Film is the cheapest commodity. If it takes two rolls to get a winning shot; it's worth it!
3rd Midnight sunlight: Summertime is picture-taking time ’round the clock in northern Europe; the sun shines until the wee hours of the morning. On a motorcycle trip through Norway, Robert C. Angell of Wilmington, Vermont, was riding by the harborside in Bergen at midnight when he noticed the intense reddish gold colors painted by the setting sun reflecting off the water and the old wooden boats.
Much as fisherfolk delight in spinning yarns of the big ones that got away, photo fans seem to thrive on telling tales about dropping their cameras! If we had a sawbuck for every story we’ve heard of an SLR that survived unscathed, or scarred but serviceable, after tumbling down the mountainside or crashing onto concrete, we’d be set for life.
Pastoral portrait? Hardly. Budding pro Lenore Simon took the summery close-up of model Jane Anderson gracing our July '46 cover in her studio, on 3¼x4¼ Pro Kodachrome Type B sheet film, with a British-made Popular Pressman, a big SLR similar to the Graflex.
Remarkably good buy in a macro lens. And don’t tell me your zoom’s just as good.
Rarest Minolta? A hybrid SLR that loads with 35mm cartridges, shoots APS film!
Slowly but surely, zooms are pushing single-focal-length (SFL) lenses into the optical dinosaur lens bin of history. While early zooms were awkward, bulky, and optically no match for single focal lengths, the latest zooms have been downsized, lightened, made ultraconvenient, and improved no end in quality.
Another Titanium Jewel: Minolta's Prince of Pocket P/S
What's So Passive About Passive AF?
Another Pro Slide Film For Point & Shoots!
Can Point-and-Shoot Slides Be a "Positive" Experience?
How sharp is it?
First Minolta wasn’t, then it was. Well, we’re pleased as pina colada that Minolta listened to our sighs of disappointment (and howls of protest) and decided to market the diminutive, delectable TC-1 here in the U.S. as well as Japan. The TC-1 is Minolta’s entry into the posh P/S class—you know, the Contax T2/Hexar/Nikon Ti camera group that we all wished we could afford.
Incredible scenics, landscapes, animals and powwows— Seattle’s got It all.
Carry your camera to dinner
Special summer feature
Equipment and film choices
I arrived by air as sunset shimmered behind the Seattle skyline. Puget Sound glittered with city lights, and ribbons of orange and red sky settled behind the jagged ridges of the Olympic Mountains. I imagined the magic of alpenglow on the glaciers of Mount Rainier.
Tamron Fotovix IIIS-D: Is it a video converter or digital film scanner? Actually, it’s both!
Grab that video!
Michael J. McNamara
Remember when home VCRs first became affordable and everyone was trying to figure out how to get their photos onto videotape? That’s when Tamron introduced the original Fotovix—a tabletop device that looked and acted like a slide duplicator.
Tips for making photography’s most unbearable accessory more bearable.
Making the whole thing stable
One of the most cursed accessories used by a photographer is the tripod. The better the tripod, the bigger, heavier, and more painful it is to lug. Unfortunately, most professionals require just such a beast. Take me: I don’t shoot eensy, teensy 35mm cameras on a tripod.
If there is one lesson I learned from my mother, it was “You can do anything you want to do if you want it bad enough.” Or so I thought, until a spinal problem confined my activities: I no longer was able to get out and about to photograph, go on field trips with my camera club friends, or travel to exotic places for those special images.
I was both frustrated and annoyed by “How to Get Smashing Travel Photos” I April, page 54). The article starts: “You needn’t trek to the ends of the earth or venture to exotic locations to get great travel shots.” Yet, the only pictures in the article were of exotic locations.
How were the great pictures on these pages made? By pros using zoom lenses, and with techniques that will help make you a better photographer!
Professional photographers rely on zoom lenses for the same reason they gravitate toward certain camera models or favor particular films—through long, often hard experience they’ve found that zooms are the most effective tools for getting the images they want.
Gary Braasch’s tree-top studio has leaves for walls and open sky for a roof. His neighbors? Absolute monkeys!
Somewhere in the Costa Rican night, 50 meters high in the jungle canopy, a light rain falls on sleeping spider monkeys, foraging beetles, and on photographer Gary Braasch. What’s the damp, mosquito-bitten Braasch doing up a tree alone in a rain forest? He’s on assignment for Life magazine, photographing an ecosystem that’s gradually vanishing.
Think a photograph has to be tack-sharp to be good? Donald Greenhaus says blurry is better.
Remember the dogma you learned about taking and printing pictures? Strictures like: Don’t let your camera move during exposure (sharpness is next to godliness, after all)... Don’t handhold a lens at shutter speeds slower than the reciprocal of its focal length...
Here 'tis! Pop's annual directory that zooms in on all the glass that fits your SLA.
Where to Write
Yes, there are hundreds of zooms to choose from, and they come in all sizes, shapes, and price ranges. Yes, it’s a mighty confusing market place out there and not easy to make choices. But fear not: POPULAR PHOTOGRAPHY’S annual zoom lens roundup will help you hack through the optical underbrush to reach the lens you need at a price you can afford.
Hands on: Well Finished in satin black polycarbonate with metal bayonet mount. Average size, but fairly lightweight for a zoom in this range. Wide, ribbed, rubberized zoom ring is easy to grasp, operates smoothly with moderate force, holds settings well; narrower, textured, rubberized focus ring near front turns very smoothly in manual-focus mode but action is underdamped.
To find out we took apart both expensive and budget-priced SLRs. Here’s what we discovered.
Sure, the more you pay for an SLR, the more features it will probably have— something like getting extra scoops on an ice cream cone or additional toppings on the pizza. But what about camera construction? Mum’s the word. Manufacturers are loath even to imply that top-of-the-line SLRs are made to higher-precision standards.
Aaron Siskind and Max Yavno: Two Visions of Mexico; July 14-Sept. 15. Center for Creative Photography, University of Arizona, 843 E. University Blvd., Tucson, AZ 85721, 602-621-7968. CALIFORNIA Keith Carter: Heaven of Animals and Lindsay Brice: Magic and Loss; through July 27. G. Ray Hawkins, 908 Colorado Ave., Santa Monica, CA 90401, 310-394-5558.
We don’t name ’em folks; we only describe ’em. This one? It's a quick-release with an appellation straight out of the Brothers Grimm: The Little Ox-Lox Fast Release. Similar to the stem-style quick release used on the popular Slik U-212 Universal tripod, its primary advantage is a locking mechanism that springs into action as soon as you set the camera in place. If you release your 35mm or 2'A camera without locking the quick release, don’t worry; unlike some other releases, the Little Ox-Lox latches firmly onto its precious cargo even in the release’s unlocked position. List: $80. (Oxford Manufacturing, P.O. Box 464267, I.awrenceville, G A 30246.)
A strapping vest
Photographers’ vests with their plethora of pockets can carry everything except the thing most important to most photographers: a 35mm SLR. Until now. In addition to its plenitude of pockets, Nikon’s new Vestrap photographer’s vest incorporates a built-in camera strap. By transferring camera weight from the photographer’s neck to the shoulder area, the Vestrap is claimed to make cameras easier to tote. Instant camera release is possible via rugged pinch-type clips, and instead of zippers or buttons, the vest’s 16 pocket flaps feature quickopen Velcro strips. Fist: $139 from Nikon Inc. (1300 Walt Whitman Rd., Melville, NY 1 1747-3064; 800-645-6687).
The problem with slide filing cabinets? They’re not exactly portable. For the photographer who wants to file slides, hut needs ’em to be mobile, too, Multiplex has developed a slide storage system based on plastic storage bins called Journal Boxes. The boxes stack to form a serious slide library, or they can be used separately to become easy-to-transport portfolios. The system is based on an injection-molded slide storage sheet (see photo) called a cassette that’s made of rigid acrylic. The SVixl 1-inch, easy-to-load cassette holds 24 slides and protects against dust, scratches, coffee spills, etc. Its snap-shut lid assures that slides won’t fall out. Six cassettes fit in one leather-grained, plastic Journal Box to form a slide storage system that, theoretically, is infinitely expandable. A major down side? Price: one Journal Box with six cassettes lists for $43.35, or $.30 per slide! (Multiplex, 155 Larkin Williams Rd., Fenton, MO 63026-3008; 800-325-
miniature sump pump
A miniature sump pump for the darkroom with a miniature price to boot? What an intriguing idea. Galled the Suncatcher Chemical Water Bath Circulation Pump, it’s a completely submergible motorized circulation system for darkroom tanks and trays. It assures uniform heating of a hot water bath, for example, or uniform agitation of chemistry in a tray. Price of $46.90 includes mounting kit, intake screen and postage to the lower 48. For more info, send SASFi to The Suncatcher Co. (1324 Shepard St., Sturgis, SD 57785-1820).
One of the hardest things about spotting color prints is mixing the dyes to match the color of your background. For photographers who’ve thrown up their hands and thrown in the spotting brush, SpotPen has something new: a line of multi-hued brushes for spotting color or black-and-white prints. Similar to felttip pens, the brush points (size #000) are fed by barrels of pHneutral, highly-stable, photographic retouching dye. Instead of mixing and remixing colors, you simply pick the brush whose color-coded barrel matches the color of your print’s background. Sold in sets of ten brushes ($35), SpotPens are distributed by Brandess/Kalt/Aetna; 800-621-5488.
A gift for the photographer who’s got everything? The Kenko scope eyepiece that converts a normal 35mm lens into a spotting scope or magnifier. A three-element, two-group ocular with built-in roof prism, this 4-ounce, 1 Winch eyepiece is sold in most common AF and manual-focus mounts. It turns a 200mm lens into a 20X spotting scope— great for bird watching, especially for lenses with a collar for tripod mounting. Conversely, it converts, say, a 50mm normal lens into a 5X loupe, perfect for viewing slides or contact sheets. What really makes this an interesting giftgiving idea, however, is the cost: $89. (THK Photo Products; 800-421-1 141.)
The Kodak DC-40, Logitech Pixtura, Casio QV10, and similar Epson digital camera offer inexpensive entry into digital imaging, but this low cost comes at a cost: the systems offer little in terms of photographic flexibility. FIxposure and optical options are limited, and the accessory line-up is skimpy. Stepping into the digital breach, Raynox has introduced the DC-1000 Tele/Wide Lens Set ($ 1 89) for DC-40-type digital cameras. The 1.5X telephoto adapter converts the cameras’ non-interchangeable 49mm lens to a 75mm tele; while the 0.65 wide-angle adapter converts it to a 32mm. With the DC 5000 Ultra-Wide adapter ($84.95), you can take it even wider— to 24mm. (Digital Distributors, 150 20th St., Brooklyn, NY 11232; 800-943-2000.)
We recently referred a reader to Image Technology as a lab that processes and prints 3-D images taken with a fourlens camera such as the Nimslo or Nishika. No more. Image Technology, which markets three-lens 3-D cameras as well as processing and printing the film, no longer offers four-lens service.