collars—generals and war correspondents. Ralph Morse, Life cameraman in the Pacific area, tells the story of the time Admiral Nimitz, Commander-inChief of the Pacific Fleet, was walking down the stairs of his headquarters.
Here are a few helpful ideas for the amateur who likes an efficient and orderly darkroom.
THE war hasn’t stopped the camera hobby by a long shot. But now, more than ever, the photographer knows he must conserve materials, devise gadgets to serve his particular needs, and adapt himself to working in tight places. On these two pages are a few suggestions on how to make some of your equipment serve more than its original purpose, how little conveniences will help to make small working spaces bearable and practical, and how the observance of suitable precautions will stretch the useful life of precious materials and tools.
First star this month goes to Leo Shuken, Beverly Hills, Calif., for this picture entitled "Wake up, Sleepyhead." He used a 4x5 Speed Graphic and Super Panchro-Press film Type B for the shot. The exposure was made at 1/100 second with the lens stopped down to f11.
Pfc. S. M., Oakland Airport. Calif.— This informal portrait has many good points. The boy’s casual attire and the use of the fence as a prop add interest to the picture. How ever, the pose is a little static; there's not enough happening in the picture, not enough emotion on the boy’s face to tell what’s going on.
JUST off the press is De Vry’s new 56-page catalog of 16 mm educational and recreational films. The large collection of 16 mm sound and silent educational films include pertinent teaching subjects in history, geography, nature study, the sciences, literature, music, health, safety, vocational training, and current events.
NORMAN ALLEY, newsreel cameraman for News of the Day, and Robert T. Landry, of Life magazine were the first eyewitnesses to the invasion of Sicily to return to the United States. They brought back many pictures. Alley and Landry were aboard one of the first landing barges and kept shooting pictures in the midst of heavy enemy fire.
PAGE 35—PICTURE OF THE MONTH James H. Thomas, Oneonta, N. Y., took this picture with a Standard 2¼x2¼ Rolleiflex and 7.5 cm Zeiss Tessar ƒ 3.5 lens fitted with a medium yellow filter. The exposure was 1/25 second at ƒ 22 on Eastman Plus-X film.
THESE exhibits are made up of the prize-winning pictures from POPULAR PHOTOGRAPHY’S annual Picture Contests. They will be in your locality soon, so make certain that you see them. These Salons offer photographic enthusiasts an excellent opportunity for a get-together to argue and discuss their favorite hobby with fellow fans.
Dear Editor : The enclosed story, “Fighting Photographers,” (see page 24 of this issu) is submitted for your consideration. If accepted, please make check payable to The Quantico Auxiliary, Navy Relief Society. FRANK H. RENTFROW Marine Gunner, USMC Quantico, Va.
Why bore your friends when you can entertain them with interesting films?
MANY amateur movie makers have at one time or another projected a series of hodge-podge scenes before a bored audience, and accompanied the showing with the remark: “These are just some pictures of the family.” They seem to feel that this statement excuses their lack of unity and interest.
Here are eight common faults that many amateur movie makers find in their films, the causes, and ways to eliminate them
THERE are several faults which seem to trouble many amateur movie makers. These faults usually result from simple, easily-avoidable causes. If you are having any of these troubles, here’s how to overcome them: UNDEREXPOSURE. If your pictures are too dark, the chances are that you are underexposing the film.
You can learn many tricks for making better movies by watching films at your local theater
MOVIE MAKERS! CASH IN ON YOUR IDEAS
FILMED BEE-MAIL AIDS CHINESE ARMY
"SELF THREADING" REELS
TRANSPARENT PHOTOGRAPHIC PLANE
JAMES R. OSWALD
IT ISN’T necessary to take a trip to Hollywood to learn the tricks of the film trade. You can profit immensely from the long tried-and-proven methods of successful movie making and apply them in your own community. How? Simply by attending your neighborhood theater next time with an analytical mind, bent on learning something.
BOMBAY CLIPPER, starring William Gargan and Irene Hervey. 6 reels, black and white. Available for rental. Bell & Howell, 1801 Larchmont Ave., Chicago, III. An airliner, flying from Bombay to San Francisco, attempts to transfer $5,000,000 worth of diamonds to an Axis submarine.
TAKING pictures of couples at dances enables me to get experience in photography and at the same time pay the expenses involved. I take flash shots of various couples and groups and then take orders for prints. It’s surprising to find the interest that people have in pictures showing them engaged in a social activity.
The summer didn’t prevent the Science Museum Photographic Club from holding interesting sessions. Recently, the club held a “you-can-do-it,-too” night. Advanced workers demonstrated processes such as toning, retouching, and mounting, for the benefit of beginners.