Good morning, sirs, and congratulations! Bob Bone's article. Cameras Forbidden! in the March issue is one of the most comprehensive studies of the what-where and yes-no of cameras and photography: it is truly outstanding. Thanks a lot for the great assistance and reference material.
Much has been written about the preparation of slides—whether they should be left in cardboard mounts, mounted in glass, or hound in metal frame with or without glass. The answer as to whether or not you should go to the trouble of glass mounting depends mainly on the demands on and the use of your slide collection.
For years I did not use windowlight because I thought it was too unconventional. Every picture was made with sunlight, shade, flash, or flood. Now, windowlight has become one of my favorites. With the trend toward greater naturalness in all phases of the arts, it would be worthwhile to look into this simple type of lighting.
Somewhere along your road to becoming a hot-shot photographer—if it hasn't happened already—you’re going to start wondering about filters. These colorful pieces of glass and/or gelatin are appealing. In fact, for some amateurs they seem to exercise the same kind of irresistible appeal that a bright bit of glass does for a jackdaw —and impel the same desire to collect.
One of the world's most exciting subjects for a photographer has blossomed on what was, three years or so ago, a grassy plain hundreds of miles from the nearest major metropolis. I refer, to be sure, to the splendor of Brasilia, to which I recently repaired, lens in hand, eyes swimming, and jaw agape.
One of the hardest things to agree upon about a picture is whether it was taken at just the right time, and contains all the elements it should have, but not more. This has to he subjective because—for example—I might like a serene, rather empty landscape, and you would prefer to have people or animals in it.
Just as I was preparing this column on making test strips, I happened to see an article in a magazine aimed at professional photographers and was surprised to see that it attacked the whole concept of test strips. A certain professor of photography is said to have described the test strip as a “villain” and “fine for a Boy Scout working on his photography merit badge.”
The only reasonable answer to this frequently asked question is in the negative, of course. The best a teacher can do, and he must be a special kind of teacher to do even this, is to awaken in the student—who need not be special, but receptive—what latent potential he may have in this direction.
In December, 1960, the Scientific and Technical Group of the Royal Photographic Society sponsored a symposium in London entitled “The Ultimate Sensitivity in Photography—Today and Tomorrow.” One of the lecturers, the well-known Russian photoscientist K.V. Chibisov, painted a rather gloomy picture of possible future increases in emulsion sensitivity (The Journal of Photographic Science, Vol. 9, 1961, pages 26-35).
Last month we announced that the July issue would appear with a radically new logotype, which is publishing parlance for the brand name on a magazine cover. Since this is our 25th year and magazines all around us on today’s crowded newsstands are blossoming out with boldlettered logotypes, we felt it an excellent time to modernize our own store front.
RETURN TO PRINTING/IMPROVED CAMERA DESIGN/COLOR PROCESSING FOR THE AMATEUR/WIRELESS REMOTE CONTROL FOR PROJECTORS/THESE ARE SOME OF NEWS ITEMS FROM THE PHOTO TRADE SHOW
David B. Eisendrath
PHILADELPHIA—Photography jumped on its horse at the MPDFA show here, and galloped in many different directions at once. Movie camera manufacturers headed for zoom and reflex viewing. The big negative got a boost toward 4x5 by the Polaroid P/N positive-negative film system, and a bend toward 70-mm by the new Linhof roll-film backs.
New and exciting SHOW STOPPERS from the Philadelphia Trade Show
The cause of much attention at the show, this new Rollei is similar in design and operation to the TeleRollei, but has a 55-mm Zeiss Distagon f/4 seven-element taking lens that covers a field of 71 degrees. Focusing is from 2 feet to infinity, and a bright image is obtained through the four-element 55-mm viewing lens. The hood can be removed. A meter can be installed if desired. Price of camera which uses series 4 accessories, $399.50.
KODAK RETINA REFLEX III
Graphic 35 Jet is a 35-mm rangefinder camera with automatic film advance powered by CO2 cartridges similar to those used in making soda water. A trigger release trips the shutter and when released advances the film and cocks the shutter. A normal thumb-wind can be used when desired. Up to two shots a second are possible. Other features are built-in coupled meter, push-button focusing, f/2 lens. Price, $149.
PETRI PENTA V2
Greater meter versatility is the main feature of this new semi-automatic 35-mm camera that joins the Retina Reflex S. Though they are similar (using the same lenses and general accessories), the new camera has two meter needles—one in the slightly enlarged viewfinder ocular, the other on camera top. Price with 50-mm f/2.8 lens, $214.50; with 50-mm f/1.9 lens, $248.50.
PETRI 7 35-MM
Single-lens reflex with fully automatic diaphragm and instant-return mirror. Unusual feature is double split-image rangefinder spot in pentaprism viewfinder. Comes with 50-mm Orikkor f/2 lens, has interchangeable (Petri bayonet) lens system, and shutter release on camera front. Also featured are speeds from 1/2-1/500 sec, FPX synch, rapid transport lever, and self-timer. Price, $159.50; case, $15.50.
Fine-grain comeback: THIN EMULSIONS FOR SUMMER SHOOTING
There’s no doubt about it—slower films are coming into their own. Though they have long been famous for their sharpness and fine grain, more photographers are now turning to them for general outdoor shooting in preference to medium-speed emulsions. I've been watching the trend for the last two years. and it's kept on growing.
Barn-&-tent circuit offers challenge and opportunity for the available-light camera
J. EDWARD BAILEY III
My first assignment to shoot summer theater came from the producer— Kenneth Schwartz—of Northland Playhouse near Detroit, my home. The plays, produced from June to September, would be running six days and there would be no time to stage or restage any of the scenes.
1 Mark Warren, Reseda, Calif. You’ve got a good idea, but you went about it wrong. Without stalwart Johnny and his dog’s-bowl hat, your picture would fall apart. Also, he can't even now sustain the whole thing by himself. Tableaux are staged, with each actor carefully positioned with props, and given his bit to play.
It has been said that you get out of life just about what you put into it. This is particularly true in regard to photography; hut it is well to remember that the more one takes out the more one has to put back in. So photography, like life, can become an ascending spiral.
"I haven't taken an original picture in three years, and I often wonder about how original the last one was,” he replied, sipping at his martini. “I don’t like it, in fact, I despise it, but no one buys new ideas. I believe photographers are hired to come up with predictable pictures, not new pictures.”
A naturalist's approach to floral photography is a bit different from that of other photographers.While many people take pictures of flowers merely because they are pretty, highly colored or easily accessible, a naturalist's aims, efforts, and results go a step further.
It is a commonplace to refer to soft, romantic, vague, unsharp pictures as “poetic"—probably because the word is associated with “things that are hard to explain.” Yet “poetic" has a real meaning that is quite different: it comes from the Greek to make or create.
Your backyard garden or those in your neighborhood can be a paradise of photographic subjects from the day the first crocuses push their heads through the snow in the spring to the last of the chrysanthemums in the fall. Even during the bleak winter months there is garden beauty that can be captured in black-andwhite or color.
Francis Yvon Duval opened an article in this magazine last winter saying, “My approach to color is a designer’s approach. The color pictures I take are not photographs in a journalistic sense. They do not tell a story but instead show something for only its beauty and its design.
The extreme horizontal or vertical approach can make the difference
Prize-winning photographer Jerry White of Los Angeles deals severely with some of his pictures—in the cropping, that is. White knows that certain subjects can be interpreted best in an extreme format; pictures with compositional lines mainly flowing through a limited horizontal or vertical area can be given new strength by pulling in sharply on the ends, top, or bottom.
If it weren't for color photography, I wouldn’t he a photographer today. That may sound like a pretty strong statement, but it’s true. I find that color in photography does two widely divergent things for me. I see in color, and color photography allows me to reproduce accurately on film that which I see; and, since it’s so readily distorted, color gives me an extra dimension in which I can experiment and satisfy my creative urge.
Taking pictures underwater, once a precarious pastime practiced only by a few adventurers. has, since the advent of SCUBA (self-contained underwater breathing apparatus), become an increasingly popular sport—one that’s making skin divers of photographers and photographers of skin divers, and bringing to the surface exciting views of the mysterious world of the deep.
One-half of this hook is devoted to pictures and the other half to a special section called “Professional Techniques” hy Simon Nathan. The picture section includes the work of some top photographers—Tibor Hirsch, Jerry Yulsman, Lawrence N. Shustak, Edward Lettau, to name just a few. Hut the most provocative part of the volume is Nathans “Professional Techniques.”
Readers’ requests for information about various places they plan to visit have tended to follow a general pattern, and we’ve followed the same pattern to determine what to include in our new travel-photography feature, the POPULAR PHOTOGRAPHY Travel Report.
The movie camera is the one instrument that permits us to record our family, our travels, our life, our world, in all its aspects. Filming, too, can be an exciting adventure. It offers a boundless opportunity for imaginative exploration, for individual expression, to tell a story, to picture the abstract.
INSIDE MOVIES: Backgrounds : How you can put them to work for you (page 98) Going touring? Take along these 20 Tips for Tighter Travelogs (page 101) Field Test Reports on latest Konica zoom-reflex camera, the Bolex 18-5 projector, a sturdy titler—all for 8-mm movie-makers (pages 103-104) Flash: One-minute movie processing (page 110) Film while you drive (page 111 ) Plus a Movie Tip to steady your camera (page 112)
Composition has always fascinated the serious photographer. Perhaps this is due to the fact that the subject is so nebulous and difficult to discuss in specific terms that anyone can offer an opinion. Not only is composition largely a matter of personal feeling for a particular visual situation but these situations are so varied that any attempt to codify the process is likely to result in a stultification of the photographer’s vision.
Three-quarters of the earth’s surface is water—but most of it is neglected in amateur films. Yet, water is a wonderfully alive subject: it pours, flows, reflects; it ripples, it foams; it can be, in turn, beautifully blue, or depressingly gray; it beats onto the beaches with enough power to wipe out entire towns: yet, at other times, it is gentle, the playground of the millions.
The ever-present background is probably the most neglected area of the home movie. Most amateurs concentrate so much on the subject that they totally overlook what is in back of it. A fact-wise minority looks for a plain, undistracting background, or else tries to keep it out of focus.
1. PHOTO ALBUM Reminiscing: Albums can physically pull together shots taken at different times, different places. Particularly effective if photos are actual enlargements of opening frame of each scene. 2. BLACKOUT Helps speed up film, bridge footage you lack.
This latest Konica zoom model stresses new convenience in operation. Like its pioneering parent, Model II runs on four penlight cells, preloaded into a new sturdy plastic case, slipped into compartment A and like its predecessor, it has semi-automatic exposure control, but the exposure indicator is now inside the viewfinder.
When a still photographer-friend boasts about pictures-in-a-minute. movie makers needn’t feel too slighted. We, too. have our one-minute processing. Rapromatic, Inc., of Syosset, L.I., N.Y. offers a chemical-saturated webbed roll that processes film as it is shot.
How often have you found yourself touring through picturesque surroundings, but unable to use your camera because there was no place to park, or you were in too much of a hurry? You let the scenery slip past your windshield with a sigh, and with only your crowded memory to retain it.
Canon Camera Company’s entry into the medium-price range is the streamlined Canonet, a rangefinder camera with completely automatic exposure control. Once you set the film speed (10 to 200) and shutter speed (1 to 1/500) the Canonet selects the correct aperture for the lighting conditions.
If you are an outdoorsman who wants his camera always ready for immediate action but worries about the danger it’s in when hung loosely around your neck, here’s an idea for a simple harness that will keep your 35-min available for instant use and yet allow your hands to be free the rest of the time.
Pipe in plug makes sink print washer Of the many methods for making print washers, this is among the fastest. Take a few seconds to hammer a piece of brass tubing into the center of a standard rubber plug. Tube should be previously cut to approximate desired length; it can then be varied up or down to adjust water depth.
What is the cause of small, round spots on negatives? Enclosed are negatives that have some sort of spots on them. What could have caused them? I pre-soak film in water for three minutes at 68 F. Then I develop 15 minutes at the same temperature, using a wetting agent in the developer to avoid pinholes.