Concerning an editorial in the April issue, I should like to make some observations. The subject of the editorial "Who cares a damn" must have been inspired by some erroneous statements in an issue of the photographic magazine called Infinity .that was devoted to the problem of the preservation of negatives.
What type of camera would you advise for the beginner?
Choosing any tool depends a great deal on the personality, idiosyncrasies, purpose, bank account and even the user's propensity to luxuriate in the caverns of gadgetry. The novice must know of the various types of cameras—reflex, rangefinder, etc.—have some understanding of their advantages and disadvantages and realize that no camera is better or more creative than any other, although one may be simpler to handle than another.
In the past year there has been a great “new” introduction of automatic cameras, both still and movie. I say new because there have been cameras with these features for many years but for the most part not so well refined or easy to use. A camera with an automatic exposure-setting device has great attraction, and can be an aid to the amateur picture-maker.
Quality entry in single-lens reflex field has instant-return mirror, instant-reopen diaphragm
The newest entrant in the rapidly growing list of top-quality single-lens reflex cameras is Nikon's long-awaited Automatic Reflex, or AR, which features a smoothly-operating instant-return mirror and instantly reopening diaphragm.
Miranda, Alpa, Hasselblad, and Robot Royal offer variety of design changes and new features
ROBOT ROYAL 36 b
cotitinued Four well-known camera lines have recently introduced significant modifications in the designs of their current models. While basically the cameras are the same, these improvements add materially to the virtues of the Miranda, Alpa, Hasselblad 500 C, and Robot Royal 36 cameras.
ZEISS IKON Contaflex cameras are available in two new models, the Super and the Rapid. Both feature a 50-mm Carl Zeiss Tessar f/2.8 lens with an interchangeable front element permitting use of 35-mm wide-angle, 85-mm tele, and stereo attachments; Synchro-Compur MXV shutter with speeds to 1/500 sec; single-stroke lever for film advance and shutter cocking; collapsible rewinding crank, improved rewind lock, and an accessory shoe mounted at the camera’s top. The difference between the two is a built-in, ASA calibrated, photoelectric exposure meter. Twin-needle indicators can be seen in the viewfinder and in a small window on top of the camera. Lens aperture setting is interlocked with the indicator movement and an additional interlock exists between the lens diaphragm and shutter speed setting ring. Thus, the setting of the exposure indicator may be seen at eyeor waist-level. The Super is priced at $199, the Rapid at $169; case, $15. Distributor is Carl Zeiss, Inc., 485 Fifth Ave., New York 17.
Carl Zeiss, Inc.
NEOCA 35K, a 35-mm camera;, has a coated, color-corrected f/3.5 lens; extra large, luminous viewfinder, onestroke rapid-advance lever; double-exposure prevention; 5 shutter speeds to 1/300 sec; rapid-rewind crank; and automatic resetting frame counter. Pi'ice, $24.95; leather case, $4.95. Distributor is Shiro, Inc., 276 Fourth Ave., New York 10, or 215 W. Fifth St., Los Angeles 13.
Carl Zeiss, Inc.
SEKONIC ELMATIC 8
SEKONIC ELMATIC 8, an 8-mm movie camera< is introduced by Sekonic Inc. U. S. A., 130 W. 42nd St., New York 36. It has a tux'ret with 13-mm normal, 9-mm wideangle, and 32-mm tele Resonar f/1.9 lenses. When used at 16 fps, it is semiautomatic in operation. Oversized brilliant viewfinder has sharply defined masks in color to match color bands of the lenses. Color dots on tui'ret assure each lens is in proper picturetaking position. Variable control photoelectric exposure meter has visible f-stops and adjustment lever is used for E.I. 10, 16, 32, and 40 films. Other features; 12, 16, 24, and 32 fps, 8½ ft film run, built-in filter's (haze, neutral density, and conversion), single-frame exposure, continuous run lock, parallax adjustment, drop-in loading, hinged cover, and ratchet winding. Price, $89.50; compartment case, $10.
Carl Zeiss, Inc.
LINMARK VANGUARD, a turret mounted 8-mm movie camera accepts D mount lenses, has a 7-ft run, two-way release for continuous run and singleframe exposure, footage counter, brilliant viewfinder with framed fields for normal and tele lenses, and a color-corrected and coated 13-mm f/1.9 lens. Price, with wrist cord, $39.95. Distributor is Shiro Inc., 276 Fourth Ave., New York 10.
Carl Zeiss, Inc.
WITTNAUER ELECTRIC EYE
WITTNAUER ELECTRIC EYE is an 8-mm electric drive camera, similar to the Cine-Twin camera-projector, but without the projector feature, and with a single-lens mount only. It has the Elgeet ƒ/1.8 automatic lens-meter unit. Price is $109.95. Manufacturer: Wittnauer, Div. of Longines-Wittnauer, 580 Fifth Ave., New York 36.
Carl Zeiss, Inc.
KEYSTONE KA-1D, an 8-mm rollfilm turret movie camera, has f/1.8 lenses, manual and automatic exposure (electric eye), footage indicator and built-in Type A and haze filters. Priced at $129.50, it is made by Keystone Camera Co., Inc., 151 Hallelt Sq., Boston 24.
Carl Zeiss, Inc.
IRISH STROBO-SCOPE indicates whether a tape recorder operates accurately at 3¾. 7½, or 15 ips, both on record or playback. In use, the disk-like instrument is held against the moving tape. Price is $4.95; manufacturer, OR-Radio Industries, Inc., Shamrock Circle, Opelika, Ala.
Carl Zeiss, Inc.
NORELCO CONTINENTAL tape recorder
NORELCO CONTINENTAL tape recorder is now available in a stereo version. Model EL3516G/53 consists of a tape drive mechanism, two preamplifiers, one power amplifier, and speaker. It records and plays back monophonic tape, and can play back stereo tapes with a second power amplifier and dual corie speaker in an accessory cabinet. The Norelco Stereo Continental has push-button controls, twintracks, and three speeds: 7½, ¾), and 1⅞ in. per sec. Price of the recorder is $299.50; the cabinet with second amplifier and speaker is $95. For further data, write North American Philips Co., Inc. High Fidelity Products Div., 230 Duffy Ave., Hicksville, L.I., N.Y.
Carl Zeiss, Inc.
SOLAR 4×5 and 5×7 diffusion enlargers are now supplied with an improved paraboloid reflector, providing increased contrast, better definition, and shorter exposure times, according to the distributor, Burke and James, Inc., 321 S. Wabash Ave., Chicago 4. Conversion kits for most older model 4×5 and 5×7 diffusion Solar enlargers are also offered.
Carl Zeiss, Inc.
ELDORADO THERMO-TROL is designed to maintain a predetermined temperature in any liquid or developer, once set. It measures 1×8 in., and clips to the side of tray. It is accurate within one degree, according to the manufacturer, Eldorado Products Co., Inc., Box 411, Clifton, N.-J.
Carl Zeiss, Inc.
GIANT DUODRIER is now available in a new model with automatic thermostat. The 300 - watt double-size 13½,2×18in. dryer has adjustable apron tension. Price, with two 12x×7 - in. ferrotype plates, is $14.98. It is available at Spiratone, Inc., 135-06 Northern Blvd., Flushing 54, N.Y.
Carl Zeiss, Inc.
KINDERMANN self-loading film loaders
KINDERMANN self-loading film loaders and reels have a guide for inserting of film. Film is wound onto reel by turning a handle. Construction is stainless steel. Made for 35-mm, 127, 120, and 620 film, individual reels and loaders are $4.95 each; combination reel and loader is $8.95. Distributor in the U.S. is Voss Photo Corp., 601 W. 156 St., New York 32; in Canada, Kindermann (Canada) Ltd., P.O. Box 301. Station B, Montreal, P.Q.
MATCH YOUR SKILL WITH THE PRO ON A NEW ASSIGNMENT:
“FOURTH OF JULY” THE PRO: GUIDO ORGANSGHI DEADLINE: JULY 31
Do you see the “Fourth of July” as a blast of fireworks; or a peaceful family picnic scene; or an overheated traffic jam on a stifling highway: or a refreshing dip in the sea? Or just how do you see the “Fourth of July”? Your photographic interpretation of this holiday will be your entry in POPULAR PHOTOGRAPHY’S 14th CHALLENGE!
WALT DISNEY, THE ART OF ANIMATION by Bob Thomas, Simon and Schuster, New York, 188 pages, black-and-white and color illustrations, hard cover, $5.95. This impressively produced book on the animated film serves a multiple function. It is a brief history of the animated cartoon with particular emphasis on the contributions of Walt Disney and his studio; it is a lavishly illustrated account of the making of an animated cartoon from the first storyhoards to the screen; and, finally, it is an impressive promotion piece for Mr. Disney’s latest cartoon production Sleeping Beauty.
SHORT CUTS TO BETTER PICTURES Fragile photoflood lamps are singularly difficult to store safely. They can so easily roll down and fall, shattering. To prevent this, screw the bottoms of opened tin cans to a storage shelf, and place the lamps in them, base down, with the bulb resting on the rim. Use smaller-size cans for regular flood lamps, larger ones for the reflector tvpe.
“I’m getting a little tired of 35 mm,” one of our editors recently remarked, echoing a sentiment we’ve also heard from other sources. Once the underdog of photography, today the miniature is top banana, and instead of justifying and defending 35, now it’s necessary to prove that larger-format cameras, too, deserve a place in the sun.
To paraphrase a celebrated epigram of Edward Steichen, there is no photographer so versatile as the simplest 35. Few amateurs—and perhaps not so many professionals, either—ever fully exploit the amazing picture-taking potential of their miniature cameras.
Popular Photography covers miami's photojournalism conference
Third annual session attracts top speakers from Europe and U. S. who lecture, debate, and just plain argue for three and a half days
Important, inspirational, and necessary! These words describe the Third Annual Photojournalism Conference held at the University of Miami (Coral Gables, Fla.) under the joint sponsorship of the University and the American Society of Magazine Photographers (ASMP).
It's the accessories, not just the camera, that make 35-mm the versatile system it is. A photographer can call upon thousands and thousands of devices to extend the usefulness of his miniature camera. Below we have picked, the dozen that have proved themselves over and over again under conditions regularly encountered.
A world-ranging photo journalist tells why 35-mm is ideal for his pictures of people
SANFORD H. ROTH
From Copenhagen to the Congo, over a period of many years, I have heard and read, "There is no single camera that can do all jobs." If this is so, then it is surely also true that there is no photographer who can do all jobs. Let us say there is truth in both statements—enough to bring about a marriage between myself and a camera that fits my needs.
Why use flash with 35-mm? Which should you choose—speedlight or bulbs? What shutter is best for flash? Which bulbs work best with your shutter?
USES OF FLASH
TYPES OF FLASH
SHUTTERS FOR FLASH
MINIATURE FLASHBULBS FOR 35-MM CAMERAS
WHICH BULBS FOR WHAT CAMERAS?
TEST YOUR OWN SHUTTER
GEORGE D. MARGOLIN
These are the days of ultra-fast films, super-speed lenses, and dynamite developers to make fast films even faster. Flash, it might seem, is a useless technique for those users of modern 35-mm equipment who want to shoot by whatever light exists.
In a hurry for results? Follow these tips on fast developing and printing from 35-mm news photographers
Soaked in alcohol and flaming like a torch, the “hot” spot-news photograph is held gingerly in the fingers of a bicycle-riding messenger, pedalling for all he’s worth through Fleet St.—newspaper row in London, England. In less than a minute the flame is out and the print is dry.
"Small things are no more small than big things are big ... how beautiful is the world, and how much splendor is displayed by the smallest things, some flower, a stone, a bark of a tree, or a birch leaf ..."
A Life magazine staffer tells how he teams 35-mm with his 4×5 cameras in doing assignments for the world's largest picture magazine
The 35-mm is great but so is the 4×5. Cameras are only tools. There is no doubt in anyone’s mind that the 35-mm camera is the mainstay of picture journalism in 1959. It is the only piece of camera equipment made that will let the photographer melt into the background so that the subject will forget he is around.
A French photographer, with a French subject, shows why the 35-mm is a
The versatility and mobility that make the 35-mm camera a favorite of the photojournalists also endear it to the adherents of glamor photography. From fashion to cheese-cake, photographers of beautiful women find it an ideal medium. A Parisian photojournalist, Gerard Decaux of Globe Photos, recently turned his 35-mm camera on the coquettish charms of a young Hollywood starlet, Yvette Mimieux.
1: TURNER creates by going beyond the accepted recommendations for light, film, filters
COLOR ANNUAL ON CHICAGO TV
Photography to Pete Turner means solely color photography. One of the young (25 years old) professionals, Pete studied photography at the Rochester Institute of Technology under Ralph Hattersley and Robert Bagby. His interest turned early to color, and his professional work, in advertising, magazine illustration and on phonograph record covers, illustrates his experimental progress with color photography as both a recording and creative medium.
THIS IS HOW NORMAN ROTHSCHILD ACHIEVED HIS COLOR EFFECTS
SIMPLE MAGNIFYING LENSES
Photography is a medium which by its very nature is tied to reality. The photographer must always, to some degree, use his camera to record impressions of the real world around him. Sometimes the man behind the camera decides to alter in some way this image of reality in order to more fully express his feelings about the subject matter.
Selection of the right focal length for each shot is one of the film-makers most important creative jobs
Field of view
Depth of field
W. L. BROECKER
When you shoot a film, no matter what its subject, your job is to engage your audience's emotions. Whether they laugh or cry or sit on the edge of their seat with excitement, you must involve the audience in the action taking place on the screen.
All great works of art, no matter what the medium, are strong not only because of their subject but also because of their structure which is determined by the nature of the raw material. When an author writes a novel he creates in terms of words.
Following many years of deadlock, 8-mm color has finally broken beyond its speed barrier. Ansco, as first reported in our June issue, is introducing Moviechrome 8, a daylight-type color film with an exposure index of 20. Initially, distribution will be limited to 14 mid-Atlantic and New England stales, but it is hoped that production will be sufficient to supply the rest of the country later this year.
The Alpex 8 offers quite a double bill. It looks—and works—like a traditional 8-mm movie projector, though it is lighter (less than 8 lb) and more compact (9½ in. high, 7 in. wide, 7 in. deep) than most of them. But turn it around, replace the rear mirror assembly with a special optical slide attachment, and you are ready to show your 35-mm transparencies.
The following alphabetical state-wise listing of color finishing laboratories supplements the National Guide to Custom Color Services, published in the March 1959 issue. For details on the types of services offered, please contact the processors.
Must you enter the lion's cage to read incident light?
Does a faster projector lens throw a brighter picture?
What is the best place in a car for film and equipment?
Should film be stored in humidified cans?
What about reperforated film for shooting 8-mm movies?
Can you use 16-mm film in an 8-mm movie camera?
By mistake I used some Type F film outdoors. without a filter, and of course all my slides have a bluish tint. Can these slides be copied, using a filter to correct for the excess blue? If so, what filter? Do commercial labs do this sort of work?—M. C. Hayes, Rock Falls, Ill.