Issue: 19830401

Friday, April 1, 1983
April
4
True
90
Saturday, December 27, 2014

Articles
cover
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popular photography
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PopularPhotography_19830401_0090_004_0001.xml
advertisement
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0_2,1
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Pentax Corporation
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Pentax Corporation
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PopularPhotography_19830401_0090_004_0002.xml
masthead
2
2,6
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POPULAR PHOTOGRAPHY
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PopularPhotography_19830401_0090_004_0003.xml
tableOfContents
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POPULAR PHOTOGRAPHY
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PopularPhotography_19830401_0090_004_0004.xml
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3
3
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Canon USA, Inc.: NEW Canon F-1
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Canon USA, Inc.
NEW Canon F-1
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PopularPhotography_19830401_0090_004_0005.xml
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4
4,5
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SIGMA: Double Zoom
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SIGMA
Double Zoom
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PopularPhotography_19830401_0090_004_0006.xml
article
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6,22
LETTERS TO THE EDITOR
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LETTERS TO THE EDITOR
Kudos for POP’S "new look"
Auto vs. manual
Malapropism
Clarification
Solving a sticky problem
Correction
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Having just received your February issue, I would like to commend your entire staff for putting together a superb issue of POPULAR PHOTOGRAPHY. The graphics and layout are impressive and lend a quality of “readability,” while no sacrifice has been made in content.
PopularPhotography_19830401_0090_004_0007.xml
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7
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OLYMPUS: OLYMPUS OM-G
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OLYMPUS
OLYMPUS OM-G
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PopularPhotography_19830401_0090_004_0008.xml
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8
8
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Beseler Photo Marketing Co., Inc.
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Beseler Photo Marketing Co., Inc.
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PopularPhotography_19830401_0090_004_0009.xml
article
8
8,101
TRAVELER’S CAMERA
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TRAVELER’S CAMERA
On the “hunt” for rhinos and pictures in South Africa
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Carl Purcell
The open seven-passenger Land Rover lurched across the uneven terrain, crushing small trees and tearing at thorn bushes. I threw up my arm to protect my face and eyes; a thorn was driven into the back of my hand, but in the excitement of the chase I was oblivious to the pain.
PopularPhotography_19830401_0090_004_0010.xml
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9
9
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OLYMPUS: OLYMPUS T-SERIES FLASH
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OLYMPUS
OLYMPUS T-SERIES FLASH
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PopularPhotography_19830401_0090_004_0011.xml
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10
10,11
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Canon USA, Inc.: Canon AL-1
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Canon USA, Inc.
Canon AL-1
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PopularPhotography_19830401_0090_004_0012.xml
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12
12
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Jet Color Lab
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Jet Color Lab
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PopularPhotography_19830401_0090_004_0013.xml
article
12
12,22
OFFBEAT
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OFFBEAT
Does it really matter if my camera is better than yours, or your camera is better than mine? Here’s what I think
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Norman Rothschild
Many photographers believe that by buying better camera equipment they will make better pictures. In a purely technical sense, this premise has some validity. But from an artistic and conceptual point of view, it’s another story. The color photo that accompanies this text was made in 1963 using Kodak Ektachrome-X color-slide film exposed in a Kodak Brownie Super 27 box-type camera.
PopularPhotography_19830401_0090_004_0014.xml
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13
13
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NEW YORK INSTITUTE OF PHOTOGRAPHY
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NEW YORK INSTITUTE OF PHOTOGRAPHY
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PopularPhotography_19830401_0090_004_0015.xml
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16
16
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GMI Photographic, Inc.: PHILIPS DRUM GUN
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GMI Photographic, Inc.
PHILIPS DRUM GUN
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PopularPhotography_19830401_0090_004_0016.xml
article
16
16,104,105
MARKETS & CAREERS
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MARKETS & CAREERS
The way Rodney K. Roberts “sees” at night is enough to make an owl jealous
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Howard Chapnick
Photography interrelates with the changing attitudes of our increasingly complex society. The camera is another of the intrusive elements that bring George Orwell’s 1984 to closer reality. Technological changes in cameras, lenses, and films have contributed to their use as recording, identification, investigative, and evidentiary tools.
PopularPhotography_19830401_0090_004_0017.xml
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17
17
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Konica Corporation: Konica FT-1 MOTOR
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Konica Corporation
Konica FT-1 MOTOR
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PopularPhotography_19830401_0090_004_0018.xml
article
18
18,20,48,50,54
VIDEO/MOVIE METHODS
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VIDEO/MOVIE METHODS
Trade show stresses TV-set quality as core of entertainment and communication center
Conventional frequency spectrum
Beta Hi-Fi frequency spectrum
Conventional four-head system
Double bi-head design for steadier stills
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Leendert Drukker
The latest Consumer Electronics Show, held in Las Vegas, may well mark a turning point in the role of the TV screen. Sure, we’ve all heard of the “coming video revolution” ad nauseam, but the focal point of all those fabled riches of programming—from cable, videocassette recorders and disk players, satellites, video and computer games, teletext and videotex—has been a TV screen more suitable for the soap serials and quiz programs of “free TV.
PopularPhotography_19830401_0090_004_0019.xml
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18
18
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Va. Photochemical Inc.: Finol-B
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Va. Photochemical Inc.
Finol-B
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PopularPhotography_19830401_0090_004_0020.xml
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19
19
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Omega
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Omega
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PopularPhotography_19830401_0090_004_0021.xml
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20
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Advertisement
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PopularPhotography_19830401_0090_004_0022.xml
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21
21
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Tamron Industries, Inc.
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Tamron Industries, Inc.
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PopularPhotography_19830401_0090_004_0023.xml
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22
22
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Color Chrome
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Color Chrome
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PopularPhotography_19830401_0090_004_0024.xml
review
22
22
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BOOKS IN BRIEF
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Lenses and Lens Accessories
$14.95
E.S.
This guide includes technical information on the design and functions of lenses, and the illustrated discussions can help you choose the right lens for specific photographic situations. It covers all types of lenses from superwide-angle through telephoto, and also includes those for view cameras, projectors, and enlargers—as well as special-purpose lens accessories and filters.
PopularPhotography_19830401_0090_004_0025.xml
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23
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Advertisement: CAMEL
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CAMEL
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PopularPhotography_19830401_0090_004_0026.xml
article
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24,26,28,31
PHOTOGRAPHY TODAY
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THE BIPOD WAY TO SHARPNESS
For convenience and steadiness during long exposures, pair your legs with those of a light tripod
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Robert Pollock
Close-up nature photography can be both creatively rewarding and a lot of fun. But three major technical problems are often encountered: the exposure increase required because of lens extension, limited depth-of-field, and the pronounced effect of camera shake on image sharpness at high magnification.
PopularPhotography_19830401_0090_004_0027.xml
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25
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Minolta Corporation: X-700
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Minolta Corporation
X-700
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PopularPhotography_19830401_0090_004_0028.xml
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27
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Minolta Corporation: XG-M
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Minolta Corporation
XG-M
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PopularPhotography_19830401_0090_004_0029.xml
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29
29
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Minolta Corporation
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Minolta Corporation
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PopularPhotography_19830401_0090_004_0030.xml
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30
30
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Advertisement: VANTAGE
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VANTAGE
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PopularPhotography_19830401_0090_004_0031.xml
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32
32,33
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Nikon Inc.
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Nikon Inc.
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PopularPhotography_19830401_0090_004_0032.xml
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34
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Advertisement
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PopularPhotography_19830401_0090_004_0033.xml
article
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34,36
IMAGE TECHNOLOGY
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IMAGE TECHNOLOGY
The impact of Kodak's "T-grains"
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Don Leavitt
When Eastman Kodak Co. introduced its ultrahigh-speed colornegative film, VR 1000, at photokina ’82, company officials made the claim that the new emulsion technology embodied in that film represented “the biggest breakthrough in silver-halide emulsion technology in more than 50 years.
PopularPhotography_19830401_0090_004_0034.xml
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35
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KIRON
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KIRON
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PopularPhotography_19830401_0090_004_0035.xml
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36
36
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IDENTICOLOR LABORATORY, INC.
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IDENTICOLOR LABORATORY, INC.
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PopularPhotography_19830401_0090_004_0036.xml
article
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36
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CONTEST NOTICE
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The National Photography Association announces its first annual photography contest. Amateur and professional photographers may enter. A total of $5,000 will be awarded to 100 people, 50 in the blackand-white category, and 50 in the color division.
PopularPhotography_19830401_0090_004_0037.xml
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37
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Philip Morris Inc.: MERIT
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Philip Morris Inc.
MERIT
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PopularPhotography_19830401_0090_004_0038.xml
article
38
38,40,42,101
EQUIPMENT & MATERIALS
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LAB REPORT
Field Check
KIRON 35 → 135-mm f/3.5-4.5
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Norman Goldberg
This handsomely finished lens spans a zoom ratio of just under 4X, covering focal lengths from 35-mm to 135-mm. This range is just about all I need for casual shooting. In addition, a “macro”-focusing range permits close-ups to 1/4 lifesize magnification.
PopularPhotography_19830401_0090_004_0039.xml
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39
39
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Minolta Corp.
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Minolta Corp.
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PopularPhotography_19830401_0090_004_0040.xml
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41
41
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Eastman Kodak Company: KODAK EKTAFLEX PCT
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Eastman Kodak Company
KODAK EKTAFLEX PCT
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PopularPhotography_19830401_0090_004_0041.xml
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43
43
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Tasco Sales, Inc.: Tasco Binoculars
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Tasco Sales, Inc.
Tasco Binoculars
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PopularPhotography_19830401_0090_004_0042.xml
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44
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Philip Morris Inc.: Marlboro
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Philip Morris Inc.
Marlboro
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PopularPhotography_19830401_0090_004_0043.xml
article
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45,180
THE COLOR DARKROOM
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THE COLOR DARKROOM
One problem when printing slides is excessive print contrast. Here’s how to reduce it
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Larry Sribnick
In any discussion of color prints made from slides, the topic of conversation seems to always revolve around contrast control. When a new color-prints-from-slides process is introduced, the first question that is usually asked is, “How contrasty is it?
PopularPhotography_19830401_0090_004_0044.xml
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46
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Mitsubishi Motors
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Mitsubishi Motors
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PopularPhotography_19830401_0090_004_0045.xml
article
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47
POP PHOTO SHOWS HOW
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TIMING AND LIGHTING
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Norman Rothschild
Becoming thoroughly familiar with a subject, seeing it under a variety of conditions and waiting to photograph it at just the right moment is something too few photographers practice. Instead, many of us tend to believe that catching an important moment is a hit-and-run affair.
PopularPhotography_19830401_0090_004_0046.xml
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48
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shutterbug ads
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shutterbug ads
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PopularPhotography_19830401_0090_004_0047.xml
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49
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GOOD YEAR
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GOOD YEAR
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PopularPhotography_19830401_0090_004_0048.xml
article
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50
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G.E. packs the pipelines
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G.E., in the past perhaps best known as a mass manufacturer of appliances, may well turn out to be a most innovative video giant. It has developed a bandwidthcompression system to combat the growing congestion of the airways and cable. Business transactions, news telecasts, broader programming, sports, education, electronically delivered newspapers, shopping guides, and oneor twoway communication, such as polling, require either more channels or extra cable capacity.
PopularPhotography_19830401_0090_004_0049.xml
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50
50
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THE LAB
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THE LAB
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PopularPhotography_19830401_0090_004_0050.xml
article
51
51
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America's Best
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PopularPhotography_19830401_0090_004_0051.xml
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54
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Advertisements
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PopularPhotography_19830401_0090_004_0052.xml
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55
55
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Duracell International, Inc.
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Duracell International, Inc.
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PopularPhotography_19830401_0090_004_0053.xml
article
56
56,57,58,59,60,61,62,63
PHOTOGRAPHY TODAY
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KYOTO FANTASIES
Yuten Konishi uses a complex, sophisticated posterization technique to evoke visions of Japan’s ancient capital city
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Arthur Goldsmith
Japan’s ancient city of Kyoto is haunted by history, rich in tradition, and filled with serene beauty. Its temples are the oldest surviving wooden structures in the world. Its twisting little back alleys lead to hidden gardens and moss-covered shrines.
PopularPhotography_19830401_0090_004_0054.xml
article
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64,65,116
PHOTOGRAPHY TODAY
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Pack Yourself a 'Skylight'
Simple fold-out spider frame serves double duty as diffuser or reflector
Bathe subject in light
For control, clip on cardboards
Combine diffusion and reflection
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Mike Ballai
Broad, expansive light illumination, as from a northern skylight, has been an artist’s and photographer’s elusive ideal. Soft, diffused illumination flatters the subject because it doesn’t throw hard shadows that bring out flaws and coarse details, and it keeps the scene well within the range of films and printing papers.
PopularPhotography_19830401_0090_004_0055.xml
article
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66,67,148
PHOTOGRAPHY TODAY
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THE INDECISIVE MOMENT
It’s the time lag between when you push the button and the camera does the rest. Here’s how to live with it and still get the shot you want
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Norman Goldberg
Imagine that you’ve been assigned to photograph some action scenes and you have your choice of cameras. How about one with a fast motor drive that lets you make five frames per sec? Or what about the one with a top shutter speed of 1/4,000 sec plus a motor drive to go with it?
PopularPhotography_19830401_0090_004_0056.xml
article
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68,69,70,71
PMA'83 PREVIEW
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Four New Kodacolor VR Films
From supersharp VR 100 to superfast VR 1000, they set new standards of fine-grain resolving power in 35-mm print films
The four new emulsions compared with current Kodacolor films
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Bob Schwalberg
Now there are four. Gone are the simple days of innocence when the choice was between Kodacolor II (ASA 100) and Kodacolor 400, with clear grain/ speed trade-offs. The new Kodak lineup of speed-named color negatives consists of Kodacolor VR 100, Kodacolor VR 200, Kodacolor VR 400, and Kodacolor VR 1000.
PopularPhotography_19830401_0090_004_0057.xml
article
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71,110
PMA'83 PREVIEW
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Kodak press conference in full: new disk, instant cameras, as well as the four Kodacolor VR films
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Don Leavitt
At a press conference held Jan. 26 in New York, Eastman Kodak Co. announced three new 35-mm color-print films that complete the family started byKodak's ASA/ISO 1,000 color-print film, VR 1000, unveiled last October at photokina. Employing many of the technological breakthroughs that made their disk film a practical reality, the new films have been designed to give the photographer significant improvements in speed, grain, and sharpness.
PopularPhotography_19830401_0090_004_0058.xml
article
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72
PMA'83 PREVIEW
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From Canon: the T50, an SLR with Point-andshoot Simplicity; plus a New Sure Shot
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Michele A. Frank
The sleek Canon T50 is a simple, programmed-only SLR with built-in 1.4-fps winder. Using two AA batteries as a power source, it has an easy loading system and an audio/visual self-timer. The T50’s vertically traveling shutter has blades made of a polyester material, coated with metal for opacity.
PopularPhotography_19830401_0090_004_0059.xml
article
73
73
PMA'83 PREVIEW
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Konica’s FT-1 Motor Is Update of FS-1 SLR
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Norman Rothschild
Kudos to Konica for sticking to shutter-preferred exposure automation in their new FT-1 Motor SLR. This system lets you select the shutter speed (for example, one that stops motion), then the metering system chooses the aperture. It will never willy-nilly alter the speed to give you a blur.
PopularPhotography_19830401_0090_004_0060.xml
article
73
73
PMA'83 PREVIEW
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Minolta Enters Disk Market, Shows Three New Zooms
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Steve Pollock
Minolta's Disc 5 and Disc 7 models represent the first efforts by a major Japanese company to enter this field, pioneered last year by Eastman Kodak Co. Comparable in most ways to their American counterparts—12.5-mm f/2.8 lens, 1/100-and 1/200-sec shutter speeds, auto-on electronic flash, motorized film advance, built-in lithium batteries—the Minolta models differ in some interesting details.
PopularPhotography_19830401_0090_004_0061.xml
article
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74
PMA'83 PREVIEW
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From Nikon, Its First Autofocus Compact, an Improved FE SLR, and Some Sexy New Lenses
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Steve Pollock
Nikon’s product introductions cover a broad range of intended users, from the novice to the sophisticated photographer. Starting at the simple-to-use end, the L35AF is Nikon’s entry into the compact, autofocus, auto-exposure 35-mm field.
PopularPhotography_19830401_0090_004_0062.xml
article
75
75
PMA'83 PREVIEW
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Pentax Goes Multimode, Adds New Line of 14 “A” Lenses
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Steve Pollock
The Super Program camera brings Pentax into the major leagues of multimode automatic SLR makers. Basically an updated and upgraded version of the ME Super (which remains in the line), the Super Program offers a choice of six exposure modes.
PopularPhotography_19830401_0090_004_0063.xml
article
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75
PMA'83 PREVIEW
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Additional Film News
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Bob Schwalberg
Fuji Photo Film U.S.A. has announced two fine-grain, high-resolution color-print films based on the technology used in Fujicolor HR Disc Film, which was introduced in 1982. The new speednamed Fujicolor 100 and Fujicolor 400 will be available in 35-mm, 110, and 126 cartridges, as well as 120 rolls.
PopularPhotography_19830401_0090_004_0064.xml
article
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76,77,78,79,80,81,82,83,84,85
PHOTOGRAPHY TODAY
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PORTRAITS: THE HALSMAN TOUCH
The only man to score more than 100 Life covers, Philippe Halsman developed a unique style of portraiture. Here are eight memorable images and the human story behind them
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Arthur Goldsmith
The late Philippe Halsman, born in Riga, Latvia and commencing his photographic career in Paris, achieved international fame after emigrating to the U.S. in 1940, where his unique style of “psychological portraiture” earned him assignments from the top magazines of the era.
PopularPhotography_19830401_0090_004_0065.xml
article
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86,87,88,89,90,91,97
FIRST LOOK
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ILFORD MULTIGRADE II
Variable-contrast Black-and-white Enlarging Paper
Processing
The tests
Picture printing
Lowering contrast with filters
Raising contrast with filters
Multigrade II table of relative contrast (to nearest ¼ grade)
Ilford’s 11 contrast printing filters give 12 contrasts
Summing up
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David Vestal
Ilford’s new Multigrade II is a variablecontrast black-and-white paper that comes in two surfaces, glossy and pearl (semiglossy); and, since it is a waterproof RC or resin-coated paper, in one thickness, medium weight. Unlike the first Multigrade RC paper, it has a developing agent, hydroquinone, incorporated in its emulsion so that activation processors such as Kodak’s Royalprint can be used for rapid and complete processing.
PopularPhotography_19830401_0090_004_0066.xml
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92
92
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The Art Institutes
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The Art Institutes
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PopularPhotography_19830401_0090_004_0067.xml
article
92
92,93,94,96,97
POP PHOTO SNAPSHOTS
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POP PHOTO SNAPSHOTS
News about people, products, and events
The rise of Rose
What’s new
Join for a joinal
Seeing and saying
Yes, Virginia...
Nimslo moves
Ooops!
RPS problems
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Norman Schreiber
“I’ll tell you exactly why I do this,” said Los Angeles Times photographer George Rose. “It all stems from my frustration.” The this in George’s life is his occasional publication of a tabloid that features his photographs. His fifth and newest, In Search of the Elusive Breast, should be reaching the world just about now.
PopularPhotography_19830401_0090_004_0068.xml
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93
93
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PDQ
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PDQ
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PopularPhotography_19830401_0090_004_0069.xml
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94
94
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Advertisements
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Calumet PHOTOGRAPHIC INC.
Mamiya RZ67
Calumet PHOTOGRAPHIC INC.
CALUMET 540
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PopularPhotography_19830401_0090_004_0070.xml
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95
95
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Advertisement: POPULAR PHOTOGRAPHY BOOK CLUB
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POPULAR PHOTOGRAPHY BOOK CLUB
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PopularPhotography_19830401_0090_004_0071.xml
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96
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Olympic Camera
MINOLTA X-700
Olympic Camera
PENTAX ME SUPER
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97
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DALE LABORATORIES
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DALE LABORATORIES
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98
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Frank’s
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Frank’s
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review
98
98,99,100
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JUST OUT
Cameras
Camera accessories
Video
Darkroom equipment
Miscellaneous
Polaroid
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Polaroid
[no value]
$39.95
Polaroid
[no value]
$59.95
Polaroid
Konica Color VC camera
$64.95
Polaroid
Jobo Maxilux safelight
$50
Polaroid
Tenba P232
$99
Joseph P. Fesce
Polaroid introduces two budgetpriced instant cameras with infrared-light sensing, accepting Polaroid 600 instant color film. Sun 600 LMS features “light-management system” electronics to automatically combine, over a range of 32 electronic decisions, ambient light with built-in folding electronic flash to eliminate unwanted shadows and erase harsh contrast.
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99
99
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PHOTOGENIC MACHINE COMPANY: Porta-Master FLASH POWER SYSTEM
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PHOTOGENIC MACHINE COMPANY
Porta-Master FLASH POWER SYSTEM
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PopularPhotography_19830401_0090_004_0076.xml
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99
99
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CUSTOM PHOTO MFG., INC.: Model "A" Black
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CUSTOM PHOTO MFG., INC.
Model "A" Black
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PopularPhotography_19830401_0090_004_0077.xml
review
100
100
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BOOKS IN BRIEF
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The Complete Book of Sports Photography
$14.95
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Flash Photography
$7.95
J.N.
It takes a professional sports photographer to be able to give you the little hints as well as major facts that will help you capture those exciting moments on Film. Mickey Palmer is such a photographer, and he does it successfully with the help of sports writer Lou Sahadi.
PopularPhotography_19830401_0090_004_0078.xml
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100
100
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Master Color Labs
Kodachrome film
Master Color Labs
Kodacolor film
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PopularPhotography_19830401_0090_004_0079.xml
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101
101
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RNI PHOTO MARKETING
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RNI PHOTO MARKETING
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102
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Starlight COLOR LAB
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Starlight COLOR LAB
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article
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102,103,154
WORKSHOPS
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WORKSHOPS
CALIFORNIA
ILLINOIS
MAINE
MICHIGAN
MINNESOTA
NEW YORK
NEW MEXICO
NORTH CAROLINA
UTAH
CANADA
IRELAND
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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.
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HARMONY
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HARMONY
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104
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J&R MUSIC WORLD
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J&R MUSIC WORLD
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104
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CELESTRON INTERNATIONAL: TELEPHOTO LENSES
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CELESTRON INTERNATIONAL
TELEPHOTO LENSES
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PopularPhotography_19830401_0090_004_0085.xml
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104
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Advertisement: POPULAR PHOTOGRAPHY
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POPULAR PHOTOGRAPHY
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article
105
105
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LENS TEST GLOSSARY
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Aberrations: A flawlessly manufactured lens may still exhibit residual aberrations (image faults). Often, certain aberrations are permitted by the designer to minimize others felt to be more harmful to image quality. Astigmatism: Causes lines radial to the optical axis, and lines perpendicular to these, to focus in two different planes.
PopularPhotography_19830401_0090_004_0087.xml
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105
105
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MSI/Heritage Color Lab
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MSI/Heritage Color Lab
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106
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PHOTOGRAPHIC MARKET PLACE
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RITZ CAMERA
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RITZ CAMERA
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110
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SEMINOLE PHOTO
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SEMINOLE PHOTO
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111
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CAMERA WORLD OF OREGON
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CAMERA WORLD OF OREGON
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article
112
112,116
SHOPTALK
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SHOPTALK
Some photographers think that half-frame 35-mm is the smallest practical format; using new, improved films, will it rise again?
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Norman Goldberg
According to POPULAR PHOTOGRAPHY’S Buyers Guide, every 35mm SLR model now marketed contains its own built-in light metering system. And more than half are fully automatic. Among other things, this means that you need a battery for every 35mm SLR sold today.
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FOTO CELL
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FOTO CELL
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114,115
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Photron Marketing Inc.
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Photron Marketing Inc.
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116
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GARDEN CAMERA
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GARDEN CAMERA
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GARDEN CAMERA
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GARDEN CAMERA
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118
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GRAND CENTRAL CAMERA
ROKINA 28-80mm f2.8 One-Touch Macro Zoom
GRAND CENTRAL CAMERA
ROKINA Miniature 26AD Computerized Auto Dedicated Flash
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POPULAR PHOTOGRAPHY
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Spiratone INC.
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Spiratone INC.
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POPULAR PHOTOGRAPHY
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123
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LION PHOTO
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LION PHOTO
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124
124,125
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COMPETITIVE CAMERA CORP.
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COMPETITIVE CAMERA CORP.
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PopularPhotography_19830401_0090_004_0103.xml
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126
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20TH CENTURY PLASTICS INC.
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20TH CENTURY PLASTICS INC.
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127
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ABE'S
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ABE'S
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article
128
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TOOLS & TECHNIQUES
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TOOLS & TECHNIQUES
Don’t let good candids get away from you. First learn where they may be found, then use these special shooting techniques
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Cora Wright Kennedy
Did you ever wish for a higher percentage of good candid shots, and a smaller number of misses? This is a desire that we all have at times. So, over the years many of us have evolved some special ways of working to improve our score. The heart of the matter is anticipation.
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129
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cambridge midtown inc.
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cambridge midtown inc.
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130
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THE RIGHT ANSWER
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THE RIGHT ANSWER
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article
132
132,144
PORTRAITS: THE HALSMAN TOUCH
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The Story Behind the Portraits
Vivien Leigh Laurence Olivier
Marilyn Monroe
Groucho Marx
Jean-Paul Sartre
Ava Gardner
Jean Cocteau/ Ricki Soma/ Leo Coleman
Alfred Hitchcock
Vladimir Nabokov
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[no value]
No one who has seen her in “Gone with the Wind" wilt be surprised that Vivien Leigh became in my eyes one of the most beautiful women in the world. I was delighted when Life asked me to photograph her for a cover. I knew that she suffered from tuberculosis, but I was still shocked by her pale and fragile appearance when she entered my studio.
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133,134,135
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Executive Photo & Supply Corp.
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Executive Photo & Supply Corp.
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136
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COMPU-COLOR
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COMPU-COLOR
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137
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SUNSHINE CAMERAS
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SUNSHINE CAMERAS
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141
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Skyline Color Labs
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Skyline Color Labs
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142
142,143
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camera world
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camera world
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145
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FREESTYLE
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FREESTYLE
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146
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International Photo Exchange
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International Photo Exchange
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147
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THE WORLD OF 35 MM
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THE WORLD OF 35 MM
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149
149
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LONE STAR CAMERA
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LONE STAR CAMERA
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PopularPhotography_19830401_0090_004_0120.xml
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150
150
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47th STREET PHOTO INC.
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47th STREET PHOTO INC.
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151
151
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Advertisements
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CQS - CUSTOM QUALITY STUDIO
KODAK DISC FILM
CQS - CUSTOM QUALITY STUDIO
4 x 6 COLOR PRINTS
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PopularPhotography_19830401_0090_004_0122.xml
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152
152,153
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CAMERAS WEST OF SEATTLE
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CAMERAS WEST OF SEATTLE
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155
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BI-RITE PHOTO and ELECTRONICS
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BI-RITE PHOTO and ELECTRONICS
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New York Camera
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New York Camera
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158,159,160
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ADORAMA
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ADORAMA
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161
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TOTAL-VUE COLOR LAB
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TOTAL-VUE COLOR LAB
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TRI-STATE
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TRI-STATE
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164
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ABC PHOTO SERVICE: Canvas Panels
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ABC PHOTO SERVICE
Canvas Panels
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165
165
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Riviera Cameras & Electronics
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Riviera Cameras & Electronics
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166
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FOX PRO LAB
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FOX PRO LAB
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167
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UNDERGROUND CAMERA
Olympus OM-G
UNDERGROUND CAMERA
Minolta XD-5
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PopularPhotography_19830401_0090_004_0132.xml
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168,169
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BROTHERS CAMERAS
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BROTHERS CAMERAS
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170
170
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CAMBRIDGE camera exchange, inc.
Cambron TTL
CAMBRIDGE camera exchange, inc.
Komura Telemore 95 III
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PopularPhotography_19830401_0090_004_0134.xml
article
170
170,176,180,190
SHOWS WE’VE SEEN
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SHOWS WE’VE SEEN
Observations from New Orleans: shows of both contemporary and “classic” work indicate a growing interest in photography
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Natalie Canavor
continued from page 190 tributed some expressive images of people in their yards, doorways, or other familiar environments, with an eye for details like a cat, beer bottle, and plaster Madonna. Furthest from the show’s mainstream—and as usual with exhibits like this, seeming to intrude a sense of reality that is out of place—was Jeff Bishop’s fine photojournalism of Northern Ireland: children and soldiers, smoldering ruins, etc.; and “travel” images by Denis Fogelsand of Africa and India, strong place-and-people pictures including memorable portraits of a child and young Fulani woman. These groups were among the scant amount of work suggesting that reality might still be interesting in itself, rather than as raw material for the photographer’s expression of his own intellect or psyche. Two winners were selected by Pfahl from the 121 entrants to receive an anonymous donation for two $2,500 fellowships. The criteria seemed to be an advanced state of development, but neither set of images—shown as full portfolios—really appealed to me. One was Thomas Neffs black-andwhite document of Southwest ranches on the verge of dramatic change— straightforward records of what the places look like now accompanied by wall-label explanations of impending shopping centers, residential developments, etc., and what they will mean for the present inhabitants. The second winning group—and certainly the most experimental in the exhibit—consisted of Rita DeWitt’s sophisticated color Xerox manipulations. They are highly complex arrangements of hands, objects, pastel additions, etc., with suggestive, cryptic hand-inscribed statements of the sort that conceptual art is making us accustomed to. One labeled “Position changes identity. Think red, think line, think feather” includes some large grass blades, a hat brim, a heart shape, and an assortment of smaller things. The graphic achievement is considerable, but like much of the academicstyle work in the exhibit, it left me cold. In sum, Contemporary Photography 5 was just as good as similar ambitious shows I have seen, mostly mounted on the West Coast, and just as limited in depth and sense of engagement with life. The Contemporary Arts Center is an interesting place, housed in an old warehouse in downtown New Orleans and supported by memberships, grants, and donations. It hosts music, film, video, and theatrical events as well as visual arts and various workshops. Also on view when I visited was a nice selection of celebrity portraits by Gisèle Freund; a show by contemporary artist Red Grooms; and a large collection of Art Cars, tiny fantastical vehicles created by dozens of artists prior to the impending Mardi Gras; selected minis will be converted to full-size maxis for the festivities. (The one I remember bore the words “Art Critics, Today’s Martyrs,” and sported a nude body bedizened with arrows draped across the top.) This was all much more in the New Orleans spirit I expected, though I’m not sure there could be a photographic equivalent. continued on page 176 continued from page 170 In an effort to draw out a more regional representation, CAC’s sixth competition will be open to all Southeast photographers and possibly have a local juror. Partly in response to the CAC show was a much smaller group exhibit mounted concurrently at a French Quarter art gallery. Showing photography for the first time—and successfully, to judge by the number of little red stickers denoting sales—was the Tilden-Foley, recently converted from a show place for 19thcentury art objects by its two young proprietors (Recent Works by XI New Orleans Photographers, Jan. 8-Feb. 10). Some photographers had declined to compete in the CAC show; eight of the 11 included in the Tilden-Foley exhibit had been rejected by the larger, in some cases because their full portfolios did not show well in the juror’s judgment. In any case, the exhibit had much of the charm and personal quality absent from the bigger presentation. Represented was New Orleans’ most notable emerging success, George Dureau, who produces memorable black-and-white images of nude males and dwarfs, beautifully posed and lighted for a sculptural effect. Michael P. Smith contributed several documents of New Orleans rituals—a jazz funeral and a parade of a local club. I had the chance to see a bit more of Smith’s work at the New Orleans Historical Collection, where contemporary work with documentary value is collected along with historical imagery, and was impressed by his portrayals of cultural pockets, like religious ceremonies. Sandra Russell Clark uses infrared photography delicately hand-colored to produce moody images of regional scenery. Several reverie-like renditions of the New Mexico landscape were shown. I saw more of her work elsewhere, and especially liked her interpretations of Louisiana bayou country, conveying its strange brooding quality, yet staying highly personal at the same time. Also working with infrared, Barry Kaiser creates atmospheric pictures of New Orleans’ City Park, whose romantic landscape is dotted w'ith Romanesque WPA-era structures. Other w'ork included rich color scenes with a narrative dimension by Elliot Snellings, created by rephotographing sandwiched color slides; Toby Armstrong’s color photographs of structures like storage tanks, shot at night to convert them to gleaming romantic statements; three-dimensional experiments by Owen Murphy, who cuts around the edges of shoes and boxes so that portions extend forward; and an unforgettable picture by Joshua Pailet of a dog peering intently at the sprawled body of a similar-looking, but very dead, dog. All in all, the Tilden-Foley mounted an engaging if spotty exhibit; and if too few images were shown to provide a real idea of each photographer’s strengths, it did at least provoke a desire to see more in half-a-dozen cases. Photographs by Mother St. Croix, New Orleans Museum of Art (Nov. 7-Feb. 3). Mother St. Croix was a French-born nun of the Ursuline order, who came to New Orleans in 1873 and lived in convents that were, until 1912, cloistered. She apparently brought her camera with her from France, although nothing is known of the reasons for her picture-taking or photographic developement. She proceeded to document convent life and environment. The work is hard to date, but mostly derives from the 1888-1912 era (at which time the nuns relocated to a newly built and architecturally less interesting convent, and Mother St. Croix presumably lost enthusiasm). The fascination of the images is in their portrayal of a way of life that has not only vanished, but was generally closed to outsiders, let alone a camera. Strangely, Mother St. Croix’s undertaking apparently had the support of the cloistered community, since a 14xl7-in. camera and lens were bought for her in Paris in 1898, and when the order moved in 1912, a darkroom complete with red glass windows was built for her. She is even known to have sold postcard prints to students to defray the cost of materials. Many of the photographs, borrowed from the Louisiana State Museum which had them printed from the original glass plates in 1977, are large-scale views of the convent grounds with meticulously posed groupings of students. Most are shot from a secondor third-floor level—bespeaking considerable dedication, given the awkwardness of the heavy equipment then in use. The style is documentary but with oddities of conception as well as subject. No doubt reflecting the smallness of her chosen world, the same scenes are photographed from the same angles at different seasons, with different arrangements of people in carefully deployed clusters. The rigid order of this closed world is everywhere evident. There are three sepcontinued on page 180 continued from page 176 arate schools in the convent, reportedly never mixing and of distinct social status—the boarders, day students, and orphans, in descending order. In all cases, even social and play activities like jumping rope are stiff and organized, beyond allowing for the styles (and slow materials) of the time. An interesting exception is a set of pictures inspired by a rare snowstorm in 1894; several of these have a spontaneous quality reminiscent of snapshots. One beguiling close-up of four snow-covered girls is titled with unusual playfulness, “Les Esquimaux du Couvent.” Perhaps the rarity of the snowstorm momentarily jarred the all-dominating routine and order. At any rate, these few pictures have the qualities of spontaneity and individuality we value today, in contrast to the body of w'ork that depicts a complex of architecture, a system in which the human figures are seen as small interchangeable pieces. Walker Evans, A Gallery for Fine Photography (Jan. 18-Feb. 19). This is New Orleans’ “establishment” gallery, operating for eight years and currently in its third location within a two-block area (arty Magazine St., a historic strip hosting a number of art galleries and antique shops). It is one of the most beautiful photo galleries I’ve seen: brick floors, old beamed ceilings and wood paneling, French doors between sections on slightly different levels, antique furnishings, and enticing seating arrangements. Besides the changing exhibits, the expansive space is occupied by books, some historical materials, and a selection of well-chosen “classic” images by various photographers. The Walker Evans images are of the South during the 1930s and ’40s, many of decaying plantations and manor houses—subjects so evocative that they make this quintessential documentary photographer look like a romantic. The overpowering quality of such subjects is, perhaps, one reason most y-oung photographers eschew it; its close identification with Laughlin, w'ho is still doing it, is another, and photographers often seem to avoid fulfilling historic expectations— I’ve rarely seen any large-format landscape photography in contemporary shows on the West Coast, for example. In discussion I discovered another reason why there aren’t too many old-plantation pictures beipg done—there aren’t many of the mansions left; a number have been destroyed, and most are too expensive for individuals to maintain. The gallery’s owner, Joshua Pailet, reports that appreciation for photography in New Orleans has grown significantly in recent years, and buying activity is just beginning an upward surge. He concentrates on “classic” work because he likes it, he explains, as well as finding it commercially sound (classic encompasses Gene Smith, Jerry Uelsmann, Max Yavno, and Emmet Gowin). But he will also turn to showing young unknowns, Pailet says. “I’ll exhibit more contemporary work, soon—in five or 10 years.” Evidently a leisurely pace remains a Southern hallmark. Some random notes: Photography in New Orleans and surrounds comprises a small community, I am told; and indeed, you keep running into the same names— the curator of one exhibit is usually a photographer whose work is shown at the next place you visit. To the outsider, the city may represent glamour and sophistication, but the photographers I spoke to talk about “insularity” and fears that more exciting things are happening elsewhere (would that they were). In this context, the demise of a gallery run by photographers called the Photo Exchange is much lamented. A place for experimental work, it operated on the third floor of a pool hall between 1974 and 1977, bringing in outside work and new photographers. It was revived for a year before losing its space this past summer. There are hopes it will soon achieve a new incarnation. O New Orleans: Creoles and Cajuns, Mardi Gras, bayous, the Vieux Carré, gumbos and Sazeracs—even the words evoke a self-contained world unlike any other in America. Today, old plantations and historic buildings vie with Hiltons and the Superdome for tourist attention, the sounds of Country and Western compete with Dixieland in the French Quarter, and the most captivating homes stand closer to examples of America at its most squalid than anywhere else.
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