All you say about the pleasures of taking photos while traveling [February Editorial] is true. But there is another side to the same coin that few Americans realize or enjoy. When traveling, they should take pictures of America with them.
A relatively young man with a wife and child and 12 years of varied photographic and writing extperience. asks in a letter. "Is there any foundation. fund, or other organization which could finance a project in which I could he an artist instead of a snapshooter?”
These exhibits, composed of selected prize-winning prints from POPULAR PHOTOGRAPHY’S international picture contests, are available to interested universities, colleges, art galleries, exhibition halls, museums, photo clubs, and other organizations open to the general public for showing.
ANSCO CADET FLASH camera is available in a luggagetype carrying case, including All Weather film. AG-1 flashbulbs, and batteries. Price is $12.95. Ansco Cadet II camera outfit with flashgun, batteries, flashbulbs, and film is also available, at $11.95.
Of all the really absolute rules in photography. the one that can he broken successfully least often is the axiom that each black-and-white print should have a good black and a good white somewhere in the picture area. The subject matter that is sometimes excepted is fog or mist, and in some cases very off-beat experimental prints.
The picture for this month's column was chosen because it combines the four factors that I consider the most important in making good glamor pictures: beautiful model, interesting setting, complementary background. and unusual lighting.
FOTO MAGAZINE of Stockholm announces its 1964 competition, offering $500 in prizes plus plaques and certificates. Submissions must be in groups of three prints (black-andwhite or color) or three slides. Only pictures which have not previously been published or awarded prizes will be eligible.
LIVES OF A MAN AND A MAGAZINE: REVIEWED BY VESTAL AND DOWNES
Any autobiography naturally presents a somewhat one-sided, author's-eye view of himself, and is the product both of his talents and of his blind spots. Steichen's book is no exception; but it must be said that he blows a mighty mellow horn.
MANUFACTURERS GUIDE NUMBERS FOR ELECTRONIC FLASH UNITS
Shooting from moving vehicles
DAVID B. EISENDRATH
During the past few years tin; photographic industry has heen going through a number of minor revolutions; some of them are apparent. hut many of them overtake us without warning. I am particularly concerned with the fact that manufacturers are bringing out fewer and fewer color films for indoor use with studio lighting.
It' s said, in the travel brochure. and among people who promote tourism to Sweden, that there’s nothing as restful and relaxing as the three-day boat trip between Stockholm and GOthenberg. I couldn't disagree more. If you take pictures when you travel (and who doesn't?), the combination canal-lakeriver-sea voyage across Sweden can constituti? one of the most exciting and photoprovocative vacation experiences you II ever have.
Weighted line keeps negative brush handy and ready for use
Empty film spools keep drying films separated
Block out meter settings on foreign-made lenses
Clay base keeps spotting dyes from tipping over
Envelopes make convenient files for negative strips
Keep negative brush on a weighted line so it’s always handy and not apt to be splashed with solutions. Two screw-eyes are attached to a shelf (or wall) and a fairly heavy cord run through the eyes. Weight at one end should be same as that of the brush.
Here are two special items from Alfred Gauthier GMBH of West Germany, which should make life a great deal easier for photographers who take time exposures or use a cable release in very low-light situations. One is the Prontor Ultra Slow Speed Cable Release, which facilitates accurate timing of exposures from 2 to 32 sec, with shutter set on Bulb.
The 450-mm Miranda Soligor f/8 lens is an extreme tele which sacrifices only speed for the sake of weight and price. Optically and mechanically, it is the peer of some faster, more expensive counterparts. Considering the fact that it primarily will be used on a tripod outdoors in broad daylight, the maximum f/8 aperture is more than sufficient.
LEVERKUSEN, West Germany— Agfa introduces new easyLoading cameras in Europe: European pohotographers got a Look at long-heralded Agfa easy-loading cameras and cartridges when they went into distribution throughout Europe in June.
So your color slides have just come back from the processor. What are you going to do with them? Project them? If that's all you can do with your slides, you may be imposing a serious limitation on your color work. Let’s say I come over to your house one afternoon to see your slides.
With the continued increase in popularity of color many of us in the industry look forward to the day when color prints will he as simple and economical to make as black-and-white today: for when that day comes it might well bring with it a darkroom renaissance with an accompanying surge of excitement and interest in photography as a creative craft.
The world of color photography is a wonderful one. It can be simple or complex, pleasurable or frustrating, effortless or demanding of extreme precision. To the dedicated worker, it is rewarding and gratifying. A painter need not grind his own paints, nor even be aware of their chemistry.
INCA KNIFE: Shiny metal objects are especially difficult to photograph, since metal always reflects its surroundings to some extent. This gold knife, used by the Incas to sacrifice human life, was no exception. The standard technique is to show the object’s shape by placing large reflectors in proper position so their images will give the impression of a smooth expanse of metal.
The revolution in color photography and the revelation of color photography prohahly have heen the two greatest phenomena to stimulate the photographic industry in the years since the war. Technology has advanced so greatly that today color is for everyone.
No one has ever claimed that shooting color is an inexpensive hobby. Nevertheless its rewards seem to be so great for many people that color is all they ever shoot. For such aficionados, as well as for those of us who would like to keep smiling on the way to and from the bank, any way either to save money in color, or stretch the number of pictures you can make for the same amount of loot, is indeed welcome.
Up to now, one advantage black-and-white workers have always had was in the numbers and types of emulsions available to them. In black-and-white there are soft films of high speed, high-contrast films, films that are not color-sensitive, those that are orthochromatic or sensitive to green also, panchromatic films sensitive to all colors, and even special emulsions that can record infrared rays.
First of all, don't let me give the impression that there are only six filters suitable for color photography. If you've got a pack horse, you can take a separate trunk with you every time you go out to shoot color, filled with the myriad filters suitable.
How many times have you taken what would have been a fine color photograph only to discover that the transparency or print has an over-all blue cast or that there are unwanted blue shadow areas? The editors of Porper. PHOYOGROHY receive hundreds of color slides each week, and one of the major eauses of their failure is excessive blue tint.
Just in case you missed the message in the title, it means: “There’s money to be made in the post card business.” Any photographer who can produce a sharp, well-exposed transparency of any size can enter this profitable business, without investment, on a fullor part-time basis.
WHAT THE INSTRUCTION BOOK DOESN’T SAY ABOUT MODEL 11
The drying problem
Make b&w contacts first
Correcting the color
For tray workers, too
Several months have passed since the morning when the new Kodak processor was delivered to my studio for testing. That initial testing was the basis for getting out a hot pre-MPDFA-show report in last April’s issue. Since then, I’ve had a chance to feed several hundred sheets of color paper and a proportionate amount of chemicals into this processor, and consequently have worked out quite a few personal tricks and techniques in adapting it to my own darkroom conditions.
What I do in making night color pictures like those shown here, frankly, has more to do with common sense than with magic. The tips I'm about to give are simple —so simple in fact that it’s a little embarrassing. However, they work. Here they are:
"This picture was taken from another surfboard about a half mile from shore at Sunset Beach, Hawaii,” said photographer Don James of California. The camera, a Leica III-A, was enclosed in a plexiglass waterproof housing designed by the photographer.
To the casual observer who has at one time or another shot either Ektachrome-X or Ektachrome Professional in the 120 or 620 size, and who hasn’t made a critical comparison, these films may at first seem to produce quite similar pictures. Actually though, there is a considerable difference in the results obtained from these two films, and sufficient difference also in their general characteristics to warrant a detailed discussion.
There’s a longstanding debate in some circles about fundamental advantages of black - and - white over color. Color, various photographers point out, tends to show’ subjects too much as they are. But when the realism of color is removed, and subjects are abstracted down to a series of light and dark image tones only, it is far easier to create photographs that have a strong symbol impact.
In a large and very significant way, photography is so completely fouled up that no one realizes it. We are all like the island of arsenic eaters in the Mediterranean, where everyone ate arsenic because everyone always had. So isolated from the world were the islanders that getting a perspective on themselves was an impossibility.
PAINE: One of Wingate Paine’s main problems is that he solves his assignments too well. Thus, clients often insist that he repeat one of his themes until he is weary His secret is that he never attacks a problem until he has very clearly in his mind exactly what he wants to say and has carefully added up the visual symbols to use.
On the black-and-white phase, Modernage provided the technical information:
Have you gone around the world shooting with seven different kinds of film— -—five types of color transparencies and two varieties of black-and-white? I have, and I wouldn’t advise it. My assignment was to cover in stills Shell’s TV series, “Wonderful World of Golf,” and the limitations imposed by using so many different kinds of emulsions made my assignment tougher than it ever should have been.
NEW! LOW-PRICE CLIP-ON METER WITH CHOICE OF THREE ANGLES
Here's the latest innovation on the exposure scene: the new Spiratone CdS Clip On Meter that gives you a choice of normal, moderate telephoto, or longer telephoto angles of acceptance. Whenever you want to reduce the "normal" angle of 45 degrees to about 21 degrees, you merely attach the Dual Range Reading Telephoto Attachment A over the meter’s CdS cell B so only the blue tube C shows.
It is astonishing how few amateurs use tight close-ups. Most seem to cling to the 10to-25-foot zone. At one time that would have been understandable: we just didn't have the proper equipment, it was difficult to adapt, and clumsy to use.
The Searching Eye, a film by Saul Bass, presented at the Kodak Pavilion, is stimulating the imagination of moviemakers visiting New York’s World Fair. Saul Bass is the electrifying image-creator of such memorable effects as the brick and street-sign titles of Wesl-Side Story, the prowling cat that introduced Walk on the Wild Side, the horrifying shower murder in Alfred Hitchcock's Psycho.
Konica 8-mm reflex accepts anamorphic optics for movies with a 2½:1 panoramic sweep
We have just filmed wide-screen with a zoom-reflex camera, considered an impossible feat up to now. Wide-sereen movies, the reader will recall, were all but banished from the amateur world by the zoom lens, even though the panoramic format conquered the commercial cinema.
The race is on! Prodded by the debut of Telcan (see April issue), Fairchild Camera and Instrument Corp. showed its approach to the home video recorder, developed by its subsidiary, Winston Research Corp. We have had the opportunity to use it, as well as just observe its performance.
It recreates scenes in all dimensions, replete with stereo sound, odors, vibrations, and wind
Watch out for a remarkable new process called Sensorama! It attempts to engulf the viewer in the stimuli of reality. Viewing of the color stereo Sensorama film is replete with binaural sound, odors, winds. and vibrations. The original scene is recreated with remarkable fidelity.
Did you ever hear the amateur filmmaker complain that he must go away on holiday so he can get some really good footage? He’s probably using "lack of local color" as an excuse for his own lack of imagination. Just as some authors search the world over for their plots, others stay put and find their best stories in their own home towns.
Can I prevent Newton’s rings when re-binding old slides?
What differentiates use of UV and skylight filters?
What is best way to file single-frame 35-mm negs?
Would films of same ASA rating have same grain structure?
I have been binding some of my old transparencies in gloss, but I find that some of ther are so warped they form Newton's rings. Is there anything I can do about this? —Alvan Fisher. Jr., Bronx. N, Y. answer: Newton's rings appear when one surface curves away from a flat surface just slightly and the two surfaces are less than a wavelength of light apart.