Last November’s article titled Fun with Camera Caricatures has stimulated me to make similar photographic experiments. Here are two samples that I call “Bullish” and “Bearish.” I used a rubber finger for the nose, pins for the hair, staples for eyebrows, and paper clips for ears.
SOMETIMES I worry about young photographers striving to make their way as professionals in a fiercely competitive field. When they come to me for advice I am appalled by the dilemma in which so many of them find themselves. Beyond the desire to make a living with a camera few have more than a hazy idea of what branch of photography they wish to specialize in.
A round-up of recent developments and significant trends
Norman C. Lipton
Ilford Multigrade Returns. The British press brings news that Ilford’s Multigrade variable contrast paper is being sold again after an extended war-time suspension. Like its American counterpart, Du Pont Varigam, Multigrade provides any desired printing contrast on a single sheet of the material—by selection of the proper colored printing filter.
News and Notes about the Photographic Society of America
P. S. Ayers
By the time you read this, the East Coast will have had its first PSA Regional Town Meeting, the inspired idea for group photographic activity that had its initial success in the West. Held at Lincoln House in historic Old Sturbridge Village, Mass., a reconstruction of its 1790 identity, the meeting was sponsored by the Photo-journalism Division of the PSA and had the original twist that all talks were slanted to apply the journalistic approach to photography in other fields.
Fortunate is the photographer who has a chance to display his best prints in his own way before the public. Photo-journalist Dan Weiner was pleased when the Camera Club, one of New York’s largest and most active photographic organizations, invited him to prepare a one-man show for display in their exhibition hall.
Here’s sound advice from an expert on how to make fine shipboard pictures without missing any of the fun.
Take your movie camera along
WHAT HAPPENS to amateur photographers when they get aboard ship? Having travelled some 70,000 nautical miles the past few years doing publicity pictures on cruise ships, I am always amazed and distressed to see the number of wrong things that passenger-photographers seem to be able to do.
AT A RECENT ONE-MAN show in New York, magazine phtographer Dan Weiner exhibited 100 of his best pictures, gathered during the past five years on assignment for national magazines and for personal satisfaction. The exhibit demonstrated what many editors, fellow photographers, and magazine readers have long recognized: that Weiner is one of the top photo-journalists at work today.
AFTER AN OPTICAL engineer at the factory or testing lab has checked your lens with all the complex scientific instruments at his disposal, he finally does just what you would do. He makes a series of photographs to verify his findings and to determine from a practical standpoint just what the lens can do.
EVERYBODY LOVES A KID PICTURE. HERE ARE 10 REASONS WHY IN COLOR AND BLACK-AND-WHITE
1 Incredulous infants regard each other with wide-eyed amazement in this amusing speedlight shot. Reader Dieuzaide, Toulouse, France, used a Rolleiflex at f/11. 2 Little girl intent at play was softly lighted by floodlamps. D. Gordon McLeod, London, Ont., Canada, used Rolleiflex and Ansco Supreme film; 1/25 sec at f/5.6.
Fred Maroon’s nocturnal camera records a glittering world in color and black-and-white
AT SUNDOWN, most travelers regretfully shut their camera cases and leave photo gear behind in hotel rooms when they go out to see the sights. In doing so they miss many spectacular pictures, says Fred Maroon, the talented youngphotographer who made these dramatic shots of Rome and Paris after dark.
Movie-making offers some of photography's most fascinating moments. Read this fact-packed roundup and see if you're ready to climb aboard the cine bandwagon
TYPICAL MOVIE SUBJECTS
WHAT IT TAKES
SHOOTING THE PICTURE
ROBERT L. McINTYRE
INTERESTING EXPERIENCES always are more fun when you share them with others, and often the more the merrier! That’s why so many Americans reach for movie cameras when vacation time comes or when there’s something special doing around home.
You can sweep the whole horizon with even the simplest camera. Just make one simple gadget and remember one simple rule
SIMPLE RULE, SIMPLE GADGET
YOUR EYES see a half-circle when you look at a landscape or a skyline. Your camera, even with a wide-angle lens, sees only about a third as much. It’s frustrating to stand atop a hill or a tall building, still camera in hand, and realize that you can’t put all you see into one picture.
WHEN A PHOTOGRAPHER is asked by a photographic magazine for a set of pictures he is unhappy if he cannot offer a selection of his best and most unusual photographs. Thus I was unhappy when PHOTOGRAPHY asked me for my story on Marilyn Monroe which was only a rather typical Life assignment.
AN AUTHORITATIVE DISCUSSION OF HOW HOLLYWOOD'S NEW WIDE-EYED REALISTIC MOTION PICTURE SYSTEM WORKS
REACHING way out for realism in movies, 20th CenturyFox Studios has come up with a wide-screen process called CinemaScope, which does not require Polaroid glasses for viewing and may very well prove to be the answer to Hollywood's three-dimensional dilemma.
TO MAKE a good enlargement you must expose it correctly. The surest way to determine correct exposure is to make a series of trial exposures on a test strip and actually see which produces the best result. Test strips take only a few minutes to make, but in the long run they will save you much time, effort, and paper.
If you use your watch for timing purposes in the darkroom, it's a good idea to safeguard it from possible spilling or splashing of chemicals. A handy protective cover can be made by cementing a disc of clear cellulose acetate inside the cap of a Mason jar—of the open-top type shown in accompanying photograph.
All the sound and fury over stereo movies has obscured another development that could turn out to be almost as important. It’s three-dimensional television. Engineers have recognized it as a possibility ever since TV was invented, but now are doing something about it.
SCISSORS can save a poor film and make a good one even better. When a roll comes back from the laboratory it is all there in one long piece. Scenes follow one another just as they were taken, but they don’t have to stay that way. Everybody makes mistakes.
THE PROOF of the pudding is in the eating, and in home movies it’s in the showing. The film itself deserves only part of the credit when the audience calls for more. The way it is presented is important, too. Serious amateurs go all out to create the right atmosphere.
More flexibility is offered by cameras in this group, which have several filming speeds in the range from 8 to 64 frames. Some have interchangeable lenses. Prices are with f/2.5 to 2.8 fixed focus lenses; f/1.9 lenses in focusing mounts average $25 additional. Roll loading cameras make up the lower part of this group, magazine loading the top.
16-MM MAGAZINE CAMERAS
These single-lens outfits use easy magazine loading, provide a range of camera speeds and take interchangeable lenses. Some can be converted to turret models.
Range of usefulness and price varies with maximum permissible lamp wattage, from 500watt models suitable for living room showings to 1000-watt units adapted for large-screen projection. Other features affecting cost include single frame projection, reverse, variable speed, increased film capacity and pilot light. There is only one 8-mm sound projector on the market, of magnetic type, costs $398.50.
SCREENS, 30 x 40 INCHES
Prices are similar for matte white and glass beaded surfaces. Other sizes in proportion. Wide price range in tripod models reflects differences in weight and rigidity. Roller, hanging type.....$ 7.00 to $12.00 Easel, table-top type.....$ 7.00 to $12.50 Tripod type..............$10.95 to $25.00
LENS TURRET 8-MM CAMERAS
De luxe equipment for the 8mm worker who wants maximum flexibility and convenience and is willing to pay for it and take time to learn to use it. Some turrets take 2 lenses, others 3. Prices are with standard lens only; wide-angles cost from $45 to $70, telephotos up to $60 or more depending on focal length, aperture and type of mount.
LENS TURRET 16-MM CAMERAS
All but the lowest priced cameras in this group use magazine loading. Fitted with 2or 3-lens turrets, they provide variable speeds. Prices are with standard ƒ/2.5 lens only; wide-angles cost $30 to $100, telephotos $30 to $150 or more, depending on length and aperture.
16-MM SILENT PROJECTORS
Same range of features as 8mm models except for inherently larger screen-filling capacity for same size projection lamps because of larger area of film.
HOME MOVIE FILM COSTS
Standard brands of 8-mm color film cost $3.95 for a 25-foot roll, $4.77-$4.80 for 25-foot magazine; 16-mm color runs $6.98-$7.15 for a 50-foot magazine, $10-$10.85 for 100-foot roll. Standard black-and-white 8-mm film averages $2.90 for a 25-foot roll, $3.80 for 25-foot magazine, 16-mm black-and-white costs about $5.50 for a 50-foot magazine, $7.36 for 100-foot roll. Prices include processing by the manufacturer. Fresh film of standard quality at times is packed under various brand names at prices lower than those listed above, resulting in savings. Some economyminded amateurs achieve good results with use of U. S. Surplus film (also sold under different brand names), advertised at even lower prices.
BASIC 8-MM CAMERAS
Ideal outfit for beginner who wants to keep home movie fun both simple and inexpensive. All models use roll film, have fixed-focus lenses with apertures around f/2.7, are pre-set to operate at 16 frames a second and have footage counters. They differ in features like single frame exposure, continuous run (to let photographer get into picture), exposure setting systems, and types of viewfinders.
BASIC 16-MM CAMERAS
These are the most economical outfits for the movie maker who wants the large-screen quality obtainable only with 16-mm film. They provide a range of camera speeds, will take interchangeable lenses. Prices are with standard ƒ/2.5 lenses; f/1.9 lenses in focusing mounts average $35 more.
PROFESSIONAL 16-MM CAMERAS
Strictly for the advanced amateur and professional. Buying in this field calls for considerable study—higher priced cameras have many built-in features which are optional as special adaptations or accessories with less expensive ones. Sound cameras come in this classification.
16-MM SOUND PROJECTORS
Projector mechanism itself usually similar to silent equipment of better quality, with addition of sound head, amplifier and speaker. All will play back conventional optically recorded sound movies. More expensive models, $699 up, also record and play back magnetic sound recordings on magnetic striping which can be applied to any film, single or double perforated, old or new.
Choice of equipment depends on the type of films you want to make, how much time you are willing to spend learning to use it, and the amount of money you want to invest in this fast-growing hobby. Here are some suggestions: BASIC 8-MM MOVIE OUTFIT Around $100.
Was a time, not many moons ago, when Hollywood could be heard loudly proclaiming that the public would never go for a 3-D system that required the wearing of viewing spectacles. But that was before Arch Oboler’s Bwana Devil came along and poked gaping holes in these convictions by smashing box office records wherever it opened.
AMERICAN DIETETIC ASSOCIATION announces its third annual contest open to photographs portraying on-the-job activities of a dietitian or nutritionist. First prize is $75; second, $35; third, $15, plus 15 prizes of $5 each. Any number of black-and-white, 8x10, glossy prints may be submitted, mounted or unmounted.
Editor Ralph Samuels has injected new life into the Universal Photo Almanac with streamlined layouts, better pictures in the contemporary spirit, and some distinguished contributors including W. Eugene Smith, who wrote the lead article on photographic journalism.
HERE IT IS... the 1953 PHOTOGRAPHY $25,000 INTERNATIONAL PICTURE CONTEST
RULES OF THE CONTEST
USE THIS ENTRY BLANK
1 The Contest is open to all persons, except employees of PHOTOGRAPHY, Ziff-Davis Publishing Company, and their families. CONTEST OPENS MARCH 10 and CLOSES JULY 1, 1953. No entry fee is required. 2 There will be a Black-and-White Division and a Color Division; each will be judged separately.
This month's musings were triggered by an unobtrusive notice tucked away among the Delaware Camera Club "Bulletin's" contest notes: It goes like this: The contest chairman may decrease the number of prizes or cancel the contest in any group if the number of contestants is too small.
PHOTOGRAPHY of children has much in common with animal photography. Both require a liking for the subject and plenty of patience. If you lack either of these attributes, better pick another field; you’ll never make a go of this one. When it comes to the “studio portrait” parents are very critical.
Conducted according to the recommended practices of the Photographic Society of America. 1953 Rockford International Salon*, Rockford Lens and Shutter Club, Rockford, III. On exhibit at Rockford Art Association, May 1 to 30, 1953. 1953 Bergen County International Exhibition of Photography*, The Bergen County Camera Club's Association, Hackensack, N. J. On exhibit at Art Galleries of the Young Men’s Hebrew Association of Bergen County, Hackensack, from May 10 to 24, 1953.
These Salons comprise a selection of the prize-winning prints from PHOTOGRAPHY’S past international picture contests. They are available to clubs, schools, stores and other organizations open to the general public. Simply write: Salon Director, PHOTOGRAPHY, 366 Madison Ave., New York 17, N. Y.
All data and descriptions ascribed to products listed herein are those claimed by the manufacturers and distributors, and listings are not to be construed as endorsements by PHOTOGRAPHY.
REFLEKTA II SV, a new model of the German-made twin-lens reflex camera incorporating an improved shutter system, is being distributed by Ercona Camera Corp., 527 Fifth Ave., New York 17, N. Y. It features a Prontor SV shutter with nine speeds from 1 second to 1/300 and bulb, built-in M-X flash synchronization for all bulbs at all speeds, including zero delay and electronic flash, self-timer, matched ƒ/3.5 coated and color - corrected anastigmat lenses, finger-tip focusing, built-in hood magnifier, body shutter release, double exposure prevention device, self-erecting hood which converts to a direct-view sports finder.