The new logotype I wish to comment on your recent decision to alter the logotype of your magazine [as begun in the July issue]. The change in itself is perfectly agreeable. However, do you find it necessary to explain the reasons and other irrelevant thinking behind this move?
In August. I discussed the importance of standards in photography, such as those the American Standards Association helps to establish, and then pointed out examples of the success of photographic standardization. This lets me use a German-made camera with a lens made in Japan, in a case made in Chicago, on a tripod manufactured in New York, and loaded with film made in Binghamton.
One of the objections raised by people who don’t use twin-lens reflexes (as I’ve mentioned before) is that they would have to change film after every 12 exposures, and thus stand more of a chance to miss pictures than they would with a larger film load.
In 1937. I think it was, Life printed a “Speaking of Pictures” which I vividly remember. It consisted of 16 (possibly 17) snapshots of a girl in a bathing suit. V hat made it unusual was the fact that in the first picture the girl was one year old, in the second two years and so on.
It is getting difficult to tell an availablelight rule from a 35-mm rule these days. The reason is pretty obvious. Available light has been around a long time; it has been practiced with everything from an 8x10 to a subminiature. But most of the available-light photography today is done with a 35-mm camera; most of the photography done with a 35-mm camera is by available light.
BELL & HOWELL CO., 7100 McCormick Rd., Chicago 45, 111., has introduced remote control to the mediumpriced 8-mm projector field.TheTouchTronic 265 (left) features a 3-button hand unit with a 10-ft cord for forward, still, and reverse operation. Other features: automatic film threading; T-12 lamp; 1-in. f/1.6 lens; screw-type framing, double-tooth shuttles; automatic loop formers, enclosed folding reel arms, and attached film cutters. Touch-Tronic 370 has in addition variable speed control, from 14 to 24 fps; room-light receptacle; T-14 lamp; 23-mm f/1.2 lens; 400-ft film capacity; attached splicer; and retractable power cord. Both also have alternate manual controls. Prices: model 265, $139.95; model 370, $184.95; add $20 and $25, respectively, if equipped with a Filmovara zoom lens.
BELL & HOWELL CO.
ARGUS EXECUTIVE projector
ARGUS EXECUTIVE projector, designed for showrooms and offices can also be used in the home since it has the general appearance (with rear projection) of a television set. It may be operated by remote control, accepts 60-slide capacity trays, and the control panel is made of Panelescent to provide a low-level light that makes controls visible in a darkened room without producing light bright enough to interfere with projection. Remote control unit allows forward and reverse cycling, focusing, and contains a pointer light. Price is expected to be under $400. Mfr. is Argus Cameras Inc.. Ann Arbor, Mich.
BELL & HOWELL CO.
STAK-PAK is a styrene plastic container which holds three Ansco Tag-Along slide trays. For storage, the containers can be nested on top of each other with an interlocking device that holds them in place. Snap-lock prevents the trays from falling out. Six labels are included, for the trays and for the door. Price is under $4. Cabinet is also available without trays and will accept TDC-type trays.
BELL & HOWELL CO.
TIFFEN SR #812 POLARIZER
TIFFEN SR #812 POLARIZER has been reduced in price (from $36.95 to $24.75) due to volume sales. At the same time, Tiffen Optical Co., 71 Jane St., Roslyn Heights, L. I., N. Y., announces new filter and lens accessories for the Bell & Howell 310, 312, and 314 electric eye, zoom movie cameras. Filters include a Hi-Trans screw-in ($6.25), an uncoated NCE screw-in ($4.95). Series VI adapter ring ($2.85), and a black aluminum screw-in lens cap ($3).
BELL & HOWELL CO.
Nikkorex 8 movie camera
ENTECO IND., INC., 610 Kosciusko St., Brooklyn 21, N. Y., introduces a screw-in filter mounted in a shade for the Nikkorex 8 movie camera. The extending part of the mount makes for easy inserting or removal of the filter. It’s available in all colors, priced at $4.
BELL & HOWELL CO.
KODAK MICRODOL-X developer is now available in small carton holding four packets, each to make 16 oz of solution for one-time use. Price is about 60 cents at photo dealers.
BELL & HOWELL CO.
How I Shot the Miranda Ads is a 20-page booklet with behind-the-scenc details of the problems encountered in tastefully using a nude in advertisements. Pictures and technical data arc included. It’s available for 10 cents from Allied-Impex, 300 Park Ave. S., New York 10.—[»»
It's too easy to make a black-and-white print. I came to this conclusion after a week spent working with color materials (see Agfacolor report, page 66) in a darkroom essentially set up for black-and-white. Color printing processes are constantly being simplified, and.
Photography is inundated with so-called "honors. Some honor the donor more than they do the recipient. Some confuse mere industry with ability, talent, and creative achievement. Others lack significance because the donor group’s standards are immature.
Sonic years back several women's magazine's used to bave columns with headings such as, "Why Don’t Manufacturers - - --? ”or "Why Don’t They Invent a ----?” consisting of ideas and suggestions submitted by readers for improving existing products or entirely new products.
NEW YORK—Color sheet film: Shown by Ansco at the P.P.A. show here was new color sheet film called Anscochrome 6500. When available, the reversal film will have speed in excess of 100 and be balanced for electronic flash, daylight. ELMONT, N.Y.—Trap low jets through photos : Former airline executive told a noiseabatement group here recently that airport area residents can take pictures of low-flying jet planes to prove they are under minimum legal altitude.
BRUCE DOWNES This special issue is devoted to light, a subject central to the whole range of photography, yet forgotten too often by people who like to think of themselves as photographers. Light is the very stuff of photography. Cameras, lenses, film emulsions, exposure meters, chemicals—all are designed to control, modify, or otherwise use light in the production of photographs.
Piezo flash (see next page for—just one of many breakthroughs on the way!
long before the first piece of film was ever exposed, the Greeks had a word for it . . .“photo graph.” It meant to write with light and still does. At General Electric we look to light, man-made light, to become an increasingly important and versatile photographic tool.
We’re caught up in an era of frantic technological progress. Films get increasingly faster; lenses keep getting faster; even processing is faster. And manufacturers now have started producing new types of meters with new types of cells, so that accurate readings can be taken in the lowest levels of light, in order to take fullest advantage of the faster lenses and films.
What’s new? What’s coming? How can you get the most for your money? Has design changed? Why are alkaline cells better than zinc-carbon? Do they influence equipment design? Is automation changing cell size? Does new equipment affect size? How can you take the best care of batteries?
May be you haven’t looked recently, but the status quo has changed in the battery field. Neat little packages of electric power are being used with more types of photo equipment to operate automation or give improved performance. Simultaneously, striking changes have occurred in battery design.
Light is one of the indispensable factors in photography, and although a good portion of what's needed is provided by the sun, there's so much demand for additional light from other (man-made) sources that a major part of the photographic industry is concerned with making equipment for producing artificial light.
Years ago. nearly all photographs were taken of subjects from five or six feet to many miles away. With the development of the twin-lens reflex, pictures could easily be made at a range of about three feet, and some brave souls armed with supplementary lenses ventured into the foot-and-a-half to three-foot range.
About two years ago, Agfa announced its negative-print color process and released a limited amount of materials for testing (see POPULAR PHOTOGRAPHY, November 1959). The film has been available during the interim, but processing was out of the user’s control.
The key to good portrait lighting doesn’t necessarly lie only in professional-type equipment nor in esoteri trade secrets. A beautifully lighted portrait can be take] anywhere, in sunlight or candlelight, by a photographe who knows what he wants and has an appreciation for what the light does to his subject’s face.
KODACHROME II daylight shot (at upper right) of Claude Monet’s Sunflowers produced a very warm-color slide under existing illumination of predominately artificial light. Slide appears too orange even when viewed under cold light. HIGH SPEED EKTACHROME dower right) balanced for tungsten illumination appears slightly too bluish a transparency under average light, as some daylight and fluorescent light was present when the copy was made.
Light, for purposes of photography, has three major features: quantity, direction, and quality. Before taking any picture, we must know how much light exists. Once we decide there is enough, we measure the light with an exposure meter.
During the past few months we received letters from at least two dozen readers who pointed out that they were taking “late” vacations this year in order to photograph fall foliage. They asked us for suggestions on where to go. The fact of the matter is that there are almost as many areas in which to photograph the brilliant colors of autumn as we received requests for information about where they can he found.
The biggest problem to the person interested in studying motion pictures is that many of the films he would like to sec arc not immediately available to him. It’s a sorry plight hut there seems to he very little that can he done about it. The film student who wants to see a particular film can do several things.
The football season has arrived—and with it, the opportunity to shoot exciting and demanding action. This year, for the first time, the 8-mm man will he able to join his .16-mm brother and really cover night games in color, thanks to new fast film.
There is a difference between noise a music, between splicing and editi between illuminating and lighting. T article is aimed at those who are not sat bed with just illuminating, and wish know more about lighting. It delves in basic lighting methods using simple, in pensive equipment, it also suggests ma techniques and devices that can help y improve your own movies.
When the winners were picked for the last month of Pop PHOTO’S 1061 International Picture Contest, it seemed clear that contestants from outside the United States were going to make a spirited hid for the top prizes in the final judging. American entries barely held their own as the last of the $50 U.S. Savings Bond monthly prizes were awarded.
I like to shoot available-light, pictures with my Retina Reflex S. but I have trouble getting a slow speed of 1/30 or 1 /75 second when using my 135-mm f/7 lens. How should I go about using this camera with its coupled exposure meter in available light?