Your generous review of my photokina exhibition, “The Imaginary Photo Museum” [“Photokina 1980: The Picture Shows,” December issue] has made be blush. Many thanks. However, permit me to inform your readers that the Metropolitan Museum’s Department of Prints and Photographs, under the able curatorship of my friend, Weston Naef, did not decline to cooperate.
During its centennial year of 1980, Eastman Kodak Co. celebrated that event with a plethora of nostalgic press releases and special promotions but precious little product news. However, despite the disappointment of Rochester-watchers hoping for birthday surprises, Kodak came through looking very good on the bottom line.
It takes more than making nature photographs to become a bona fide nature photographer
Every time I see a field of bright, richly colored yellow flowers I go wild, photographically speaking. Out comes my camera and macro or macro-zoom lens. But I do not qualify as a nature photographer; and neither do countless amateurs who make so-called nature closeups and photograph wild birds in their backyards.
W. Eugene Smith estate is bought by new photography gallery for one million dollars
Fine Art Photo Dealers hold first exposition in New York
First award from Smith fund
Photo-Secession auction at Phillips
The Swann auction
Announcement of the sale of the late W. Eugene Smith’s estate was made at the October opening of the Association of International Photography Art Dealers, Inc. The purchase price of slightly more than one million dollars, the highest ever paid for the work of a single photographer, was paid by PHOTOGRAPH, a new photography gallery in New York City, to the Center for Creative Photography, the University of Arizona at Tucson.
An opinionated look at available-light SLR focusing with a normal lens
Cora Wright Kennedy
The longer I teach photography, the more I realize that many people who are beyond the basics still don’t know how to focus well with a 35-mm SLR and normal lens in available light. This is unfortunate, since they tend to make so many pictures by more-or-less existing darkness.
Camera auctions, on "hold" for 10 years, are coming through loud and clear again
Eaton S. Lothrop, Jr.
A few individuals had been actively collecting cameras since well before World War II. And there were auctions with cameras featured in them in 1961, in Geneva, Switzerland; and in 1967, at New York’s Parke-Bernet Galleries. But to many, attention on and the boom in camera collecting began 11 years ago, in February 1970.
The surrealism of Christian Staub: tapping the subconscious
Becky Cohen, “Two Glasses"
Christian Staub, New Photographs, Foster/White Gallery, Seattle (Oct. 23Nov. 10, 1980). Christian Staub presents the viewer with experiences that seem purely visual, yet provoke distinct psychic resonances. This is not paradoxical, given Staub’s earlier career as a surrealist painter.
A few issues back, this column dealt with basic, inexpensive cameras as an easy but satisfying entry into super 8 filmmaking. With their automatic exposure control and limitedor nonzoom lenses, you’re ever ready for action: just point and press.
I purchased a fairly large quantity of Fuji Neopan 400 black-and-white 35mm film. Can I process the film in Kodak D-76 or Microdol-X developer? When the film is exposed normally at ASA 400, what are the recommended times for different temperatures?
POPULAR PHOTOGRAPHY will periodically list nationwide photographic workshops. If you wish to have your workshop listed, please send complete information at least three months prior to the registration date to: Workshops, POPULAR PHOTOGRAPHY, One Park Ave.
Egypt, Part II: Use light and position to get a dramatic picture of the pyramids
Two thousand years before Christ, ancient Thebes was the religious, political, and cultural capital of the world. It was the stage for dramatic upheavals, royal intrigue, and the casting out of traditional gods for new deities. Centuries later the Greeks and Romans marveled at the massive temples and urban vitality of this fabled city on the banks of the Nile.
The Pet Information Bureau (N.Y.) has alerted us to the story of a man and his dogs. The man is Capt. Arthur Haggerty who describes himself as being 6 ft., 3 in. tall, weighing 350 lb., and generally having his head shaved. (Yes, everyone knows when the Captain is on the deck.)
The International Center of Photography. 1130 Fifth Ave.. New York. N.Y. 10028. offers a diverse education program that encompasses virtually every aspect of photography from the darkroom to areas of criticism, professional photography, fine arts, and sociological issues within the medium.
Invention can be the mother of necessity (to hire a patent attorney, anyway)
Technical devices in general, and photographic ones in particular, fascinate you and me. We find that a large part of our pleasure in photography comes from the mastery and manipulation of the wondrous tools of the trade. And a lot of us become convinced, after working with some of these tools for a while, that they can be improved.
In photography, the only magic numbers are those that work for you
You would think that, of all people, photographers would believe their own eyes. Apparently not. An event that took place in my office in the last month has led me to this strange conclusion. A supposedly adult photographer of advanced professional status and international reputation entered the office holding a shiny new Chromeflex SLR.
Here’s one critic’s plea for clear words and thinking about the medium
The original handout for college photography students... ... and Vastal's revised version
Our photography is not controlled mainly by the quality of our verbal thinking; however, clear words and thinking help. The clearer and more accurate our language, the more coherent are our thoughts, and the less our verbal confusion interferes with our visual understanding.
People who don't like to be revealed too well may prefer the portraits by professional photographers, which tend to be rather impersonal
Ralph M. Hattersley
The biggest problem in posing subjects for portraits is the model who stands or sits straight as an arrow, like a soldier being inspected by his or her superiors. Such a pose is boring and stiff, fit mainly for a police photograph of a criminal.
All you need is a window seat in an airplane, camera, and polarizing filter to brighten the sky with a burst of color
Rainbows needn’t be chased after; you can create your own and photograph them from inside an airplane. Veteran fliers have been known to comment that at the high altitudes commercial jets fly, there’s not much to see except bland skies.
Jeré Cockrell is a successful commercial photographer who finds time and creative energy to “make pictures I like to look at”
“I want to stress one thing,” says Jeré Cockrell about his pictures. “I really got into photography just to take pictures I like to look at. There are times when I see something and say to myself, ‘That will make an interesting photograph . . .’
The connection between film and video isn’t new. All along, a great deal of what’s telecast originated in the form of 35-mm for features and 16-mm for news and documentaries. Commercials are made in either professional format. What is new is the connection between super 8 and video for the consumer, allowing any amateur with a videocassette deck to show his films on the family’s TV set.
Here are nine ways you can use uitrawide-angle lenses to make top-quality images, with or without the wide-angle “look”
Go from wide to widest
Stretch interior space
Get into motion
Explore the great outdoors
Respect the individual
Leap tall buildings
Bring people together
Try filters for the final touch
If you’re looking for cheap thrills, you’ve come to the wrong place. Ultrawide-angle photography doesn’t come cheap in terms of the necessary optics, but the results can be priceless. Read on, and we will discover how to use the exotic ultrawide lens, without being dominated by it.
Can this high-contrast film also give view-camera quality with your 35? Dick Delagi’s formula No. 8 may be the answer
It masters highand low-contrast scenes
Image quality stands up to high magnification
Kodak Technical Pan
Still lifes have large-format feel
Dick Delagi is a metallurgist with senior-scientist ranking at the brainy Texas Instruments Company. He is also a passionate amateur photographer whose creative explorations of surface and texture with his Leica R3 and M3 35-mm cameras put a premium on fine grain and razor sharpness.
Stay prepared: When everything you need has its place, a glance will show what’s missing
1 Filters and close-up lenses
3, 9, and 11 Cleaning tools
4 Remote control
5 Battery tester
6 Swiss army knife
7 Jeweler’s screwdriver set
10 Auxiliary power supply
In the past year I have been called upon to film a diverse range of subjects, from my kid’s birthday to eye surgery. But it takes more than my camera to shoot a Film. Naturally enough, it takes the Film stock itself, and a number of accessories that aren’t just frivolous extras.
A Hasselblad is not a camera—it’s a complete modular system. You buy and plug together a control box, lens, viewfinder, film back, and whatever other accessories (rapid cranks, filters, matte box, viewing screens, grip) to build the camera best suited to your picture-taking style.
With the 2000FC, Hasselblad seems to return to using a corrugated-metal focal-plane shutter, first seen in its original reflex camera of 1948, redesigned in 1953, then abandoned in favor of the more reliable Compur front shutter from 1959 onward.
Mechanical: Most elaborate of the three lenses tested, the 50-mm Distagon f/2.8 is constructed to move the front and rear sections at different rates as the lens is focused. This is done to obtain uniform performance throughout the focusing range, and is commonly called a floating-element system.
At the home of an acquaintance, I saw a slide illuminator that allowed him to view his slide-file pages without having to remove them from their binder. The pages (in binder) were placed in front of the illuminator, and by turning a handle, he was able to flip through the group, exposing each page for illumination and viewing.
Independent manufacturers find their own ways to enter the “dedicated” flash game
Michele A. Frank
Not too many years ago, practically all innovative and interesting electronic-flash units were made by independent manufacturers, separate from the large camera companies. Times change, and today we see camera companies offering many versatile types of “dedicated” or matched flash equipment.
Why wide-angle zooms are more useful than tele zooms; air cans you fill for free
Air spray for negatives
Have you ever shot pictures with a tele zoom when all you really needed was a tele lens? When you shoot with your zoom, do you use it primarily at the extreme focallength settings and hardly ever at the in-between ones? I sometimes use a zoom lens, but rarely a tele zoom, and have come to believe that many zoom lenses are better for looking through than shooting through.
Ansco Auto Fast 1050, a 35-mm zone-focus model, features: single-frame automatic film advance of one frame per sec, automatic film loading and rewind at Film end, film-run confirmation, 38-mm f/4 lens, low-light warning by viewfinder eyepiece, single shutter speed of 1/125 sec, and pop-up electronic flash with range of 3-10 ft. with ASA 100 film, or 3-16 ft. with ASA 400.