A caption in your portfolio of pictures taken with tripods (page 81. November ’88) describes the shutter speed of 1/125 sec as “a handholding gamble at best.” Our grandparents shot with box cameras with hairpin shutters that opened for about 1/15 sec. With 35mm cameras, we always considered 1/25 sec the breaking point between sharp and blurred pictures.
Would you like it if your prize 16mm f/2.8 full-frame fisheye lens vignetted at the corners and was sort of fuzzy toward the edges? Neither did Sigma fans,who wrote to complain about the quality of the top,right-hand shot on page 56 of “Superwide,” our October '88 panoramic feature.
Would you jump out of a plane for a great shot? This month's first-prize winner did.
Please send up to 20 examples of your best shots (duplicate transparencies or prints— no larger than an 8 x 10)along with a daytime phone number, Social Security number,and any pertinent technical data to “Your Best Shot,” POPULAR PHOTOGRAPHY,1515 Broadway, New York,NY 10036.
Any speed is okay for all-around color-print film shooting—as long as it's ISO 400!
Shoot like color Tri-X
Those magnificent new color-print films now come in seven delicious flavors.The big five manufacturers of the Western world— Agfa,Fuji,Kodak,Konica,and 3M (Scotch)—all offer the staples of ISO 100, 200, and 400.Agfa and Kodak serve ISO 1000 materials;Fuji,Kodak,and Konica have ISO 1600 on their menus;and Konica still holds the(C-41 standard processing) speed record at ISO 3200.
The nature photographer's guide to shooting in the Everglades
If you’re like me, by this time of year you’re probably tired of snow, dreary days, cold hands and feet, and being cooped up indoors. You’re ready for warm days, sunny skies, and lots of photographic opportunities.For the nature photographer with the time and means to travel, there’s a fantastic solution to the wintertime blahs—a photo journey to Everglades National Park in south Florida.
Heightened colors, finer grain, improved sharpness mark eight new color-print films
Push color-print film? Yes!
What’s going on here? Why has nearly every major film manufacturer brought out new products, or at least revisions of familiar emulsions, in the last few months? Part of the answer lies in the advances in silver halide technology that have changed some of the rules of the color-film game; the other part lies in the marketing, where any new technology is seized upon as a major breakthrough in photography and summons new packaging, names, and applications.
There are no good ways to change lenses, but some are better than others. Here's my own compromise with gravity
How to change lenses
Need a cable release? Where’s the damned socket?
SLR finders are from heaven; point-and-shoot finders are for the birds
Good vs. lousy finders
We all know the best method of changing lenses safely and conveniently: 1.Find a nice comfortable chair. 2.Move it to a suitable horizontal surface(kitchen tables or desks do nicely). 3.Place the camera whose lens is to be changed on the surface.
Never have so many important, revolutionary new print films been introduced by major manufacturers in such a short time. No sooner does one sensational film debut than a rival film of equal interest appears from a competitor. These products are smashing the limits of what we thought were the possibilities with negative film: ultrafine grain rivaling the legendary Kodachrome 25 proves that print film need not be grainy; superspeed, remarkably fine-grained ISO 400 and 1600 films are claimed to be pushable to 1600 and 6400 with surprisingly little quality loss, despite the supposed unpushability of negative-color films.
How we shot more than 2,000 exposures to give you the facts on the new print films and their competitors
Kodak EKTAR 25
Kodak EKTAPRESS Gold 1OO Professional
AGFACOLOR XRC 1OO
Scotch Color Print HR 1OO
AGFACOLOR XRC 200
Kodak EKTAPRESS Gold 400 Professional
Kodak EKTAR 1OOO
Kodak EKTAPRESS Gold 1600 Professional
PUSH PROCESSING EKTAPRESS 1600
Testing a diverse group of films is always a tough assignment, especially when you've decided to conduct comprehensive lab and field tests of each and provide comparative evaluations of the most likely adversaries. When you factor in requirements, such as simultaneously testing more than 40 types of color-negative films with ISOs ranging from 25 to 6400 (when pushed), and begin contemplating such variables as lighting, exposure, and printing, you’ll begin to see how our team spent many a sleepless night and 14-hour day on this project.
If you want the world to beat a path to your film box, you’ve got to build better color-print films
The world’s foremost film manufacturers have locked horns in a titanic struggle for color-print supremacy. The prize they're fighting for is the richest in all photography. amounting to more than 90 percent of the world film market.Today, most print film passes through the auto-everything cameras of millions of snapshooters, but as the product has steadily and dramatically improved, more and more serious amateurs and professionals are drawn to its many advantages.
After viewing more than 130 videotapes on photography, we came to some fascinating conclusions
Glamour and figure photography
Sports and action
Video on video
Tapes for young people
Elinor H. Stecker
How-to books on photography have been around (and highly useful they are) almost since the very first photograph was taken. And photo magazines such as POPULAR PHOTOGRAPHY keep you up to date on the latest techniques and equipment, while delving into the traditional subjects as well.
Popular Photography’s information exchange where readers help readers solve problems
TRIPODMANIA: THE READERS STRIKE BACK!
The Armpod: a Monopod with a Twist
A Stabilizing Influence: Plastic Shopping Bags
Your Old Jeans Live Again As a Tripod Carrying Case
A Makeshift Macro Camera Support
Get Head and Shoulders Above the Crowd
Get a Grip on Dim Light With a Camera Clamp
Your Most Versatile Tool: Your Tripod
Discovered a shortcut, adaptation, gadget, or procedure that your fellow photographers would find useful? Submit it, along with appropriate diagrams and/or photographs, to POPULAR PHOTOGRAPHY’S “Ideas!” column. If it’s selected for publication, fame and fortune (well, up to $250) will be yours.
The circular snapshot of George Eastman in the September issue of POPULAR PHOTOGRAPHY really caught my eye. Since lenses are circular, it somehow makes sense to see a photo shaped like a circle. But when I get my film developed, all I get are rectangular prints.