Photography Annual 1960 (Art eBook)
PHOTOGRAPHY ANNUAL TENTH ANNIVERSARY EDITION Including International Portfolio and Prize Pictures of the Year 1 $3
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PHOTOGRAPHY
ANNUAL TENTH
ANNIVERSARY EDITION Including International Portfolio
and Prize Pictures of the Year
1
$3.95
Tenth Anniversary Edition
1960 PHOTOGRAPHY ANNUAL A Treasure
of the World's Greatest
Photographs Selected by the Editors of Popular
244 PAGES
•
Photography
32 PAGES FULL-COLOR
GRAVURE
PHOTOGRAPHERS
174
of Photography, the truest mirror o£ life, is capable pictures evoking every human emotion. People love because they communicate instantly and eloquently.
Here in the 1960 Photography Annual are prepictures sented about 250 of the best contemporary glance from all over the world-plus a retrospective photographers. at many of this century's finest the outstanding features of the 1960 Photography .\nnual is the remarkable "Color Avedon tells Essay of the Year" in which Richard
Among
how, on a Life assignment, he photographed Marilyn
Monroe impersonating five fabulous sirens of the Bow, Jean past: Lillian Russell, Theda Bara, Clara Harlow and Marlene Dietrich. Avedon's dash, imagMarilyn's ination, and unfailing good taste plus glamour and impressive talent as a comic actress combined to produce a gay explosion of color, art and nostalgia. The result, in full color, is an unusual expertestimonial to photography as fun, art and an iment
in the re-creation of history.
especially Serious amateurs and professionals will Retrospect," a selection from \ alue "Photography in Museum of the 626 photograph exhibition of the
Modern
permanent collection prepared under
Art's
Edward
the direction of the great
The
Steichen.
foreword to this 40-page "Exhibit of the Year" by Mr. Steichen himself. Because
Annual
photography de\otes
International
from
all
its
is
truly
international,
largest section-80
Portfolio,
is
the
pages-to the
which includes the best Germany, France,
nations, including Italy,
Switzerland,
Sweden and Japan. of the
Other timely articles display the Prize Pictures addiYear and the Best Books of the Year. A new Pictures Made tion to this year's Annual is "These Us Laugh," on the subject of humor, a difficult-toprized ingredient in photography. of course, in a special section, are exappended the technical data as to cameras, film, will posures and lighting, which every photographer
catch but
To
much
all pictures,
want
to
have
to increase his
picture-taking
own knowledge and
skill.
ZIFF-DAVIS PUBLISHING
COMPANY
ONE PARK AVENUE, NEW YORK 16,N.Y. Distributed by
630
Fifth
Simon & Schuster,
Avenue,
New York
Inc.
20, N. Y.
his
i
p
244 PAG
Photogra evoking because t
' that has achieved unito
be equalled — a acknowledgement and recognition, especially among
that has yet to versal
is
the knowledgeable, critical users of fine
35mm
equipment.
lour choice between these two unusual instruments depends upon your needs or preference — rangefinder or reflex. For they are both, in all other respects, the same — the same reputable, rehable make, the same meticulous qualit>', the only
same incomparable Nikkor
optics
and the same superb
J\
IKON SP Raxgefixder-Coupled '35' with Universal ViewSystem providing built-in finders for six difi'erent focal
finder
length lenses: 28, 35, 50, 85, 105 and
Xikkor f/2 Lens, $329.50 (widi f/1.4
A'rKON
135mm, and 50mm
lens,
$375).
F Automatic Reflex '35' with
Fully Automatic Features: Instant-Reopen Diaphragm, Instant-Return Mirror and Instant- Action Pre\'iew Control, S329.50.
5ee and examine both cameras
50mm Auto-Nikkor f/2 Lens, at >^our
Nikon Dealer. For
further information write to Dept. P.\-60
performance. FFith a Nikon,
you have
e\-ery right to e.xpect the finest results,
for the instrument in your I960
EDITION
hands
is
the finest
money can buy.
XiKON In-corporated, 111
Fifth Ave.,
New
In Canada: Anglophoto Ltd., SSO Champagneui
St.,
York
3,
N. Y.
Montreal, P.Q.
52.) Folder: "The Heiland Professional Line" flash units, synchronizers, and standard Strobonars I. Ill and IV and Six. famous Press l\Iodel Synchronizers. Synchro-Customs and complete accessories including cords, reflectors and battery cases; illus.
FREE AIDS to better
Folder gives information and describes the Heiland Futuramic Strobanar with illustrations and prices. Heiland.
54.)
Describes the Ultrablitz Super and meter. Interstate Photo.
PHOTOGRAPHY
58.) Folder:
A
76.) Enlargcr Booklet:
Comet
PROCESSING EQUIPMENT
library of useful information is available to photographers free, thanks to the instructional litera-
PHOTOGRAPHY
Catalog and handbook: 18 pp., Nega-File slide-cabinets, accessories.
except
1 20.
8mm
covering
all
&
Enlarging.
FR
Catalog and handbook: 18 pp., illus., Nega-File slide-cabinets, accessories. 90.) CirFour New Files by Nega-File, describes new files created by Nega-File to hold from 20 to 50 of the small plastic Kodaslide bo.xes, prices and types. Nega-File Co. 92.) Brochure: Describes file drawers for slide collectors with Add-A-Tray slide file that grows with your slide collection. Portable Slide Mfg. Co. 151.) Booklet: "How to Show Your Slides Without Losing Your Friends." step by step procedure for building a slide program instead of a series of individual pictures. LaBelle In-
8mm
movie cameras and projectors. 144.) Circular: 16mm full line covering all 16mm cameras and projectors. Keystone Camera.
on making speeches illustrated by slides; tells how to make your own speech slides in two minutes, easily and economically, with new Polaroid transparency system; tips on selecting room, screen, subject matter of slides; plus speech-making techniques; 12 pp., illus. Polaroid Corp.
— —
175.) Booklet: "Slide Showmanship Ways to Improve Slide Shows. "Airequipt Mfg. Co. Inc. 177.) Booklet: The lenticular Screen tory, uses and advantages. Radiant
PICTURE TAKING ACCESSORIES
—
156.) Catalog: 12 pp.. illus. describes all types of camera bags and leather goods of use to the photographer, lists prices. J. B. Perrin Co. 157.) Catalogue: 10 pages describing the complete list of products. Testrite Instrument Co. 160.) Catalog 3-55 for Sun-Ray photo lighting equip., tripods, camera stands. Sun Ray
Photo Co. 182.)
134
Booklet:
"Photography— It's Wonder-
ful": Describes how to get more value from cameras and equipment by relying on services of dealers and repairmen. National Camera Repair School.
FILM & PAPER 161.) Booklet: Ilford Flat Films, 12 pp., information and technical data.
illus.
and
description; 6 pp. 163.) Circular: Ilford how to use It and what
165.) Booklet
FR
Microphen Developer, does. Ilford Co., Ltd.
it
Special
:
adjustable
roll
film.
Corp.
EXPOSURE METERS 13.) Pamphlet: Illustrated guide to Sekonic exposure meters including technical data and information. Sekonic Electric Co.
Help in Selecting the Right Exposure Meter. 15 pp.. illus. Describes and discusses the workings of a meter. Weston Electrical Instrument Corp. 95.) Booklet:
GE
128.) Leaflet: Exposure Meters, significant features which adopt one of three meters to specific requirements.
GE
129.) Booklet: Color Control Meter and Variable Color Filter; how to achieve full control of color. General Electric Co.
Raptar 8mm cine lenses. Booklet: Raptar 16mm cine: depth of
103.) Booklet:
projection charts.
HOW TO HAVE MORE FUN WITH YOUR CAMERA. Wollensak Optical.
New York
157
Quick-Set UniverSupport," illustrates and
Photographic
describes new system for handling cameras and related accessories, 12 pp. 155.) Folder: "Whitehall Tripods." 6 pp. illus. Quick-Set. Inc.
105.) Booklet:
Manual: 24-pg booklet. Complete filters for color and black and Decamired filters, polarizing attachments and filters, neutral density filters, close-up lenses, adapter rings, lens shades and other lens accessories. Tiffen Mktg. 188.) Catalog: Lists more than 1,000 optical 186.) Filter
Please arrange to have the booklets whose encircled sent to me as soon as possible.
156
"New Super
154.) Booklet: sal
field
Statior
-^-;v^-.-.
mu
JEBEMY BLODGETT
Speed
127
4^^>
4
V
JERROLD SCHATZBEHG
f
Fashion Model
129
WILLIAM CELABERT Perspectives
HEKBERT ROSENBERG ->•
y
H.
M.
CLERMONT (France)
Figures
:M::^
'"•f'Vi,
m
PHILIPPE
HALSMAN
An»el
Adams
w^^m^ii^
m^
i'\f
PHILIPPE
HALSMAN
Edith Sitwell
SUSAN MCCARTNEY
Three Snow Scenes
KEY NILSON
(Sweden)
GILDA
ROSENBLUM
ANNE BRENNAN Amish Children
JAMES BLAIR
^'irm
mm'^:^
Vietnamese Refugee
/
TAKAMASA INAMHRA [Japan) Higli-anglp
Nudes
YASUHIRO ISHIMOTO
(Japan)
BURT
SANFORD BOTH
Audrey Hepburn
OWEN
Rose
^^1%^^
Flip
SCHULKE
Football
VYTAS VALAiTAs
Screen
lBt'''.''.'i'r'
GIUSEPPE BEILANCA
Silhouette
MITCHELL BLISS
Autuiiin Pattern
J.
EDWAAD BAILEY
III
Nude
"^*
1
\
SONJA BULLATY
Trio
Roman THOMAS HOF.PKtH
I
Priests
German Winter Morning
i i
Sicilian
Women
)
III
fc_
ra»t> •
-,
* v-t.
I
mi
'
II
ji
1^
KEN HEYMAN
Umbrellas
.^/
'^
DENNIS STOCK
Snowfall
ALFRED WERTHEIMER
Guitarist
NORMAN LERNER
CRETE
MANNHKIM
"I'leaso Kal"
Torso
f
«
LL^i^i
tm-i
I
I
1
1
1
i
t
n
r
I
i
i
iw^'
Germany
Spain
LUDWic FRIEDEL (Germany)
'
?
'
"\;
K ER.NST
HAAS
Angkor-Wat
.
t^Hrtf*
'
DR.
OTTO STEl.NXRT (Germany
Subjective Photograph
I
I
I
liltif rV\JlO K^llU
,
jpr;?^?!*'
n««.'
-^tii'
•
—
'*v>.
\
THOMAS HOEPKER (Germany)
The Old Woman
LES BARRY
Feathered Friends
^^^^j^
vj,i
t
»»»•»
I
f
'^^^~
k
0SL
If '
m
SUSAN SHERMAN
The Ar
CHARLES REYNOLDS
Gottlieb's
Pond, Catskills
J.
8AKK1
(I
HIM Hkh
Si
FRED WINCHELL
The Gown
¥ >M:
2
JUN MiKi Uapan)
JEFFREY
A.
Market Place
GORDON
Henry Moore Sculpture
V f-
,1^.
^.ftsitfi
.
jr--rs^i
dHlHHH
CAROLA CREKOR
Larch Trees
PETER BASCH
Girl
^
iiSli
wi-
JERRY WHITE
Still
Life with
Trumpet ERWIN BLUMENFELD
Bizarre
^-"v-
'\^l^^^^
r-.i;:^^»
Bii%'i..>if^i
SANDI KERO
Sondra
BECINA RELANC
(Germany)
The Hat
JjH
'
*
T
u
lAKAO KAjiWARE
(Japan)
Flower
RICHARD DAMS
Swans
piRKLE JONES
Hoodetl Child
ANN
TREER
City
Windov
.•MORitis 11.
CAROL
JM.
SMITH
.1
VFiT
Claudi
JayC
WYLIE LEONG
Football Ballet
THESE PICTURES MADE US LAUGH l
lii?
section
is
a graphic rebuttal to
the long-standing claim that photographers can't he humorists. But the rebut-
was not intentional. The editors did humorous pictures; they came
tal
not seek
in with the
stream of submissions and.
like
appealing
out
for
special
kittens,
literally
presentation
cried
in
this
year's annual.
These photographers found humor in areas, even under the most ordi-
many
nary circumstances se(iuence of the old
—
for
instance,
man and
the dog.
the
A
commonplace occurrence, but
the alert
and
work,
their
yet
—
their
fields
.Alfred Gescheidt,
are
an
photographer shot a series of pictures
widely divergent
and came up with an amusing photo-
advertising
graphic "anecdote."
funny situations in the
Three other major categories of humor are found among these pictures: the optical illusion; the incongruous relationships of people, with each other,
Elliott
with inanimate objects, and with ani-
cepts these pictures follow or violate,
mals; and the lampoon, mostly of the
they
other arts.
that photography, like all other media,
Two
of the
already
are
photographers represented
known
for
the
humor
in
photographer, sets up his
Erwitt. a
his along the
.studio,
while
photojournalist. finds
way.
But wherever the humor was found, regardless of what
made
psychological pre-
us laugh, and
they
prove
provides plenty of opportunities for the
humorist
to find
expression.
FR-iNCES BORDEN
III
^j^^^^^^^^^^P*^^
ELLIOTT ERWITT
Fellow Travelers
^
Brief Encounter
DOUG MARTIN Optical Illusions
ROLF ERICSON
(Sweden)
WERNER MULLER
[Germany)
KEN HEViMAN
The
Biibv Sitter
ALFRED CESCHEIDT
ED CLERK.
Sylvan Portrait
Bass Fiddler
ERICH
HARTMAN
Noblest
Roman
NEWELL RICHARDSON
R. L.
KLAis
La Giocanda
A. E.
"Now showing
wooLEY
.
Shop Talk
Courtesy Minneapolis Star and Tribun
CONGER Steelworker "Newspaper Photographer of the Year" Pictures of the Year sponsored by National Press Photographers Association. University of Missouri School of Journalism, and Encyclopedia Britannica.
News
ED CLARITY Big Catch Xeic York Press Photographers Association
^TT"
THOMAS
J.
ABERCROMBIE
'
i
*
'^rllk-^^
1
Lebanese Boy 'Magazine Photographer oj the Year"
Courtesy
New
York DsHy Nev/s
213
ROBERT
G.
RACSDALE
Actress 12th Annual National Print Show oi the Commercial and Press Photographers of
MRS. WILLIAM
Canada
R.
BVER
Surprise 20th Annual Newspaper Nulioniil
Snapshot Awards
BRIAN WESTVEER Twin Flyers Nalional High School Photographic Awards
HARRY EISENBERG Hurr^'ing Scholastic-Ansco Awards for 1959
—
—
—
BOOKS OF THE YEAR P or the
last several
years the
number
published has been increasing.
of photographic
representative of all the excellent picture books published
books
Evidently publishers have
last year.
from the many photographic instruction books, has a definite and enthusiastic audience. For the second year in a row, Photography An?ju.^l is devoting a special section to some of these books pictures
fine
two pictures. But to cover such omissions, we are including a list of the major annuals and the publishers' addresses.
are not necessarily
we have chosen here
particularly outstanding.
photographic annuals are not included in our review because of space limitations and the impossibility of adequately representing such collections with only one or
in recognition of this growing interest.
The
Rather, they show a selection from ten books that
we considered Again many
realized that this type of volume, as distinct
ANNUALS PUBLISHED THIS YEAR Publishing Company, One Park Ave., New N. Y. GALLERY 1 St. Martin's Press Inc., 175 Fifth Ave., New York, N. Y. GERMAN PHOTOGRAPHY ANNUAL distributed in U. S. by American Photographic Book Publishing Co., 33 W. 60th St., New York, N. Y.
COLOR ANNUAL 1959—Ziff-Davis York
16,
PHOTOGRAPHY YEARBOOK 1959 —Photography
Magazine (Great Britain)
Ltd, 9-10 Old Bailey, London, England.
PHOTOGRAMS 1959 S.E.
1,
IHffe
&
Sons Ltd, Dorset House, Stamford
St.,
London
England.
PHOTO MAXIMA 1959—Photo Maxima, 322 W. 71st St., New York. N. Y. U. S. CAMERA ANNUAL 1959 — distributed by Ditell Sloane and Pearce, E. 30th St.,
PRISON EXPOSURES
PRIS0J8
by Robert Neese
EXPOSUKES
Chilton Company, Book Division, Philadelphia, Pa. $4.95
This disturbing book was photographed inside prison walls by Robert Neese, convict #24933 and a freelance photographer. In pictures and text he tells the unsentimentalized story of real men behind bars as only one of their own group could do it. This shot was taken during the first hours of a young convict's 10-year sentence. He is waiting in the hospital for his physical examination.
THE WORLD
IS YOUNG by Wayne Miller Ridge Press Book distributed by
A
Simon and Schuster, New York. Paper cover, $1.50; cloth bound, $10
Young
girls at a
slumber party provide the subject
for one of 300 pictures in "a photographic exploration of the world of childhood". The
who was assistant Edward Steichen in developing The Family of Man and is now a top
author to
freelancer, focused on his own four
flight first
children and then expanded the study to include
many
children living in the area of California
where he
resides.
New
York. N. Y.
124
BULLFIGHT by Peler Buckley Simon and Schuster,
New
York, N. Y.
$10
The beauty and danger
of the bullring
are captured by a freelance photographer and writer who spent six bullfight seasons
gathering the pictures for this collection. One hundred and nine photographs with accompanying text convey the excitement of 24 hours in the lives of three matadors.
ANIMALS
IN INDLA.
by Ylla
Harper & Brothers Publishers, N. Y. $10
A
New
York,
spectacular view of the fauna of India and black and white is
in both color
beautifully reproduced in this book by a
great animal photographer. picture in the book
was
is
The
final
the last one she
few thrown from the hood of the jeep from which she was shooting. This book senes as a fitting memorial to \lla by showing some of the best of her work. The shot below ever took. She
moments
is
fatally injured a
later as she ^vas
of a Chital deer.
THE THRONES OF EARTH AND HEAVEN Photographs by Roloff Beny, by Bernard Berenson, Jean Cocteau, Rose Macaulay, Stephen Spender, Freya Stark. Harrv N. Abrams Inc., New York. N. Y. text
THE THRONES OF
$17.50
This magnificent picture book on the antiquities of the Mediterranean world is noteworthy not only for its photographs but also for the superb way in which they are reproduced and presented. Representative of Beny's work is this
1
photograph of the Psyche of Capua, now located in the Naples Museum.
statue
219
(
Once upon a City
)\CE
UPON A CITY
Photogniphs by Percy C. Byron, text by Grace M. Mayer The Macmillan Co.. New Yorh, N. Y. SI 5
A
nostalgic look at
New York
City
between the years 1890 and 1910 is provided by a who devoted most of his life to documenting the city. Miss Mayer, former curator of prints for The Museum of the City of New York, has accompanied the photographs with a witty and pbotottrapher
impressively documented text.
Byron took
this shot in
Herald Square about 1900.
KINDER AUS ALLER WELT (CHILDREN OF ALL THE WORLD) Edited and published by Hanns Reich Hanns Reich Verlag. Munich, Germany From Germany comes a beautiful and perceptive anthology of 120 pictures of children by many of the world's greatest photographers. The strikingly composed shot of mothers and children was
taken in Jamshadpur. India. bv the late Werner Bischof.
MASTERS OF PHOTOGRAPHY Edited and with text by Beaumont
and Nancy A ewhall George Braziller, Inc.. New York $12.50 Tliis collection
of 1.50 pictures by the great;
photographic world from H to Ansel Adams was
Adamson
edited by the curator of
George Eastman House and his wife. The biographies of the photographers represented are one of the most worthwhile features of the book.
This shot was made in 1948 by Cartier Bresson at a procession at the shrine of Lourdes.
(Courtesy
Museum
of City of
New
York)
THE PICTURE HISTORY OF PHOTOGRAPHY By Peter Pollack Harry N. Abrams
Inc.,
New York
$17.50 Easily the most spectacular picture book page history of the
of the year is this 624 art
craft of photography.
and
Over 600
high-quality reproductions, with accompanying text, span the 125 year period
from the first photograph (made by Niepce, on pewter, with an eight-hour exposure) through the development of photography as a major means of communication and a modern art. The picture on the opposite page is Bandits Roost, a classic documentary photograph by Jacob A. Riis. Taken in 1888 at 59% Mulberry Street in New York City, it was, like so
many
of Riis' pictures instrumental
improving the social conditions of the time. Among the modern masters represented is English genius of the mood picture. Bill Brandt. His picture, London Child, is included in the final chapter of the book titled Around the World in Fifty Photographs. David Douglas Duncan is one of many top photoin
journalists
He
whose work
is
covered.
shot the photo of a dazed marine
(top right) while on assignment in Korea.
Eadweard Muybridges Figure Hopping bottom right is an early motion study which analyzes action from three sides (
This type of photograph, taken in 1887, contributed to the later development of the motion picture.
at once. -
)
£
Notes on cover
Don Bnggs,
which he used
up with something "lovely and feminine and ful-
was taken
POSURE:
prints on
Ko-
the
developed
CAMERA:
ferrl-
page
CAMERA:
50-mm
Leica with
lens.
LIGHTING:
1/125 second at //4.
CAMERA:
21
EXPOSURE:
Leica with
speedlight at f/3.5.
35-mm lens. LIGHTING:
graphing conductor
bounce electronic
Andre Kostelanetz
at a
recording session,
Den-
page 22 (both pictures) CAMERA: Leica with 50-mm lens. EXPOSURE: 1/30 second at
re-
shooting
directly
LIGHTING:
f/2.
verse the normal photo-
practice
available.
CAMERA:
page 23 (top)
not
flash.
50-mm
Leica with
EXPOSURE: 1/60 second at f/2.8. LIGHTING: available, (center) CAMERA: Leica with 35-mm lens. EXPOSURE: speedlight at f/2.8. LIGHTING: bounce electronic flash. lens.
the
instead
Into
them
used
lights,
add
to
the
to
composition,
picture's
quality
ethereal
resulting
the
with
por-
Mr. Stock was on assignment to the Orient when the Annual went to press, and was unavailable for technical data. However, trait.
Magnum,
agency.
his
"more than
reports this
shot
was
available-light, hand-
3S-mm,
likely
CAMERA:
(bottom)
sensitive
very
this
to
EXPOSURE:
Pentax with 180-mm
1/25 second at f/2.8.
lens.
LIGHTING:
available.
page 24
CAMERA:
EXPOSURE:
Leica with
1/50 second at f/4.5.
50-mm lens. LIGHTING:
CAMERA:
Pentax
Las Casas,
Chiapas,
Mexico,
last
outpost of
"the
(bottom right)
the
Gomel
turned
local tribes
come
and
place by
Gomel
Chamula Indian women and out of the common-
recently after
lens.
f/1.4
Nikon
hitch
S-2
EXPOSURE:
Panatomlc-X
FILM:
LIGHTING:
profes-
returned to the In
the
Navy, now
f/2.8.
LIGHTING:
EXPOSURE:
with
50-mm Nikkor
1/250 second at f/4.
developed
In
D-23.
Shier of fhe Bride pictures with the aid of three cameras: two Leica MP-3's (one his
a
3S-mm
and an Asahi Pentax with most of the photo-
Although
graphs were taken by available light or out-
224
Heyman
35-mm lens. LIGHTING:
in
flash
ring
Wil Blanche
photographed actress Ju-
Newmar (once
lie
known
as
Jones"
of
Abner]
L'il
carried a portable Stroboflash
better
"Stupefyin'
the
musical
a
straight
in
but highly flattering pose,
by
sidellghted
the
sun.
The picture was part of a set of
glamor shots made during an all-day
shooting session for Galaxy Pictures.
CAMERA: FILM:
RoHelflex
with
EXPOSURE:
Verlchrome
LIGHTING:
80-mm Xenotar
1/250 second at f/16.
developed
Pan
in
D-76.
sun.
Don photo
Ornltz
took
pixylsh
of
this
Vikki
Duggan, famous rear-decolletage glamor
for
girl,
Esquire magazine.
CAMERA: with
50-mm
f/2
lens.
Summlcron
second
l/lOO
M-3
Leica
EXPOSURE: at
f/4. in
LIGHTING:
Promicrol.
bounced floods and daylight.
this
shot
size
men
hard
also
at
Rolleiflex
EXPOSURE:
l/lOO at f/8."
LIGHTING:
so
black
a
was
made on assignment
CAMERA:
works
lives,
with
with
75-mm
"probably
Leica
M-3
50-mm Summlcron
f/2 lens.
EXPOSURE:
1/50 second at f/4. FILM: Tri-X developed Promicrol.
FILM: Tri-X developed
natural
In
picture
This
for Esquire.
worker
photo assignments.
lens.
and hands
be suspended void.
dynamic
pro Mottar describes himself as
CAMERA: //3.5
legs,
that they would seem to
York City, tackling many challenging
dustrlal
VIkkl,
light-toned
only the
face.
amateur gone wrong." Mottar
New
of
Ornitz wanted to empha-
Robert Motthis
strong
A
himself,
SO-mm, the other with
electronic
Foriune
for
made
work.
doors,
1/60 second at f/2.8.
Prowling
signment magazine.
Ken Heyman. a young freephotographer with Ralpho-Gullemette,
lens)
Leica with
Chase Manhattan Bank's new main office on as-
tar
lens.
page 30
In
page 28
lance
180-mm
EXPOSURE:
diffused daylight.
daylight.
fitted with a
1
light.
FILM: Tri-X developed
diffused daylight.
CAMERA:
page 27
pages 20-27
wide-angle
f/2.8.
at
page 26 (both pictures) CAMERA: Leica 35-mm lens. EXPOSURE: 1/60 second at
shot of
shot
LIGHTING:
D-23.
In
the future bowels of the
N. Y.
Flushing,
CAMERA:
a
second
with
chronicled the
timing and sense of composition.
his
has
lives in
He
lifted its telling
ranks
sional
Bob
time to watching the
to market.
passing of these child
idle
proceed.
could
iungle
his
Pentax with 180-mm
lens.
borne journalistic expeinto
CAMERA:
EXPOSURE: l/lOO LIGHTING: daylight.
civiliza-
tion," so that his horse-
dition
with
Vlsoflex.
180-mm
with
EXPOSURE: 1/2000 second at f/2.8. LIGHTING: daylight, (bottom left) CAMERA: Leica with 50-mm lens. EXPOSURE: 1/250 second at f/4.5. LIGHTING: daylight.
Waiting out
In
M-3 and
daylight.
lens.
page 19
35-mm Hektor
Leica
bellows,
f/2.8 lens.
page 25
held, fast film."
the rains
to for
use.
available.
photo-
graphic
Company
company
f/4.5 lens,
page 20
Stock decided to
assignment for
1/50 second at f/l6. FILM: Plus-X developed
PHOTO JOURNALISM
nis
the
photographs
take
order
up with
bril-
of
Miniature Precision
Bearings
printed In
d
bearings during a
general
EXPOSURE:
In
close-up
ture
Skylight.
FILM: Ektachrome.
page 18
knife-sharp,
liant
He
and
to touch
this
D-22.
dark
r
hand assembly of minia-
cyantde.
FILTER:
f/6.3.
EX-
lens.
ASA
at
in
his
slightly
I/IO second at
flll-In.
developed by
Dektol
in
Hasselblad
!35-mm
with
Plus-X
dabromide
a studio.
In
CAMERA:
rated
made
The provocative study
ly.
shadow
Inspection
and delicate-
beautifully
slight
100 and
assignment
this
filled
provide He
to
instances
come
cover, was asked to
Mayna
Wolfe produced
Frank
few
a
in
page 29
unit.
electronic flash
II
as-
this year's
signed to shoot
Pictures
tlie
LIGHTING:
in
daylight.
Pla
aroi in
D-
page 31 sitive
Barton Ford, a talented and sen-
newcomer
to
the
professional
ranks,
PHOTOGRAPHY ANNUAL
made +Ms glamor pose
page 34 "Mammy" dummy, eyes
cf
bulbs
model Kim Cole while do-
light
ing test shots.
praline
CAMERA:
85-mm Niklcor EXPOSURE:
with lens.
second
at
//2
CAMERA:
one
Ramon
Rosario,
photogra-
phers
constantly
strives
new
for
looks
approaches jects,
to,
at,
new
old
sub-
ingly
composed
study.
Rosario,
CAMERA: //4
FILM:
The
ment of
lOOOF with
EXPOSURE: LIGHTING:
80-mm
l/SO second at
home provided
cron i/2
seg-
glamor
Ornitz's
Abby
shot
in
D-23.
ot
has
recorded
by
CAMERA: 50-mm
tl2
lens.
Job for
daylight.
his
and professionally for many
New
of
Orleans, locale of the famous yearly
part
1958
the
of
of
Mardi Gras, has come up with new, close-up
and mostly off-beat revelry.
He
past year's
looks at this
used two different models of the
Leica with varying lenses and films and stuck
Simmons
strictly to available light.
photojournalist and
sional
page 32 (top)
is
a profes-
author-teacher.
Burns having at the
.vhlle
Leica lllg
fl2
lens.
1/60
American Newspaper
teus.
CAMERA:
micron f/2 f/2.8.
lens.
Leica
M-3
EXPOSURE: (top)
Head
CAMERA:
Leica M-3
(bottom)
Backstage Ball of
CAMERA: f/2.5 lens.
Leica
3n
passing float
in
just
135-mm Hektor before
with
lllg
FILM: Tri-X developed
in
UFG.
FILM:
pages 38-41
Bruce
leave
Nikkor at il8.
Paris,
in
first
saw
Davidson,
D-76.
on
Madame Fauche
Army from
high above a winding Montmartre street as she
way
slowly picked her
brimmed
old
his
across, wearing a wide-
violet straw hat, black coat
and white
her led to an Introduction
in
living alone
on a small military pension
garret with her husband's paintings, her
a
album of photographs, and her memories.
Fauche had painted with Gauguin, Lautrec,
L'J^i
took
and Renoir when Montmartre was but
;
-
;".
For the benefit of
movie cameramen assigned to these conferabout 5,000 ences, permanent lighting watts) this
has been set up. Taking advantage of
studio-type lighting, Corte was able to use
medium-speed, medium-flne-grain
ephoto
f/5.6 lens.
film.
A
tel-
Miranda
with
EXPOSURE:
300-mm
Kilfltt
l/lOO second at f/5.6.
FILM: Plus-X developed
UFG. LIGHTING:
in
New
York News staffer
Charles Hoff stopped these clawing basketball
ability
in
of
Davidson promised to write a story
"so that
many people would know
band's work
better through
discharge from the
After
his
story
was
published
and
her
Army
her hus-
memories." in
1957, the
Davidson
returned
later that year,
enroute to a Yugoslavian as-
signment,
surprise
to
with
it,
but she had died. Davidson
Is
currently with the
Magnum
picture agency.
page 38 CAMERA: Leica M-3 with 35-mm
see above.
players
a state
of mind.
Madame Fauche
got him up close.
lens
Long-time pro and
1/125 second at f/2.5.
Leica lllg with 35-mm EXPOSURE: 1/250 second Super Hypan developed in
She was
formal
105-mm Nikkor
CAMERA:
budget. Charles Corte- a
a
CAMERA:
viewing stands, rith
of
London and of Cor-
in
market before her husband's self-portrait. Leon
a I.
Prometheus.
EXPOSURE:
EDITION
UFG.
D-23.
in
Parade of Rex, taken fror
opening of
In
1/500 second at //I
FILM: Plus-X developed
page 33
50-mm Sum-
1/60 second at
FILM: Tri-X developed
//4.5 lens.
I960
with
EXPOSURE:
editor
Each day she placed flowers from the nearby
duty.
UFG.
in
Europe
in
picture
f/1.8 lens.
in
il4.
Part of nighttime Parade of Pro-
spending
and friendship during subsequent Army passes.
angry
caught
off-beat portrait while
at
has
years,
balanced
for
Newsplctures,
FILM: Tri-X developed [bottom)
An was
lost.
Baum
onet here.
with
If
1
was
UP,
then
INP,
with
shoes. His interest
26-year staffer with
EXPOSURE:
second
1
carrying forward
-fight
pal Auditorium.
50-mm Summicron
Leica
during a press conference
nival Ball in the Munici-
CAMERA:
35-mm Canon wide-angle f/\.8 lens. EXPOSURE: 1/250 second at il4. FILM: llford HPS developed in LIGHTING: late afternoon overcast D-76.
Elsenhower
Car-
with
won
national photo awards.
CAMERA:
page 37
great fun
Children's
many
has
daylight.
Broth-
David and William
ers
Only 26 now, Parks has already racked up years of news photography and
10
rammed
landing was
seven as a foreign correspondent
became
Britannica-NPPA-University
police during a four-hour siege and gun battle.
the
left,
been carrying out the "routine" successfully
Missouri Picture story of the Year Award, with
Robert Simmons, a resident
in
photographer
General-assignment
climax,
eventually
Encyclopaedia
1/25 second at //4. FILM:
LIGHTING:
out
photographic which
York
the foreground
In
fuselage of the Constellation which
paper,
his
sweated
Parks
M-3
Summicron
pages 32-35
photo.
his
the other plane after control
EXPOSURE:
net given.
and took
the burning shell of a Viscount; at
on
while
on the
New
of The
offices
the
magazine.
with
news
realisti-
the Providence Journal. Leica
bulletin on the crash, at Idlewild,
November
10 and photographer AlBaum caught the assignment. He raced to
lyn
is
Jr.,
A
into the last
collision,
Parks,
just
of a big metropolitan daily's photojournalism
a
Winfield
of
was
fire
the scene, arriving about 20 minutes after the
been
killer
cally
camera
planes and
part of the daily routine
Times
wounded double-cop
Pageonf
for
between two ma-
came
mo-
wide-
This
airlines
coverage.
of
made
Dalton,
assignment
1/250 second at
interest-
design to Don
positional
The
ment of capture
almost abstract com-
ing,
EXPOSURE:
lens.
one
effect,
angle shot of a ground
the resultant
50-mm Summi-
with
lllg
FILM: Plus-X developed
f/5.6.
background for silhouette
in
Quarter on
French
in
tungsten.
contemporary
a
EXPOSURE: speedlight at //I I. FILM: Ortho. LIGHTING: electronic flash,
page 37 braced by
jor
Leica
page 36
background
St.
Ektar f/4.7
51/4-in.
lens.
one
4x5 Anni-
Speed Graphic
il8.
MardI Gras Day.
Hasselblad
llford.
CAMERA:
crash
Bourbon
on
pole
at
UFG.
in
junior size,
the
on camera.
1/250 second
page 35 Tired clown,
New
90-mm Elmar
Celtic
from
ball
versary with
D-23.
In
shows
Knicks.
50-mm Summi1/125 second at
lllg with
Leica
EXPOSURE:
lens.
FILM: Plus-X developed
the shot
Tessar f/2.8 lens. ill.
shot
Russell with the re-
Bill
St.
CAMERA:
CAMERA:
and Knickerbockers;
the
Royal
a studio.
in
EXPOSURE:
den
bound
French Quarter.
in
with
lllg
f/5.6.
Lady harlequin on MardI Gras Day, Canal
nude a
made
York pro,
Leica
lens.
at
f/4
UFG.
in
FILM: Plus-X developed
ilS.
interest-
this
like
cron il2
like
most creative
second
1/500
Madison Square Garbetween the Cel-
at
tics
90-mm Elmar
with
Passers-by on Royal St.
flood bounced off ceiling.
outside
Bienville St.
lllg
FILM: Plus-X developed
1/30
LIGHTING:
Tri-X.
Leica
EXPOSURE:
lens.
FILM:
ill.
candy shop on
CAMERA:
SP
Nikon
up by
lit
standing
head,
inside
mId-aIr
with
electronic
the
flash.
action-freezing
The
game was
wide-angle
SURE: f/3.5.
1/5
lens.
EXPO-
second
at
FILM; TrI-X de-
veloped
in
D-76.
225
Tliis is
your
chance
last
to subscribe to
Popular Photography at this
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introductory 18
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PHOTOGRAPHY ANNUAL
— page 39 (top) CAMERA: Leica M-3 with 85-mm lens. EXPOSURE; l/lOO second at f/1.5 FILM: Tr:-X developed in D-76. LIGHT-
ING: twilight, M-3 with 85-mm second
CAMERA:
Leica
EXPOSURE:
l/lOO
FILM: Tri-X developed
//1. 5.
at
f/2.5
FILM:
//3.5.
page 42 training
On
a
basic
march to
a biv-
ing
Army
part of the
CAMERA:
LIGHT-
Carl Shira-
caught
this Intimate
favorite
famous
romantic
'
*
and
Mr.
M"
ering the April
New
Ball at
pleasure to see. with sensual richness of
a
is
and
tones
of
clarity
he brings out the soft clear
other prints,
In
light on an overcast day.
"But although a fine technician,
Paris
York's
Wal-
methods
working
confound
50-mm
takes
advertising photographer, lives
Davidson was himself
M-3 with 50-mm Summit l/lOO second In
D-76.
at
f/4.
LIGHTING:
CAMERA:
Nikon
50-mm
with
S-2
Manhattan.
in
experience.
past
augments
he
the
In
some
first
bounce electronic
situations
at f/1.4.
LIGHT-
prior
to
CAMERA:
flash."
Arthur
Weiner's
death
Goldsmith, in
for policemen at 1949
Parade and old man
he with
illumination
existing
Nikkor written
f/\A lens. EXPOSURE: 1/25 second FILM: Tri-X developed Kerofine.
ING:
light
existing
permits
meter reading to determine
careful
a
time
If
exposure; otherwise he makes a guess based
an
Shiraishi,
technical-
or occasionally a wide-angle.
lens,
"Weiner prefers to shoot by whenever possible.
on jewelers.
simple
his
the
minded gadgeteer. He uses a 35-mm camera (Leica, Contax, or Canon) with a standard
Mrs.
in
Sometimes he
details.
achieves a massive three-dimensional quality.
dorf Astoria for Cartier
developed
Tri-X
America's
and
couples,
contingent.
Leica
at //5.6.
Arthur Miller, while cov-
^H^ttft-'*
EXPOSURE:
lens.
FILM:
D-76.
in
un-
conventional angle.
Calif.
modeling of diffuse
page 45
of
rest-
from an
S.l.'s
f/2
EXPOSURE: 1/250 second FILM: Plus-X. LIGHTING: natural.
f/1.2 lens.
at
Davidson
got a new look at
Hills,
50-mm Canon
with
35-
1/30 second
plus 25-watt lamp.
Bruce
ouac,
M-3 with
Leica
developed
Tri-X
ING: daylight
MP
moment shared by one
EXPOSURE:
lens.
in
Leica
in
daylight.
CAMERA:
pages 40-41
Beverly
resides
CAMERA:
ishi
LIGHTING:
D-76.
mm
(bottom) f/1.5 lens.
who
staffer
March.
May Day
straw hat, Contax; for
in
existing.
The
Roumanian
and
family
Russian
page 46
nun,
Leica.
Other data not known.
ruins of
twilight. this
page 43 portrays
Blair
picture
strong
which
lighting.
hurl
His subiects are young
on duty
Saigon,
in
Vietnam.
South
prir
In
ments
in
75-mm
1/200 second at
Super-XX developed
Microdol.
in
Tessar f/3.5 i/\
I.
FILM:
Although
pure
as
came
tired
.
with
lapsed
.
.
expreision
lucky to catch
it."
over Since
the photo has been used for several magazine illustrations. Mrs. Dunn has been a child photographer for private customers since 1951, a free-lance commercial photographer
producing
and
covers
since
illustrations
advertising 1956,
and
is
and
CAMERA: f/3.5 lens.
FILM:
with
through
hood, perceived
parentthis
play of love between
Johnny
son
dishis
and dog, moment
Judy, as a tender
worthy of record. is
a
Bryson
well-known free-lance
professional
I960
85-mm Wollensak
EXPOSURE: 1/60 second at f/5.6. LIGHTING: three photofloods.
Plus-X.
John Bryson, with insight gained
and
EDITION
"Virva
'Spartakiada,'
Iron
Curtain
tival
held
is
aptly
pics,"
in
which
was
it
made.
ex-Life
CAMERA:
pur-
Vigia,
in
San Fran-
Cuba, to photograph one of
speedlight
LIGHTING:
Super-XX.
14-in.
at
Ektar lens.
f/22.
FILM:
hard
have to
find
a
his
from
room
National Hotel
more
by
charge
the
fute
some
critics
existing-lig ht are
sity
fuzzy,
afflicted balls.
On
with
grain
win-
girl
store.
When
the picture
was published, numerous admirers
(male)
wrote
to Lisa for the girl's address,
but unfortunately
she never knew
neces-
out-of-focus,
pretty
GUM
that
pictures
photo-
Lisa
this
dow-shopping in Mosdepartment cow's
made
candid,
by
Mos-
50-mm Nikkor f/l.4 FILM: Plus-X.
young Russian
not
is
the
in in
cow one autumn day. CAMERA: Leica M-3
graphed
His prints re-
goal.
Thi:
Fujinor
Kremlin
the
page 51
than Dan Weiner, even
though technique
husband.
Life.
Other data unavailable.
You
technician
competent
in
took this
of
with
search
to
Larsen's
M-3 with 35-mm
Other data not known.
Larsen
her
lens.
would
Lisa
Leica
view
four 200-watt-second
electronic flash units.
pages 48-49
Ras-
Nils
writes
f/3.5 lens.
8x10 view with
EXPOSURE
in
before the Olym-
Karsh
Paula,
Lenin
Moscow
CAMERA:
Hemingway's home, Finca cisco de
at the in
shot originally appeared
the way to
all
the
sport fes-
mussen, the late
Karsh
at
all
the
1956
inclusion
woman
athlete, gives her
Ernest
Yousuf
Rus-
Rolleid,
champion
sian
of
edi-
currently
camera editor of Pcrenfs Magazine. Ciroflex
com-
the giants of American literature.
then,
torial
LIGHTING:
UFG.
n
Portraits of Greatness,
traveled
wonderful .
i
f/4.
Lisa
col-
mother's shoulder
for
book,
posely
be-
this
second at
ed
for
gravy.
.
.
35-mm Serenar
1/60
Stadium
—
this
"Baby
says,
with
pelling, beautifully light-
portrait
Fujinon
Other data
lens.
not known.
debris.
in
lllc
FILM: Tri-X developed
This
set-
Leica M-3
35-mm
time to
existing.
the
particular one she con-
She
in
f/3.5
EXPOSURE:
lens.
suited
of this tot for a
sidered
CAMERA: with
Manhattan
in
Leica
Hemingway
ing at getting charming
customer,
St.
comrades buried
page 47
44
private
on Wooster
LIGHTING:
Phoebe Dunn was aimshots
this
CAMERA:
sunlight.
page
48-hour
f/2.8
Rolleiflex with
EXPOSURE:
at
five
other lands.
CAMERA: lens.
arrived of
the
sun at the Sparta-
kiada.
the
Sickle
from
lighting
ting
Van
Kenneth
take this tragic shot of firemen searching for
photojournalis
numerous
out
participants
scene fire
overexposed to bring out the guns, been on Navy duty in South Vietnai ried
the
sil-
composition help of back-
the
with
athletics
interesting
houette
fire in
themselves into the
flames.
Vietnamese army troopers
an
into
suggest
an eerie ritual of
turned
Lisa
late-afternoon
of
figures
almost
firemen
diagonal composition dramatic
page 50
dark-garbed
the
spectre-like
powerful
with
demolished building
and
combines
a
in
that
James
men and guns
hideous
the
the contrary, a
size
girl
i
of
good Weiner
print
who the
was. This picture also was published
CAMERA: f/1.4 lens.
Leica
M-3 with
50
mm
in Life.
Nikkor
Other data not known. 227
— AVEDON PHOTOGRAPHS
MONROE own account
For Avedon's
of
how he mad
page 65
sedentary
this
off-beat
these pictures see page 55.
Louis
page 52
the
Leading pre
was
Russell
llan
P H^
Gay
a
to
expended
effort
^
In
Kane, a
York
professional,
semblage of famous
^,
as-
musicians for Esquire,
jazz
i
Deardorff
him from the mass
Kane flew
sitting.
vada, then chartered a plane to
Armstrong to
8x10 studio view with 12-
spot where
a
Ne-
desert was
the
convey was that "of a pioneer jazzman who
second studio electronic
can
flash.
afford
to
now
relax
In
rocking
old
his
created a subtle
\
on-white color scheme, rented a Russian wolf-
hound for Marilyn's recreation of
Jean
slinky
CAMERA:
vhite-
second at
ING:
EXPOSURE:
Hasselblad.
LIGHT-
FILM: Ektachrome.
f/4.5.
I/SO
pages 66-67 who saw
Stage
colored
flats,
and
lights,
smoke were combined to reproduce the
mous cabaret scene from Marlene
fa-
Dietrich's
1930 film classic. The Blue Angel.
CAMERA:
12-in. Ektar lens.
EXPOSURE: V7 second B. LIGHTING:
Monroe
as sllent-fllm siren
CAMERA:
rugs and
a
tiger
EXPOSURE: speedlight at FILM: Ektachrome. LIGHTING: 1,000
Speedlight catches a red-haired Clara
pouring
Bow,
champagne
amid party debris of balloons and Technical data; same as above.
confetti.
talented
tising
his
right
cat
this
and
shot
page 64 a
Is
function
lens.
to
creative
a
Marc
Bomse
photo for
the
took
the
Virginia Pulp & Pa-
per Co.,
specialized
has
photographic
Illustra-
tion In advertising for eight years.
CAMERA:
Deardorff 8x10 studio view with
Ektar f/6.3
ond. FILM:
EXPOSURE: I/SO secLIGHTING: candles on
lens.
Royal-X.
cake plus weak
f/8.
777.
fill-in
from bounced flood.
Illustrate
the realistic and mood-
conveying
qualities
In-
available-light
in
made
was
It
assignment
for
Es-
long-time
by
devotee
New
Bell, a
Yorker
Greenwich Village
a
studio.
Miranda with 50-mm
Yorker,
background carry
carefully
Don
Briggs, a
former West Coast pho-
tographer now free-lancing
New
in
added
York,
to symbolizing
a
herself.
of
tising
in
metics: location: Central Park.
print
dress
ful
Mills).
of
an
The
lens.
The
painting.
Italian
outdoor
14-ln.
lens.
gate
Waka-
and sense humor were working time when he pro-
his
model cast her
of a his
meter
up a
full
reading stop,
effect
reflection
man-made pool
his
In
of
the
here
FILM:
lens.
upon the waters
He
studio.
girl,
then
"because the water
Rollelflex
with
EXPOSURE:
Trl-X
LIGHTING:
developed tungsten.
for
a
stocking
made up
of two
separately and stripped carefully
8x10 Deardorff View with
is
f/6.8 lens.
took
opened always
page 76
80-mm Xenotar
1/60 second at f/W. in
I
12-in.
//9.
Harvey's
777.
of Win-
More
gate Palne's sense of hu-
mor
Is
evidenced
amusing, lustration
CAMERA:
actually
is
having
by
darker."
f/2.8
mfn
illustration
EXPOSURE: second at FILM: Ektachrome. LIGHTING: daylight. Dagor
last
distorted
The picture
CAMERA:
have trouble pronounc-
intrlguingly
clever
this
together.
who might his
Win-
imagination of
duced
"HIro" partly as an
spelling
afternoon sun.
creative
Palne's
shots taken
or
Skylight.
Technical data unavailab'e.
be known professionally
ing
FILTER:
page 73
ad.
aid to clients
Biotar f/2
water
bayashl (who prefers to
as
58-mm
late
pages 74-75
Deardorff 8x10 with
HIro
with
1/25 second at f/2.8. FILM:
LIGHTING:
full
page 69
VX
Exakta
EXPOSURE:
Charles of the Ritz cos-
Ektachrome daylight type.
to-
reminiscent
is
rather than just
The picture was taken for an adver-
Illustration for
CAMERA:
(cut
client's fabric
picture
in-
beauti-
all
to
model's
tal
women
model
lovely
and
out the feeling
lens.
skylight.
segment
props
f/2
EXPOSURE: 1/25 second at f/2. FILM: Super Hypan. LIGHTING: available from spots and
print of his
EXPOSURE: one second. FILM: Anscochrome. LIGHTING: tungsten.
amusing
West
228
Photographs
dancer
to diffuse her Identity
New
Ekta-
one of a night
this
like
Jerry Plucer,
CAMERA:
the
at
medium
vehicle.
I2.in.
page 71
page 68 selected
EX-
lens.
FILM:
incandescent.
the textural quality to the t
a
clever example
as
at
Harvey's
Plucer's transparency.
In-
of the ability of the pho-
tographic
in
other time, another place, was stripped Into
Rollelflex with Tessar f/3.S
This
Tessar
second
I
developed
rest.
75-mm
scene, taken by another photographer at an-
Into
f/32.
at
LIGHTING:
E-l.
page 72
adver-
Other technical Information not given.
shot
chrome
Ektar //6.3
12-ln.
1/25 second
existing.
Wamsutta
moment.
CAMERA:
the trafTc. Win-
creative
illustrations.
veigled
crouch
POSURE:
LIGHTING:
his
photographer
for
eye-catching
all
EXPOSURE:
Tri-X
from the
Ben Rose, a
&
Deardorff
CAMERA:
with
Rollelflex
lens.
FILM:
il-
7own
8x10 studio with
Hugh
thronging autos are at
city's
editorial in
CAMERA:
locale,
the tapestry-like
ADVERTISING & ILLUSTRATION page 63
the
CAMERA:
a
Marilyn,
In
great
flash.
page 61
known
for an
with
probably wondered what
f/3.5
lens.
as
vari-
In
magazines,
gate Paine, who took the whimsical shot for CBS, chose to shoot at dawn when even this
Theda Bara.
watt-second studio electronic
and
Evia
lustration
Country magazine.
available-light
the photographer did with
Deardorff 8x10 studio view with
Ektar
appeared national
for
by
York pro Edgar De
quire
Illustration
this
guessing rightly at Man-
provided the background and props for
//22.
together
New
on
studio
filters).
Oriental
ous
Many
at f/8.
FILM: Ektachrome, Type
pages 58-59
which
hattan
Deardorff 8x10 studio view with
tungsten (with colored
12-ln.
brought
shooting.
page 56
skin
jects
herent
available daylight.
Harlow. Technical data: same as above.
pleas-
assemblage of oband backdrop was
ous
club
chair."
page 54 Avedon
This
antly exotic yet harmoni-
The Idea that Kane tried to
cluttered.
less
to
out with
fly
EXPOSURE: speedlight at f/22. FILM: Ektachrome. LIGHTING: 1,000 wattElctar lens.
in.
page 70
but Armstrong's Las Vegas commitments kept
Brady.
CAMERA:
of
belles
was to photograph an
from Dia-
Lillian
mond Jim
portrait
Armstrong
New
m W*
|^
gold to duplicate famous gift
of
LI
painted
bicycle
Nineties
as
mood
creation. Art
Its
Monroe
for shot of
The relaxed
and
ad,
TV
this
in
eye-catching for
featuring
a
il-
Polaroid
radio
personality
and
Arnold
Stang.
CAMERA:
5x7
Dear-
PHOTOGRAPHY ANNUAL
conveys
150-mm f/5.6 lens. EXPOSURE: 1/25 second a+ f/M. FILM: Tri-X developed
In
Seymour Med-
page 77 A
combina-
Pa.,
of experimentation
at work
discover-
here,
and
ing the design
beat
off-
possibilities
color
chrome
.
LIGHTING:
seconds
—
^to
ma-
two
chine parts
in
this
pho-
blend
made on assignment for Modern
Bazaar,
Is
and
totally refreshing
a
In
CAMERA:
Harper's
new
CAMERA:
Deardorff 8x10 with
8x10
with
14-In.
lens.
EXPOSURE:
by
ploited"
advertising
&
son
Although
for
tungsten.
John-
this
warm
Johnson,
rear
with
long
snoots
for
people
electronic flash.
reconstruc-
famous opera
1952, so Yoichi
In
Okamoto decided
to
them the story with modern dance, using the
tell
PHOTOGRAPHY IN RETROSPECT Note: For many of the photographs section representing the
cases
Is
Museum
page 82
This
reconstruction as a back-
ground. in
Okamoto
has one of the world's most
the strategic jobs relating to the use of pictures;
Modern In some
of
no data available.
photographers are
the
others the records have been
of
client
house
FILM: Ektachrome, DayR.
Ektar
at f/4.5.
The
tion of their
look at
"ex-
world
the
at
to watch the
LIGHTING:
Type.
Art show, there
page 78
high
tv/o
Ektar
1/25 second at f/16. light
14-in.
EXPOSURE: 30 seconds FILM: Ektachrome B. LIGHTING: lens.
large reflectors at sides for crosslight-
In
of Vienna were not allowed
Deardorff
f/6.3
vegetables.
f/6.3
FILM: Super Hypan.
four Ascor electronic flash units;
page 84
Packaging magazine.
subtle
the
with
beautifully
so
210-mm
EXPOSURE:
tograph
compen-
the color film. The overlong shutter speed thus gave more blues to the rendition, greens. The result, which appeared
v/ith
backlighting.
teristics of
which
reflex
Tessar f/4.5 lens.
speedlight.
LIGHTING: ing,
to alter the charac-
and
field
with
Falr-
tv/in-lens
Lomb
the
In
element
design
4x5
child-Halsman
spot and 1,000-watt
f/32
captured
fessional
sate for the small aperture he chose to obtain
great depth of
CAMERA:
Verl-
York pro-
bles
—30
Is-
raphy.
EX-
lens.
FILM:
Stephen Col-
New
houn, a
and a cut-glass bowl. Hire WakabayashI got his effect through the distortion caused by the bowl and by using an exceptionally
In
September 1959
Bausch &
page 81
sinnple subjects: vegeta-
long shutter speed
f/2.8
/60 second at f/ll.
P
and
appears
sue of Popular Photogth
Rolleiflex
POSURE: flood.
putting together two
In
the
Hals-
equipment
techniques,
studio.
his
in
CAMERA:
on
details
man's
carried out the as-
signment
and the creative eye of photographer was
the
with
Philadelphia,
of
story of the sitting,
full
from
patient
reality.
Annual. The
use In this
the withdrawal of a
mental
commissioned for
cially
of
loneliness
skylight.
nlck
tion
and
isolation In
LIGHTING:
Harvey's 777.
feeling
the
with
dorff
now dead;
he
Is
Chief of the Visual Materials Branch of
the U. S. Information
In
CAMERA:
lost.
Angulon open
magnificent portrait of Ed-
wide-angle
shutter
dancers.
ward Steichen by Philippe Halsman was spe-
Agency.
4x5 Linhof Technlka with 120-mm
f/6.3
at
FILM:
f/16,
lens.
with
EXPOSURE:
speedlight
on
Tri-X.
and tender display of affec-
baby
tion of a little girl for a
perfectly natural and
Is
One
contrived.
un-
New
of
York's topflight pros, Irving Penn, art director-
turned-photographer,
caught
sweet mo-
this
ment which owes Its success somewhat to gle, timing, and subject arrangement.
CAMERA: ond at
Rolleiflex. EXPOSURE: 1/5 LIGHTING: incandescent.
f/3.5.
page 79
sec-
in a
gantuan flower bed
two
is
separate
shots stripped together in
a
dye transfer making
In
graph for
"Big" camera performance
print.
that's the
photo-
the
girdle ad-
a
vertisement, Donald Mack shot the figure of the
girl in his
studio to
the size he wanted and printed out of focus.
With the same camera, he photographed the
Mack
flowers outdoors with extension tubes. is
a
professional
who
lives
and works
in
New
York City.
CAMERA: EXPOSURE: flower,
Hasselblad for
f/2.8.
girl,
LIGHTING:
with
New —
80-mm
MEC
16.
Here at
Automatic Ultra-
Miniature
— small last is
camera convenience . an ultra-miniature that is panoramic landscapes, .
perfect for every sports events. The all-new automatic MEC is the fastest camera in its class. Gives you sharply clear photos and brilliant color slides for 35mm projectors. Yet neatly tucks into pocket or purse to travel everywhere, ready for use. and its sophistiYou'll be amazed by MEC versatility cated features: f/2.8 Color-Ennit lens, speeds 1/30 to 1/1000 sec. and B, rapid-wind, built-in flash synch. The MEG accepts a full line of filters and accessories. Shoots close-ups at 1 foot. Oflters automatic focusing from five feet to infinity. There is a wide selection of black-andwhite and color films, and nation-wide film processing service. .
.
.
for
girl,
tungsten
daylight type girl,
type Ekta-
bounce and
di-
Yes, pleasure of operation ana pride of ownership are yours with the MEC 16. See it at Or send the
This illustration for Smith, Kline
&
French Laboratories cleverly and symbolically
EDITION
hand
Standard Camera Corp., Dept. P-29 319 Fifth Ave., New York 16, N. Y.
Please
319
rush
illustrated
Name
STANDARD CAMERA CORPORATION
I960
a whole world of fine photograptiy Ip the palm of your
lens.
rect lighting: for flower, daylight.
page 80
.
subject — portraits,
1/50 second at f/22; for
FILM: for
Ektachrome; for flower,
chrome.
HAS COME OF
mmr m
f
nue
9|
R ^^L (»
chose
"•
^
an old church Pa.,
^b^IIILl.
near the
which
artist's
Wyeth had
used as a subject for a painting.
CAMERA: lens.
ING: 232
No
^
photo
study
American
various
took
this
of
circuses,
angled
amusingly
shot of a young
riding
4x5
Special"
FILM:
4x5
EXPOSURE:
with ing a
1/50
Brothers Cii
Cristiani
cus performance
in
Miami.
fore
LIGHT-
,
Tri-X.
From the
Reynolds,
Yorker,
Is
on the
CAMERA:
Building,
lens.
Abbott made
staff of
turned
New
Popular Photography.
M-3 with i35-mm NIkkor
Leica
EXPOSURE:
in
ex-Ohioan
an
1/50 second at f/16. FILM:
Plus-X.
long time exposure
page 125
el.
shot of crowd
demolished be-
World War
II,
Clyde
is
classic
CAMERA: utes at f/16.
leaving
Beatty-Cole
New
York City,
made a
New at
Palisades
8x10 Century Universal view with
EXPOSURE:
FILM: no data.
Jersey
15 min-
a
Bros.
engagement
by Reynolds during
images of
12-Inch Zeiss Protar lens.
Backlighted
Circus matinee was
foreground.
visible in the
The picture has remained one of the
and has been reproduced many times.
Meridian View with 6-Inch
record of film and exposure.
available.
,
star
waiting for her entrance dur-
"Felnlnger
1932. The Sixth Ave-
in
assign-
Chadd's Ford.
State
Berenice
to his sur-
logically,
roundings.
bright sunlight.
devoting himself to a
few feet
a
top of the then-new Em-
is
related, visually
is
half
This
Avenue sidewalk
Fifth
40-Inch Dallmeyer //I2 lens.
page 121
Arnold Newforte
a
contrast.
Rey-
telephoto lens brought him
particular
increase
to
FILTER: K-2.
close.
man's
D-76
in
all
streets
second at f/l6.
Fuji SS.
page 116
f/16.
at
page 124 long-term
shot of
un-
Ektar
8-in.
EXPOSURE:
normal
times
those
City,
name
second
l/lOO
wood-
old
FILM: Super-XX developed one and
around
makes the cross
CAMERA: f/i.S lens.
f/b.3
nolds.
York
to
apart.
the surroundings.
stillness of
known,
lenses.
are
and
high-angle
ad-
calculated
film
en 4x5 view,
showing extreme compression
these two bulls led by two
then
day.
further Increase contrast.
pho-
of
tools
shots
New
found
Japan,
the
master
a
is
in
fire
it.
Andreas
best-known
Koyo Hosoe of
Takayama.
summer
been fascinated by His
in
about
tography, and has long
photo
just
made by
shot on a bright
CAMERA:
of
staffer,
ministered processing to
page 120
after a
March,
He
ows.
platinum
a
very -long -focus
late
Journal
6l/2x8l/2-inch
a
Felnlnger
Technology.
Mil-
a
escapes and their shad-
was made
was made from
print
Chicago's
angle.
Bauer
set out to discover the
game,
illustration
little
right
the
patterns
an
a
manipulation
technical
waukee Clarence H.
Buff,
on
these
in
FILM:
White's charming recrea-
1902,
along
l/IO second at f/8.
tion of the child's
the
common-
using
place,
and
Harry Cal-
found
lahan
Picture
under
are endless as wit-
Richard
as
page 115
Graflex with f/4.5 Tessar
unknown.
Bllndman's
Plus-X.
trees
EXPOSURE:
lens.
page 119
CAMERA:
existing.
ness the creative appli-
dealing with the
natural world.
lens.
3'/4x4l/4
textile
his
cation of the
CAMERA:
al-
is
Kimura's
characteristic
facility
artist's
sun
and Philadel-
York,
voca-
the
in
possibilities
and
phia.
perhaps the
is
in
page 123
Chicago,
in
tion
Is
An-
night.
full-time
LIGHTING:
was
exhibition,
to
home town of Biella. Italy. CAMERA: Rollelflex with 75-mm Tessar f/3.5 lens. EXPOSURE: 1/30 second at //22. FILM: Adox KBI4 developed six minutes in Rodinal.
the Family
in
or
tonacl's
industry
the best known of Mexi-
can
represented
"The quiet beauty of the Is
Al-
made
was
day
by
leaning on an
girl
railing
with
series
gest on the mountains,
"many years ago." Bravo
a
writes
of
Manuel
a
in
tasy that light can sug-
available.
is
a
show the world of fan-
varez Brave's picture of a wistful
"The Moss
photographers." Ihel
FILM: Supertwo
I.
others
It
EX-
fill-in.
page 114 Garden
No
session.
of
made
the Alps was
first
Vanity
in
Franco
shot
jewel-like sun setting on
about that time.
Fair at
address-
legislative
joint
actress
to this country.
published
Antonacl's
when
I920's.
Swedish
came
ridor as the Prime Minister
the early
in
the
Karsh a cor-
in
page 122
portrait
of
Decennber 1941.
in
supplied
this
Greta Garbo was made by Arnold Genthe
ston Churchill, which he
made
INTERNATIONAL PORTFOLIO
According
information
to
Amusement
Park.
CAMERA: with
50-mm
Leica M-3
Summlcron
PHOTOGRAPHY ANNUAL
EXPOSURE: 1/50 second .at LIGHTING: existing. Plus-X.
lens.
FILM:
//4.5.
page 130 ways
Ex-
waited
perimentation on the part Blodgett
Jerenny
and
lens,
and
his
some time before
literally
viewer dizzily along with
CAMERA:
carries
the
LIGHTING:
D-76.
California
habitat,
had the camera of
col-
por-
and
William Gelabert,
traitist
Philippe
of
New
York.
In
the
bottoms
master
He burned the
of
Halsman
turned on him while
visit-
New
York
ing the latter's
doorways for detail so that the repetition of
studio. Angle,
the design pattern would be pronounced.
combine to give Adams
4x5
in
ern
it.
Pacemaker Crown Graphic with 90-mm Schneider Angulon f/5.8 lens. EXPOSURE: 1/5 second at f/32. FILM: Super-XX developed
for
finally
league
plains
that
result"
Adams,
far from his natural north-
tripping the shutter," ex-
at different speeds, but found that l/S second this
FILM:
Master pho-
tographer Ansel
stand
to
f/8.
Microdol.
in
wife driving
the car at 30 mph, Blodgett "tried shooting
gave
page 134
so
my eye
with camera to
tripod, tripod secured to a slioot-
ing platform on his car,
had
I
Planar lens.
at
flash
the
disappeared
quickly,
car produced this dynamic illusion of speed.
Camera on
made
Rolleiflex v/Ith f/3.5
electronic
Verlchrome Pan developed
exposure. Because moving
moving
a
CAMERA: EXPOSURE:
simply
I
someone
until
subjects
School student), a wide-
angle
nylon stocking to diffuse the image, giving the figure a soft quality.
Park
Riis
walked by and
(a
Art Center
Los Angeles
the
at
Beach bathhouse,
pases 126-127 of
"Fascinated
by the pattern of door-
CAMERA: ill
Leica
50-mm Summicron
with
lllf
EXPOSURE:
lens.
1/25
FILM: Plus-X developed
in
second
D-23.
at
LIGHTING:
available
No.
PAPER:
daylight.
Kodabromide F
3.
facial
expression
a satanIc carlcaturiza-
tlon.
CAMERA:
f/16.
daylight.
and
lighting,
Falrchlld-Halsman 4x5 twin-lens
210-mm
with
reflex
Tessar
f/4.5
lens.
EX-
POSURE: I/IO second at f/ll. FILM: Super Hypan developed in DK-50. LIGHTING: two floods.
pase 128 An example
exciting
impres-
the
of
sionistic use of blur
Madrid by Swiss pho-
itfi
//2.8 lens.
EXPOSURE: 1/25 second at f/2.8. FILM: HPS developed in MIcrodoL LIGHT-
llford
ING:
A
home
in his
IIC with
a
work of
art.
CAMERA:
Fairchild-Halsman 4x5 twin-lens
210-mm
Tessar r/4.5 lens. EXPOSURE: I/IO second at f/16. FILM: Super Hypan developed in DK-50. LIGHTING: two with
reflex
his
bull, v/Ith
one spot.
floods,
page 136
legs
his
page 132 oher
immense strength and Walter Silver
made
R.
picture
this
shot
York enabled Susan Mc-
his
and
were awarded for the greatest
a tail
ever seen."
I've
"Two
Cartney to see the com-
Panning
his
camera along
with the motion of the bull caused the back-
ground to blur and heightened the feeling of movement.
CAMERA:
M-3 with a 90-mm i/l EXPOSURE; 1/200 second at FILM: Tri-X. LIGHTING: daylight.
Summicron f/3.5.
Photogra-
France,
study
He
studio. last bull.
In
used four 500-
fashion
shot
this
teur,
slight
shadows on
white paper background.
young
lancer with dio,
his
specializing
CAMERA: //2.8 lens.
FILM:
EXPOSURE:
Rolleiflex with r73.5
LIGHTING: I960
Planar lens.
counselor and
CAMERA:
1/60 second at r75.6. FILM: VeriIn
own in
^'
Rolleiflex with
EXPOSURE:
llford
is
a free-lance
80-mm
Zeiss Planar
1/125 second at f/4.
FP3 developed
ING; overcast
artist.
In
D-76.
LIGHT-
daylight.
Microdol. LIGHT-
floods.
Using
from
one
page 137
If
Gilda
with
80-mm
1/60 second at in
fluorescent banks.
Planar f/4.5.
Harvey's 777.
instead of a pho-
have painted the snov/y streetscape she saw from
Clermont
her fifth floor apartment window in New York. The medium of film emulslcn
page
132,
completely
a
different effect. This time
electronic
v/ork.
artist
tographer, she might
he
the
he used only one
stu-
fashion
an
different tech-
produced
f.
FP3 developed
EDITION
lens.
used for the photograph on
is
Hasselblad
FILM:
_
works full-time as
travel
//2.8
CAMERA:
nique
free-
EXPOSURE:
llford
v/hich lights v/ere
set up.)
entirely
Jean
Schatzberg
talented
a
They show the exact angle at
page 133
un-
simple
of
Mc-
Miss
stroll.
Rosenblum had been an
her shoulder
for Vogue.
hour
(Note
Jerrold
Patchett wearing a Siamcat on
/
Cartney, a serious ama-
ING: four 500-watt
starkly
wintry
to the left of the camera.
Leica
Schatzberg took
this
in
scene while on a lunch
the right, and two placed
chrome Pan developed
cluttered,
a
position
watt lamps, two placed to
lens.
page 129
Training
M. Clermont of
figure
Bar-
in
while
student at Cooper Union in New
Montrevll, this
celona as Ordonez fought
a
his
town, Graz, Austria, where
Retina
and
terization
made
he works as a goldsmith.
power.
ese
photograph, but a charac-
the
facing page. Herbert Rosenberg also picture
Inimita-
daylight.
rushing
between
kill
in-
on
In
Halsman fashion, the result is more than just a
50-mm Xenon f/2.8 lens. EXPOSURE: t74. FILM: Adox KB-17 developed in Fabofin. LIGHTING: afternoon
gives the viewer a feeling
ears
signment for the Safurday
William
to
shot
CAMERA:
available.
tail
of
receding
distance)
of
Edith Sitwell on as-
ble
Gelabert's •
Dame
(repeti-
to
C
is
Halsman portrait
this
and idea
Mettier.
Hasselblad 500
made
Evening Post,
tographer Lisbeth Vajda-
CAMERA:
in-
(public
pattern
tive
an
perspective
in
in
bath)
page 135
place
similar
ing Spanish dancer, taken in
study
this
is
language
ternational
to
shot of a whirl-
this
is
Proof that
world and also
that photography
convey the feeling of motion
a small
it's
from
slow shutter speed
a
page 131
light,
flash
an
unit
placed about 10 feet to the left of the model. Clermont exposed for the light only and In
printing, the
let
the background go black.
photographer used a piece of
has given her equally artistic
results.
CAMERA:
Leica
lllg
50-mm Elmar f/3.5 lens. EXPOSURE: 1/60 second Plus-X. LIGHTING: available.
with
at t74.
FILM:
233
page 141
Key Nllsson. a young
moto
Swede studying photography
possibilities
made
the
in
taken
ocean, and stopped
He
Stockholm.
in
maximum
brought about the efwanted by over-
Technlka
EXPOSURE:
Angulon
f/6.8 lens.
at f/32.
FILM: Sakura developed
daylight.
ING: afternoon
others
who
this
picture
will
the
shooting
the
Belgian
Africa.
sis-
Mi;
EXPOSURE:
Rolleiflex.
full
l/lOO
FILM: Verichrome Pan. LIGHT-
page 139
"I
Adder,
months
carried
time
35,000 refugees out of
North Viet Nam, as
who
professional photographer
on such important stories
This
Blair
EXPOSURE:
has worked
as the Hungarian
In
1/30 second at f/4.
MIcrodol.
lens.
FILM: Trl-X
LIGHTING: HTING:
LIGHTING:
MIcrodol.
in
Plus-
north
aimed here
artistry,
torso
long
CAMERA:
think,
page 148
/ith
soft,
a
gift
a
professional,
illumination
source.
is
images.
Inamura,
sociated with Orion Service
CAMERA:
in
bounced is
as-
Tokyo.
Rolleiflex with 80-mm Xenotar EXPOSURE: 1/25 second at f/6.3. Neopan SSS developed In D-76. LIGHTING: 5,000-watt studio light, bounced. lens.
Fuji
tograph
Miamian
is
Black
Flip
Schuike,
Star
an
of
which
he
staffer
followed the
continually
first
student single-lens
as
reflex
Other helpful
moved
the action In
order to obtain
fast
factors: fast film, fast
lens,
a
fast eye,
a
CAMERA: f/2 lens. Plus
X developed
with
lllf
in
let
of-the-ordlnary image of
Promicrol.
50-mm Summltar FILM:
setting
FILM: TrI-X developed 25 min-
lens.
a
Jean Dleuthe
him and create an out-
Hektor f/2.S
Is
MIcrodol.
1/500 sec-
utes at 70 degrees in
photog-
a
10 seconds at f/8.
sun's rays play tricks for
EXPOSURE:
He
and
long-
zalde
available.
Leica
125-
motorized Praktina FX with
made.
College
EXPOSURE:
page 149
f/2.5.
Jervis ever
Oberlin
made from
rapher for the year book.
know-how.
ond at
life
still
at
focal-length lens, and, of course, professional
CAMERA:
has
The photograph was
eight years' of shooting.
his
mm
This pho-
part
portfolio
unusual
and
shutter speed, of a
a
Is
keen eye for un-
a
the fact that the
is
photographer,
stances.
pleasing
York
photographer
terback making a "pitch-
such remarkable sharpness under the circum-
woman's specialty." The
Planar lens.
Robert Jer-
New
of
young
away from or toward him
are Japanese
Rolleiflex with f/3.5
EXPOSURE: 1/50 second at f/ 6. FILM: llford HP3. LIGHTING: three spots and four floods.
standing shot of a quar-
of
beautifully,
the
out-
this
through the groundglass
present delicate texture
focus,
at
print.
vis
focus
Takamasa
shot studio
his
in
lens.
The secret
in
daylight.
mura, with typical Japanese
234
FILM:
this
1
page 144
out" Rolleiflex with f/3.5 Tessar
page 140
FILM:
lens.
Giuseppe
but changed his mind while image coming through his enlarger. He played with the focus and decided to make a high contrast, out-of-focus
ual
CAMERA:
f/2.S
like a
Is
revolution.
light
1/60 second at f/4.
through window toward
ingredient
ex-
"photogenic Bellanca
looking
Nikon SP with SO-mm f/1.4
X developed light
and
Professional
picture critical
in
it!"
model and her rose looking
EXPOSURE:
was part of that mass exodus."
I
little
CAMERA:
gon was the destination of these people escaping Communism.
which,
lovely
the
one
pictured
1/50
Sometimes tests
for
quality."
story-book illustration from a long-past era.
a
PIO officer," says photographer James P. Blair. "Freedom in Sai-
and
"hold
to
he
EXPOSURE:
FILM: Verichrome Pan devel-
was testing
model
the activities
Here
he
MIcrodol.
Bellanca
his
quests
three
in
Rollelcord IV.
at f/5.6.
in
photographer
young models biding time between re-
of
Navy
a
troopship that
CAMERA: oped
late
because
picture
a soft-quality light.
The picture.
fashions,
eye saw picture pos-
sibilities in
was if
USNS Ma-
aboard the
Akron
for the
periments turn out to be
Owen's profession-
Burt al
daylight.
wanted
the
for
light
page 147
While car-
children's
on
photographer
a
Is
photographic
page 143
of
FILM: Fer-
D-76.
in
rying out an assignment
Manhattan.
in
developed
who
evening
second lens.
self-expres-
sion should be primary motivation," works
f/8.
1/250 second at f/8.
EXPOSURE: ranla
— one
"A Photog-
Beacon Journal magazine section, chose
wearing the straw hat." CAMERA: Nikon SP with 35-mm //I.8
view
University
Valaltis,
Audrey (Hepbu was between shots. She removed the nun's veil because of the heat, and that's why she is
share
time as a secretary, lives
"I
as-
portraiture at
rapher Looks At Himself."
location,
Congo in made this
picture," says Roth, "while
and
amateur who believes that
CAMERA:
a series called
hand
she relates.
feelings,"
Ohio
for
left
California
older
hope
I
and lenses and
his
in
(while a class
a
camera
home
children,
that
"to
professional who made
in
and
camera
Vytas Valal-
signment
simplicity
developed
LIGHT-
Promicrol.
In
young talented
a
is
his
He packed
evoked a warm personal
a
tis
for
charm of the
child
by
student)
little
rine
page 146
Sanford H.
assigned
was
Roth
"The Nun's Story."
to that of his
ING:
125-mm Hektor
available.
vie,
the
second at
with
l/lOO second at f/5.6.
FILM: Tri-X developed
attract-
of
serious
FX
Praktina
EXPOSURE:
//2.5 lens.
ING:
D-76.
of the powerful fullback as he
into the line.
this self portrait
his
my
movement
smashed
magazine to cover making of the mo-
brother linking
response
page 142 Life
faces, the protective at-
the
the
the
ed Anne Brennan great"The beauty of their ly.
ter,
in
t
show
to
situation
These three
Amish children
titude
l/lO second
^^
^^
in
Hasselblad 1000 F with 135-mm
CAMERA:
Sonnar f/3.5 lens. EXPOSURE: 1/250 second LIGHTat f/e. FILM: Tri-X developed in D-76.
page 138
90-mm
with
process-
in
than
expected
CAMERA:
Linhof
ing to increase contrast.
development
insure
to
speed
ing
detail.
CAMERA:
fect he
down
lens
his
slower
this fast-break-
shooting
He posed
Japan.
In
Flip
a
be
might
the model carefully on a sandy beach near the
snowy scene,
this
shutter
he
Here
used
Schuike
photograph
this
while
shapes and tonal areas in
but
out of Chicago,
the strong compositional
page 145
Ishi-
professional
photographer who works
saw
Lidingo.
in
Yasuhiro
a
is
LIGHTING:
horses and ting
wagon
along a road
trotIn
Turkey.
Dieuzaide
is
a
PHOTOGRAPHY ANNUAL
new
France, and not a
resident of Toulouse,
CAMERA:
LIGHTING:
FILTER; orange.
X.
road,"
try
Xenotar f/2.8
Rolleiflex with
"While profes-
says
lens.
1/50 second at f/S.b. FILM: Plus-
EXPOSURE:
page 153
traveling along a coun-
contributor to these pages.
setting
sun.
photographer sional Molly Malone Cook, "I noticed
the
that
ATTENTION
late
daylight gave the bridge
page 150
was
was
wheat
and
made on assignment
for
printed
^
message printed over it. shot wheat and leaves separately, then sandwiched the two negatives in printing. His was planned to assure
a
white back-
ground: a main source on subjects and strong Illumination.
many
New
years.
my work
Is In
A
Yorker
professional
Bliss
says:
the experimental
field.
for
"Much
am
I
of
often
called upon by agencies to work out photo-
graphic problems. As
a result.
Involves
It
new techniques and various methods a story by photography.
personal opinion that it
can be done as
If
many
of telling
has always been
It
my
can be Illustrated,
It
and
well,
Cook
has been a
New
most cases
In
York profe
for
al
SP
Nikon
with
CLUB
50-mm
f/\A lens. EXPOSURE: 1/60 second FILM: Plus-X developed In UFG.
Bliss
background
Miss
CAMERA:
a subscription solicitation
lighting
CAMERA
Asheville,
Carolina,
two years.
'
""
outside
North
''^
key with
high
in
/-
//
promodepartment. It was
Time's circulation tion
took
I
the picture." The bridge
oak
nal composition with
leaves
a lovely hue and
Mitchell
etched autum-
finely
Bliss'
NIkkor at i/S.b.
SECRETARIES! page 154
R.
Rosarlo
New
a
is
Miguel
professional.
For
photograph
he
York this
used
only the backlight pour-
through
ing as
Is
window
a
gives
Backlighting
source.
light
his
strong feeling of the third dimension
In
with Popular Photography?
still
photography.
CAMERA: FILM:
//2.8.
EXPOSURE:
Harvey's
in
whenever a special opportunity
777.
arises that
better, by photography."
CAMERA: f/6.3
Deardorff 8x10 with
EXPOSURE:
lens.
FILM: Super Panchro
seconds
4
Type
Press
LIGHTING:
DK-50.
in
14-in.
B
at
Ektar f/32.
developed
incandescent
(see
page 155 lighting
on
tured
nude
sculp-
been
has
balanced
to
maximum
of
a
k,>~__,
Edv
J
who
dentist
lives
in
lighting the
nude form. The
photo was
made
in
Bailey's
studio
in
Detroit where he works as a
CAMERA:
m^i
professional.
Hasselblad
lOOOF with
Rolleiflex
EXPOSURE:
f/3.5 lens.
LIGHTING:
two at
of
Club Dept., One Park Avenue, Planar
New York
1/60 second at f/S.b. In
in
16,
N. Y.
Mlcrodol. reflectors,
If
your Club
is
already listed,
left.
please keep us up-to-date on
135-mm
Sonnarf/3.5
page 156
f/8.
anni
lens. EXPOSURE: 1/50 second at FILM: Verlchrome Pan developed In D-76. LIGHTING: two No. 4 photofloods, bounced.
list
Popular Photography, Camera
75-mm
four 50D-watt bulbs
at right,
please send
used continuous
FILM: Verlchrome Pan developed
two
CAMERA:
with
—
current Club officers to:
white paper as fore- and background.
studio,
list
name, address and a
took
France,
the photograph
a
you are not already on our Club
the
Bailey's beautifully Illuminated
of experiments
and
Clermont, a
study evolved from a series
In
If
Announcements
_
Montreull,
in
„*^
,^,^
delicate modeling and softness.
page 151
interest
Camera Club.
M. Cler-
R.
beautifully
achieve
would
benefit your
artificial
mont's
adroitly
above).
The
we're
eager to keep you advised
l/IO second at
FP3 developed
llford
As you probably know,
lOOOF with 80-mm
Hasselblad
Tessar //2.8 lens.
your Camera Club registered
a
ilar
made
changes of address,
Ranati Gi-
the three sim-
photographs
young boy
of
and
a
the incon-
in
officers
other pertinent information.
Many
thanks!
gruous surroundings of an
page 152 for
a
point
abandoned house because
good vantage all
overpass
he was struck by the con-
Ted
evening,
Russell finally
York's
Hunting
trast
found an
The
above New
East
enabled
make
this
him
shot
made candidly
to
of the
headlight
self
ing
point. in
Russell,
a
York professional,
advertising
photog-
raphy.
Hexacon with 135-mm
lens.
EXPOSURE:
Tri-X
developed
headlights.
I960
He
POSURE: developed lighting
EDITION
Kllar f/3.8
1/50 second at r73.8. FILM: In
D-23.
LIGHTING:
car
with
lives
his in
In
vocation,
D-76.
LIGHTING:
Splendid Hobby or Vocation Prepare in spare time. Practical Long-established school. basic training. r "Opportunities in r Send for free booklet, Photography" and particulars. Sent . postage prepaid. No obligation.
Modem
Italy.
(three similar shots): Exakta. EX-
FILM: Plus-X
AMERICAN SCHOOL OF PHOTOGRAPHY
835 Diversey Parkway, Dept.302B. Chicago 14, Illinois
natural side-
from two large windows. (lower left-hand shot): Rolleiflex
75-mm Tessar
f/3.5
1/25 second at f/5.6.
veloped
full-time
Turin,
1/50 second at f/5.b.
CAMERA
CAMERA:
own
his
amateur:
an
CAMERA
New
magazine and
as
draftsman.
eyes
streaking past him from a distant dark spawn-
works
of
son at home, "waiting." Gianni describes him-
stream of bug-like autos
with
two.
the
photograph
(lower left-hand shot) was
River Drive
that
between fourth
In
Mlcrodol.
coming from window.
lens.
EXPOSURE:
FILM: Ferrania S4 de-
LIGHTING:
daylight
*|oRFREE boo k! ":hi„yj.^i,'^.hiiJ--t*JW
is
page
This
of
them them at leisure on film and even somewhat as enacted by her daughter Hanna in
consulin
relive
and
f/4.
and
designer
many precious moments in the process, "Grandma" Grete Mannheim can now capture
to get the
Elmar at
Harry La-
of such
avail-
of the
my
arm
FILM: Plus-X developed in Harvey's 777. Second During a weekend 4th of July trip,
York City.
Pentax with
Asahi
80-mm
'The
his
second
1/60
is
lens.
working and
with
M-3 with 90-mm
Leica
design
but
recording session. Wertheimer al,
portals,
by profession an
is
Islands
gloomy place."
CAMERA:
pow
those of Carlos Montoya. flamenco guitar virand were photographed during a tuoso,
memories or appreciation
blurred background, and helped
impression
shapes
•«>
provided the silhouette to give
page 165
tography
while he was fulfilling an
behind
In
in
EXPOSURE:
lens.
industrial
With the years of raisown children now
waited for another
and
f/4
Third
along and when she did action
In
ing her
focused
talking
colors
the
to
§_
com-
bold
look
assignment
said,
the background and set
speed.
DK-60A.
able from fluorescent fixtures.
their black
In
f/ll.
at
me-
was impressed by
women
on the
a
he
town,"
dieval
is
cam-
flash.
Wert
SURE: 1/30 second Hypan developed in
in
at-
Ektar
51/2-in.
speedllght
developed
Alfred
CAMERA:
Enna, Sicily, for a travel
Les
was
FILM: Super Anscochrome, Daylight Type.
electronic
saw
Hasselblad
while
working on assignment
to the
Graphic 4x5 with
Super-XX
FILM:
strumming The
Circus,
eye
CAMERA:
dropped
EXPOSURE:
lens.
positional
Hoepker
picture
tent
J.,
meaning to the entire shot," he explained.
strobe
his
trigger cord
its
CAMERA: f/4.7
heimer
FILM: Perutz Perpantic developed
page 159
profes-
out of a second story
close-up
EXPOSURE:
lens.
N.
Park.
the direct rays of the late afternoon sun.
tant,
Italy.
in
isades
Shooting
seat at the Pal-
his
given
snowy
through
page 162
against the misty background," he says. picture was taken
from
the canvas tent door by
man
a
y
liked the contrast of the black figures
tion. "I
page 164
package
situa-
this
UFG.
in
outstretched
window,
36 ex-
of
roll
flash at f/ll.
young New York
other
pelled him to shoot up a
the foreground.
Rollelflex.
somber keeper of the
unit
com-
contrast
in
EXPOSURE: electronic FILM: Panatomic X developed
CAMERA:
weather. Stock, a talented
Bonn,
eye for dra-
keen
His
of
shot
lighted
-
hHoepker's work.
of
pie
bank of electronic flash units for lighting.
tracted by the brilliance
went to some lengths
LIGHTING: is
I
Note how he used the leaves
Barry's
to get this unusually top-
50-mm Summicron
1/60
FILM: Perutz Perpantic developed hlere
a
Brothers
I
flash
era below at street level.
with
EXPOSURE:
lens.'
lives
Annual,
in this
page 161
plodding
"Students
r.
it
appearance of the Clyde Beatty-Cole
Roman Cath-
seminary
are
Leica MP with 35-mm wide-angle EXPOSURE: 1/125 second at f/2.8. FILM: Plus-X. LIGHTING: existing.
CAMERA:
"This pho-
is
story on a
guess
to
difficult
is
application of ferricyanlde.
f/3.5 lens.
available.
olic
a
sizing
CAMERA: //I.9
it
from analyzing the photograph, Lerner used
Sollgor
rapher.
1
practice session. Although
their pic-
Manhattan resident, made the pattern of darks and lights by empha-
magazine photog-
one
this
himself as part of a
for
had ceased." Heyman, a pro-
rain
and
fessional
in
lives
every |
their umbrellas
though the
Man-
Miss By laty
silhouetted effect.
down
ap-
has
almost
In
However, he shot
big
a
of
major fashion publication.
ture that they forgot to
for
the flesh tones,
in
seeing
at
prised
in-
Lerner
peared
rain
so
subjects'
Shooting
Norman
these
the
as
just
The work
professional photographer
had stopped. "They were and surinterested
Sonja Bullaty while vaca-
homeland.
page 163
tour
a
upon
came
man
ly
made
On
through Japan. Ken Hey-
Mexican
of
portrait
ple
EXPOSURE:
35-mm
l/lOO In
Serlnar f/2.8
second
at
f/ll.
Harvey's 777.
PHOTOGRAPHY ANNUAL
:
page 166 that
shot
might evoke mixed
re-
ations from viewers,
we
quote the photographer,
New
pro
York
Farrell
Grehan,
without
ment:
was on
"I
comself-
a
assigned story on sports
Central
in
This
Park.
scene wouldn't
but
fit,
it
was too good to pass
photographer up. This is the kind of picture a belikes to take, and because it comments, 1
most people enjoy
lieve
but
it.
rarely gets
it
."
published.
.
.
CAMERA:
Leica
EXPOSURE:
G
with Serenar f/l.8 lens.
second
l/lOO
f/2:8.
at
FILM:
Kodachrome. LIGHTING: daylight.
page 167
Gerald
Hochman chose
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Suspecting
off-beat
this
!
1959
a
angle to make a portrait of
dri
his
emphasized
stark
her
by
black-and-whiteness
contrasty
on
printing
Hochman
paper.
CAMERA:
Rolleiflex with
developed
Xenotar f/2.8
lens.
FILM: Tri-X Dektol to wash out tones and
I/2S second at f/8.
EXPOSURE: in
contrast.
increase
further
thus
and
Manhattan.
in
LIGHTING;
daylight.
page 168 was
an
•
to shoot a cover pic-
An-
made
this
nual when
he
nude
sensitive
study
• A forty-page International Portfolio
CAMERA:
f/3.5
at //I4.
1/25 second
Daylight Type.
chrome.
• Technical review of the year
Hasselblad
135-mm Sonnar
lOOOF with
POSURE:
lens
FILM
LIGHTING: bounce
page 169
flock of his
in
his
photograph
real
is
—
!
Ziff-Davis Publishing
ethe-
Department PA60 434 Soutli
a
COLOR AN-
or use sale at newsstands coupon today and your copy T\-ill you right away
now on
of
Co
Wabash Aver
sheep was made
"backyard," which Please send
understandable since
is
Popular Photography's 1959 this liandy be sent to
Harold
says
• Notes on all pictures— why they were chosen, how they were made
NUAL
electronic flash.
Feinstein
pro like Ralph Morse solves problem pictures
How a
• A look at color photography by the inventors of Kodachrome
in
studio.
his
—
—
assign-
ture for Photography
ANNUAL
• Ten-page portfolios by two masters: Emil Schulthess and Hy Peskin
Don Briggs
fulfilling
ment
Here's an event you -w'on't want the publication of to miss the 1959 COLOR Compiled by the editors of Popular Photog-raphy, it's a real gem over 172 pages including such diverse and interesting features as • A symposium of experts on WHAT MAKES A GOOD COLOR PICTURE?
—
a
is
lives
professional,
works
ANNUAL
then
model,
made-up
me
a copy of the 1959
COLOR ANNUAL.
enclose SI. 25, the cost of the COLOR ANNUAL, plus 10c to cover mailing and handling charges. I
he
lives
in
the country
near Ringoes, N. describes
J.
He
printing
his
technique as "my usual .
.
.
which some consider
unusual"
meaning
that
he applied ferricyanide strategically to give
zone
state
certain highlights a heaven-sent quality.
CAMERA:
Beseler-Topcon with
58-mm Auto
Topcor f/1.8 lens. EXPOSURE: l/lOO second at f/16. FILM: Super Hypan developed in Harvey's 777. I960
EDITION
LIGHTING:
daylight.
PUBLISHING COMPANY One Park Avenue, New York
16,
N. Y.
page 170
//3.5
The shapes
figure have
produced a
but
interesting
page 174
during a
Germany,
Lahn,
lives in
Wetilar-
photographic
Leitz
a
is
in-
50-mm Summlcron
Leica lllg with
f/2 lens.
EXPOSURE:
at //5.6.
FILM: Kodachrome
LIGHTING:
1/5
with a
on a plank.
fully
Dr. Steinert, a professor,
FILTER: 8S-C.
F.
impatience to view
window. The
Supra
Peco
9x12
with
90-mm
EXPOSURE: not given. FILM: LIGHTING; daylight.
lens.
Agfa Isopan
FF.
page 175 On
con
Still
ment
cerned with the shape
and
objects
of
usefulness
for a
their
Ludwig Friedel shot from low angle here to get the effect he wanted.
a
CAMERA: cron
f/2
EXPOSURE:
lens.
LIGHTING:
50-mm Summl1/60
second
at
UV.
FILTER:
Kodachrome.
FILM:
f/5.6.
M-3 with
Leica
daylight.
Friedel again
In
about
space
In
pleasing formed
rain,
equipped with a reflection for
prepared for sun or
frequent contributor to Popular Photog-
a
is
raphy and Photography Annual.
EXPOSURE: 1/125 second at FILM: Ektachrome. LIGHTING: existing.
present
and
ficent colors
f/4.
an
in
New York
his
Haas went
Wat
the
had
mind
CAMERA: lens.
FILM:
Plus-X.
Berko calls
to
something dead,
atchlng the oppo-
of
Ith
50-mm 1/50
f/2
sec
at
Sumf/8.
in
sunlight
ac-
Breughel.
the
of
the background,
f/2
in
Leica
lllf
EXPOSURE:
lens.
with
cat
sat
finally J.
Barry
Los Angeles
a
it
was
In
the shade!
I
able
Zoo
at
New
pro-
Berko frequently strays far from h
50-mm Te ssar
lens.
in
Rodinal.
Professional
Wlnchell
Fred
ton, Texas,
of
Hous-
used a coarse
textured material and
York's
his
in-
pat-
grain
He this
of
Sunday
the
CAMERA:
f/4.5.
with
of
lens.
Leica
shooting
made
4x5 Graflex
7l/2-inch
Ektar f/5.6
lens with 21/4x31/4 roll-film
visitors.
CAMERA:
the
shot "an experiment,
an exercise."
com-
crowds
called
session at which he
found in
Wollensak
FILM: Anscochrome rated at 64. open shade, diffused sun in background.
page 181
admission) Barry
15-In.
LIGHTING:
tern through his enlarger.
Les
recommended
l/IO second at f/5.6.
ent of accompanying
for
its
4x5 Graflex with
EXPOSURE:
troduced the
Hektor with
CAMERA: f/5.6
Bronx Park by the expedi-
ence
Bangkok, Thailand
64 rather than
at
32.)
1/125 second at f/5.6.
plete oblivion to the pres-
in
VX
50-mm Summlcron
Having
these two doves
ex-
Exakta
lens.
FILM:
foggy daylight.
proc-
reduced the tones to a clear black
I
FILM: Isopan FF developed
sons,
Aspen, Colo., home.
CAMERA:
chrome I
reminded me of some Renaissance paintings by Giotto and it
and white."
eligible
the
in
Palace, faintly visible
238
old
the
of
two (young enough to be
rules,
tremely colorful Emerald
fessional,
saw
I
dren's
stands
courtyard
O'Rourke,
dazzling
'golden goddess." The statue
f/5.6.
to
close
for
she
pro. "Naturally
gained entry to the Chil-
the
at
pa-
I
the
down," explains
Ferenc
strictly
to
second
"After
followed
hour,
available.
photographed
cording
LIGHTING:
around
pic-
essed the shots, and
EXPOSURE: LIGHTING:
his
Panatomlc-X.
bliz-
a
page 177 subject,
l/lOO
page 180
on one of the negatives after
CAMERA:
page 173
mood
to the
Rolleiflex with Tessar f/3.5
EXPOSURE:
tiently
my
against the
form
fiigures in
Leica M-3
micror
the scene.
In
de and opened Rather than miss the shot took a reading afterwards, which s the reason (He rated Anscofor pushing It one stop."
the
happen."
site
and feeling
about. They were
woman
life
many months
after so
^ I
at-
little
He stopped
and took the photograph in the rain and fog which added
500-
German
white of the snow.
he
"to
Y.,
pond
lovely
this
CAMERA: f/2.
N.
when he
to get off three shots, this one being the best.
ning
to give a
its
was
"making
silhouetted
taking this pho-
in
tempt
in
4.
tures of the people run-
Ernst
he recalls,
through
studio.
"I
says
Hoepker,
and look at the antiquitograph,
flowers
photographer Thomas
"to recover myself
ties." In
the
Asahi Pentax with 58-mm Biotar
page 176
Angkor-
to
the
driving
Hill,
from the road.
lens.
zard,"
After
Indo-China,
in
took a brandy glass
photographed
Charles
was
Catskllls
spotted
beat manner. "Eventual1
79
through Rock
off-
shooting through
fighting during the war in
the
magni-
their
window during
photographing
EXPOSURE: by
IV.
watt floods.
lens.
page 172
Rollelcord
FILTER: neutral density No.
1 Reynolds
EXPOSURE: 1/50 second at FILM: Kodachrome. LIGHTING: three
M-2 with 50-mm Sun micron
Leica
might
CAMERA:
viewfinder.
CAMERA: fll
he
n
a
until
this city
in
many masterpieces." Photographer Sherman
of
page
wandered
about how
think
tulips
fl2
composition his
in
one
fisherman
solitary
a
two fishing rods, and with only
D-76.
bottom." Satow, a professional, made the shot
camera
his
to
and
utilized
the world around
moved
him,
some tulips cover on Jhh Week
off
ly
the simple shapes avail-
able
—
ned
meter, not recorded. FILM: Tri-X developed
assign-
to shoot
tow's thoughts
elements,
compositional
at 6 a.m.
magazine, Y. Ernest Sa-
strong
as
shows
picture
this
CAMERA:
page 171
this fa
and drew me
me
sight was a rewarding
bank become a watery masterpiece
CAMERA: Angulon
"My
companionship. The buildings on the opposite
Essen,
in
Germany.
second (hand-held)
existing.
to the as
and works
New
beauty woke
city of
juxtaposed
fish
Flor-
in
says
Italy,"
Sherman.
the
in
pectedly
lives
structor.
CAMERA:
hotel located
York photographer Susan
sculptor's tools unex-
him-
calls
my
of
ence,
Steln-
backdrop of
patterned
an amateur, Friedel. who
self
dow
daylight.
Interesting
subjects
still-llfe
to Spain.
visit
Otto
found
ert
photographing
Although he
"Thi:
was made from the win-
FILTER:
Type.
on the Arno River
composition for Ludwig Friedel,
LIGHTING:
page 178
l/lOO second at //8.
Daylight
human
the contrapuntal
simple
Kodachrome,
Skylight.
shadows, and
ings, their
EXPOSURE:
lens.
FILM:
of these adiacent build-
M-3
EXPOSURE:
with
135-mm
1/125
f/4.5
second
FILM: Kodachrome, Daylight Type.
at
back.
second
EXPOSURE: at
Tri-X developed
1/5
FILM:
f/5.6. in
D-76.
PHOTOGRAPHY ANNUAL
page 182
The b^'a-t
Walt Hartlage's
of
and 135-mm Nikkor
f/3.5
EXPOSURE:
at f/4.
Kodachrome
light
lenses.
Professional
page 192
came from the garden of his own home in Minneapolis. He visua!life
•
Ized
them
and
colorful Ingredients
them
shot
page 187
a
CAMERA: f/2.8
the
5
seconds
Tessar
at //22.
through window.
f/3.5 lens.
page 188
and
emphasis
picture
fashion
shooting session while the
model was relaxing with a cup of coffee.
CAMERA:
Mi indc
90-mm Angenieux
with
second
I/SO
LIGHTING:
at
composition
the of
late
afternoon sunlight.
f/1.8 lens.
FILM:
//2.8.
EXPOSURE: llford
FP3.
home, caught a
A
there.
LIGHTING:
existing.
photo
During
a
Its
recording
CAMERA:
Nikon
105-mm Nikkor second
1/60
at
z"
project was self-as-
that
page 193
it
might have
SP
CAM-ERA: Miranda with 135-mm Isco f/3.5 lens. EXPOSURE: 1/60 second at f/3.5. FILM: FILM
LIGHTING:
version.
developed
window
in
light.
Veteran
tashion pro Erwin Blumenfeld titles his strong, off-
beat color portrait simply which happens also
C)
(Type
Ektacolor
CAMERA: combination
been taken almost anywhere.
f/4.
1/25 second at
Pan
north
8x10
Dear-
dorff with 14-ln. Ektar lens.
would make a picture, although
Kodachrome Type A.
LIGHTING:
Microdol.
paper.
of
f/2.5
EXPOSURE:
name. His print was made
Incongruous
this
lOOOF with 'SO-mm
Hasselblad
FILM: Verlchrome
//5.6.
on
i-
countryside and per-
ceived
the scene.
with
up around many different types of
Instruments. The
musical
early-morning quality of
visit-
festival
a
out
set
morning to capture the
slice of
lens aided'his un-
obtrusive
series built
to be his model's unusual
to England, Ha-.;,'
Shaman
medium-teie-
'
light-
"This picture was
made," says White, "as part of an extensive
Ektar f/2.8 lens.
Tri-X developed in D-25.
visit
Tokyo
while
life
during
ing
—compelling
design and superb
CAMERA:
in
Maine last summer at 45 mph, with rain streaming down the windshield, Ann Treer photographed this farmhouse. The rain blur gave the scene an other-worldly aspect. CAMERA: Hexacon with 50-mm Tessar f/2.8 lens. EXPOSURE: l/lOO second at f/8. FILM:
page 189
Jun Mikl
from .his
in
good example
a
Is
of his work
BanI,
skylight.
page 184
Bolivian
background
Driving
"
Tar
art
ing.
with
along a country road
The portrait was made a
a
Forgetting
135-mm Nikkor S2 EXPOSURE: no record. FILM: KodaNikon
LIGHTING:
sive
signed."
texture to his model's pro-
after
it.
bold gray and black abstract shapes.
CAMERA:
uses his exten-
This
with
becomes almost
it
He
producing fine pictures.
in
one of
is
a
is
art direc-
111.,
tor.
Ee'l
chose sidelighting to add
file.
this
made
series
chrome.
page 183 Hugh intriguing
test
trees,
FILM: Daylight Ektachrome. LIGHTING: daylight
and
lens
Aspen, Colo., a
45-mm
with
I
EXPOSURE:
lens.
135-mm
Chicago,
By profes-
White
Jerry
sion
acquired
shot ot aspens, taken
familiar realism of natural light.
Contaflex
had
recently
and
all
In
John
Meyer of Tolland, Conn..
as Interesting
photograph
for a
FILM: Ektachrome. LIGHTING: day-
through window.
LIGHTING: moon.
A.
;t:
FILM:
above.
see
red and green sub ec'i
FILTER: standard conearly morning daylight.
ING:
EXPOSURE:
FILM: 4x5 Ektacolor
light at f/32.
S.
speed-
LIGHT-
electronic flash.
page 194 A mood and
despair exists
In
of
desolation
Guido Organ-
schl's picture of a solitary
page 185
Jeffrey Gor-
don, a
New
for
heavy snowfall to
a
blanket
Henry
Yorker, waited
piece
this
Moore
Museum
he
sion
of
wanted.
of
New
Modern
captured Art, for the impres-
Looking
very
much
like
a
mood first
cron {12
Leica
EXPOSURE:
lens.
page 186
1/250 second
at
.200.
N.
Y..
call
light"
lens.
CAMERA:
since
1942.
made from
the color slide. The
Chappaqua. N.
In
Leica
EXPOSURE:
with
He
then switched Immediately to a
Is
page 195
1/30 second at f/6.3. FILM:
molded
red
1960
EDITION
film
wanted
FILM;
infra-
he
because
a soft effect in
photograph
fanciful
clouds
SO-mm
Elmar
Its
the help of natural light.
CAMERA: Xenar
Rolleiflex
f/3.5
lens.
l/IO second
modwaited
blocked
his
purpose with
the
its
successful results.
over-brightness, to insure
His desolate and beautiful
shooting locale was a Long Island beach. Nero
natural sculp-
beauty on film with
EXPOSURE:
his
He
album.
sun so as not to defeat
the
Is
with with
his cre-
on
theme of Here he
never-ending
the film. lllf
variations
the female form.
tural
Leica
Nlkkor
Sandl Nero
was shooting with
Peter Basch
known for
well
ative
l3S-mm lens, locating the moon on his viewfinder window just where he wanted it, and stopped down to f/5.6 at 1/30 to put it on
CAMERA:
135-
at f/5.6.
f/2
till
double-exposed
wide open to register the poorly lighted itself,
« 'ith
Y.
50-mm Summar
el's
page 191
snowy Vermont farm by the light of the moon, taking a full five minutes with a 50-mm
scene
M-3
Leica
intended for
this
lens
room over-
daylight.
says he has been doing it
took
window
EXPOSURE: 1/30 second HP3. LIGHTING: available.
photographer,
pictures by
sisters,
lens.
Kodachrome Daylight Type. LIGHTING: foggy
"moon-
a
Bronte
shot from the
looking the graveyard.
a
might
barren
11x14 enlargement from a 21/4x31/4 black-and-
CAMERA:
whom one
by
gravestones.
of Charlotte's
misty
She shot
white negative
Carsten
dentist
and
this
on Daylight Koda-
Goros rss-de
Johnson, a Pleasantville.
framed
Guido, on a story about
chrome. then printed an
M-3 with 50-mm Summi-
ih. FILM: Plus-X rated at
the
man trees
the
of a wintry forest
of larch trees.
photographic Christmas card, the picture was shot on an overcast winter afternoon.
CAMERA:
Caro'a
Gregor [wife of pro Fritz Goro) employed bad weather conditions to her advantage and
sculpture,
familiar to visitors to
York's
page 190
a professional
CAMERA:
who works
Rolleiflex with
in
New
Xenar
York City. f/3.5
lens.
EXPOSURE:
1/25 second at f/4. FILM: infra-
red. FILTER:
Wratten 25A. LIGHTING: over-
cast daylight.
239
page 196
possibly because
Regina Re-
her
lang. a professional living
Munich, Germany, has
in
earned
an
women
an
EXPOSURE:
ethereal
by spreadi
picture
quality to the
then
Hasselblad with 135-mm Sonnar
top
printing through
CAMERA: f/3.5
LIGHTING:
Fabofin.
in
says
producing
In
these
In
calm atmosphere." Kajiwara, a professlona
is
associated with Orion Service
Topcor //3.5
Automat
In
Tokyo,
L with
one of
Is
his
75-mm
^^BK^^l^T
with the stipulation
one of the
Under
way."
his
this
pensive,
little girls,
Claudia,
Nikon S-2 with 8S-mm Nikkor ill
LIGHTING:
In
Stutt-
200-mm
1
7
1/500
developed
diffused
back-
developed
LIGHTING:
Kerofine.
in
Boden.
Sweden,
on
assign-
was
that city to shoot
in
of
swimming
a
Since other photographers were
there for the same purpose, Ericson decided to take
his
pictures from a different angle and the
accompanying shot
He
approach.
his
swimming
a
an excellent sample of
is
says.
expert
Leong
am my
not sure that picture
biggest Scandinavian
the
but
newspa-
published a whole series of them."
per,
CAMERA: f/1.5 lens.
ING:
nicely
"I
liked
Leica
with
lllf
EXPOSURE:
50-mm Summarit
1/200 second at f/2.8.
FILM: Tri-X developed
D-76.
caught
press
a
of
1/50 second at f/5.6. FILM:
EXPOSURE:
natural.
(bottom)
full-t'me
with
lla
FILM: Adox KB
Ericson,
Expressen,
available. in
is
EXPOSURE:
lens.
photographer
competition.
*~-
his fine results.
Wylie
LIGHTING:
Blau.
pictures
B^V^ t^-^U
accepted and
he
CAMERA: lens.
1/25 second at
FILM: Neopan SSS developed
//4.
Neofin
ment
Li
sisters
little
terms,
Plus-X
EXPOSURE:
lens.
two
natural study of
home. Primoflex
com-
fulfilling
that he could "do the job
and ShoJI screen
CAMERA:
spends most of
time
tures on
harmony between nude, flower,
f/5.6.
Rolf
shoot a series of pic-
sim-
this
home
lighting.
Morris
but was requested to
was "to make
ple study
his
Varex
Exakta
Quinar f/4.5
second at In
MiJller's
late afternoon.
mercial assignments,
Ka-
purpose
his
LIGHT-
page 201 his
jlwara
CAMERA: Tele
existing under big
in
Jaffe
artificial.
page 197 Tabo
sec-
1/15 second at //8.
developed
FP3
llford
lens.
Hypan.
ING:
EXPOSURE:
lens.
FILM:
d
it.
i/2
engineering;
Is
had to focus
Miiller
Germany.
gart,
ond at iSl.b FILM: Super
gauze over the printing pape
of
piece
i
profession
1/60
thus making
field,
accurately and shoot fast.
Konica
Hexanon
with
(the marvelous one). She
Introduced
meant
few seconds
a
three-
CAMERA:
she calls La MerveSleuse
long-focus lens which
a
For another, the fact that
critical.
the seal would peer out of the water for only
easily
the
In
using
gave him shallow depth of focusing
performances.
ring
one
this
like
was
he was
thing,
for very
still
photographed while engrossed
photographs of beau-
tiful
was
it
too young
Still
she
long,
Internationa
reputation for her esthetic
first.
to remain
in
MIcrophen. LIGHT-
existing daylight.
youngster's
this
Data unavailable. ball-throwing leap, get-
After
studying the fresh, open
charm
of the
hood,
his
photographer's
boy who
CAMERA:
one of
FILM:
our neighbors has always been terest to us."
Pirkle Jones,
aroid picture.
CAMERA: and
Cook
developed for about
I
'/2
50-mm Nikkor
l/lOO second at f/5.6. In
Harvey's 777.
pages 202-203
page 203
at
really
minutes
between
reflected daylight.
it's
This
warm
a
two
Data
unavailable.
isn't
greeting Martians:
the ends of two
Ital-
ian railroad coaches, pos-
page 199
A
photographer
can
find
ces Borden was standing on the railroad plat-
almost
any-
form when she became aware of the "Interest-
familiar
ing" effect caused by this detail of the over-
a
picture
where, even
everyday as did
Ann
In
surroundings Treer
shot out the
west
wet
fall
window
50-mm
Plus-X.
Hexacon Tessar
LIGHTING:
f/2.8
lens.
EXPOSURE:
FILM: Tri-X developed
in
natural.
available.
out
four children
In
this
in
the group
daughter Jaye was the most enthralled,
shooting
situa-
produce the
to
amusing,
best-of-flvc
shot
99-per-cent-
of
a
submerged
seal
Stuttgart zoo.
in
a
For one
with-
doing something
his
famous collection
for his
humorous
photo-
So he added a
mask to the groom and came up with incongruity. Joan
tial
was
willing
this
Burke, the pretty
nup-
mod-
go along with the gag.
to
Gescheidt didn't Identify her colleague.
CAMERA: 4x5 Super D Graflex with 190mm Ektar //5.6 lens. FILM: Daylight Anscochrome
was made EXPOSURE: 1/5 secLIGHTING: two lOOO-watt dif-
(a black-and-white negative
from the transparency).
ond
at f/22.
fused speedllghts.
(bottom) Technical data unavailable.
page 206
Murray Zinn
was
shooting
story
about father-son
picture
a
I
re-
lationships. During a break In
the session
this
(top) Dat
Werner MiJller overcame several difficulties tion
Carol Smith took to the circus, her four-year-
240
LIGHTING:
page 204
page 200 Of old
Leica
one
side
1/50 second at f/8. D-25.
M-3 with 35-mm Canon EXPOSURE: not recorded. FILM:
f/1.8 lens.
of
New
between Rome and Ostla. Fran-
scene.
CAMERA:
day.
CAMERA: with
all
in this
her apartment on York's
ing on a track
true
the fully-cos-
let
tumed couple leave
el,
VI
Gescheldt
Alfred
of
shade.
THESE PICTURES MADE US LAUGH
Fr
Convertlbh
second
I/IO
SP with
developed
Plus-X
but
graphs.
Land 4x5 Professional
Polaroid
Nikon
who
San
Ansco 5x7
l2'/4-In.
EXPOSURE:
lives in
showing only their hands, hated to
LIGHTING: open
professional
a
Is
and teacher and
for a record cover album,
York free-lancer Le relatively inexperienced amateurs, advanced omateurs, seasoned profe!
sionals,
people "who don't know much about photography but
pictures," as well as the ortists, editors
and
art directors
who
A View
From The Table Of Contents
COLOR ESSAY OF THE
r^%
It
is
3,500,000 copies (three-quarters of a million abroad) ond published over 3,000 pictures by outstanding photographers from almost every country in the world."
lov
just
ore the influentic
YEAR. Color has o magic
especially powerful
all
its
own.
the creation of picture stories.
in
was Life's "Fabled Enchantresses," One for which Richard Avedon photographed Marilyn Monroe of the year's finest
impersonating
five
fabulous sirens of the post:
Lillian Russell,
Theda Bora, Cloro Bow, Jean Harlow and Marlene Dietrich. The inset shows Marilyn as the "It" girl Clara Bow. The actual reproductions ore in
full,
vivid color.
EXHIBIT OF THE YEAR. As the doors of museums and galleries across the nation contir ue to open to photography, the
Number One
Art.
Steict en
shows -"PHOTOGRAPHY
fnest
many
exhibitor rer lains the
Edward
This year,
IN
Museum
of
Modern
put together one of
his
RETROSPECT "- including
of the great pictures of the 20th Century.
The ANNUAL
presents a 40-page portfolio from the show. The inset
is
a
who
h
superb study of Mr. Steichen by Phillippe Holsmon.
INTERNATIONAL PORTFOLIO. Photography
transcends language barriers
PRIZE PICTURES, Anyone
c
geographical borders, and makes worm friends everywhere. Reflecting international freedom, the ANNUAL, this year, devotes its largest section-
pages— to remorkoble
pictures from
in
a picture
elections as a guide to the kind of pictures that win
the prizes. However,
ts
to the
oround the globe.
entered a prized photo
contest will value the
work
special section, the
ANNUAL pays
serious attention
and professionols who won secondary
of ornate
prizes as well
as to the top prize-winners.
THE BEST IN ADVERTISING PHOTOGRAPHY.
Photography's
place
in
world of advertising has never been stronger. Indeed, the leading advertis
agencies are constantly calling upon the work. The
New
ANNUAL
truly great
presents a selection of
some
camera
artists for spei
of the best pictures
camero's most
reportoge-the unfolding
of
papers. This year, the
from
York Art Directors Club exhibition, with notes on how they were
PHOTOJOURNALISM. The
stories- "Sister of
u
the
stories
ANNUAL Bride,"
in
vital
responsibility remains simple
pictures
for
martre"— plus many strong, single photojournolistic
and why they are outstanding.
magazines and
shots.
the following The 1960 PHOTOGRAPHY ANNUAL is published by the Ziff-Davis Publishing Company, which also publishes HiFi Review, Popular periodicals: Popular Photography, Popular Boating, Electronics World. Flying, Sports Cars Illustrated, Electronics, Modern Bride: and fine books in related fields.
ZIFF-DAVIS PUBLISHING This special edition distributed
COMPANY, ONE PARK AVENUE, NEW YORK by Sitnon
&
Schuster, Inc.,
630
Fifth
news-
superb examples of picture "Mordi Gros," and "Old Women of Montpresents three
Avenue,
16, N. Y. Nevi/ York,
N. Y.