A recent decision of a New York court (Myers v. U. S. Camera Publishing Corp.) has pointed up an interesting problem in connection with the awarding of damages for invasion of the right of privacy, as well as demonstrating once again the importance of model releases.
Last month we discussed the special sort of negative developer that is the heart of the approach to 35-mm thin-film image quality which has become known as the “Beutler Technique.” To recapitulate, briefly, Beutler decided that there are no fine-grain developers that do not involve a serious sacrifice of image sharpness.
A. C. HALL, LAWRENCE, MASS.— Four negatives in my last pack of film have similar dark areas, all in the same corner. What could cause this? I use a 2¼x¼ press camera. The other pictures came out all right. ANSWER: Check the numbers on those fogged films.
ANSCO’S Super Hypan is something new in the photographic firmament: A high-speed film with medium-speed grain, gradation, and sharpness. An ultra-modern double-coated speed material, Super Hypan answers most of the objections to fast films raised by quality-conscious photographers by combining most of the characteristics of films in the ASA 80-to100 group, while providing optimum exposure indexes for available-light work on an equal footing with any film in the ASA 200-to-400 group.
Using the Nikon camera, its lenses, and accessories as the framework for a comprehensive textbook of 35-mm methods and materials, George Wright deserves congratulations for having produced a noteworthy addition to the literature of the miniature camera.
Congratulations on the May article, The World’s 10 Greatest Photographers. The most wonderful thing was the asterisk beside Gjon Mili’s name. MINOR WHITE Rochester, N. Y. Your excellent piece on the 10 greatest photographers included my favorites so I am pleased.
You hear it so often these days: “I only shoot color because I don’t want to bother with processing. I just don’t have time to work in the darkroom any more.” In the post-war years, with photography growing ever more popular, ever bigger, amateurs have been staying away from their darkrooms in droves.
A SPECIAL 19-PAGE SECTION SLOPE SHIP! How to create a slide show Tricks Barnum never knew All about screens, mounts, projectors How to add sound ARE YOU AS GOOD AS YOUR LENS? PICTURE PREVIEW OF THE 1959 PHOTOGRAPHY ANNUAL
Is 35-mm producing a generation of sloppy photographers.?
IN THE eyes of editors in close touch with the photographic output of amateurs and professionals over the last decade there has been a conspicuously steady decline in photographic quality. Too much work today betrays a kind of feverish haste as if photographers had been actually shooting on the run in mass disregard for all the inherited technical niceties of the craft One has only to take a look at some of Dr. Erich Salomon’s fine availablelight pictures made in the ’20s to realize that too many photographers not only have not kept pace with the vast improvements in cameras, lenses, and emulsions made since that time but have actually fallen behind.
In just a dozen years, the 35-mm single-lens prism reflex has profoundly influenced the seeing and picture-making of contemporary photographers. Its popularity among serious workers has brought about a proliferation of makes and models, so that there is now available a wide variety of prism cameras.
O YOU’VE got this little 35-mm camera, shot a few rolls, sent them out to various drugstores for developing and printing, and by and large, probably on the large side, you’ve not been too happy with what you got back. Possibly some of your negatives have been awarded free fingerprints of people you’ve never met, maybe you’ve found long pairs of beautifully parallel scratches which our English cousins charmingly call “tramlines” (trolley tracks to us), or perhaps your prints have lots of little spots whose arrangement doesn’t quite make it as a polka-dot design, and who needs them, anyhow?
ONE of the world’s most photographed cities—Paris—takes on new dimensions when seen through the telephoto lens of Frank Horvat. The 30-yearold Black Star staffer who makes his home-base in the fabled French capital believes that the telephoto conveys best his feelings about the city.
The cooling effect of seeing "Ice" pictures in the middle of summer was heightened by the excellence of many of the entries received for Challenge 'No. 8. An unusually severe winter in most parts of the world gave many contestants a chance to do a literal interpretation of "Ice.
If you haven’t, you know it because many of your 35-mm pictures have been coming out underexposed or overexposed What are the causes? Simply, your on-the-camera meter isn’t a magic instrument. It has to be used like an ordinary light meter.
I WENT out on a binge, a 24-hour photo binge. My cameras and I were locked in an unfamiliar apartment for one night and one day. From the minute I went into the room, until the minute I came out I shot pictures continuously except for one hour of sleep.
OVER the last five years a sign with one word on it—THINK—has found its way on to walls of offices, homes, and even some darkrooms. It’s a good word to have around, it’s an important word. But if I were asked to coin a slogan specifically for darkrooms, it would be: BEWARE OF 35-MM CONTACT SHEETS!
"THE recent release by the Eastman Kodak Company of their well-known negative-color roll film, Kodacolor, in 35-mm has opened up a whole new avenue of achievement to the miniature camera user. In effect, the world’s largest photographic manufacturer has, at last, formally invited the majority of photographers (above the box-camera level) to participate in the exciting new world of negative color, a world in which a single camera exposure may be used to produce a color print, a positive color transparency for projection, a high-quality blackand-white enlargement, or all three.
Fred Preisler, Jr., Kansas City, Mo. The editors were almost unanimous in feeling that strong toplighting, usually not considered good for pictures, made this fierce fowl portrait by casting an intense shadow which repeats the bird’s form.
THE lens is the camera’s eye. It gathers light rays from a scene and focuses them on the film. How well it does this job determines the quality of the picture. Lenses differ in three main characteristics: focal length, maximum aperture, and general quality. Knowing more about lenses will help you choose and use them more effectively.
THE summer I became sixteen, 1937, I was vacationing at a seaside resort in Massachusetts with my family. The beach and statues were pictured on postcards, but I borrowed my father’s folding Kodak to take the same subjects. But my pictures were different because I admired the Life-Fortune slant rather than the Maxfield Parrish cliché.
YOUR letters indicate that the desire to make photography pay for itself, and perhaps earn a little extra pocket money, is the same just about anywhere in the world. Ideas and comments on this column have come in from every part of the United States and even from as far away as Rhodesia and Pakistan.
Here are six professional techniques that can improve your films
MANY amateur movie makers master basic movie technique but few get that extra spark into their films which lifts their work to a higher entertainment level. The barriers that lie between mere competency and effective movie making are the little extra touches and techniques which give a film that professional look.
When the average person says, “That was a good film,” he is really saying, “I liked it.” When you ask him why he liked it, the answer is likely to become somewhat vague and the final conclusion reached will be that the story or a character or some other element of the film struck a responsive chord in the viewer.