First: 1 wish to thank POPULAR PHOTOGRAPHY for printing the article “Can You Sell A Cover?” by Joseph N. Hartley which appeared in the May issue. Second: I wish to thank Mr. Hartley for making his information available to the reader. As of the date of this letter [April 17. 1961], 1 have sold two front covers—this achieved only by learning of these markets
Recently news was made in the field of color technology. No. it was not a major breakthrough in sensitization or the discovery of some new dyes, but just an announcement by the American Standards Association that they had adopted a new method for determining speed of reversal color films for still photography.
Greece, this year, has expanded its tourist facilities more than any other country, giving a fair indication of the popularity of that ancient land. For photographers it offers a great variety of themes. Architectural photography is the most historically obvious, and seascapes are nature's most bountiful offering.
This is is the time of year for outdoor shooting sessions, so look for locations that take advantage of nature's props—they’re everywhere! Models love to have something to lean, sit, or stand on. A prop helps them in their posing and also aids the photographer in composing.
There has been a lot of fanfare in recent months about a so-called newly perfected process that is said to make photographic color images “retain their original sparkling color for years and years!” It is surprising that so many members of the photo-reporting fraternity accepted such a claim without expressing some word of caution.
It is common for amateurs (and a few pros, I'm afraid) to discover their errors only when they see prints of their pictures. Dr. Edwin Land has now made it possible for many of them to correct their mistakes ten seconds after they are made. But we who use cameras other than the Polaroid can have it better still—if we are clever enough.
A solid support for a camera can fit on an automobile window if a piece of 1x2inch board is attached to an ordinary clip board. The clip board is trimmed down, of course, an accessory nut is bolted through the 1x2 to take a small pan head, and foam rubber is cemented on to prevent scratching.
...over 135 interchangeable lenses and accessories
MIRANDA ... perfect choice as ‘first’ 35mm camera but a camera that grows with your needs! The camera that is bringing a rapidly increasing number of professionals and advanced amateurs up-to-date, equipment-wise. It may be any one of Miranda’s many fine features that attract photographers... the error-free viewing system with its superaccurate, Ground Glass design delivers 100% accuracy from image to film... the “whisper” of the camera in operation attests to the precision fit of all components... but most of all, we think it’s Miranda’s unique lens mount design.
Having read the column in this space in the June issue ("Can Expression Be Taught?"), a skeptic was moved to doubt that photographers could express themselves through the medium at all. “Is it really possible for a photographer to really see life."
CHICAGO—In search of manufacturer : Joseph Antos, designer of the La Belle slide projector, has invented new projector that a few favored experts who have seen it are raving over. Like La Belle , it is stack-loading, but feeds alternate slides into left and right projection apertures, lit by single 500-watt lamp.
FOTO MAGAZINE of Stockholm announces its 1961 competition with over $3.000 in prizes plus plaques and certificates. Submissions must be groups of four prints (black-and-white or color) or four slides. Only pictures which have not previously been published or awarded prizes will be eligible.
Various aspects of photography’s most crucial technical problem are discussed in this special issue. Image sharpness or its lack is at the core of much controversy today. There are those at one extreme who believe that an unsharp photograph is a failure no matter what its subject, and some at the other whose work seems to he saying that sharpness should be shunned at all costs.
There once was a day when an unsharp picture was considered an unsuccessful picture. That day has long since passed. Today the picture that is unsharp is often considered artistic. Excess grain, fuzziness, and blur have become equated with the sensitivity of the man behind the camera.
Focus, exposure, camera steadiness—all help preserve maximum quality
Sure I know how to focus!” Would that be your answer to one of photography’s most basic questions? If you’ve always regarded focusing as a simple matter, you may be in for some surprises. The plain truth is that a large percentage of photographers don’t know how to focus properly.
Summer photography is full of motion. Kids race down the beach: people take to boats and water; and the camera goes outdoors to record a wide variety of activity. It's important to use the right shutter speed for really sharp results. But are you satisfied about your choice each time? Picking a speed at random is not the surest way.
”Always stop down for greater sharpness?” Nonsense!
One of the amazing things about photographs is the tenacity of its legentis—like the one that says "always slop down for greater sharpness. Picture results disprove it: optical facts show it isn't so. But photographers by the thousands still believe that stopping down the lens as far as possible is the only way to make the sharpest pictures with any camera.
Using too fast a film. There'S no doubt about it—the slow, thin-emulsion films have the greatest potential for sharpness of any films used for general shooting. Their grain is finer, contrast is higher, and they produce higher edge-sharpness (or acutance) which is such an important factor in sharp-looking images.
Let a word from marksmanship help you make your pictures sharp... the word is B-R-A-S-S
Most photographers think that camera shake presents a problem only when they shoot at a shutter speed of less than 1/50 second. But anyone who shoots objects moving at a high rate of speed, sports cars, tennis, or any of the fast action sports will find that it is a problem even with the fastest of shutters.
Developer choice, processing technique, enlarging skills and tools... all help preserve the quality you achieve with your lens and film
At one time, if a photographer’s negative looked sharp he was guaranteed a sharp print. Those days are gone forever—gone with the 8x10 view camera and the 8x10 contact print. Today's 35-mm photographer must enlarge his negative up to 8½ times to produce a print of similar size.
One of the features of photography that makes it so intriguing and endearing— even to those who do not make pictures'—is the endless discussion of all its ramifications. Endless, perhaps, because scientific as the field is, the nomenclature is often cloudy and no clear-cut semantics has ever been established.
How good are they? Can they replace glass? Are precision plastic lenses coming? Will they be cheaper? Can they mean sharpness poured to order? See what plastic lenses can do
LLOYD E. VARDEN
For some years photographers have been hopeful, and indeed optimistic, about the replacement of optical glass by plastic materials. They have assumed that optical plastics would lead to lower priced lenses, therefore permitting them to have a wider range of objectées than they could normally afford.
The special train joggled down the track. I was in the last car—one of those observation cars with an open rear platform that has now become part of the American past. It was October 1952, and this was the Campaign Special of Dwight D. Eisenhower, then a candidate for the office of President of the United States.
Once upon a time there was a big camera with black bellows, swings and tilts, sheet-film-holder back, and a groundglass. ... But to make a long story short, that same camera is doing 50 percent of its owner’s work today—and if he trades it in, it becomes a used camera bargain.
The camels and their drivers paused for a moment of shade on the way to market in Jaipur, India, and the alert photographer saw them as part of an exciting design, created by their grouping and the strong contrast of the figures in shadow against the bright, sunlit building facade.
Hairline sharpness reflected in the big-camera approach is clearly apparent in this careful still life by Stan Young of New York City. While making test shots of pea soup in his studio for an advertising agency, he photographed this arrangement with a Burke & James 8x10 view camera on Ektachrome Type B film.
The chief reason for using bulk film is to save money. A 36-exposure roll of Plus-X costs $1.10 (list) factory packed, but only 39 cents (list) when rolled from a 100-ft bulk roll. The savings on all black-and-white films is proportional. In color, unfortunately, the same ratio doesn’t apply.
For the camera-carrying visitor to Japan who wants a change from the tours of shrines, castles, and temples, and would like to focus on some of the typical activities of everyday life in modern Japan, there's now a tour of the leading industrial plants of the industrial metropolis of Osaka.
In past columns I have commented many times that the techniques of the professional film-makers and those of the advanced amateurs are growing closer and closer together. One of the ways in which this is happening is that amateurs are shooting more and more story films.
The most routine activities can make an exciting movie subject if you add a conflict to them. Take picnics, for example. As a rule, they form the most boring footage, of no interest to anyone except the participants. But now add a touch of drama: Junior gets lost, possibly, on his was to get something out of the car.
... and wins the Robert J. Flaherty 1960 Award for their documentary, ‘Primary’
A team of professional filmers is using rank amateur methods with startlingly effective results. The team consists of Dick Leacock. Don Pennebaker, and AI Maysles. joined together into “Filmakers” plus producer Robert Drew; their efforts can be seen on the Close-Up series over ARC-TV.
Did you ever wish you had still photos of some of your movie scenes? Perhaps you would have liked to send some prints to distant friends without a projector. to some publication for reproduction—or possibly to some "actors in your movie. Perhaps there have even been occasions when you regretted not having a still camera along.
Technicolor Products, Inc. is test marketing an 8-mm cartridge projector that looks like a small table radio (approximately 8 in. long. 5 in. wide, 5 in. high). Projector requires no threading: user slips in a special cartridge and turns a knob.
1 When choosing a new camera, set viewfinder through to finder telephoto on a position. stationary While subject, you sight evaluate how body cradles in your hand, how easy—or difficult—it is to press the release without moving the camera body.
CANNES AMATEUR FILM FESTIVAL TO BE HELD SEPTEMBER 2-12
The 14th annual Cannes Festival International du Film Amateur is scheduled, to be held September 2 through 12, 1961 at the Palais des Festivals. Cannes. France. Film entries should, reach the festival committee no later than July 15.
A new sound-filmstrip projection system has been developed by The Kalart Co., Inc., as reported in POPULAR PHOTOGRAPHY’S Newsfront last month. It uses standard 35-mm color film, with alternate frames of pictures and matching optical sound track, each 24x36-mm.
This new Eumig combines a great many features close to the heart of the up-to-date 8-mm movie-maker. These include parallax-free reflex viewing and focusing through a wide-range zoom lens, automatic exposure control with film speeds from 8 to 250, and a battery-operated electric film drive.
For some years the emphasis in slide projector design has been upon convenience features like power-driven slide-handling and focusing mechanisms. The picture on the screen is brought back into the spotlight with Sawyer’s new "500” EE Slide Projector.
The heightened competition that developed as POP PHOTOS 1961 International Picture Contest went into its fourth month was reflected in the winners for April. During the preceding months, it was not unusual for several of the winners to walk off with two or three monthly prizes each.
Photography is a language, as has often been said, hut don't expect to learn its grammar, syntax, and rhetoric overnight. Just as in mastering any new language, you'll need to struggle with key words and phrases before you can speak complete sentences; you II have to practice before you can express yourself fluently.
Is there any treatment for scratched and chafed film? I non Id like to know if there is any treatment available for scratched and chafed movie film. I hauled two large reels of 16-mm film in my car and evidently didn't have them properly protected, as the first 100 feet of each reel looks like it was covered with lint when projected.