Thanks for your excellent editorial “Uniting Two Great Traditions” in the September '89 issue (page 10). As a former longtime subscriber to Modern Photographs, I felt very sorry to learn that publication would end with its July issue.
When Dr. Alex Caemmerer bought a point-and-shoot camera back in 1987. he never dreamed he was on the threshold of a second career. He never did take his trip but discovered a talent for architectural photography that he has parlayed into a flourishing sideline.
Have your camera ready! You never know when, or where, you’ll come across a prizewinning shot.
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When I'm stalking the streets with my camera, I find that it’s much easier to see potential pictures when I’ve focused my mind before ever looking through the viewfinder. In other words, instead of simply photographing anything that strikes my fancy, I first settle on a specific theme.
A constant complaint 1 hear about autofocus SLRs is that they are too slow. The subject is just right, and you press the shutter release, but by the time the exposure is made, the subject has moved or the expression you wanted to capture is wrong.
Designing cameras is fun, especially when the only thing you worry about is what you like, and you enjoy making mistakes.
Naoki Sakai, the designer of the first Olympus O-Produet, had never designed a camera before, f or that matter, even though he didn't have a driver's license, he also designed two cars. "My products are mistakes,” says the 41-year-old designer.
Are your prints off-color? Tell your printer to tune to the right channel!
Recently, a film manufacturer had a great idea for introducing its new film to the photo press. The company flew a group of us to an exotic locale, handed us cameras and samples of the new emulsion, and sent us forth to make pictures. The plan was to shoot on the first day, have the film processed at a local lah overnight, and critique the results the next morning.
For many years, the readers of Modern Photography looked forward with breathless anticipation to that magazine’s December issue. Why? Because each December, Modern's editors announced their choice of the top cameras for the year, together with a brief critical analysis of each camera and its suggested list price.
It looks terrific, but is it a gem or a lemon? Read on to find out.
IN THE STORE
ONCE YOU’RE HOME
The day has come. You've decided to buy that Joyflex autofocus SLR you've always wanted. So you go down to your photo dealer, cash (or credit card) in hand, and purchase the camera of your dreams. Or nightmares. How can you tell if the expensive photographic instrument you're about to purchase isn't in reality a small yellow-skinned citrus fruit?
Leicas to luxurious for your blood? Try a nice old Japanese rangefinder 35!
Since I've delighted in twitting Leica fanatics for the past two decades, I figured at least some of you would be pleased to know the truth, as effusively revealed in my last column, that I've secretly loved the little Wetzlar wonders for years.
What with the spectacular success of point-and-shoot cameras, even serious SLR types are opting for light, compact, do-everything cameras when they go on vacation or visit relatives. Trouble is, a point-and-shoot camera makes a big, roomy, multicompartment gadget bag a tad superfluous, if not outright excessive.
Honest, unflinching answers to your most pointed equipment questions
F3, fie on thee!
F4S finder falloff
Sorry, but Dave Staples' letter (criticizing the Nikon F4SJ and the points he raised were well taken (page 146, “The Awful Truth,” October '89). I recall not too many years ago when Nikon first introduced the F3—new all around, a lot of features over the F2, which in my opinion is the best of the best that Nikon ever made, never mind that it lacks bells and whistles—my F3s both kept losing the display in the viewfinder.