Issue: 19760201

Sunday, February 1, 1976
February
2
False
78
Tuesday, January 13, 2015

Articles
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POPULAR PHOTOGRAPHY
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PopularPhotography_19760201_0078_002_0001.xml
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Honeywell Photographic: The Pentax K2
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Honeywell Photographic
The Pentax K2
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PopularPhotography_19760201_0078_002_0002.xml
tableOfContents
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Popular Photography *
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Advertisement
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4,113
letters to the editor
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letters to the editor
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Leave 'em laughing! I thought “The Schwalberg Quiz” in your September issue was totally disgusting. I sat down, ready to answer some really good questions, and I was really mad that such a good magazine went out of its way to print such a horrible thing in POPULAR PHOTOGRAPHY.
PopularPhotography_19760201_0078_002_0005.xml
masthead
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4
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POPULARPHOTOGRAPHY
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PopularPhotography_19760201_0078_002_0006.xml
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5
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YASHICA: Yashica FX-1
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YASHICA
Yashica FX-1
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PopularPhotography_19760201_0078_002_0007.xml
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6
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GERMAIN SCHOOL OF PHOTOGRAPHY
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GERMAIN SCHOOL OF PHOTOGRAPHY
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PopularPhotography_19760201_0078_002_0008.xml
article
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6,56
editorial
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editorial
Can we stop the self-destruction of our color-photography heritage?
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Fifty years from now, most of the color we take today won’t exist. Molecule by molecule, our color photographs are flying apart, the images changing color and fading, victims of the Second Law of Thermodynamics which states that within any closed system over a period of time, order tends to disintegrate into increasing entropy and ultimate chaos.
PopularPhotography_19760201_0078_002_0009.xml
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7
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Canon USA, Inc.
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Canon USA, Inc.
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PopularPhotography_19760201_0078_002_0010.xml
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8,9
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TIME-LIFE BOOKS
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TIME-LIFE BOOKS
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PopularPhotography_19760201_0078_002_0011.xml
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12,14
pop photo snapshots
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pop photo snapshots
News about people, products, and events
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Patty Hearst in the clear That September 19 shot of clench-fisted Patty Hearst, en route to her arraignment, was taken by Paul Sakuma, a 19year-old San Jose State student. Sakuma, who free-lances for the Palo Alto Times and the Redwood City Tribune, got exclusive pictures of the heiress because he used an important accessory— his brain.
PopularPhotography_19760201_0078_002_0012.xml
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13
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Berkey Marketing Companies, Inc.
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Berkey Marketing Companies, Inc.
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PopularPhotography_19760201_0078_002_0013.xml
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15
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Soligor
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Soligor
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PopularPhotography_19760201_0078_002_0014.xml
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15
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AIC Photo, Inc.
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AIC Photo, Inc.
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PopularPhotography_19760201_0078_002_0015.xml
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16
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Konica Camera Co.
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Konica Camera Co.
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PopularPhotography_19760201_0078_002_0016.xml
article
16
16,136
off beat
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off beat
Stereo photography, holography: what are their technical and esthetic implications?
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NORMAN ROTHSCHILD
I read with very great interest the article “Holography . . . Is It Art” by Ken Poli in the December 1975 issue of POPULAR PHOTOGRAPHY. I also found the remarks by Hilton Kramer in The New York Times on “Holography ’75, The First Decade,” as shown at the International Center for Photography, quite exciting, even though somewhat negative and perhaps misjudging the need for the exhibit.
PopularPhotography_19760201_0078_002_0017.xml
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17
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Konica Camera Co.
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Konica Camera Co.
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PopularPhotography_19760201_0078_002_0018.xml
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18
18
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HOLLO CORP.
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HOLLO CORP.
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PopularPhotography_19760201_0078_002_0019.xml
article
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18,24,152
Shoptalk
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Shoptalk
Toughest enemy of small-format photos is image motion
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NORMAN GOLDBERG
Making a photograph involves four major equipment-related tasks: loading and unloading film in the camera, determining the correct setting of the exposure controls according to the luminance of the subject, focusing accurately on the subject, and making certain that there is no image motion during the exposure.
PopularPhotography_19760201_0078_002_0020.xml
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Advertisement
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PopularPhotography_19760201_0078_002_0021.xml
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22,23
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Photo Optical Industries, Inc.
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Photo Optical Industries, Inc.
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PopularPhotography_19760201_0078_002_0022.xml
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24
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Ponder & Best Inc.
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Ponder & Best Inc.
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PopularPhotography_19760201_0078_002_0023.xml
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24
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HANIMEX (U.S.A.) INC.
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HANIMEX (U.S.A.) INC.
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PopularPhotography_19760201_0078_002_0024.xml
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25,26,27,28
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THE SCHOOL OF MODERN PHOTOGRAPHY
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THE SCHOOL OF MODERN PHOTOGRAPHY
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PopularPhotography_19760201_0078_002_0025.xml
article
31
31,120,126,127
Shows we've seen
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Shows we've seen
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Richard Busch
Alice S. Williams O
Richard Avedon, portraits, Marlborough Gallery, New York City (Sept. 10-Oct. 4). The show had all the earmarks of a Big Event. For one thing, it was the prestigious Marlborough Gallery’s first exhibition of photographs, yet another sign among many within the last year or so of the art world’s acceptance of photography as a salable, collectible medium.
PopularPhotography_19760201_0078_002_0026.xml
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32,33
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Nikon Inc.
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Nikon Inc.
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PopularPhotography_19760201_0078_002_0027.xml
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34
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BROOKS INSTITUTE
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BROOKS INSTITUTE
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PopularPhotography_19760201_0078_002_0028.xml
article
34
34,158
view point
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view point
U.S. Senate considers commemorative stamp of Alfred Stieglitz
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JACOB DESCHIN
A movement to honor Alfred Stieglitz, who died in 1946 at the age of 82, with a commemorative stamp in his name was sparked recently on the floor of the United States Senate by Senator Thomas J. McIntyre of New Hampshire. The proposal came to him from one of his constituents, Lotte Jacobi, herself a notable photographer whose ancestrygoes back to her great-grandfather who on a visit to Paris in 1850 learned daguerreotypy directly from the inventor himself, Jacques Louis Mande Daguerre.
PopularPhotography_19760201_0078_002_0029.xml
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Fuji Photo Film, U.S.A., Inc.
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Fuji Photo Film, U.S.A., Inc.
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PopularPhotography_19760201_0078_002_0030.xml
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36,37
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Nikon, Inc.
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Nikon, Inc.
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PopularPhotography_19760201_0078_002_0031.xml
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National Camera
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National Camera
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PopularPhotography_19760201_0078_002_0032.xml
article
38
38,58
nuts & bolts
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nuts & bolts
For precise exposure in tricky situations, consider using an incident-light meter
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BILL PIERCE
Remember the incident exposure meter—the meter with the PingPong ball hemisphere that measures light falling on the subject rather than the light reflected from the subject? You don’t hear much about the incident meter these days. After all, you can’t build it into a camera.
PopularPhotography_19760201_0078_002_0033.xml
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39
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Beseler Photo Marketing Co., Inc.
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Beseler Photo Marketing Co., Inc.
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PopularPhotography_19760201_0078_002_0034.xml
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40
40,41
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Ponder & Best, Inc.: Flash Lens Adapter
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Ponder & Best, Inc.
Flash Lens Adapter
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PopularPhotography_19760201_0078_002_0035.xml
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42
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Associated Photographers International
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Associated Photographers International
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PopularPhotography_19760201_0078_002_0036.xml
article
42
42,46,126
Schwalberg at large
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Schwalberg at large
Less can be more, or the case for the humble triplet lens
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BOB SCHWALBERG
Most of today’s high-speed lenses stem from a suggestion of Karl Friedrich Gauss, a German mathematician, physicist, and astronomer, who lived from 1777 to 1855. Gauss, who occupied a position in his times roughly equivalent to Einstein in ours, designed an improved telescope objective that obtained its power from a first positive element, and the compensatory correction from a second negative lens.
PopularPhotography_19760201_0078_002_0037.xml
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43
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Berkey Marketing Companies, Inc.
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Berkey Marketing Companies, Inc.
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PopularPhotography_19760201_0078_002_0038.xml
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44,45
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Canon USA, Inc.: Canon F-1
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Canon USA, Inc.
Canon F-1
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PopularPhotography_19760201_0078_002_0039.xml
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46
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AIC Photo, Inc.
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AIC Photo, Inc.
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PopularPhotography_19760201_0078_002_0040.xml
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46
46
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E. Leitz, Inc.
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E. Leitz, Inc.
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PopularPhotography_19760201_0078_002_0041.xml
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47
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TIME Magazine
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TIME Magazine
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PopularPhotography_19760201_0078_002_0042.xml
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48
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THE GILLETE COMPANY
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THE GILLETE COMPANY
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PopularPhotography_19760201_0078_002_0043.xml
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49
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THE GILLETE COMPANY
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THE GILLETE COMPANY
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PopularPhotography_19760201_0078_002_0044.xml
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50
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Advertisement: POPULAR BOOKSTORE OF PHOTOGRAPHY
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POPULAR BOOKSTORE OF PHOTOGRAPHY
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PopularPhotography_19760201_0078_002_0045.xml
article
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50,54,144
tools & techniques
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tools & techniques
Bad-weather shooting: How to make pictures and keep everything dry at the same time
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CORA WRIGHT KENNEDY
Have you ever set aside the notion of making pictures on rainy or snowy days because you might damage your camera? Well, it’s not a bad idea at all to be cautious in this regard. In fact, the thought of getting my cameras wet is one that plain horrifies me.
PopularPhotography_19760201_0078_002_0046.xml
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AIC Photo, Inc.
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AIC Photo, Inc.
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PopularPhotography_19760201_0078_002_0047.xml
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52,53
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Yashica, Inc.: CONTAX RTS
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Yashica, Inc.
CONTAX RTS
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PopularPhotography_19760201_0078_002_0048.xml
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54
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Da-Lite Screen Co., Inc.
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Da-Lite Screen Co., Inc.
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PopularPhotography_19760201_0078_002_0049.xml
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PopularPhotography_19760201_0078_002_0050.xml
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56
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Ehrenreich Photo-Optical Industries
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Ehrenreich Photo-Optical Industries
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PopularPhotography_19760201_0078_002_0051.xml
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PROFESSIONAL COLOR LABORATORIES INC.
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PROFESSIONAL COLOR LABORATORIES INC.
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PopularPhotography_19760201_0078_002_0052.xml
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Braun Electric Canada Ltd.
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Braun Electric Canada Ltd.
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PopularPhotography_19760201_0078_002_0053.xml
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PHOTO POSTER INC.
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PHOTO POSTER INC.
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PopularPhotography_19760201_0078_002_0054.xml
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58
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THE NEGA FILE COMPANY
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THE NEGA FILE COMPANY
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PopularPhotography_19760201_0078_002_0055.xml
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59
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New York Institute of Photography
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New York Institute of Photography
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PopularPhotography_19760201_0078_002_0056.xml
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60
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Ehrenreich PhotoOptical Industries, Inc.
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Ehrenreich Photo-Optical Industries, Inc.
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PopularPhotography_19760201_0078_002_0057.xml
article
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61,121,122,123,124,212
EXCLUSIVE INTERVIEW
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THE FATHER OF KODACOLOR
Inventor of the world's most popular film talks about its creation and speculates on color film's future
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More people shoot more color-negative film than have ever used any other kind of film. Some have noticed that the negatives for such prints are salmon-colored overall. Many photographers know that this coloration of the negative makes the colors in the print much clearer and more pure than would otherwise be possible.
PopularPhotography_19760201_0078_002_0058.xml
article
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62,63,64,65,212
equipment & materials
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ZOOM+ MACRO LENSES-
what they are and what they can do for you
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NORMAN ROTHSCHILD
For years I’ve hollered at manufacturers to make their lenses focus closer—and, to be true to myself, I have always sought out the closest-focusing one in any focal length. A particular squawk of mine has been zoom lenses. For example, an 85—•205-mm zoom that focuses to two meters (about seven ft.) does quite well at the longer setting.
PopularPhotography_19760201_0078_002_0059.xml
article
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66
equipment & materials
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30 ZOOM+M AGROS:
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PopularPhotography_19760201_0078_002_0060.xml
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67
equipment & materials
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HOW THEY COMPARE
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PopularPhotography_19760201_0078_002_0061.xml
article
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68,69,116
photography today
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TINKER TO EVERS TO UELSMANN ?
134 photographers (and photo pundits) play ball with a young photographer and the year's zaniest picture idea
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KENNETH POLI
At one time or another, you may have heard a photographer or two accused of being “out in left field.” But 134 of them (figuratively, at least)? I mean, nearly a gross of photographic “names”: photographers, photo critics, teachers, and museum-quality experts—not all of them set to play left field, but variously wearing catcher’s masks, umpire’s chest protectors, and outfielder’s gloves.
PopularPhotography_19760201_0078_002_0062.xml
article
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70,71,72,73,74,75,76,77,78,79,118,119
NEAL SLAVIN
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“WHEN TWO OR MORE ARE GATHERED TOGETHER”
An unusual portrait of America by a photographer who is turned on by groups, large and small
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SHEILA TURNER-SEED
David Vestal
One could call Neal Slavin the Cecil B. DeMille of still photography. Nothing makes him happier these days than to assemble a cast of 50, 100, even 2,000. He holds up his hand, peers into the Hasselblad, and shouts, “NOW!” Two thousand Electrolux vacuum-cleaner salesmen look at the birdie and grin.
PopularPhotography_19760201_0078_002_0063.xml
article
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80,81,105
first look 50-mm NOCTILUX f/1:
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SHARPEST SUPERSPEED LENS YET?
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BOB SCHWALBERG
When f/1.5 was still controversial, it was often argued that faster films would one day end the need for depth-defying apertures. Others held that improvements in high-aperture lens quality would encourage greater use of slower, finer-grained, sharper films.
PopularPhotography_19760201_0078_002_0064.xml
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82,83,84,85,86,87
THE HATTERSLEY CLASS FOR BEGINNERS
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HOW TO DEVELOP YOUR FIRST ROLL OF FILM AND GET TOP-QUALITY NEGATIVES
Film handling
Pouring, agitation, drying
Loading 35-mm film
Processing tips
Loading roll film
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It’s a marvelous experience to process your first roll of black-and-white film. But it’s something else to do it so that you get topquality negatives the first time, and every time thereafter. This is what I’m about to show you. However, it will make things easier if you understand just what film is and what developing does to it.
PopularPhotography_19760201_0078_002_0065.xml
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88
photography today
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My adventures with a PINHOLE CAMERA
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VINCENT BONILLA
After reading Project 4 “Pinhole Camera, ” Vincent Bonilla went right to work building one. Once he saw the results, he immediately built a few more, so he wouldn't be limited by the one-at-a-time process when traveling a distance from his home.
PopularPhotography_19760201_0078_002_0066.xml
article
89
89,90
project 8: PHOTO PRINTING
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how to turn your kid on to photography
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DON CYR
Film development is a relatively simple process, as you learned in Project 7 last month. Very little practice is necessary to master the procedures involved and once the film is developed, the latent or “hidden” images which were created in the camera are completely visible.
PopularPhotography_19760201_0078_002_0067.xml
article
91
91,92,93,128,129,210
photography today
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film-making in anthropology
A new film center expands the uses of movie cameras to study primitive man
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GEORGE HABER
“Film preserves information not just of what has been ‘seen’ and ‘selected’ by the culturally programmed mind of the filmer, but also what has not.” This statement by Dr. E. Richard Sorenson might be considered the manifesto of the newly formed National Anthropological Film Center at the Smithsonian Institution.
PopularPhotography_19760201_0078_002_0068.xml
article
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94,95,96,97,98,99,130,131,132,133,134,135
photography today
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Want to break into the business? Be a photographer’s assistant
24 action-packed hours in the life of a free-lance assistant
Everyone agrees the best way to learn commercial photography is to work as an assistant. Here's an in-depth report on how it's done and what it's like
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RICHARD BUSCH
The somewhat harried-looking young man in the picture below, receiving instructions from photographer Carl Fischer during a shooting session in a New York City church, is Peter Tenzer, a 30-year-old freelance photographer’s assistant in the process of learning the complicated business of commercial photography—one of the world’s most fascinating and outwardly glamorous occupations that has been attracting the aspirations of amateur photographers ever since the early 1920s, when Edward Steichen became a superstar by working as chief photographer for Vogue and Vanity Fair magazines at the (then) extraordinary salary of $35,000 a year.
PopularPhotography_19760201_0078_002_0069.xml
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100
100,101
SPECIAL REPORT
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A PICTURE PREVIEW OF THE
Brainy compactness
New single-shot motor
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NORMAN GOLDBERG
When first seen at photokina '74, the Olympus OM-2 was behind glass in a locked cabinet. About the only details on the future companion to the OM-1 were that it would have aperture priority auto-exposure, be the same size as the OM-l. and accept all of the OM-I’s accessories.
PopularPhotography_19760201_0078_002_0070.xml
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102
102
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Nikon School of photography
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Nikon School of photography
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PopularPhotography_19760201_0078_002_0071.xml
article
102
102,104
protechniques
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protechniques
Nobody's perfect; but if you want better color, shoot with filters
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EDWARD MEYERS
How are your color slides coming out? Perfect? Slightly blue? Much too red? Or just a little bit on the green side? Whom do you credit when they look right on? And whom do you blame when they’re off? Did I hit a nerve? Well, if I didn’t, you needn’t read what follows, because you might realize that your color slides are off in color, and then you’ll get upset.
PopularPhotography_19760201_0078_002_0072.xml
article
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103,115,117
west coast
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west coast
L.A. police photographers: What it takes and what they do
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ADRIAN VANCE
The exhumed body lay on the marble slab while the photographer worked under the cold stare of court-appointed eyes. A white police officer had shot a black man, and the coroner’s version of the suspect’s death didn’t agree with the patrolman’s story.
PopularPhotography_19760201_0078_002_0073.xml
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103
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Nikon School of photography
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Nikon School of photography
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PopularPhotography_19760201_0078_002_0074.xml
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104
104
[no value]
[no value]
Radio Shack
[no value]
Radio Shack
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0075.xml
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104
104
[no value]
[no value]
Acufine Inc.
[no value]
Acufine Inc.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0076.xml
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105
105
[no value]
[no value]
AIC Photo, Inc.
[no value]
AIC Photo, Inc.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0077.xml
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105
105
[no value]
[no value]
HALLMARK INSTITUTE OF PHOTOGRAPHY
[no value]
HALLMARK INSTITUTE OF PHOTOGRAPHY
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0078.xml
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106
106
[no value]
[no value]
PRINT FILE, INC.
[no value]
PRINT FILE, INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0079.xml
article
106
106,114
traveler's camera
[no value]
traveler's camera
Fabulous scenery, friendliness, and reasonable prices: that's Yugoslavia
[no value]
[no value]
CARL PURCELL
Yugoslavia is a country which has not been discovered or really understood by Americans. Europeans have long known the pleasures of the Dalmatian coast and the Istrian Peninsula, but who can believe that there is a country combining the seaside luxury of the French Riviera, the breathtaking beauty of the Swiss Alps, and the exotic qualities of a Turkish bazaar? My Halliburton camera case was lighter than usual on my recent trip to Yugoslavia.
PopularPhotography_19760201_0078_002_0080.xml
article
107
107
i wan to buy...
[no value]
i wan to buy...
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[no value]
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[no value]
North of the border I would like to try some super 8 Ektachrome II film which Lenny Lipton describes in his book, Independent Filmmaking [Straight Arrow Books, San Francisco, 1972], as rendering the happiest colors in home-movie film.
PopularPhotography_19760201_0078_002_0081.xml
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107
107
[no value]
[no value]
KALTERMAK
[no value]
KALTERMAK
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0082.xml
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108
108
[no value]
[no value]
Advertisements
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PopularPhotography_19760201_0078_002_0083.xml
article
108
108,109,136,137
markets & careers
[no value]
markets & careers
Want a U.S. job in photography? Better be sure you're good
[no value]
[no value]
HOWARD CHAPNICK
About 86 percent of the would-be career photographers who apply to the U.S. Government for jobs are judged not professional enough to qualify! I discovered this shocker of a statistic last summer when the Civil Service Commission (Bureau of Recruiting and Examining) invited me to serve on a “blue-ribbon panel” to evaluate photographic portfolios.
PopularPhotography_19760201_0078_002_0084.xml
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109
109
[no value]
[no value]
15c PHOTO A Continental Company
[no value]
15c PHOTO A Continental Company
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0085.xml
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109
109
[no value]
[no value]
Olympia Optical Devices
[no value]
Olympia Optical Devices
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0086.xml
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110
110
[no value]
[no value]
AT SKYLARK CAMERA CO.
[no value]
AT SKYLARK CAMERA CO.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0087.xml
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110
110
[no value]
[no value]
Advertisement: Popular Photography
[no value]
[no value]
Popular Photography
[no value]
[no value]
PopularPhotography_19760201_0078_002_0088.xml
article
110
110,111,113
audio video playback
[no value]
audio video playback
How the pros record: It's all in the mixing
[no value]
[no value]
LEENDERT DRUKKER
On the “Mainstreet” of New York's Greenwich Village, next door to its 8th Street Playhouse, is the TV-scanned entrance of the Electric Lady Studios. Pass its intercom security system, and you’ll find yourself in one of the most up-to-date recording facilities, perhaps best known for rock recordings under various labels from David Bowie’s to Led Zeppelin’s.
PopularPhotography_19760201_0078_002_0089.xml
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111
111
[no value]
[no value]
Hollywood Photo
[no value]
Hollywood Photo
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0090.xml
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111
111
[no value]
[no value]
George Foon Graphic Design
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George Foon Graphic Design
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0091.xml
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111
111
[no value]
[no value]
Custom COLOR SERVICE
[no value]
Custom COLOR SERVICE
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0092.xml
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112
112
[no value]
[no value]
Regal COLOR LABORATORIES
[no value]
Regal COLOR LABORATORIES
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0093.xml
article
112
112
help!
[no value]
help!
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[no value]
[no value]
[no value]
Down with dust! What are the various ways to reduce the problem of dust on negatives when making b&w prints? I dislike the chore of spotting out the resulting white marks. George X. Chadwick, New Haven, Ct. Two popular tools are an antistatic cloth and antistatic brush for removing dust from the film just before inserting it into the carrier.
PopularPhotography_19760201_0078_002_0094.xml
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113
113
[no value]
[no value]
Blackhawk Films
[no value]
Blackhawk Films
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0095.xml
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113
113
[no value]
[no value]
Art Institute of Pittsburgh
[no value]
Art Institute of Pittsburgh
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0096.xml
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114
114
[no value]
[no value]
WILLOUGHBY/PEERLESS
[no value]
WILLOUGHBY/PEERLESS
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0097.xml
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115
115
[no value]
[no value]
RAPID FOTO
[no value]
RAPID FOTO
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0098.xml
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116
116
[no value]
[no value]
Hirsch Photo
[no value]
Hirsch Photo
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0099.xml
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117
117
[no value]
[no value]
EDMUND SCIENTIFIC CO.
[no value]
EDMUND SCIENTIFIC CO.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0100.xml
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117
117
[no value]
[no value]
AMERICOLOR, INC.
[no value]
AMERICOLOR, INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0101.xml
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118
118
[no value]
[no value]
Sight & Sound
[no value]
Sight & Sound
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0102.xml
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119
119
[no value]
[no value]
RGB Color Lab
[no value]
RGB Color Lab
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0103.xml
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120
120
[no value]
[no value]
DALE LABORATORIES, Dept.
[no value]
DALE LABORATORIES, Dept.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0104.xml
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120
120
[no value]
[no value]
CINE PRODUCTS, INC.
[no value]
CINE PRODUCTS, INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0105.xml
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121
121
[no value]
[no value]
RobertWaxman
[no value]
RobertWaxman
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0106.xml
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122
122
[no value]
[no value]
STERLING HOWARD
[no value]
STERLING HOWARD
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0107.xml
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123
123
[no value]
[no value]
Advertisement
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PopularPhotography_19760201_0078_002_0108.xml
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124
124
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[no value]
Advertisement
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PopularPhotography_19760201_0078_002_0109.xml
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125
125
[no value]
[no value]
Popular Photography Information Center
[no value]
Popular Photography Information Center
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0110.xml
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126
126
[no value]
[no value]
B.W. COLOR FILM.co
[no value]
B.W. COLOR FILM.co
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0111.xml
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127
127
[no value]
[no value]
Advertisement
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PopularPhotography_19760201_0078_002_0112.xml
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127
127
[no value]
[no value]
Peacock Color Dept.
[no value]
Peacock Color Dept.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0113.xml
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128
128
[no value]
[no value]
QUALITY PHOTO
[no value]
QUALITY PHOTO
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0114.xml
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129
129
[no value]
[no value]
RED TAG PHOTO
[no value]
RED TAG PHOTO
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0115.xml
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130
130
[no value]
[no value]
RAINBO Professional Color lab
[no value]
RAINBO Professional Color lab
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0116.xml
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131
131
[no value]
[no value]
Minolta CAMERAS & LENSES
[no value]
Minolta CAMERAS & LENSES
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0117.xml
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132
132
[no value]
[no value]
parr's camera
[no value]
parr's camera
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0118.xml
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133
133
[no value]
[no value]
Ziff-Davis Service Division, Dept.
[no value]
Ziff-Davis Service Division, Dept.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0119.xml
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133
133
[no value]
[no value]
AIR PHOTO SUPPLY CORP.
[no value]
AIR PHOTO SUPPLY CORP.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0120.xml
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134
134
[no value]
[no value]
ziff Davis., Dept.
[no value]
ziff Davis., Dept.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0121.xml
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134
134
[no value]
[no value]
Camera 76
[no value]
Camera 76
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0122.xml
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135
135
[no value]
[no value]
CENTRAL PROCESSING COMPANY
[no value]
CENTRAL PROCESSING COMPANY
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0123.xml
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135
135
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Advertisement
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PopularPhotography_19760201_0078_002_0124.xml
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136
136
[no value]
[no value]
Epperson Photo
[no value]
Epperson Photo
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0125.xml
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136
136
[no value]
[no value]
Advertisement
[no value]
[no value]
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0126.xml
article
137
137,140,222
[no value]
[no value]
just out
[no value]
[no value]
[no value]
JOSEPH P. FESCE
Cameras Fujica ST 601 joins the Fuji line of 35-mm SLRs. Metering is in the stop-down mode, using silicon cells and a field effect transistor. With 55-mm Fujinon f/2.2 lens and ASA 100 film, exposure range is EV 3⅓ to EV 17⅔; film-speed range is ASA 25 to 1,600.
PopularPhotography_19760201_0078_002_0127.xml
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137
137
[no value]
[no value]
WOLF CAMERA SUPPLY
[no value]
WOLF CAMERA SUPPLY
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0128.xml
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138
138,139,140
[no value]
[no value]
PHOTOGRAPHIC MARKET PLACE
[no value]
[no value]
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0129.xml
article
140
140
[no value]
[no value]
BOOK REVIEW IN BRIEF
[no value]
[no value]
[no value]
David Vestal O
Latent Image 2: Photographs from the Duke University Community. Durham, N.C.: Publications Board, Duke University, 1975; 60 pp., 47 b&w photographs; paperbound, $4 (available from Light Impressions, Box 3012, Rochester, N.Y. 14614).
PopularPhotography_19760201_0078_002_0130.xml
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141
141
[no value]
[no value]
Jan's Computerized Photofinishing
[no value]
Jan's Computerized Photofinishing
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0131.xml
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142
142,143
[no value]
[no value]
FREESTYLE
[no value]
FREESTYLE
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0132.xml
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144
144
[no value]
[no value]
CAMBRIDGE CAMERA EXCHANGE INC.
[no value]
CAMBRIDGE CAMERA EXCHANGE INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0133.xml
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144
144
[no value]
[no value]
CAMBRIDGE CAMERA EXCHANGE, INC.
[no value]
CAMBRIDGE CAMERA EXCHANGE, INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0134.xml
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145
145,146,147
[no value]
[no value]
CAMBRIDGE CAMERA
[no value]
CAMBRIDGE CAMERA
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0135.xml
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148
148
[no value]
[no value]
SUNSET COLOR LAB.
[no value]
SUNSET COLOR LAB.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0136.xml
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149
149,150,151,152
[no value]
[no value]
COMPETITIVE CAMERA CORP.
[no value]
COMPETITIVE CAMERA CORP.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0137.xml
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153
153
[no value]
[no value]
Retinachrome
[no value]
Retinachrome
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0138.xml
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154
154
[no value]
[no value]
Stanlight COLOR LAB
[no value]
Stanlight COLOR LAB
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0139.xml
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155
155,156,157
[no value]
[no value]
WALL ST. CAMERA EXCHANGE
[no value]
WALL ST. CAMERA EXCHANGE
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0140.xml
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158
158
[no value]
[no value]
Advertisement
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[no value]
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0141.xml
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159
159
[no value]
[no value]
THE LAB
[no value]
THE LAB
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0142.xml
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160
160
[no value]
[no value]
POPULAR PHOTOGRAPHY
[no value]
POPULAR PHOTOGRAPHY
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0143.xml
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161
161
[no value]
[no value]
Advertisements
[no value]
[no value]
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0144.xml
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162
162,163,164,165
[no value]
[no value]
SPIRATONE INC
[no value]
SPIRATONE INC
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0145.xml
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163
163
[no value]
[no value]
Advertisements
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[no value]
[no value]
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[no value]
PopularPhotography_19760201_0078_002_0146.xml
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164
164
[no value]
[no value]
Advertisements
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[no value]
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0147.xml
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166
166
[no value]
[no value]
miko PHOTO & sOUND CO.
[no value]
miko PHOTO & sOUND CO.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0148.xml
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167
167
[no value]
[no value]
UR DARKROOM COLOR LAB
[no value]
UR DARKROOM COLOR LAB
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0149.xml
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168
168
[no value]
[no value]
LION PHOTO SUPPLY, INC.
[no value]
LION PHOTO SUPPLY, INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0150.xml
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169
169
[no value]
[no value]
TOTAL-VUE*COLOR LABS
[no value]
TOTAL-VUE*COLOR LABS
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0151.xml
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170
170,171
[no value]
[no value]
PARKWOOD CAMERA STORES
[no value]
PARKWOOD CAMERA STORES
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0152.xml
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172
172
[no value]
[no value]
Photo Factory, Inc.
[no value]
Photo Factory, Inc.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0153.xml
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173
173
[no value]
[no value]
20th CENTURY PLASTICS, INC.
[no value]
20th CENTURY PLASTICS, INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0154.xml
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174
174,175
[no value]
[no value]
GARDEN CAMERA
[no value]
GARDEN CAMERA
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0155.xml
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176
176
[no value]
[no value]
Executive Photo & Supply Corp.
[no value]
Executive Photo & Supply Corp.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0156.xml
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177
177
[no value]
[no value]
GLO-COLOR LABS
[no value]
GLO-COLOR LABS
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0157.xml
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178
178,179
[no value]
[no value]
Olympic Camera
[no value]
Olympic Camera
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0158.xml
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180
180
[no value]
[no value]
COMPU-COLOR
[no value]
COMPU-COLOR
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0159.xml
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181
181
[no value]
[no value]
Camera Barn
[no value]
Camera Barn
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0160.xml
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182
182,183
[no value]
[no value]
MINIFILM
[no value]
MINIFILM
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0161.xml
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184
184
[no value]
[no value]
Porter's Camera Store, Inc.
[no value]
Porter's Camera Store, Inc.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0162.xml
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185
185
[no value]
[no value]
FULL FRAME PRINTS
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FULL FRAME PRINTS
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0163.xml
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186
186,187
[no value]
[no value]
CLASSIC CAMERA EXCH. INC.
[no value]
CLASSIC CAMERA EXCH. INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0164.xml
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188
188,189
[no value]
[no value]
BASS CAMERA
[no value]
BASS CAMERA
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0165.xml
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190
190
[no value]
[no value]
jet color Lab
[no value]
jet color Lab
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0166.xml
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191
191
[no value]
[no value]
COST PLUS CAMERAS & ELECTRONICS
[no value]
COST PLUS CAMERAS & ELECTRONICS
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0167.xml
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192
192,193
[no value]
[no value]
CAMERA DISCOUNT CENTER INC.
[no value]
CAMERA DISCOUNT CENTER INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0168.xml
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194
194,195,196
[no value]
[no value]
Highland Park Camera
[no value]
Highland Park Camera
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0169.xml
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197
197
[no value]
[no value]
CQS Custom Quality Studio
[no value]
CQS Custom Quality Studio
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0170.xml
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198
198
[no value]
[no value]
Bogen Photo Corp.
[no value]
Bogen Photo Corp.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0171.xml
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199
199,200,201,202
[no value]
[no value]
Ritz Camera: Radio-Remote Camera Control System
[no value]
Ritz Camera
Radio-Remote Camera Control System
[no value]
[no value]
PopularPhotography_19760201_0078_002_0172.xml
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203
203,204,205
[no value]
[no value]
INTERSTATE COLOR LAB, INC.
[no value]
INTERSTATE COLOR LAB, INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0173.xml
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206
206,207
[no value]
[no value]
olden camera
[no value]
olden camera
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0174.xml
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208
208
[no value]
[no value]
HENRY'S INC.
[no value]
HENRY'S INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0175.xml
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209
209
[no value]
[no value]
MASTER COLOR LABS
[no value]
MASTER COLOR LABS
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0176.xml
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211
211
[no value]
[no value]
CAMBRIDGE CAMERA
[no value]
CAMBRIDGE CAMERA
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0177.xml
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213
213,214,215
[no value]
[no value]
CAMBRIDGE CAMERA EX. INC.
[no value]
CAMBRIDGE CAMERA EX. INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0178.xml
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216
216,217
[no value]
[no value]
47th STREET PHOTO INC.
[no value]
47th STREET PHOTO INC.
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0179.xml
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218
218
[no value]
[no value]
Ziff-Davis Publishing Company
[no value]
Ziff-Davis Publishing Company
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0180.xml
article
218
218
index to advertisers
[no value]
index to advertisers
[no value]
[no value]
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0181.xml
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219
219,220,221
[no value]
[no value]
POP PHOTO'S SHOPPERS' MART
[no value]
[no value]
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0182.xml
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223
223
[no value]
[no value]
BELL & HOWELL/MAMIYA COMPANY
[no value]
BELL & HOWELL/MAMIYA COMPANY
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0183.xml
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224
224
[no value]
[no value]
kodak
[no value]
kodak
[no value]
[no value]
[no value]
PopularPhotography_19760201_0078_002_0184.xml