A framed portrait that you can see from many angles; miniature window washers cleaning a surface that’s unseen until you change your position—these, of course, are holograms. You wouldn’t be surprised to see them in galleries, but how about in store windows?
How do you begin to compose a "Best Shot"? Our top winner's first step: Jockey for position!
“Your Best Shot” Entry Rules: You may send up to 20 of your best shots (transparencies or prints no larger than 8 x 12) along with a daytime phone number, Social Security number, and any pertinent technical data (such as camera, lens, exposure, film) to “Your Best Shot,” POPULAR PHOTOGRAPHY, 1633 Broadway, New York, NY 10019.
If you thought the Konica A4 couldn’t be shrunk anymore, look again. The camera that started what might be called the jewel class in point-and-shoot cameras has been updated and downsized into the Big Mini. The new camera thus also confirms Konica’s position as a leader in wacky names: Z-up, Off Road, Kanpai!, and the new zoom-lensed Aiborg (an amalgam of “active intelligence” and “cyborg’).
Autoexposure is great, but don't turn into a P-brain idiot
Fun, games, and triumphs when buying from mail-order ads
At last! Cameras and lenses can be aligned, locked solidly and quickly to tripods.
What's really turned snapshooters into point-and-shoot and SLR camera users? Autofocus? Autoload? Autowind and rewind? Built-in flash? Certainly all of these, but the real magic ingredient, I think, is programmed exposure. The mystery of setting a camera suddenly disappears for hundreds of thousands of snapshooters who want automatic transmission and don't care to learn about shifting camera gears.
A modest proposal: It's high time we had a standard process for black-and-white film.
The great b&w lab test: What can you expect?
A solution exists
Profile of a Process
Everyone agrees that black-and-white is a relatively simple process compared to color. So you would expect commercial black-and-white film developing to be more reliable and consistent than color film processing, right? Wrong! As many have learned the hard way and as a large-scale survey has recently confirmed, “normal” black-and-white film developing is tough to find in this country.
Larger than life? Much. You might even call it the Grandiose Canyon
Packing your bags
All is not rocks
Elinor H. Stecker
Awesome, stunning, magnificent...even these words become inadequate when you try to describe the spectacle that is the Grand Canyon: You have to see it first-hand. Nothing can prepare you for the spellbinding display of multihued, multilayered rocks in the mile-deep chasm that extends for 277 miles in northern Arizona.
The American Wilderness, by Ansel Adams. Little, Brown & Co., Boston; 146 pages; 107 b&w duotones; hard-cover, $100. The first large-format book of Adams’ breathtaking landscapes to appear since the '70s, The American Wilderness is billed as his magnum opus.
I just read your comparison of the autofocus SLRs in the June '91 issue [“SLR Autofocus Special"], and I'm absolutely disgusted with the lack of choice offered. There were 16 cameras presented. There are six things I detest about an SLR (four of them sufficiently to rule out purchasing it regardless of its other virtues), and all of them included at least one of the items on my hit list.
With a pair of scissors and a pot of paste, here's how you can snip your way to fabulous photos!
The way to good photography can be a puzzle, and no one’s work illustrates that more compellingly than Veronica Sive’s. Like a puzzle, this Australian’s multilayered montages fit neatly together to form one fascinating whole from a multitude of pieces.
Martin Parr’s travel photos ignore the scenery, but not the people making the scene.
Don't look for the postcard view in Martin Parr's "travel photographs," unless you're looking in a Monty Python's flying postcard shop. Parr doesn’t take travel pictures so much as he takes traveler pictures, shots of the tourists doing what tourists do best: sticking their lenses into other people’s business, being molested by carbohydrate-crazed pigeons, setting up the gag shots that 6,897 other tourists have taken that day alone, and generally creating terminal culture clash.
A plethora of petite packages with prodigious potential
Calling the Shots
Into the Storm
New Sam on the Block
Improving Flash by Going Backward
Elinor H. Stecker
With the new crop of moviemaking machines, there’s no reason to leave home without a camcorder: They’re getting smaller, slimmer, and easier to hold. And we don’t mean only the compact formats. The Sharp Slimcam VL-L50U, for example, takes full-size VHS tape but has a skinny body and a weight of 3½ pounds.
A camera meter designed for underexposure makes for noisy debate
Here it is: One of the two or three most expensive production 35mm SLRs in the world, and a manual-focus one at that. But is the Contax RTS III a state-of-the-art machine designed for the most demanding professional use? Or is it something else again—perhaps akin to those frightfully expensive, lovingly crafted replica classic cars created to capture the driving feel of years gone by?
I have hundreds of excellent photographs that I think are worthy of publication. Where can I find a list of publishers of magazines, books, greeting cards, and so forth that might be interested in seeing them? And how should I submit them? Jake Owens, Boston, MA