Regarding Ken Poli's statement in "Letters to the Editor" (Sept. issue]—or should I say “Letter From the Editor"—he must have been in transit in Wyoming in his Ivory Tower, because he sure wasn't in Wyoming. Maybe he was in bad health or in such a big hurry that he couldn't get off the major highways and use shanks mare.
New Vericolor L 120 negative film; a panoramic camera that captures 360-degree photos —and 36,000 car parts on microfilm
EDUCATED GUESS: With the introduction of a second version of Kodak's newest 120 professional color negative film, called Vericolor L (VL 120), the use of color negative by professionals who prefer tungsten light may snowball. Second version is a cousin to the three-solution-processed Kodacolor II (currently available in 110 size and soon in 35-mm) in that it takes three-solution processing (via Kodak Versamat 145) and is designed for exposures 1/10 sec to 60 sec long under 3200 K illumination.
Is there anything I can do about the curling of my enlargements after they've come off the ferrotype plates of my dryer? D. Schwartz, Manchester, N.H. You might try this cycle. Dampen the back of each print slightly with a fairly wellwrung-out sponge, then cover each enlargement with a clean sheet of white paper (like the kind used for typing).
Too much "dead weight" won't help you take better pictures
Having reached 220 pounds, I finally went on a diet. By the time you read this, I will have lost about 30 pounds, with another 30 pounds to go. But what has this to do with photography? Aside from being thinner and feeling better, and therefore having more energy to carry a camera bag, there are other implications.
When was the last time you took a really close look at enlarging papers for black-and-white? Or have you ignored such matters in favor of the gospel that there is just one paper, its name is glossy, and it should be dried matte? If so, you may well belong to a large group of blinder-bedecked picture makers who are following a current trend.
A much-photographed subject need not be a cliché if you add something new
One sunny afternoon in the late 1930s, when open trolley cars rode the rails on New York City’s 42nd St., I was strolling east when I overheard the remark: “Look, the people in that trolley car seem like prisoners behind bars!” Obviously a tourist, he was calling a friend’s attention to what was a curiosity for him.
Place your cameras and lenses on the kitchen table and dream about shooting pictures
A friend of mine once asked a famous sculptorpotter if he considered himself to be an artist. He replied by explaining that he was not an artist. Everyone who paints pictures on Sundays is an artist. He would rather call himself a ceramist.
tography (or other subjects), you might find that the tape-recorder method of notetaking will remember more than you could ever store. If you are not in school, but have a question on photography, you could take a C-30 tape and state your name and address, the question, and send it to myself or Ed Meyers at POP PHOTO, and we’d give it a whirl as to our off-the-top-of-the-head answer.
There's something special about the really old phonograph records you may dig out of the attic or pick up at flea markets for a quarter apiece. Those made by the acoustical process (turn-of-the-century to around 1930) give us the tinny sound we identify with the early part of the century, offering a trip through time that transcends the current nostalgia fad.
I have a sound-effects record with a brief cut of train sounds. How can I get it to run for several minutes? You could make a tape loop for your tape recorder, but unless you're extremely skilled or lucky, you will hear the effect “cycle” at the splice.
The desert: a world of rugged beauty and remnants of the goldmining era
PALM SPRINGS. Ca —George Service was a California banker who fell in love with the deserts—not any particular desert, but all deserts, and especially those that abound in the southwestern part of the United States About two years ago. George, who appears to be in his middle 30s, decided to quit the banking business and take up with the desert, so he organized a company that's mainly concerned with taking people into the deserts of southern California to show them that a desert can indeed be a fascinating place to visit (whether or not you'd want to live there).
Racing Dynamics—photographs by Erwin Dermer, Harry Gruyaert, Just Jaeckin, Jean-Paul de Septenville, Rainer W. Schlegelmilch, Kazno Tamama, Francois Tainturier, and Emmanuel Zurini, at Galerie Nikon, 1 rue Jacob, Paris (June 7 through September).
To be a first-rate camera repairman, you must have "sense of correctness"
During the preparation of information for my recent article on the training of camera repairmen (see POP PHOTO, Oct., '72), I visited a number of large repair shops. Some of these are connected with major manufacturers and are quite alert to the latest legal restrictions dealing with hiring practices.
Miranda Auto Sensorex EE, a 35-mm SLR, is available in an unobtrusive satin black finish. It’s priced at $397.50 with an automatic f/1.4 lens, and $357.50 with an f/1.8; deluxe carrying case, $18.95. Importer is Allied Impex Corp., 168 Glen Cove Rd., Carle Place, N.Y. 11541.
Waldman on Theater, photographs by Max Waldman, introduction by Clive Barnes and preface by Peter Bunnell. Garden City, N.Y.: Doubleday & Co., Inc., 1971; 185 pp., $10. When you try to list good, original theater photographers whose work bears a special stamp setting it apart from others, you run out of names very quickly.
The Classic Woman, by James Sterling Moran. New York: Playboy Press, 1972, 29 color and 32 b&w photographs; $16.95. The Majesty of the Black Woman by Arthur Tcholakian (introduction by William Saroyan). New York: Van Nostrand Reinhold Co., 1972, 160 pp., 134 b&w photographs; $14.95.
So you were up all night developing negatives from that party; it was the first job you ever did for money, and you didn’t notice that the hall had a high ceiling, and your-guide number didn't guide. What you've got is a bunch of thin negatives and, as hard as you've tried to eliminate dust, they still show some.
The red safety filter supplied with most enlargers is fairly dense and is not satisfactory for all darkroom workers. Substituting an O2 (Orange No. 2) filter, for use with black-and-white film, will provide a brighter image on the easel, particularly valuable when making multiple exposures on a single sheet of paper.
Phoenix Art Museum, 1025 N. Central Ave., Phoenix: Manuel Alvarez Bravo, Nov. 3-Dec. 17 • University of Arizona, Tucson: Just Before the War II Nov. 4-Dec. 3 CALIFORNIA Friends of Photography Gallery, Sunset Cultural Center. San Carlos at 9th, Carmel: Routh, Robbins, and Julian, through Nov. 12.
There’s something about an old photograph that is charming and interesting, even if we don't know the people shown. To the untutored eye it may seem extremely difficult to date an old photo, but to the knowledgeable (within reasonable limits) it’s relatively simple.
A review of basic procedures for making high-quality prints, and tips for eliminating the goofs
When we hear the term “processing,” we automatically think of film processing. Paper processing may be simpler, but it is just as important. No paper processing—no prints. And few photographers exhibit their negatives. Therefore, a remedial course in paper processing follows.
Without a doubt, the most recognizable and ubiquitous approach to photography today is that of the photojournalist—to record the world and the events of human life, to investigate its endless forms, and to reveal its truth and hidden meanings.
After years of stalling, a skeptic finds color printing easy to learn
For more than eight years (five as a free-lance photographer and three as a pontificator on photographic subjects) I had been nervously hiding a skeleton in my professional closet. The shameful secret was that I had never made a color print (there will be a brief recess while you all recover from your shock and horror).
A “single” is a picture that creates interest on its own, like those shown here. Developing your ability to evaluate individual pictures can improve your photography
The pictures appearing on the preceding pages were selected simply as strong "singles"—outstanding individual images that need neither words, technical explanations, nor other images to make the point. Each image makes its own point.
Those who've written off the entire German camera industry fail to reckon with the flood of modern cameras emanating from Dresden. In the Praktica LLC, a new metal focal-plane shutter and a unique metering system, both of which I will take up in due course, are just two items of interest.
Comments: Stripping the camera down to the bare casting is relatively pleasant since total modular construction is employed. The new-style shutter bears an external resemblance to the Copal Square, but once inside the differences are readily seen.
Ken Helschien, a student at New York's School of Visual Arts, uses buildings as design elements to fill up two-dimensional picture areas in interesting ways. He is not concerned with the meaning of the buildings or what they’re being used for.
TLRs are still used widely in a world of smaller cameras. Here's what's around
Ever since about 1930, there has never been a time I did not own and use a twinlens reflex (TLR). And, if you check among the pros, you’ll find a goodly number who will tell you that when all else fails, the TLR will get the picture for them. There are, of course, a number of pros who use the TLR as a basic camera.
In the post-W.W.II period, the number of noninterchangeable twin-lens reflexes became legion. Though the number of offerings has dwindled, choices are still plentiful enough to make the game interesting. The original modern TLR maker, Rollei, is still very much in the picture.
If you'd like the benefits of twin-lens-reflex photography and want to try your hand at it, you need not shell out a lot of money. Take, for example, the Lubitel. It's only $15 or so. It has a 75-mm f/4.5 lens and a shutter with speeds from 1/15 to 1/30 sec.
The Mamiya Professional was the first commercially successful 2¼×2¼ twin-lens reflex to offer lens interchangeability. Today's models, the C220 and C330, offer lenses that include a normal 80-mm f/2.8, wide-angles with focal lengths of 55 and 65 mm, teles with focal lengths of 105, 135, 180, and 250 mm.
Mention of TLRs almost always brings forth an image of a roll of 120 or 220 film. But, those of us who are always searching for things unique will, of course, know about a TLR that uses 35-mm film, the Tessina. It makes 14×21-mm images on standard 35-mm film, with up to 24 exposures per load.
I seriously doubt that many amateurs will ever wish to buy one of the cameras pictured here, at least not at first glance. With the exception of the Gowlandflex, they are not used hand-held for casual picture-taking. In general, they are mounted on a tripod and used professionally in a studio or on location for portraits.
Camera-side light control cuts time, costs, and enhances spontaneity
Pressure is one thing I try to eliminate from my photographic sittings. I just don’t function well knowing that I have to work fast. There are people who claim to work better under pressure, but this doesn't hold true in my case. Recently I did an assignment with a fashion model who charged double her regular $66 per hour rate, because my client wanted to use her in a situation that gave the impression she was nude even though actually she was covered.
Contrary to the common notion, ratios are not the whole story: the trick is to determine what range you really need
Probably more than any other single feature, when people consider a movie camera, the zoom lens emerges as the most important. Makes sense. The lens is the unit that brings together various light waves and focuses them on film as a cohesive image; and images are what movies are about.
This is a basic design without frills such as a meter on-off switch (shame on you, Canon), self-timer, shutter-speed indicator in the viewfinder, 1/1,000-sec speed, or a meter that couples over the entire range of f-stops and shutter speeds.
The Photographs of Thomas Eakins, text by Gordon Hendricks. New York: Grossman Publishers. 1972; 214 pp., 291 black-and-white photographs; hardcover, $30. The new Hendricks book on Thomas Eakins, containing nearly 300 images, or an author-estimated 90 percent of all photographs taken by the artist, is a greatly expanded version of the brochure published in 1969 by the Pennsylvania Academy of the Fine Arts.
Plastic darkroom graduates that have raised graduations on the outer surface are not easy to read. An improvement can be made by painting the area around the numerals and lines with black waterproof paint. When dry, carefully scrape off the high points with a razor blade, making the markings visible from the outside.
STAR TEST: The image of a point of light is examined with a microscope. The deviation of the image from the ideal indicates the nature and extent of the aberrations. The test is partly subjective. ELECTRONIC BENCH TEST: Contrast levels are compared electronically between the image of a coarse and fine slit, and the result is expressed as a percentage.
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 news about any point on the globe.
I took some GAF 500 film to my dealer to have it processed by a certain color lab. I was amazed when he handed it back to me saying that it was a black-and-white film. I thought it was color. What gives? Roy Pinelli, Boise, Id. You didn't look carefully when you bought the film.