In reference to your April issue article on autowinders, please be advised that the Nikon AW-1 Autowinder is available for the Nikon EL2 and Nikkormat ELW cameras. Here is the pertinent information: maximum cycling rate, 2 fps; weight (including batteries), 281 g (9.9 oz.); batteries, 6 AAs; list price, $179.50.
Why I prefer using an automatic bellows, and a brief report about a new slide duplicator
Anyone having access to my equipment cabinets would find, among other paraphernalia, eight bellows extensions—two of which are Novoflex automatic extension bellows (one for the Konica Autoreflex and the other for the Leica R3 SLR). In this age of exposure automation, I find having a bellows extension that maintains the internal diaphragm automation of my SLR is a blessing for all kinds of picture-taking.
Munkacsi: Spontaneity and Style, International Center of Photography, New York (March 23-April 30). Martin Munkacsi belongs in the Pantheon of the world’s great photographers. But when he died in 1963, he rated only a two-line obituary in this magazine.
How can I check black-and-white film fixer to see if it is still good, if I don’t have any special test solutions? Is there a film test? W. Millington, San Francisco, Ca. Yes, there is. First put some of your fixer in a small tray or a graduate, assuming the solution seems in good condition.
Sunk by hurricane, the "Purple Boat" gets new lease on life atop large purple barge
Almost two years ago a wave of dismay shook the New York photographic community when the Floating Foundation of Photography, the “Purple Boat” of far-reaching fame, sank in the Hudson River at its berth in New York City’s West 79th Street Boat Basin.
Here’s an update on teaching aids and devices with some new slants on the old nuts and bolts
Finding suitable teaching aids to meet our individual needs in the classroom is not all that easy. That old saying, “What is jolly good for you is not jolly good for me,” rings out loud and clear, especially when it comes to the choosing of appropriate instructional aids for photography.
It’s a melancholy truth: there’s more to being a successful photographer than being a photographer
Income ranges & becoming known
Making it in magazines
Recently published books:
This month I received a confidential letter from an amateur photographer who has been considering making photography his career. He bemoaned that, though he had talked about the photography business with several people, not one had contributed any concrete information.
For a better travel film, build up your background, cut down on baggage
You, too, must have heard it: How can you possibly see anything when you always have that camera in front of your face? Well, the proof is in the footage: filming forces you to make it a more profound experience—when traveling, an unforgettable one.
“Contemporary technology has made the darkroom almost as simple to use as the automated SLR,“ says our beloved Bob Nadler. He doesn’t just say this to fill the awkward gaps in conversation. He doesn’t just say it because he happens to mean it.
Last month I touted the virtues of fully automatic extension tubes for budgetminded 35-mm SLR owners wanting to work close up. Now I go on to that promised look at other aspects of using extension tubes and normal lenses for no-fuss close-up shooting down to at least life-size imagery on Film.
A friend of mine recalled seeing a POP PHOTO advertisement from a supplier offering a large range of unusual super 8 films and kits for tinting 35-mm and 8-mm black-andwhite films. Can you help me locate this source? Maureen Sheedy, Brooklyn, N. Y.
How to use films, exposure, light, filters, and your own head to make superior color photographs
Color photography and black-and-white photography are not the same. Sometimes we use different equipment for the two different mediums. Most often we use the same cameras, meters, lights, etc.—but we use them differently. We should even see or perceive differently when we are shooting color and black-and-white.
One of the fascinations of traveling in Europe is to see the incredible collections of art. The Continent is a vast storehouse of art treasures from all periods and all schools. Nowhere is there a better example of man’s compulsive desire to create images.
POPULAR PHOTOGRAPHY will periodically list nationwide workshops. If you want your workshop listed, please send complete information at least three months prior to the registration date to: Workshops, POPULAR PHOTOGRAPHY. One Park Ave.
There are lots of devices you can use to process color prints. And, with a little luck and a reasonable amount of skill, all of them can be made to yield decent results. Some print-processing devices are cheap. Others are expensive. Some provide consistent results and others perform less repeatably.
Why and how to customize guide numbers and how to benefit from depth of illumination
Not enough photographers realize that manufacturers’ guide-number recommendations, or recommended f-stops with automatic electronic-flash units, may need “personalization” to fit their own requirements of correct exposure.
Color-film accuracy: it’s not 100 percent, but it’s good enough to fool some of us all of the time and all of us some of the time
Of all the wonders of the photographic system, film is perhaps the biggest wonder of all. The simplest black-andwhite film is so complex in its information-recording ability that the attempts to characterize it fully become quite involved.
Cultivating— which is simply the turning or loosening of the soil by mechanical means in order to control weeds and aerate the soil— might seem to some to be the most prosaic of all vineyard operations. Yet, the truth is, we find its contribution to the production of fine wines far more complex than one might expect.
Agfamatic 4008 automatic pocket 110 has electronically controlled shutter for speeds of 1/500 to 30 sec, CdS-cell metering for films up to ASA 400, focusing from 3¼ ft. by symbols, 26-mm Color-Apotar f/6.3 lens, Sensor shutter-release button, and it accepts FlashBar and Agfamatic pocket Lux strobe.
Here’s a highly opinionated plea for more simplicity, sanity, and convenience. Impossible request? Read and decide
35-mm rangefinder cameras
35-mm single-lens reflexes
I’m talking about design for use, not the technological end: I'm a photographer, not an engineer. Camera design has come far since the 1940s, and the photographer makes fewer unnecessary motions while working, but there is still some cleaning up to do.
Is the "prime," fixed-focal-length lens obsolete? Not necessarily, but zoom lenses are coming of age. Here's how to use them for best results
Wide-angle to normal: adding flexibility to wide-angle vision
Normal to short telephoto: workhorse zooms in the most-used range
The extremely versatile short-to-medium telephotos
Reaching out with the medium-to-supertelephoto zooms
Getting close with "macro" capability
You can use zoom lenses with flash, but watch out for the wide focal lengths
Many of the zooms will work with teleconverters, but you pay the price in reduced light transmission
The modern zoom lens has very little in common with its predecessors of a decade or so ago. Criticisms leveled against zooms in those days were largely justified. Those zooms were hard to focus, seldom possessed of high resolution, didn’t stay in focus when zoomed, and often suffered from severe image-degrading flare.
The differences between these two medium ould fool you. Let's start with the tools
Could there be a still photographer who hasn’t wished, at one time or another, that he could image his subject with its fourth dimension-—time? Judging from our readership, many photographers also own a motion-picture camera, but there is a wide chasm between possessing and utilizing.
Exploring the exotic world of close-up nature photography
How it’s done by a unique group of English pros
DR. J.A.L. COOKE
The stunning photographs of insects, fish, and other creatures on the following pages were taken by a unique group of biologist/ photographers from England known as Oxford Scientific Films, Ltd. They produce television films for both U.S. and British markets (notably the BBC) and make still photographs of a multitude of biological subjects for use in books, magazines, filmstrips, advertisements, and other outlets.
The name Kodachrome is enough to make a color film important. But Kodachrome 40 is especially important to professionals and serious amateurs whose work calls for photography under tungsten light. More specifically, the light for which Kodachrome 40 is balanced or intended is 3400 K.
HOW TO KICK THE CREATIVE-CONTROL HABIT (and come up with simply smashing snapshots)
Images from Tito Barberis’ personal photo albums
If you pursue this article to its end, one thing is guaranteed: you won’t learn how to expose film, use wide-angle, zoom, or telephoto lenses, tell the differences among color emulsions, push-process color negatives, torture Polaroid prints with a toothpick or twist, burn, cut, paste, or stomp on images to turn them into Art.
HOW TO MAKE QUALITY B&W PRINTS FROM ASA 400 COLOR NEGS
Although Kodak's Panalure paper gives excellent results, it's difficult to handle. Here's an easier way to make black-and-white enlargements from color negatives
How prints made on fiber-base black-and-white paper from four different ASA 400 color-neg films stack up against one made from Kodak Tri-X
Here's what happens when the same Kodacolor 400 is printed on Ektamatic
SC paper with different contrasts
How they compare: Panalure vs. Kodabrome paper and condenser vs. diffusion illumination
Until the recent introduction of superfast ASA 400 color-negative films by Kodak, Fuji, Sakura, and 3M, the concept of color-negative material as a universal film was barely feasible, and not really practical. After all, who needed an ASA 100 universal colornegative film?
Tired of photographing humdrum city subjects? Go out into the country and find yourself a gravel crusher and grain silo
RALPH M. HATTERSLEY
Finding interesting things to photograph is always a problem. As it turns out, we’re surrounded by good subjects. A perfect example are the gravel crushers, grain silos, and other country-type things that you can find near almost any city in the country.
Camera type: Automatic, aperture-preferred 35-mm single-lens re flex with interchangeable lens Normal lens: 43-75-mm Fujinon Z f/3.5-4.5; 50-mm f/1.4; 55mm f/1.8 also available Shutter: Electronically or mechanically governed horizontally traveling cloth focal-plane shutter; electronically governed speeds from 1/2 to 1/1,000 sec; mechanical speeds of 1/60, 1/250, and 1/1,000 plus B
If you’re looking for a reasonably priced, aperture-priority AE-function camera with no frills but a good share of modern photographic technology, you might like to eyeball the Fujica AZ-1. Fuji also had the good sense to offer its new compact with a 43—75mm f/3.5 zoom lens rather than the conventional standard 50-mm, although no one is forcing you should you prefer it without the zoom.
Visualize a sleeve within a sleeve within another sleeve, all of which must fit In a wobble-free fashion, yet be free to slide effortlessly and smoothly within one another. Then Imagine that sleeves on the Inside of this nested set must slide at a different rate according to the position of the outer sleeve.
At a time when many 35-mm SLR manufacturers are introducing new models incorporating cost-trimming features such as plastic cover panels, it was natural to expect the AZ-1 to fol low suit. But a careful examination for any sign of cost reduction, using Fuji's earlier models (the ST series of 701, 801, 901) as criteria, showed only minor changes that might be attributed to economics.
Marcel Marceau: the name conjures up the figure of a man moving gracefully across an empty stage, not quite white-faced clown, not quite ballet dancer. Clad in a costume that reminds one most strongly of a local amateur production of H.M.S.
Is architecture art? If you answered yes, then what about the photography of architecture: is that art? If it’s the architectural photography of Julius Shulman, it is indeed. Mr. Shulman makes us realize that the important element in all architectural photography is the architecture—not the photograph.
Can it be nearly a decade since the big picture-story magazines like Life and Look ceased regular publication? It hardly seems possible that these photojournalistic meccas have been gone so long. Certainly, the tradition they represented is still very much alive and kicking.
Night Train at Wiscasset Station is a dual memorial: to a way of life that, though stubbornly clinging to today, is fast disappearing as so many of our former traditions have done; and to the work of a relatively uncelebrated photographer whose own life ceased nearly two decades ago.
Images of the South: Visits with Eudora Welty and Walker Evans (Memphis, Tn.: Center for Southern Folklore), paperback, $7.50 Gentlewoman, photos by Sigurd Olivier, verse by Mark Swift (New York: Grosset & Dunlap), paperback, $5.95 Burning Cold, photographs by Gary Bernstein, text by Bernie Taupin (New York: Harmony Books), hardcover, $14.95.