As a rather green but fascinated photographer, I found the article “The Lens Makes the Picture” (Sept. 1972 issue) to be both helpful and interesting. I appreciate your endeavors to spur your readers on to learning more about the “art” of photography.
I've used a thin layer of petroleum jelly on a lens filter to achieve diffusion effects while shooting. It worked fine. But I don't know how to remove the stuff from my screw-in glass filter without damaging it. What do you suggest? Anthony S. Noriega, Jr., Tampa, Fl.
Some "Old Faithfuls" have earned their keep over the years
CORA WRIGHT KENNEDY
I don’t want to cry stop to the march of progress and change. But the fact is I’ve been thinking recently about the field of minor photo accessories. And the more I think in this vein, the more I remember useful tools that have been around, in more or less the same form, for years.
Lauré starts agency for multitalented communicators seeking new markets
“It’s not enough any more just to be a good photographer,” Jason Lauré, 32, a successful New York-based free lance, was saying in an interview discussing a company he had just formed. The idea of that company is to work with multitalented photographers who have ideas for projects but need knowledgeable, experienced, and practical help to produce them.
Equipment doesn't make the picture—it just makes you feel good
I know a young photographer, Paul Schwartz, who became interested in still photography about a year ago. Paul’s father handed him the family Leica plus a few rolls of film, and Paul got hooked on photography. About eight months ago, Paul bought an SLR with a normal f/1.4 lens.
Call me the series 8 filter guru: why and how I standardized on lens adapters
Among my various photographer friends and cohorts, I’m known as the guru of filters and their adaptation to various camera systems. The reason for this is that about seven or eight years ago, I decided to get organized once and for all in this most confusing photographic area and to cut out waste and pointless duplication.
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.
I take a swing at photojournalism —because it doesn't exist
Egowise I would like to reprint my June 1969 column which stated, “To my son who is considering photojournalism as a career—forget it!” I thought about this column when I wrote in the Nov. 1972 “Simon Says” that it was all over for photojournalism and suggested the audio-visual field for the photographer who likes to take lots of pictures and wants to be published, even if only on a beaded screen.
The tape that's good, better, or best depends on your specific recorder
Many retailers, such as Sears, Roebuck and Co., often grade their products as good, better, and best, and in general these terms are reasonably accurate guides to over-all quality. Unfortunately, when it comes to magnetic tape—for both reel-toreel and cassette recorders—good, better, and best can often really mean good, poor, and poorest.
In looking for a new recorder I've run across a feature called “Simul-Sync. ” Is this the same as sound-on-sound or soundwith-sound? No—Simul-Sync is a proprietary name for a new feature on four-track (“quad”) recorders having three heads.
Photographs—Hilary Masters, at the Image Gallery, New York City (Jan. 2-31). Master’s primary interest is in patterns, cracks in the wall, the texture of paint and the isolation of the small object in order to examine its new meanings when isolated from its normal context.
Drop that Pistolgraph, Mr. Skaife— You're under arrest!
EATON S. LOTHROP
Not too long ago I acquired a very interesting camera to add to my collection. There was only one problem with it, though—it lacked a lens. To me this is a very frustrating thing, finding an interesting camera whose lens is missing. On the other hand, I have a friend in Rochester, N. Y., a fellow camera collector, who is quite content to acquire cameras without lenses (of course he’d prefer them with, but he doesn’t demand it) or even parts of cameras.
Testing cameras, name of game is improvisation and ingenuity
In conducting tests on a broad range of cameras and lenses, it happens that every now and then a particular lens or camera simply proves incompatible with a given test or series of tests. Despite careful planning, even the most versatile piece of test equipment can prove to be unusable with a particular piece of photo equipment.
The Studio Gallery. Main St.. Bolinas: Minor White, through Apr. 20. Shedrick Williames. Apr. 22-June 8 • Friends of Photography Gallery, Sunset Cultural Center. San Carlos at 9th, Carmel: monthly exhibits • Significant Directions Photogallery.
Kodak Supermatic 24 for super 8 movies is similar to the XL55 but has several additional features for the advanced amateur. These include: socket that permits remote control with a cable release, manual zoom instead of power zoom, a lens that will accept series 7 filters, space for filters to be placed over the electronic eye for proper exposure, and a film plane marker for accurate measurement of camera to subject distance.
The Super-Q-Gigantar lens—it's a gag, but some people took it rather seriously
Call it childish if you like, but even at close to the age of 60, I sometimes like to become the center of attention. At photokina in 1972, I was given this opportunity by Wolf Wehran of Carl Zeiss. The thing that did it, and with surprising result, was his presenting me with a lens never shown by Zeiss to the public at any photokina or elsewhere.
Frank E. Fenner, former editor of POPULAR PHOTOGRAPHY, died at his home in Barrington, II., December 18, 1972, after an illness of several months. He was among the earlier staff members, joining the magazine as associate editor in 1937, its first year of publication.
Joseph Ehrenreich, the man who perhaps did more than any other to establish the prestige and reputation of Japanese cameras and lenses in post-World-War II America, died of a heart attack Feb. 7 at the age of 65. Nearly 20 years ago, Mr. Ehrenreich became the exclusive U.S. importer for the photographic and other optical and scientific products of Nippon Kogaku, a Tokyo firm.
The scene is an exact reconstruction of the first Kodak printing room, the time the 1880s. The ‘ladies’ are mannequins and the exhibit is a part of the Smithsonian Institution’s new 8,000-sq.-ft. Hall of Photography, open to the public on April 6.
Lens coating is not new; it’s been with us for years. It originated at the turn of the century in England, where a company called Taylor, Taylor and Hobson began getting complaints about a “bloom” appearing on their lenses. This “bloom” appeared to be a tarnish on the surface of the lens.
To become a “name” may be the highest measure of success in most fields, but paradoxically, such achievement makes it more difficult to appreciate and evaluate an individual’s real accomplishments. Margaret Bourke-White’s name, for example, brings to mind a few of her famous images, a few biographical facts, and a general “for” or “against” feeling we offer a legendary figure without knowing exactly what it’s based on.
When I first became seriously interested in photography in 1958, the equipment scene was vastly different from what it is today. Now the singlelens-reflex camera is dominant. Not so 15 years ago, and with good reason. Then the rangefinder camera was king, and cognoscenti could be recognized at 30 paces by their gleaming Leica, Nikon, and Canon RFs.
A single click of the shutter made each of the color shotson the opposite page. All of the images in each shot appeared on the focusing screen at the same time. I did not have to previsualize the effect, as would have been the case when making separate exposures.
Although I’ve used rangefinder cameras all my life for most of my journalistic work, I now use the single-lens reflex camera at least 75 percent of the time. There are several reasons for this. First, I’ve been doing a lot of nature photography in recent years, and that means using long lenses.
As far as I’m concerned, the SLR is it in 35-mm photography. I don’t use any other type of camera except large view cameras on occasion for some advertising assignments. The reason I stick with the SLR for everything else is simple. With a rangefinder camera you are not seeing what the lens and the film see.
As a New York Times staff photographer for the past 26 years, I’ve had a lot of experience with both rangefinder and SLR cameras, and how each works in the area of photojournalism. I’ve discovered, without a doubt, that the SLR is the best system for my work.
Many years ago (in the 1950s), I had to make a choice. Would I buy the then most popular coupled-rangefinder camera, with its focusing accuracy, or an Exakta? I chose the latter, as you all must have guessed, because I was more interested in the aesthetics of the image than in linesper-millimeter resolution.
Perhaps, but think before you move. There may be more life than you realize in your obsolete camera
You want to be up to date and have the newest and the best; I don’t blame you. That old model SLR, the one that doesn’t have through-the-lens metering, has served you well. But think of how much easier and better things will be when you get that through-the-lens-metering or electric-eye model.
George Martin, Elizabeth Pope, and Joe Portogallo are three top New York blackand-white print makers who make their living printing for amateur and professional photographers. It's their business to know the ins and outs of professional print making to produce the best possible work for their clients, and for themselves.
Elizabeth Pope is part owner of Image Photographic Laboratory in New York City. She was born in Rumania, where, after three years of photographic training, she became a theatrical photographer. She left Rumania with her husband six years ago and went to work as a darkroom technician and print maker at New York’s Modernage Labs.
Once, Joe Portogallo was afraid of people. He was afraid to speak to them and he was afraid to be around crowds. So he found, in the darkroom, a way of still being in photography and not having to deal with people. Finally, after being in business for four or five years, he was able to be around people.
Manny Alonso says he takes glamor pictures of pretty girls, but some older photographers can’t see them as glamorous at all. They see his photographs as very handsome and interesting but not as glamor shots. If they are correct it means that Manny doesn’t know what kind of photographer he is or what he is trying to do with his medium, or that he has no concept of what the word “glamor” actually means.
I can't tell you how many times I have gotten into a dim-light situation where I knew my film was capable of capturing the scene but I was unable to do so because I didn't know the proper exposure. Sure. I had a through-the-lens-reading camera, but when I couldn't read what the little dials or needles had to say it was pure guesstimation.
The Minolta Hi-Matic E is a small, full-frame 35-mm rangefinder camera that is available alone (with case) or in a kit including Minolta’s Electroflash-2 electronic flash unit. I worked with the latter outfit and can vouch that it offers the most automation possible for the photographer who wants to eliminate all fussing with controls.
An unusual 10-day raft trip with emphasis on nature and wild-life photography will take place from May 3 to May 12 on the Middle Fork and Main Salmon Rivers in Idaho. Boyd Norton, nationally-known nature photographer/writer will provide photographic and general outdoor counsel for the group.
Entries are now being accepted for the Eleventh Annual Annapolis Fine Arts Festival Photography Competition and Exhibition. There are two classes: color and black-and-white prints, and transparencies; each contributor may submit a maximum of four entries in each class.
If it's possible to put a Polaroid film back on my Hasselblad, who makes it? James Weiss (no address given) You have three to choose from. In June, Paillard, Inc., 1900 Lower Rd., Linden, N.J. 07036, should have the Hasselblad back for Polaroid Film. It will accept Type 88 (Square Shooter) color film as well as Type 87 black-and-white (available overseas only).