Frequently I see questions sent you regarding the quality of the glossy surface on black-and-white prints. Amateurs are often concerned because their prints have spots on the surface, most apparent when viewed obliquely in the light. One source of such imperfections in the gloss is clue to tiny air bubbles.
There are some areas of color photography that appear to be very confusing, even to professionals, and I suspect that the use of skylight filters and so-called ultraviolet-cutting and haze filters may be such a subject. At any rate, if you talk to even experienced photographers, you'll find that it’s something like the latentimage theory: lots of people know there is one.
When I was a beginner, I used to think that a picture couldn't be made without some type of filter. But today I don t use filters unless they are absolutely necessary. One way to get along without filters is to use a film balanced for the light source, i.e., daylight-type film for daylight, tungsten-type film for tungsten lighting.
If you can make good black-and-white prints, you're ready to dive into color. I use the phrase “dive into color" deliberately because that is exactly the way you should approach color printing. Just as you can't learn to swim by reading about it.
The recent opening of the Panoras Art Gallery in New York City to occasional exhibits of photography was expected to develop a slight controversy because of director-owner Emmanuel Panoras’s policy of requiring a fee for hanging the show.
A fairly regular summer vacation destination in my family is the northern part of Maine, where my in-laws live. I could. I suppose, drive the 600-odd miles between my home and theirs in a single fell swoop (punctuated by coffee stops), what with the high-speed highways and turnpike's in New York.
We know quite a bit about the meaning of words, but less about the sound of words. However, there is a vast difference between the meanings of words written down and words spoken. The way something is said lends shades of meaning that cannot be held on paper.
Self-processing photography has finally come to those of us who use the TLR. If you're basically a TLR fan, hut have an incurable fascination for Polaroid Land picture-taking, you'll no longer need to own two types of camera. Because of the way in which the Rollei Polaroid Land adapter was developed, it is especially adapted for close-up photography, but of course it can he used for all types of work.
Some roll-film developing tanks which accept film only down to 35-mm size can be used for processing subminiature film if you carefully file down past the 35-mm stops. File away just enough so that film will stay in reel tracks when loaded. To prevent film from coming off reel in processing, turn the agitator rod carefully.
KALIMAR AM, a 35-mm camera with built-in exposure meter. has 45-mm f/2.8 lens; speeds of 1/60 1/125. and 1/250 sec: X synchronitation for electronic and conventional flash: singlestroke film-advance lever; double-exposure prevention; automatic resetting frame counter; depth-of-field scale; accessory shoe. Meter range is ASA 10 to 800. Price. $49.95; case, $7.95. KALIMAR A is similar but does not have the built-in meter. Price, $24.95: case, $7.95. Distributor is Kalimar Inc., 2644 Michigan Ave., St. Louis, Mo. 63118.
KALIMAR C-64 is a 35-mm camera with 45mm f/3.5 lens; 1/30-, 1/60-, and 1/125-sec shutter speeds; X synchronization; rapid film-advance / shuttercocking lever; fingertip focusing; tripod socket. Price, $24.95; case. $5.95. Distributor is Kalimar Inc., 2644 Michigan Ave., St. Louis, Mo. 63118.
BOLEX H-16 REX-3
BOLEX H-16 REX-3 features an 18➛86-mm zoom lens with built-in automatic exposure control. It is possible to focus the lens through the finder at its maximum f/2.5 aperture; the lens will automatically close down to its meter-determined setting when the camera is started. The electric eye can be set for film speeds 10-400. The lens's zoom lever incorporates a cable release, so that the lens can be zoomed and the camera started and stopped with one hand. There’s a built-in underexposure indicator and battery check. Camera has a new built-in base, plus all the earlier features of the H-16 Rex. including variable shutter, 12-64-fps speed, film rewind, automatic frame and footage counters, etc. Camera with lens is $987; lens is also available separately at $520. Importer is Paillard Inc., 1900 Lower Rd.. Linden, N.J.
BROWNIE FUN SAVER movie camera
BROWNIE FUN SAVER movie camera features a fixed-focus 13-mm f/2.7 Ektanar lens; an optical finder; pre-stressed spring motor with fold-away winding handle, and an exposure dial. Footage counter shows footage left to be exposed, resets itself. Price, including roll of Kodachrome II film and a Fun Saver Movie Idea Book, is less than $20. Manufacturer is Eastman Kodak Co., Rochester 4, N.Y.
MULTIBLITZ PRESS UNIVERSAL
MULTIBLITZ PRESS UNIVERSAL electronic flash is available in a new 1964 model. It features monitorized-transistorized circuit; controls concentrated on adjustable flash head; 4-sec recycling time on full power, 2½ on halfpower; operation on a.c., nickel-cadmium batteries, wet-cell batteries. D cells, or two 240-volt batteries; 250 flashes on camera bracket. $239.50; with above except ni cadmium battery instead of wet cell, $289.50. tributor is Exakta Camera Co., 705 Bronx R Rd., Bronxville, N.Y.
OUTFIT ROPBC sists of ten piece lighting equipme two 10-in. reflecto 5-in. bullet reflecto spot effects, th clamp, cord. sw and socket sets. No. 2 and one N photofloods, an four-section light s in compartmented Price is $12.67, f Spiratone, Inc., 135 Northern Blvd., Fl ing 54, N.Y.
KALIMAR SL VIEWER
KALIMAR SL VIEWER is powe by two C cells, and two optically gro glass lenses for ta or hand viewing. W slide is inserted, li goes on. Price, with extra bulb, $7.95. I tributor is Kalimar Inc., 2644 Michigan Ave., St. Louis. Mo. 63118.
PRADOVIT N24, a still projector accept 35-mm single and double slides, does not come w a 90➛150-mm f/2.5 zoom lens, as stated on p 57A of the 1964 PHOTOGRAPHY DIRECTORY & B ING GUIDE, part of the November, 1963 issue, comes with a choice of projection lenses, fn 90to 1 50-mm. Distributor is E. Leitz Inc., 468 P Ave. S., New York, N.Y. 10016.
BOLEX AUT MATIC 18-5
BOLEX AUT MATIC 18-5 has the features of l standard 18-5 mod including flickerless fps slow motion, p automatic film threa ing. Film can be load or removed in the m dle. Film gate can opened to mark film editing or cleaning. Other features are 400-ft r capacity, single switch for forward, reverse, sk motion; built-in roomlight control. Price, with -mm f/1.4 lens, is $169.50; with 12.5➛25-mm f/ zoom, $199.50. Importer is Paillard Inc., 100 Low Road, Linden, N. J.
KODAK CHEVRON projector
KODAK CHEVRON projector. Model features a dual air cooling system to Pr tect film at the gat permitting projection of single frames with out light loss. The m chine also provide flicker-free slow m tion, automatic threac ing. special voltag control switches f maximum lamp life and screen brightness; single-lever control for forward, still, reverse pre jection; and on-off room-light control. It takes up 400-ft reels. Price with f/1.2 lens is less than $190 with f/1.2 zoom lens, less than $215; with f/1 len for extra bright screening, less than $215. Manufac turcr is Eastman Kodak Co., Rochester 4, N-3
AGFACHROME color reversal film is now available in 4x5, 5x7, and 8x10 sizes. ASA index is 50 (daylight-type) and 80 (tungsten-type). Film is stated to have saturated reds, blues, and yellows; differentiated greens; natural skin tones; optimum color authenticity: brilliant whites; deep satin blacks. Processing is available in New York City and Calif. Distributor is Agfa Inc., Rockleigh, N.J.
ANSCO Deluxe Developing Outfit features a heavy plastic cover which doubles as an 8½x20 wash tray with overflow lip. Priced under $15, outfit contains contact printer, developing tank and reel with thermometer/stirring rod. three trays, paper, film and paper processing solutions, safelight, film clips, and instructions. Price is under $15. Details available from Ansco dealers or General Aniline & Film Corp., Ansco Consumer Products, Binghamton. N.Y.
TANDBERG 921 is a three-speed, two-track monaural record/playback unit. Features include 7-in. reel capacity, 1⅞-, 3¾-, 7½-ips speeds, pause control, built-in 4x7-in. speaker. Price is $269.50. A deluxe version, the 921-F, features remote control, reverse solenoids, and a foot-pedal control. Its price is $319.50. Supplier is Tandberg of America, Inc., P.O. Box 171, 8 Third Ave., Pelham, N.Y.
CONTINENTAL is a two-speed monaural a.c. tape recorder with push-button controls. It has 3VAand 7½-ips speeds, takes up to 7-in. reels, has two inputs, an all-transistor amplifier with power transformer, built-in 4x6-in. speaker plus outputs for external speaker and monitoring. The 12x9¾x6¾in. machine weighs 9 lb. Price, including dynamic mike, crystal earphone, and patch cord, is $79.50. Supplier is Continental Merchandise Co., Inc., 236 Fifth Ave., New York 1, N.Y.
UST-4 records fourtrack stereo and monaural, and plays fourtrack stereo and monaural, as well as half-and full-track monaural. It takes up to 7-in. reels, runs at 3¾, 7½ ips. It has a built-in 6-watt-peak amplifier and two 5x7-in. speakers. Features include edit or pause control, recording-level meter, and digital footage counter. Machine weighs 34 lb in its 19½Xl3½x9½-in. carrying case. Price is $299. Supplier is Ampex Corp., 401 Broadway, Redwood City, Calif.
V-M FIDELIS is a two-case stereo tape recorder: the twin stereo speaker systems fit together as a single carrying case, but come apart for up to 30-ft stereo separation. The tape recorder itself— which can be purchased separately for use with a hi-fi system—features four-track monaural and quarter-track stereo recording, and twoand fourtrack stereo playback; 1⅞-, 3¾-, 7½-ips speeds; sound-on-sound recording; push-button and lever controls; digital counter; automatic end-of-tape shut-off. It also has provision for an optional slide projector synchronizer. Price is $299.95 complete, or $269.95 without the speakers. Manufacturer is V-M Corp., 305 Territorial Rd., Benton Harbor, Mich.
ENTERTAINMENT FILMS offers Fritz Lang’s Metropolis, the 1926 German classic, in 8-mm. It comes on nine 200-ft reels, is $49.75. Eisenstein’s Ten Days that Shook the World, on seven 200-ft reels, is $41.95. The Battle, a 1912 Biograph film, is on a single 200-ft reel, costs $4.95. Midnig with Bela Lugosi is $24.95 for the six 200-f For further details and complete catalog, wr tertainment Films Co., 850 Seventh Ave., Net 19. N.Y.
CALIBRATED CAL BENCH
CALIBRATED CAL BENCH fered by Edmut entific Co.. 1 Gloucester Pike rington, N.J. 081 photographers wish to measun focal length, spacing between optical elemt a system, checking quality of completed s etc. Features include adjustable base, 40-in. wood rod graduated in mm and in., two plates with first-surface mirrors attached, fa justablc V-shaped lens holders accepting lensa VA in. to 3 in., and lens clamps. Price, $12.95
KODAK INST MATIC
KODAK INST MATIC Compa Case has two col ments. to account any Kodak Inst camera, catr flashbulbs, and Case measures 6 4½ in., and come a two-section sh strap adaptabl hand carrying. $16.95. at Kodak ers.
OMNICA DELUXE 1A
OMNICA DELUXE 1A compartment case a Nikon F, Nikkorex F, or any Nikon Pho camera with lens up to 135-mm, two wide lenses, one tele, a BC-5 flash unit with coup wide-angle lens shade, two film cassettes, six and/or close-up attachments, three cable rel etc. Price, $59.95. Omnica Deluxe 1B is largt also holds an extra camera body, a second tel and wide-angle lens shade, and ten filters a close-up attachments. Price, $75. Full inforn available from Omnica Div., EPOI Interna Ltd., Ill Fifth Ave., New York 3, N.Y.
WALTER CHANDOHA'S BOOK OF KITT AND CATS
WALTER CHANDOHA'S BOOK OF KITT AND CATS, The Citadel Press, New York, pages, hard cover. $8.50.
CONVERSATION, UNE INVITATION AU I LOGUE
CONVERSATION, UNE INVITATION AU I LOGUE, poetry by Paul Valéry, photograph Vilem Kriz, Wittenborn and Company, New Y portfolio format with seven black-and-white pi graphs printed on separate sheets, $7.50.
THE BRITISH JOURNAL OF PHOTOGRAHY ANNUAL
THE BRITISH JOURNAL OF PHOTOGRAHY ANNUAL 1964, Henry Greenwood & Co.. I London, 352 pages, hard cover. $3.50.
U.S. CAMERA 1964
U.S. CAMERA 1964 edited by Tom Malont U.S. Camera book, Duell, Sloan & Pearce. ! York, 231 pages, hard cover, 24 color plates.
PHOTOGRAPHY YEAR BOOK 1964
PHOTOGRAPHY YEAR BOOK 1964 edite Ian James. Fountain Press, London, unpaged, 1 cover, 228 black-and-white, 9 color plates, SI available from A. S. Barnes and Company. 1 New York.
THE DANCER’S WORLD
THE DANCER’S WORLD by Michael Peto Alexander Bland, Reynal & Company, New Y unpaged, hard cover, $8.95.
LINCOLN IN PHOTOGRAPHS
LINCOLN IN PHOTOGRAPHS by Charles H ilton and Lloyd Ostendorf, University of 0 homa Press, Norman, Okla., 409 pages, hard co $19.50.
NEVER A DULL DAY
NEVER A DULL DAY by Myrtle R. Walgn Henry Regnery Company, Chicago, 334 pa hard cover, $5.
THE CRUEL SPORT
THE CRUEL SPORT by Robert Daley, Pren Hall, Inc., Englewood Cliffs, N.J., 164 pages. 1 cover, $10.
HOW I PHOTOGRAPH NUDES
HOW I PHOTOGRAPH NUDES by Bu; Yeager, A. S. Barnes and Company, Inc., ! York, 144 pages, hard cover, $10.
FLIGHT by Jacques F. Ormond, Hill and Wi New York, 92 pages, hard cover, $6.95.
THE WORLD IN VOGUE
THE WORLD IN VOGUE, The Viking Press,! York, 416 pages, 24 color plates, hard cover,!
YATUN PAPA, text (in German) by Rolf Win photographs by Thomas Höpker, Franckh’sche lagshandlung, Stuttgart, Germany, 112 pages,! cover, $7.50.
TERM IN OXFORD
TERM IN OXFORD, photographs by Cas C thuys, The Viking Press, Inc.. New' York, 144 pa hard cover, $12.50.
THE ALPS by Wilfrid Noyce, G. P. Putna Sons, New York, 312 pages, hard cover, $15.
PROVENCE, Hill and Wang, Inc., New York, pages, four color plates, hard cover, $6.95.
PUERTO RICO: THE QUIET REVOLUTI
PUERTO RICO: THE QUIET REVOLUTI text and photographs by Homer Page, The V Press, Inc., New York. 175 pages, hard cover, $6
JOURNEY TO DAY BEFORE YESTERDAY
JOURNEY TO DAY BEFORE YESTERDAY E. R. Eastman, Prentice-Hall, Inc., Engle" Cliffs, N.J., 288 pages, hard cover, $5.95.
THE HAGUE, Netherlands — Dread winner: Malcolm Browne’s powerful photo of Buddhist monk Thich Quang Due burning himself to death has been named World Press Photo of 1963. Browne is Associated Press correspondent in Saigon, Viet Nam where picture was made.
The growth of automation in photography has been so rapid that manufacturers as well as photographers have been unable or reluctant to keep pace with it. The photoelectric cell has taken over control of the shutter and aperture on so many cameras that manufacturers who have resisted the trend are getting harder to find.
Cora Wright’s guide through the maze of EXPOSURE AUTOMATION
A new look at fully automatic-exposure still cameras
It hasn't taken long for full exposure automation to grow. In less than four years it’s become a major force in the still camera field, with more and more “fully automatics” pouring in every year. Yet, looking over the entire scene, we find that too much has happened far too quickly.
'... what we all se every day... instants of transfiguration'
H. M. KINZER
“Of all the means of expression, photography is the only one that fixes forever the precise and transitory instant.” The words are Henri Cartier-Bresson’s, from The Decisive Moment, published more than a decade ago. In the month that influential book was published, a young man was prowling the streets of downtown New York with a second-hand 35-mm camera, fixing his own kind of precise and transitory instants on film.
Today’s tiny electronic flash units put light where you want it-without ‘baggage’
Since the earliest days of photography, men have been interested in, and sometimes dedicated to, producing enough light to make good pictures when natural light isn’t sufficient. It hasn’t always been easy. Not many years ago photographers ran around with the equivalent of small bombs in their pockets, and poured flashpowder from little bottles into clumsy and dangerous guns for each flash exposure.
If you earned any part-time income from photography last year, the chances are you overpaid your income tax. The average nonprofessional photographer overlooks many costs that our tax laws allow him to deduct from any photographic income in determining how much taxable income he earned.
New no-housing camera that protects itself from rain, snow, dust, dirt, salt water spray
When future historians of photography finish their objectiv appraisal of the year 1964, they may select the introduction the Nikonos camera as its major event; because from that point o the market had a camera that could go anywhere a photographer coul go—and work.
Ansel Adams’ prodigious California show is reviewed by Beaumont Newhall and George Allen Young
The Eloquent Light.” the exhibition of photographs by Ansel Adams on view at the M. H. de Young Memorial Museum in San Francisco from November 5 through December 8, 1963, covers 40 years of camera work. It is staggering in scope, spectacular in presentation, and impressive in quality.
A few weeks ago, Jay Maisel was described by one of his competitors as "one of the hottest photographers around." Coming from anyone else the statement would be nothing but a mild compliment, but said by a man who locks horns with Maisel to do battle over thousands of dollars in advertising photography revenue, this is praise of the highest order.
Jay Maisel is anti-tech data. “Type of camera used and exposure information,” he states, “tell nothing of what went into a picture.” Going along with his wishes, here is an informal look at a sampling of his work shown in the color section of this issue.
There are photographic drawbacks to this Jet Age of ours. A photographer can cover five assignments in five different countries in three days, but a jingle-jangling may develop in his camera bag that means big trouble. I told Mark Kauffman the other day that it’s a good idea to shake all cameras and lenses after a long jet flight and listen for loose parts.
I have never been overly fond of printing meters — those darkroom equivalents of an exposure meter that glance at the projected image on your enlarging easel and predict the correct printing time and. in some cases, the correct paper contrast.
During the last few months I've had the opportunity to scan quite a number of contest entries (not my job but I do take a peek now and then). I've also had the opportunity over the years to see the work of many a photographer struggling with this medium.
One of the everpresent problems of small-camera life is how to produce flattering portraits of friends and relatives who have lines and wrinkles. There's no real difficulty if you use a large negative and can then retouch the offending wrinkles so they don't override expression.
Most useful inventions are simple ones. Look at the wheel. While the FR Thermo-control tray might not be as basic to photography as the wheel was to civilization, it is a simple and useful adaptation of a technique used by photographers for years to control temperature in a tray.
with the introduction of Polaroid Land backs for the Hasselblad and Bronica cameras, it is possible for the first time to get pictures in 10 seconds (or color in a minute) with a single-lens reflex roll-film camera. The equipment will prove especially valuable for those who work in color or with models when normal testing procedures for posing or lighting balance are not convenient.
Minolta SR-1 and SR-3 owners take note. There’s a new CdS accessory exposure meter that fits into the different looking "shoe” on the camera front, and couples to the shutter speed wheel. Coming directly to the matter of sensitivity (which is generally of prime importance to photographers), we obtained a lowest useful reading of ½ sec at ƒ/2, with a film rating of 400.
Can you imagine a Weston meter that’s even better than the Master IV? Well, take a good look at the new Master V, which follows solidly in the Master Series, selenium-cell, reflected-light tradition. Interestingly enough, many features of the earlier meter have been retained: the IV’s excellent degree of sensitivity and high performance; the same over-all size and general features; and practically the same internal mechanism.
For many years a company out in Skokie, III. has been manufacturing what they term “instrument-positioning equipment” ... or, to use the more common designation, “tripods.” The products of Quick-Set (that's the company I had in mind) have been so ruggedly and well made that many an owner of an instrument which needed positioning bought one.
When John Steinbeck visited Montana he wrote about it as the place that really resembles a small boy's version of Texas. His viewpoint has been so often quoted by Montanans in their state publicity that not only was it firmly fixed in the back of my mind long before my first arrival there, but I was fully prepared (by some quirk of perversity) to refute it.
Home movie-makers who bemoan their lack of fine equipment will find comfort in learning that professional cameramen often fall back on amateur methods to film their best sequences. Douglas Slocombe, ace British cinematographer, recently discovered he had no choice but to use primitive techniques to capture the effects his director and script demanded.
We have just seen a most reassuring screening of the prize-winning entries in Eastman Kodak’s nationwide movie-making competition for teenagers. Reassuring hecause they showed the imagination, the freshness of viewpoint so commonly lacking in the work of their elders.
They differ widely in light output, coverage, weight, versatility, and cost. Here is the score on each one
The doors to the night-time world are wide open. It is now possible to shoot inor outdoors, regardless of the prevailing light conditions, even with the slowest color films. The growing number of battery-powered lights have broken the line-cords that have chained the movie-maker to an electric outlet.
A Polish film company has once again proved that it is possible to produce an outstanding movie on a small budget. Knife in the Water, one of the entries at the first New York Film Festival, has a cast of three: a husband, his wife and a young hitch-hiker.
A library of useful information is available to photographers free, thanks to the instructional literature many manufacturers offer. There are, no doubt, several booklets described here that will interest you. Just enclose 10¢ in coin or stamps to cover handling and you can circle as many choices as you wish on the coupon below.
The common problem of low-cost equipment is the compromise in features and quality, but this battery-operated tape recorder shows that this need not always be true. Despite its low price, it displays some excellent electronic and mechanical design.
New 8-mm color films are almost a dime a dozen these days, but seldom can we report one of high quality. Agfachrome CT Type S, therefore, makes news. Here we have a film that ranks among the best. Speaking from our experience, it offers believable colors, fine grain, and uniform results.
Basically, this is the same Leicina 8V reviewed in the July 1963 issue. The difference lies in the lens: instead of the 8➛ 48-mm Variogon f/1.8. the 8SV sports a compact 7.5➛35-mm Angenieux-Zoom Type K2 f/1.8. While the zoom range is more limited in the upper telephoto region, this shouldn't be much of a sacrifice in normal usage.
Workprints lead to freer, more imaginative editing, can be cut without risking one frame
To most amateurs, the term “workprint” is completely unknown, or else means spending a lot of money for something nonessential. Just what is it? It is a laboratory-produced duplicate of the original film. This copy is made from all the footage taken, immediately after the original film has been developed — before it has been projected or edited.
Ironing table makes a perfect projection stand in emergencies, when visiting, or for complex sound setups requiring placement of a tape recorder next to the projector. Some even have adjustable height and/or a built-in utility outlet.
POPULAR PHOTOGRAPHY'S travel department maintains a complete up-to-date world-wide listing of travel information sources—countries, states and general areas. This page has been designed to help readers plan their vacations, photo tours, and week-end trips, by making it easy for them to obtain current neivs about any point on the globe.
CAMERA TYPE: 35-mm. Gasket-sealed underwater camera, withstands pressure up to 160-foot depths; for surface use is self-protected against unfavorable weather and climate, dirt, dust, etc. VIEWING/FOCUSING SYSTEM: Built-in bright-line optical viewfinder for 35-mm lens (with parallax indicators for close-ups).
What was Scheiner-scope and can I convert it for ASA? I have come across an old Scheiner-scope. How was this used and can the Scheiner readings be converted into ASA readings so I can test it?—Sanford Cordon, Scottsdale, Ariz. answer: Julius Scheiner was a German astronomer (1858-1913) who devised a system for measuring relative speeds of photographic materials, using a logarithmic scale.