Do you know what these have in common: correct posture, better sleep, mental health, good car keeping, high blood pressure, physical fitness, and better hearing? You’re right if you said the month of May. May is also national barbecue month, duckling month, egg month, arthritis month, sightsaving month, bike month, and freedom-shrine month—but most important of all, it’s National Photo Month.
Color me spectacular! To get deeply saturated, eye-catching hues, grab your tripod and slow down your shutter speed.
“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.
FOR SERIOUS PHOTOGRAPHERS WHO SECRETLY ADMIRE POINT & SHOOT CAMERAS
Point & shake? Then get a ’pod!
New Pentax makes a splash
Use polarizers! (Well, sorta.)
If you’re a Serious Type who likes to squeeze as much performance out of your compact camera as possible, here's a simple but especially effective way to enhance your pictures: Hold the camera steady. Whether they’re travel shots at dawn, indoor available-light shots, or nighttime exposures, they all cry out for steady camera support.
Imagine that! The newest black-and-white film from Ilford is designed with the darkroom enthusiast in mind!
Grain for grain, how today's top 400-speed black-and-white films compare
Further adventures with the Daylab
Look, Ma, no pink stain!
Why review a new film in this space dedicated to darkroom pursuits? Because Ilford is gunning for Kodak’s T-Max 400, and its weapon, an ISO 400 black-and-white film called Delta, reveals some of its most interesting traits only in the darkroom.
Are these incredible bargains or just another bait and switch?
WHAT YOU SEE...
...IS WHAT YOU GET, BUT...
... DO YOU WANT IT???
Are electronic advances in SLRs outrunning our needs, wants, and abilities?
You know the routine. The advertisement promises a complete SLR camera outfit for an incredibly low price— far lower than from any other store around. Is this a mailor phone-order scam? It can’t be either because the ad insists you personally come into the store to take advantage of the bargain.
Your automaticexposure camcorder may need a bit of help from you.
Camcorder’s backlight compensation feature helps—but not always.
Elinor H. Stecker
As an experienced still photographer, you know there are those tricky scenes that you just can't leave to the automatic systems in the camera. Clever as automation is, often the mind of man can outwit the mind of automatic technology. We looked at the virtues and limitations of automatic focusing in the December 1991 “Video Journal"; but other automatic controls also need some scrutinizing.
Getting close to wildlife: Walking on tippy-toes won't work, but these commonsense tricks of the trade might.
B. "Moose" Peterson
Long ago and far away, a great photographer once advised that if you don't like what you see in the viewfinder, get closer. This counsel goes double for wildlife photographers: To make it good, make it close. Why? Because we wildlife photographers are in the revelation business.
The film in your camera counts, but what really matters are the things that go on in your head
Use color as a unifying element
Be aware of otherworldly color
Keep an eye out for riotous color
Take a shot at false color
Look at light: It’s the key to color
Go for maximum contrast
Take a chance with colors that clash
Play with pastels: It’s a kinder, gentler color palette
Make it monochromatic
Keep your eyes peeled for pairs
Try your hand at two-tone subjects
It's a shame, but most photographers don’t really make pictures in color—even though nearly 95 percent of the photographs turned out each year are taken on color film! A paradox? Not really. While practically everybody runs color film through their cameras and gets back color prints or slides, the vast majority are passive users of color.
Pot of gold or hunk of coal? We checked out mail-order “opportunities."
These business packages are less than impressive
“Make a fortune taking pictures in your spare time! . . . Just send $39.95 for this special money-making package ...” The old saying goes, if it sounds like it’s too good to be true, it probably is. So it was with more than a bit of skepticism that we examined some of the moneymaking photographic opportunities advertised in, among other places, the back of this magazine.
Test of new Polaroid film unearths surprising results!
Are skin tones better?
Increased sharpness and detail?
Better color accuracy?
Michael J. McNamara
It’s still amazing to watch an instant color picture develop before your eyes—even in this high-tech age with live coverage of war and space. More than 5,000 chemical reactions take place in 20-plus microthin emulsion layers for the magic to happen, but you get to keep the results in a photo album!
What’s the toughest thing about photographing the northern lights? Keeping warm!
Cameras and cold weather
Capturing the ghostly, shimmering aura of the aurora borealis on film is surely one of photography’s greatest challenges, and delineating its diaphanous glory in a still picture is well-nigh impossible. Nevertheless, almost any photographer who’s witnessed a good display of the northern lights has been inspired to take cold camera in gloved hand and try it.
Hands on: Medium size and weight 500mm f/8 mirror lens with fast autofocusing. Balances well for handholding or tripod use. Nicely Finished satin black barrel. Slightly sculptured, broad, rubberlike inset beneath barrel helps make lens easy to grasp.
Innovative point-and-shoots, luxury lenses, and improved films were the stars of the 1992 PMA show
Truly, a Plethora Of Point-and-Shoots
In Your Pocket
The Glass Menagerie
Middle of the Pack
Wear Your Camera On Your Sleeve?
QuickSnap Is A Flash in The Panoramic
Deep Down Debuts
Praktical Prototype’s In Production
New Films Are Stars of Las Vegas Floor Show
High-kicking slide films
Ricoh’s Silver Box
Monochrome marches on
Video: Widening Horizons
Reverse Psychology: New Names, Lower Prices
Kodak launches trial balloon
While the 1992 PMA (Photo Marketing Association) show in Las Vegas wont be remembered for any great technological breakthroughs, it clearly revealed future trends. Point-and-shoot 35s dominated new-product entries in three classes: shirtpocketable zoom compacts, externally switchable dual formats with panoramic capability, and high-end, full-featured models with fancy and fanciful features to complement their long-range zooms.
There are, however, two elements in the article’s discussion that concern me. 1 have read elsewhere that the conditions under which a property release is required are significantly less restrictive than the conditions under which a model release must be obtained. The article implies that my understanding is not correct; that property rights are typically guarded as strictly as privacy rights.
“Then the speedboat . . . blew up, causing it to be blasted through the back wall of the boathouse.” Even if you aren’t the slightest bit interested in advertising photography, such Satterwhite derring-do in producing some of today’s most dramatic and liveliest commercial photos is irresistible.
When is a fill light also a main light? When it's used under the bounding main, of course! And that's exactly the function of the new Morris Underwater Slave Flash. If you're an underwater photographer who's frustrated by the one-directional and one-dimensional look of traditional deep-sea flash lighting, well, batten your hatches and read on.
It's new, but how good is it? Here's what we found out.
A FLIPPABLE FLASH BRACKET
When shooting with on-camera flash or even with a conventional L-shaped flash bracket, it’s next to impossible to get natural portrait lighting when you swing your 35mm SLR from its horizontal to vertical orientation. You’ll sidelight the subjects (not always flattering to humans), and if they’re standing near a wall, you’ll paste a serious black shadow behind the subject’s head.
Matching color negatives to prints is no easy task when the subject is static and the camera is on a tripod. With live subjects or a handheld camera, scrutinize the picture and you’ll always find some detail that’s slightly different from frame to frame.