From the standpoint of an amateur photographer of limited means, I fear that Harvey Zucker got somewhat carried away in his article Super 35—Coming Soon? in the September issue. His thesis seems to be that the rumored super 35 format is the greatest thing since roll film.
I made a significant discovery the other day; there’s no more society page in the Los Angeles Times. The age of computers and numbers has finally infiltrated the world of the bluenoses, and the former society section is now known merely as Part IV.
COLOGNE, West Germany— Rollei 's cigarette-size 35-mm camera introduced at photokina: Fourteen oz of pocketable "precision” bearing the Rollei name and featuring the front-mounted speed and aperture controls made famous by its 2¼x2¼ TLR predecessor showed up at photokina as predicted.
It would be ideal if we had unlimited space in this magazine to do a completely thorough treatise on every subject we present. One way would be to have an “open-end” symposium on a subject, with all our writer/experts participating. That way, nothing would be left out and we’d all benefit from one another’s varied experiences and ideas.
Strangely enough, a lot of people overlook the fact that the enlargements they make are no better than the print-finishing job done. Disregarded in the shuffle are white spots and lines, whose route to oblivion was discussed last month.
It was his first, and Witness to Our Time, (Viking Press) was just the right title for the 400-print selection from Alfred Eisenstaedt's four decades as a working photojournalist. Reducing the enormous accumulation in his picture files to the 400 that finally made the book was a formidable undertaking.
A tool that most photographers seem to have neglected is fiber optics, which can bend light around corners. The commercial photographer and the practitioner of ultra close-ups both could find them useful in placing a beam of light in just the right small area.
ARCHITECTURAL PHOTOGRAPHY by Joachim Giebelhausen, Grossbild-Technik, Munich. Fountain Press. London. Kling Photo Corp.. New York, N.Y.. 258 pages, 343 illustrations. 42 four-color, hard cover, $22.50. Wow—that German thoroughness! Indispensable to the pro specialist, fascinating to any serious photographer.
I just received in the mail the latest editions of two Eastman Kodak publications that are invaluable to any serious darkroom worker. They are the Kodak Master Darkroom Dataguide ($3.95) and the Kodak Color Dataguide ($4.95). Between them they cover most of the essential information needed for both black-and-white and color processing.
Everybody talks about Machu Picchu. the magnificently preserved lost (and found in 1911) city of the Incas, but you hardly ever hear anything about Pisac. To get to either one, a visitor to Peru has to set up temporary headquarters in Cuzco, ancient capital of the Inca empire, oldest continuously inhabited city in the Western hemisphere, and the only metropolis of any consequence in this area of the Andes.
Minolta’s latest 35-mm SLR establishes a new concept in through-the-lens metering, called “CLC” (for Contrast Light Compensator). Two CdS cells at the finder’s pentaprism are angled so that they split the field horizontally between them, each covering just a trifle more than half the area.
Here is a lightweight (13 oz), inexpensive ($29.95) electronic flash unit that can be used on any of three convenient sources of power. One is the set of four rechargeable nickel-cadmium batteries (shown here extended) supplied with the outfit.
Despite its deceptive resemblance to its predecessor, Cadius I, the new Miranda Cadius II is a highly improved version of this CdS meter— far easier to use and much more versatile. Among the many important design changes is a noticeably better reflex-style finder, indicating the area being read.
The Melico electronic enlarging photometer is very efficient answer to the problem of estimating exposure times in the darkroom. Through the use of a highly visible cathode ray tuning tube, dubbed "the magic eye,” the Melico allows the user to pre-determine any tone of gray that he wishes to reproduce repeatedly from any negative on any paper he wants to use.
Nearly all photographers follow well-beaten paths, though they generally are not very aware that they are doing so. They get on these paths by unconsciously imitating what other photographers are doing, or they gradually build up paths of their own, also more or less unconsciously.
The New York Times stopped running an advertisement showing burlesque star Lili St. Cyr because too much of the lady was showing. Only one ad of the projected series made the pages of the Times (Aug. 29, 1966) because readers began calling and objecting to the picture.
World’s press was on hand August 6 when Luci Baines wed Patrick Nugent
It was supposed to be just a plain, simple, private wedding with none of the trappings and glitter of a state affair. To the press and TV, it was news—the wedding of Luci Baines Johnson to Patrick John Nugent on August 6 was covered by hundreds of still and motion picture photographers representing the wire services, the daily newspapers, and magazines around the world, not to mention the three major television networks, and at least four official White House photographers.
‘How’d you like Life, Look, and Paris Match to do your wedding album?’
My assignment at this, the Great American Wedding, was to stand in for the great American photographer —the wedding photographer. If you have ever raised a camera to your eye and seen a bride and groom in the viewfinder, and wondered how to make a different picture, this wedding is a text book.
The back of the car should have read, ‘Just photographed’
If Luci Baines Johnson was nervous the week before her wedding, she had nothing on me. Black Star, the agency with which I work, had assignments from Newsweek for color for a possible cover, Quick in Germany, Italy’s Epoca, Ducas in Switzerland, Japan's Pan Asia and Vecko Ryvyn in Scandinavia.
For all the pros who have asked the question. "How does Duncan do it?"—here is the answer in a book. For all the new photographers who want an insight into the grand life of photography—here is the manual. It's titled Yankee Nomad. David Douglas Duncan, now 50 years old, has spent the last 15 years writing and printing this photo-autobiography (Holt. Rinehart & Winston. New York. N.Y.).
Before it left for photokina, I saw the prototype of a new Beseler enlarger that is nearly totally automated by electric motors —right down to the fine-focusing operation. When the design is made final, production will begin in February 1967.
Her name is Wow. She and 99 others are Charlie's neighbors in Connecticut. I've been wondering what I could say that wouldn't fall flat and die of anticlimax next to this picture. There's nothing to write about the photograph that it doesn't say for itself, with full authority.
Many photographers have no difficulty in finding good subjects to turn their cameras upon. Our infinitely varied and rapidly changing world offers many possibilities, and through the magic of photochemistry, they can quickly be recorded—often by merely lining up some pointers and pushing a button.
Omega’s Omni-Con lamp housing provides a sealed, continuously variable light source and filter system, for all variable-contrast papers. It conveniently eliminates the need to handle and change filters, as normally required by such systems.
W. Eugene Smith is an unknown photographer hidden behind a reputation. Like other legends, his has a core of truth and a thick coating of fantasy. While the whole business is much too tangled to sort out. I don't doubt that he is partly responsible for his myth.
The fundamental question is: are zooms really sharp? Here we are trying to compare lenses with, an infinite number of continuously variable focal lengths within a particular range with lenses of a single focal length each, often considered "good."
'Boldest step in metering:' LUNA GOES FIVE-WAY MODULAR
JAMES S. FORNEY
Gossen has taken what is perhaps the boldest step in metering of the year—if not several years: it has developed a modular metering system. The Luna-PRO system is built around one basic module that can be used to perform a wide variety of tasks all by itself.
ATOMAL. For film; dry, ready to mix; single solution; physical development; fine grain; 10-12-min. gradual development time; for use with thin- and normal-emulsion film; temperature tolerance, 65-72 F; soft-working; good keeping qualities.
Getting into Wellesley College for young ladies requires such extraordinary academic achievement and such lofty personal character that only a fraction of those who apply are accepted. After spending an evening there last week, I'd say that those who were rejected have a better chance of becoming young ladies.
Now you can make fades and dissolves with the Fujica Z-2
Fades, dissolves, stop motion, intentional double exposures—these special effects can now he produced in a single 8 camera. The camera is the Fujica Z-2. latest in the series of Fujica's single 8 models, which include the fixed-focus P-1 and the zoom Z-1.
It’s surprising how many advanced features are hidden within the functionally clean lines of the S8-T body. Among these are the big, bright viewfinder image, automatic and manual exposure control, a built-in control of the Type A filter, and a signal indicating the last few feet of film.
As a fan of Polaroid Land, I decided to use their Type 55 P/N film (which produces a 4x5-inch positive print and a fully developed negative in 20 seconds) to copy the pool prints, The Type 55 P/N negatives have to be cleared for only a couple of minutes and washed less than five before drying.
Recently I bought an old Contax II camera with 50-mm Sonnar f/2 lens for $15. It appears to be in good working order, but I wonder whether the lens is color-corrected and therefore suitable for color photography? Did I pay too much for the camera?