Regarding Les Barry’s "free" photo used on page 36 in the February issue, I am amazed that this member of your staff, receiving payment for the use of this picture, would brag about being too cheap to pay a couple of Indian children for the use of their photos.
True to the tradition of Marshall McLuhan—who co-authored parts of an earlier version of this book, and to whom this book is dedicated—Edmund Carpenter has produced in this volume what used to be called, disparagingly, a non-book; that is, a work which has no discernable beginning, middle, and conclusion, no closely reasoned arguments, no answers.
CAMBRIDGE, Mass.—Focused Flash system: Clip-on cube unit with sliding louvers that open and close to adjust light output is introduced by Polaroid Corp. It couples to rangefinders of company’s new 400 Series Color Pack cameras. Light transmitted is regulated according to camera-subject distance; range is from three to 10 ft.
Color printing can seem rather awesome if you start reading about it before trying it. After you have a few sessions under your belt, it really becomes simple, and you begin to establish patterns of working Many beginners naively assume that if they buy a color meter, their troubles will be over.
During my early school days, we learned that Mexico had no significant coal and iron deposits, and that this would make it hard for her to industrialize. At one of these lessons, someone countered that Mexico didn't need steel, that she would simply find ways to build bridges, make beams for skyscrapers, and produce automobiles out of the country's plentiful supply of silver.
Margaret Bourke-White—Photographs, at Witkin Gallery, New York City (Jan. 531). You'd hardly know that BourkeWhite is a legend in her own lifetime from checking the shelves of your local bookstore; not a single one of her many books, not even her autobiography, Portrait of Myself, is currently in print.
William F. Pons and his job at New York’s Metropolitan Museum of Art as manager of the Photography Studio are so perfectly matched that they seem to have been predestined for each other. With Pons’ early background of art study and appreciation, self-training in photography and years of working experience as a highly skilled commercial photographer and excellent printer, it was just a matter of fate to place him where he belonged.
As far as I'm concerned, the most important thing you have to do to prepare a trip to Russia is sharpen your sense of humor. I'm fully aware of the fact that for the people who live in the U.S.S.R., life there is real—and not very funny. But to the casual visitor (who can't change anything, anyway) a first visit has to be taken with several grains of satire.
As a news photographer, how would you like to get a memo like the one reproduced below? One like it in spirit went to staffers on the Fairbanks (Alaska) Daily News-Miner last year. The thinking is out of the 1930s, but this is for real and not a put-on.
Sounds suggest sights—and sights suggest sounds. Both depend on and stimulate each other. Alone, each is one-dimensional. Together, they create an image far more powerful than the sum total of their parts. The photographer, loyal to his primary interest, the camera, tends to think in terms of adding sound.
ring the last weeks of 1970, there were two compelling art exhibits in San Francisco. At the de Young Museum, Van Gogh was attracting throngs of people who realized that this show would be their last chance to see such important drawings and paintings before the collection returned to Amsterdam.
The viewfinder of my 35-mm SLR shows me a bit less than I get on the negative. What is causing this? Is there no justice? Barry M. Wallis, Arlington Heights, III. There’s no justice involved here. Most, but not all, 35-mm SLR manufacturers give you a safety factor in the viewfinder so you’ll get a trifle more than you see there.
We all have our own personal “wish-list” of things we'd like to have to make our photography easier and better. I d bet that high on many wishlists would be a full-blown studio of your very own—one where you could set up whatever equipment you want, have an uncluttered background, and shoot to your heart’s content.
STAR TEST The lens under test is aimed at a tiny point of light and the image formed by the lens is examined with a high-powered microscope (about 200 magnification). The test is carried out both on-axis and off-axis, and with different colored light (red. green, blue, white).
Have you ever been stuck without a separate exposure meter just when you needed one the most? And have you wondered how to keep functioning with your camera-plus-built-in-meter despite all handicaps? Quite a few people land in this pickle even though their camera's meter ing system is well-made and sensitive enough to cover a wide range of situations The problem is that we all want to exceed the limits of the metering set-up at times, and still come back with well-exposed pictures.
Consider yourself fortunate if you still have a camera insurance policy. And if renewal time is close at hand, don’t be too surprised if your faithful dependable insurance company sends you a note telling you that they’ve decided to cover your cameras no longer.
There are now three models of the Bauer C Royal super 8s. Each has lap dissolves, and with the addition of an accessory Trick Set/Intervalometer, provides fully-automatic fade-ins and fade-outs, as well as single-frame operation at intervals of up to 60 seconds for time-lapse photography.
It would be foolish to deny that part of the enjoyment of working with any family of lenses involves the entire system, of which the camera itself is the key member. How well the lens teams up with the handling and operating features of the camera—especially the way it influences the balance and “fit” of the combination when making hand-held shots, is often as important a factor as optical performance in a photographer’s feelings toward it.
Lighting and exposure—the skills we're emphasizing in this issue—are part of photography's basic grammar. Technological progress has never lessened the need for adept handling of light to make a photograph say what you intend it to say.
Automatic electronic flash—units that make proper exposure all by themselves— has been around since 1065. But surprisingly, some old-time photographers don't seem to understand it and many advanced amateurs don't even seem to know about it.
One of the important prerequisites to creative photography is to be able to preview lighting effects. In the field of electronic flash, it is possible to do just that by using electronic flash units that have modeling lights. In addition to the flashtube, these units also feature a weak tungsten lamp that lets you preview the lighting effect.
Through-lens meters: great, but. WATCH OUT FOR THE COMPROMISES
There’s a woolly old bag of bones, covered with dust and sewn into its dark corner by a maze of cobwebs. Its name is photometry, which means the science of the measurement of light intensity. The subject used to be taught at every institution that offered courses in engineering, but today you’d have to look carefully through dozens of college catalogs before finding the name listed.
Photographers have been obeying the needles in the viewfinders of their through-lens metering cameras for some years now. Today, as a result, exposure is usually considered as either right or wrong. This is no put-down of through-lens metering; rather, it is a criticism of the atrophy of exposure as a creative technique.
Once upon a time, there was a special kind of photography called natural light photography. Its practitioners used special developers, special lenses, and special cameras to enable them to shoot indoors without flash. But, in the last 20 years, films and lenses have not only gotten better, they’ve gotten faster.
AN EXCLUSIVE SELECTION OF NEW PRINTS REFLECTS A GREAT CAREER
In late March of 1970, just two weeks before her 87th birthday, Imogen Cunningham received a Guggenheim Fellowship. She may well be the oldest artist to be so honored by Guggenheim. The Fellowship was granted to enable her to go through her files and examine the negatives that had been shoved aside and never printed because of the pressure of her work as a teacher and nation-wide exhibitor.
An even newer look in POPULAR PHOTOGRAPHY'S lens testing
For over two years, our lens testing program has been involved exclusively with “normal" lenses, as supplied with the cameras tested under our regular Lab Report section. From the very start, we were aware of the interest our readers had in accessory lenses, and have been making preparations to expand our testing procedures and equipment to offer an in-depth evaluation of a broad range of lenses.
MAMIYA/SEKOR Auto XTL incorporates full exposure automation. After you’ve loaded the camera, set film speed from 25 to 3.200 and an appropriate shutter speed, you focus, compose and push the button. The exposure automation will select the correct aperture for you and stop the lens down automatically.
It is usually assumed that people should always make photographs to communicate something with them. This is very unreasonable. Some people do, of course; but they are a small minority. The majority follows an equally valid path of ignoring communication, blocking it. playing games with it, or turning it into a mystery.
Confronted as we are by so many fullfledged, focal-plane-shuttered 35-mm SLR camera systems with huge families of dependent lenses and accessories, it seems legitimate to ask: “Why Canon F-1?" The simple answer is that this is only the third fully-open SLR design to appear in the past dozen years with complete, front-, back-, top-, and bottom-interchangeability.
I've seen pictures in newspapers and magazines of people wearing a button on which there is a photograph of a child, a parent, one's wife, etc. I'd like to make these myself to give as souvenirs and possibly, to sell for profit. Who makes the machine that will do this?