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
<
Here in
sented
from
at
al
all
many
Among
Photogr
Essay o£
how, on
Monroe
past: Lil
Harlow
;
ination,
glamour
combine
and nost
testimon
iment
ii
Serious
\
alue "P
the 626
Modern
the dire
forewor
by Mr.
J
Because
Annual
Internal
from
all
Switzerl
Other ti
Year an
tion to
Us Lau
catch bi
To
all
append
posures
want
to
picture
or
Great photographers of the world
Irving
Penn
HO>V IRVING PENN USES ANSCOCHROME
FOR EXCITING CREATIVE COLOR
Problem: To
record clean whites and lush yellows
while retaining delicate and subtle textures through-
out
this difficult subject.
using
Anscochrome®
Photographer Irving Penn,
film Daylight
Index 32), knew that the success of
depended on technically
exposed
8%
his
Anscochrome
Type (Exposure
this
photograph
perfect execution.
in
an 8 x
inch wide-angle lens stopped
1
Mr. Penn
camera using an
down
to
f
excellent for this job.
recorded
the
difficult
I
liked the
and
portant to this problem.
The
in terms of delicate yellows
^nd greys
Irving Penn, like so
many
Says Irving Penn, "Anscochrome's rendition was
neutrals so im-
-rendition of texture
is
outstanding."
other famous photogra-
phers, recognizes the special qualities of
films for critical color rendition.
Ansco, Binghamton. N. Y.,
90!
way Anscochrome
elusive
A
Anscochrome
How
about you?
Division of General
Aniline and Film Corporation,
/m
ADVANCED PHOTO PRODUCTS
Ansco
FOR EVERYONE
WHO TAKES
PRIDE
IN
HIS PICTURES
ZEISS IKON
Here
is
the
35mm
single-lens reflex
camera
ddvanced features give you speedy and precise
picture taking. The
camera
want
you'll
to see real soon.
Its
new and
control of every essential to perfect
for superior photographic achievemenfSit
Contaflex
You
sight, focus
and check exposure
Rangefinder and ground-glass
in
all
through one eye-piece.
center of view. Exposure needle
indicator at right— does not obstruct vievy.
Rapid single-thrust lever for fast se-
quence shooting. Winds
film,
cocks
shutter, advances picture counter.
\
photoelectric exposure meter
Built-in
is coupled with the lens diaphragm for
automatic exposure control.
Exposure meter indicator control for
quicl(
adaptation to
Window
in
light
conditions.
top of camera shows needle
for waist-level checking.
Contaflex SUPER,
$199.
Contaflex
RAPID, same as SUPER but without
built-in
exposure meter, $169.
Write for literature.
At leading dealers.
CARL ZEISS, INC.
485
Fifth
Avenue,
New York 17
^Eisn
IKON
Synchro Compur MXV shutter (fully
synchronized). Speeds to 1/500
sec. and self-timer.
Zeiss Tessar f/2.8
50mm lens— the
ultimate for
color photography. Takes tele, wide-angle and 1:1
ALL MADE
component lenses-also 400mm monocular.
IN
WEST GERMANY
^..
Zeiss 8x30B
Proxar close-up lenses
Wide-angle and tele
component lenses
for shots as close as 3V2"
Attachment
for
Contapol
polarizing filter
^^^
monocular; AOOmm.
Screws
in
lens
mount
Summicron image quality
is
now
available in 3 focal lengths
ALL WITH
MAXIMUM APERTURE OF
f/2
The remarkable characteristics of the 50mm Summicron f/2 lens are now also available in 35mm and 90mm
focal lengths. That such image quality could be retained in f/2 lenses -and in 3 focal lengths -is a tribute to
progress and perseverance. The more you expect from a lens, the greater will be your appreciation of these new
f/2 Summicrons. All three make full use of newly designed rare earth (lanthanum) elements. Over-all sharpness
and resolution border on the fantastic. At full aperture, there is not a trace of vignetting, nor any sacrifice in
image contrast. All three lenses deliver optimum resolution at least one full f I stop faster than lenses of comparable focal length. The degree of correction is equally noteworthy. More important than specifications, is the use
to which you can put these Summicrons. To stalk darkness? Of course! But more practically, to gain wider use
of the high-resolution, fine-grain emulsions -to retain image quality in poor lighting conditions. And with color
films, the added advantages of Summicron image quality with f/2 speed, opens limitless new opportunities.
Whether you seek new versatility
Summicron t/2
element Gauss-type foi-mula,
mount
in
Leica
M-3 and M-2 or in collapsible thread
mount for previous models, $129;
also in dual-range bayonet mount
with focusing a7id parallax compensation from infinity to 19", $168.
rigid bayonet
for
tlie
90mm lens-or all three-see your franchised Leica dealer.
90mm Summicron
SOirim
7
in a 50, 35, or
f/2
features lightweight mount for steadier
hand-held shooting at slow speeds and
built-in telescoping lens hood; 6 clement Gauss-type formula, in bayonet or
thread mount, $199.50; in short mount
for reflex housing, $192 (basic lens can
be adapted to short mount for dual-use).
B
35inm Summicron
1/2
virtually eliminates wide-angle distortion.
Features oversize front and rear elements
to increase "full-aperture" performance,
and unique finger-tip focus lever; 8 element
Gauss-type formula; focuses down to 2'4".
In bayonet (M-2) or thread mount, $174;
for Leica M-3 (with RF Attachment), $207.
Y
PHOTOG RAPH
lOth AnnTvm-sary Issue
that famous CRoUei credit line
up, like an old friend.
You can hardly
..keeps turning
pick up a photo magazine or
an annual without seeing "Photo by Rollei", not once, but many
And no wonder, when you realize that for over thirty years
Rollei's makers have concentrated on making the finest, most reliable cameras of the time. They have set standards, with respect
to utility, versatility and reliability, not yet surpassed by any
manufacturer in the field. Rolleis are being used by the world's
finest photographers, technicians and scientists, in all sorts of circumstances. They have come through the experiences of war, exploration and the hardest kind of news woi-k with flying colors. They
are a joy to work with when the going is easy,, too. You'll appreciate the ease of handling, the sure results, the confident knowledge
that you've really got the picture, every time you shoot. If you
haven't handled one, drop into your dealer's now. Models for every-
times.
Rolleiflex
"T"
.
with
.
.
and
$169.50
auto, counter for 12
16 exposures.
Rolleiflex 2.8E
with or
without built in meter,
.
.
.
(without meter) $259.95
body, regardless of budget.
You
all
se
o
'ith
finest lenses, Schneider or Zeisssynch Compur-Ropid shutters, some with ond some
from the world's
full
exposure meters. All models with exclusive
ember, Rolleis ore built to give satisfaction.
n
Rolleiflex "Tele"
135mm Sonnar
.
.
.
with
lenses.
fcatun
See
Rollei
o.
$399.50
Burleioli BrooHs, Inc.
10 West 46lh Street,
Rolleicord Va ... the 5
format camera.
$99.50
New
York 36, N. Y.
PONDER & BEST,
INC.
814 North Cole Avenue, Hollywood 38, California
Rollei—a product of West
Germany
PHOTOGRAPHY ANNUAL
PHOTOe RAPHY
ANNUAL
Including the
AMERICAN ANNUAL OF PHOTOGRAPHY
EDITOR & PUBLISHER
contents
BRUCE DOWNES
9 PHOTOGRAPHY ANNUAL
Spans a Decade
Art Director
by Bruce Downes
ALBERT GRUEN
Executive Editor
18
ARTHUR eOLDSMITH
Photojournalism
Managing Editor
H. M.
20
Sister of the Bride
32
iVIardi
38
Old
pictures by
Features Editor
JOHN DURNIAK
Gras
Woman
pictures by Robert
of
Simmons
Assistant Features Editor
JAMES M. ZANUTTO
Montmartre
pictures by Bruce Davidson
48 A
Tribute to Dan Welner
SO A
Tribute to Lisa Larsen
S2
Color Essay of the Year
62
Advertising
Exhibit of the
FORBES LINKHORN
Associate Editors
CHARLES REYNOLDS
CAROL MILLER SMITH
Assistant Editor
Illustration
—selections from the New York
— Photography
Year
in
— a selection from the Musetnn of Modern Art Exhibition,
with a foreword by
202
FESCE
P.
Art Editor
Retrospect
122
LES BARRY
Production Editor
—Richard Avedon photographs Marilyn Monroe
&
Picture Editor
JOSEPH
Art Directors Club Exhibition
82
KINZER
Ken Heyman
Edward
Steichen
GEORGE
MARGOLIN
D.
Picture Assistant
BEA SHAPIRO
Advertising Director
STANLEY
GREENFIELD
R.
Advertising Manager
WILLIAM
F.
HAZLETT
International Portfolio
— a selection of the year's best pictures
These Pictures Made Us Laugh
ZIFF-DAVIS PUBLISHING
210
Prize Pictures of the
Year
Editorial
One
William
216 Books
of the
Year
224
Notes on the Pictures
242
Photographer's Index
and executive
Park Avenue,
New
York
16,
N.Y.
B. ZilT,
Board (1946-19531;
Chairman of
tfie
William
President;
W.
COMPANY
offices,
Ziff,
Bradford Briggs, Executive Vice President;
Miciiael Michaelson, Vice President
and Circulation Director;
Hershel
J.
B.
Sarbin, Vice President;
Leonard O'Donnell, Treasurer.
1 960 PHOTOGRAPHY ANNUAL published by tiie Ziff-Davis Company, One Park Avenue,
New York 16, N. Y. Tiie publisher is not responsible for unsolicited manuscripts or photographs. Photographs
accomponied by self-oddressed stamped envelopes will be returned. Also publishers of Popular Photogrophy, Photography, Popular Photogrophy Color Annual, Home Movie Making, 35-mm Photography, and Popular Photography Directory 8, Buying Guide.
1959 Ziff-Davis Publishing Company. All rights reserved.
TiLSBICA
is your
best buy
...always!
Every Yashica camera
repi'esents unbeatable value
.
.
.
be-
cause Yashica has a positive genius for producing value.
Nowhere is this more evident than in Yashica's two great
top-of-the-line cameras: the new Yashica 34YF and the
world-famous Yashica-Mat fully automatic twin-lens reflex.
Before you buy any camera -at any price — see these two
outstanding Yashica values at your photo dealer. Compare
them with cameras selling at twice their price and see how
much more they have to offer you.
YASHICA-MAT
YASHICA 35YF
with interchangeable lenses and focal-plane shutter
Every feature you've ever wanted
automatic twin-lens reflex
f/1.8 lens;
interchangeable lenses with Leiea-type threadmount; focal-plane shutter with speeds from 1 second to
1/lOOOth and 'B'; single-stroke film-advance and shutterwind lever rapid-rewind crank X and FP flash synchroniaccepts
;
;
zation; hinged back
fully
in a fine '35', at a fraction
50mm Yashinon
of the price you'd expect to pay!
and removable base for fast loading,
easy cleaning.
Single-stroke film crank and shutter wind; f/3.2 viewing
lens and bright, field-lens focusing screen f /3.5 taking lens
The
35mm
value of the year at
1
4"
;
shutter speeds from 1 second to l/500th and 'B';
flash synchronization; self -timer;
setting lens and shutter; bayonet
M
and
X
knurled thumbwheel for
mounts for
filters,
close-up
and lens hood; focusing magnifier; sports finder;
double-exposure pi-evention.
lenses
Commands
the field at
/
O
dealer will also be happy to show you the many
other Yashica 'best buys' in movie-8 cameras, t\vin-lens
reflex, 35mm and subminiature. There's one exactly right
for you. For full information write: Dept. PA-60
Your photo
YASHICA
INC.,
<;^shira> In
C^fe-
234
Fifth
Avenue,
Canada: Anglophoto
New York
Ltd., Montreal,
1,
N. Y.
P.Q.
ANNUAL
nun
A DECADE
by
Tliis.
BRUCE DOWNES
the tenth anniversary issne of
signals the close of
Appearing in 1950
an
it
exciting-
Photography Annual,
photographic decade.
quickly liecame and has remained
the world's largest-seUing photo annual.
Statistically,
Photography Annual
3, .500, 000
copies (three-quai'ters
is
impressive. In ten
have sold more than
of a million abroad) and
years, including the 1960 edition,
it
will
published over 3,000 pictures by outstanding photographers
from almost every country
some 15,000.000
tainment, pictorial
pleasure;
and
it
in the w orld. It is estimated that
have thumbed its pages for enterinformation, technical data and esthetic
peojile
has become in that time the chief
pictiu-e
source book for advertising agencies, art directors, and
editors all over the world.
Historically, the ten issues of
Photographs^ Annual
represent the best available single record of the decade's
pictorial
accomplishment.
It
does not claim to have printed
— an impossibility an era of expanding
photographic production— but
does pretty well sum up
all
the best pictiu^es
in
it
ANNUAL
i
m
DECADE
continued
the decade in representative work. Practically
contemporary photographers are to be found
all
the best
in these ten
hefty volumes.
Since the Annual's history spans the Fabulous Fifties,
affords a fairly clear picture of a decade's fashions
RAN6EFINDER
FOCUSING?
Don't
let
is
the picture fool you
.
.
.
"new-fangled"
not
comera, but a high precision
16mm to 2'/4x2'/4 enlorger..
.
with a negative focusing rangefinder.
Developed ond monuin the fomous Europeon
foclured
Meopto
works, the
Opemus
^^^^^^B •
II
stands alone in its field for
quality and precision. Check these feotun
and compare them. We ore sure you'll agree
encells on
all
.
.
Meopto
.
counlsl
Super sharp 4 element Belor 3' f:4.5 coated lens, with
stops and bayonet mounted lensboard. Double condenser system and ground glass "soft light" attachment for
click
scratched negatives. All metal, universal negative carrier
with seven metol masks. The on/v chrome ploted, calibrated
inclined column in its price field. Head and column swivels
for wall or floor proiection. Wide ronge of occessories
available for Macrophotography, color printing, and copy
photography. There were indeed strong currents of
change running through the entire decade. Photography
.\ni\ual came into being in 1950 when the multiple-flash
era was on the wane and the second wave of 35-mm
photography (the first one was in the Thirties) was gathering
momentum. Hence the 1951 edition, a kind of transitional
one, showed as many pictures made with large as with
in
$9995
this
it
and trends
include:
79.95
69.95
J4.95
164.95
1
II
505 Fpllh Ave
,
New York
in a
minority and
the availal)le-Ught trend had not yet got up steam.
-Most of the pictures in that
contrived and there was
first
little
issue
were sharp and
evidence that photographers
were aware of motion bhu' as a means of conveying the
experience of action, which was generally stojiped with
fast shutters
IMPORTERS:
E, Fischel Jr., Inc.,
medium-sized cameras. The miniature was
and
nuiltiple-llash techniques, or tolalK fro-
17, N.V.
DISTRIBUTORS
Tech Photo Products,
1943-5 McDonald Ave., Brooklyn 23, NY.
Gem Klein Photo Corp., 18 W 21slSt.. New York 11, N Y.
Bender Photo Supply, Inc., 6825 Melrose Ave Los Angeles 38, Calll
Inc.,
,
IN
CANADA
Angloohoto Ltd., 880 Champaeneur Ave., Montreal
10
8,
Quebec.
PHOTCGRAPHY ANNUAL
Training
Shows YOU How
to:
/ Earn More Money
/Start Your Own Business
Visit, write or phone our Resident Scliool
if yiiu prefer On-tlie-Spot training.
Your
choice of four regular courses or special
short-term courses, tailored to your individual requirements.
Complete facilities include 14 studios, 18 streamlined
labs, glamorous models, all types of cameras, and the finest up-to-date Speedlight,
Color and Airbrush equipment.
Day and night sessions. Co-ed. Easy
payment plan. Free Placement Service.
/ Get Top-Paying Jobs
/ Make Spare-Time Earnings
The success and
security
you can
achieve are unhmited. They depend
upon the quality of your training and
your own ambition. When you get
right down to it, YOU'RE
BOSS! You alone can decide where
you are going and how you will get
ENROLL ANYTIME-NO ENTRANCE
REQUIREMENTS
Approved by State of New York
THE
NYI Instructors ore licensed by
N. Y. State Dept. of Education
America's Oldest and largest
Photography School
Note to those living on a budget:
Tuition fees are surprisingly moderate.
Veterans; Both resident and home study
approved for veteran training.
All
there.
EARN WHILE YOU LEARN
PROVEN NYI METHOD
Hundreds of NYI students earn more
with the
than enough to pay for tuition and topnotch equipment while learning. It's
easy with NYI's unique LEARN-BYDOING method. From the very first
day, you use the same techniques that
bring the world's finest photographers
hundreds of dollars for a single pic-
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From the moment you enroll,
you avoid the waste of '"trial and
the hit-or-miss methods that
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WHAT
THE ONLY
PHOTOGRAPHIC
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ACCREDITED
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ture!
—
error"
KNOW
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YOU SHOOT
— and you do
RIGHT. Every
picture
it
GET THIS FREE BOOK NOW!
There's no better time to start
than
rii;h!
now.
NEW YORK
Dept.
26
and picture
regarding
from seasoned professionals on NYI's
outstanding staff
good advice that
puts you on the road to success, and
keeps you there, mail coupon now.
prices are at a
D Home
record-breaking
high. This factfilled 50ih An-
Name
NEW YORK INSTITUTE OF PHOTOGRAPHY
shows how you
can start getting
your share.
.
Dept. 26,
I960
.
10 West 33
EDITION
.
St.,
New York 1,N.Y.
niversary
Book
New York
me free and without obligation your
Photography Book. Also send
Opportunities
expert,
PHOTOGRAPHY
Please send
assignment
personalized attention
gets
INSTITUTE OF
10 West 33 Street,
N. Y.
illustrate
:
Study
D
Resident Training
(Please print)
Address
City
1,
I
|
Zone
.
put this
miracle
into your
^
S
BE PRACTICAL
0\VN A
PRAKTI
SINGLE-LENS
MIRROR-REFLEX
CAMERA
PRAKTI
CA
Automatic 35mm
but
was not
it
until
thing important,
Kodak introduced Type
occurred when
C (now
1956 that some-
not revolutionary,
if
called Ektacolor Print Paper),
which, in conjunction with Kodacolor
and Ektacolor
film, offered a negative-
positive color
system to the photog-
who could now control color
printing in much the same way he was
rapher,
accustomed
to in black-and-white. Col-
or photographv thus was given a
An
creative direction.
Internally coupled automatic lenses.
Preferred through-the-Iens focusing.
Split-second lens interchangeability.
Waist-level and eye-level finders.
new
important mile-
All at a
popular price.
stone was the appearance of the world's
annual devoted to color photog-
first
Popular Photography's CoLOR
raphv.
Annual made
provide
NA
PRAKTI
Automatic 35mm
debut in 1956 to
its
an
with
photographers
en-
couraging opportunity to have their
non-commercial work reproduced in
permanent form.
popularity, which
The wave of
was ushered
stereo
in on
the bright wings of color film, petered
By 1959
out in the middle Fifties.
emulsions had advanced
them
of
was
•
color
o far that one
Speed Ektachrome"!
(Exposure Index 160) than
(High
faster
the fastest black-and-white film available at the beginning of the decade!
Testifying
photography's
to
World's most versatile camera.
Accuracy! Simplicity! Speed!
Superb Car! Zeiss and other renowned
interchangeable lenses.
Most complete array of accessories.
extra-
ordinary vitality and progress were the
burgeoning
In
and
exhibitions
books that appeared
all
shows,
1950 photographic
than
the
picture
over the world.
unprogressive
salons,
other
YES- PRAKTI CAMERAS ARE YOUR MOST PRACTICAL BUY
See Them
were
bv mid-decade they were appearing evervwhere. The greatest of the
at Your Dealer
Now
rare:
exhibitions
was.
Steichen's Familv of
ing broken
the
Museum
all
of
course.
of
Man, which, hav-
York where Steichen
is
in
New
Director of
Photographv. went on an international
tour and has been seen by upwards of
five million
I960
EDITION
New
people in
many
parts of
for better pictures
with ANY Camera
Filter System
LI
Please rush me, without cost or obligation,
FA
Filters the
attendance records at
Modern Art
Standard Camera Corporation, Dept. P-3a
319 Fifth Avenue, New York 16, N. Y.
And
Edward
illus-
trated brochures for the following items:
light— not the picture
O
For the best pictures of
your life, use famous LIFA
filters — now in a unique
new system, packaged in a
compact sunshade carrying
case, and designed for universal use on any camera
PRAKTINA
D
PRAKTICA
D
LIFA Filters
Name
Address..
City
or lens.
® :-PRAKTINA-, PRAKTICA',
•UFA' Trademark
of
STANDARO CAMERA CORPORATION, 319
fifth
AvsnuB,
New York
18, H.Y.
13
MONEY!
DECADE
continued
Uail your
TO
FOR
ily
of
Man was
published in a book that
The decade
sold over a million copies!
COLOR PRINTS
& ENLARGEMENTS
from your slides
only
saw many traveling exhibitions, and
the huge displays of pictures that appeared biennially at Photokina in
WALLET IIR;^
photographic under-
international
standing.
Modern
from the Museum of
2 GIANT
$100
r"pr4x5,
I
(ony of the above from one or more
^n
Vlnl
^^^^^
afforded an exciting
KODACHROME
EXP. ROLLS
processed & mtd.
exposure
I
I
$2.00
roll
35mm KODACOLOR
developed & printed
$050
4^
refund for every unprinfoble negotive)
35mm BLACK & WHITE °|^„^ ^j,^^ $i .25
36 exposure
MOVIE
FILM
$2.00
roll
KODACHROME
8mni
MAGAZINES
8mm KODACHROME roll and
ANSCO MOVIECHROME
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r4
New York
3, N. Y.
who have outrun
will
the best of them.
be a decade in which the best
photographers will refine their craft
without loss of that spontaneity and
freedom which the
on a large
photography
light
is
here to stay, the
the disposal of photographers in the
Sixties will bring about a resurgence
)
(
rewarding look back
work done
to
some
of the
the past decade
in
as well.
This surely was the decade
excellence
technical
of
in
in
which
dows
will
this
area.
no longer be so readily
condoned. Color films
in color
will increase in
photography, with the exten-
sive controls
er,
should
It
is
safe
it
say
to
that
Polaroid will introduce
color material to broaden
probably the most important
one) and a creative
finally
complacent sleep
this great
museum
it
i)y
of Art
the
American
cal
diehards will probably be making
its
and exhibit
!
It
took
a long time to awak-
the
first
exhibit
special interests of a dubious
and
in the
is
was
further
Museum
awoke from
fine art"
hung
still
impact of color photography on
the
en to photography's importance, and
even though
long-awaited
crown
and
to accept
photography "as a
its
to
art.
the Metropolitan
New York
strides.
revolutionary
photography came of age as a graphic
(
photograph-
offers to the
make extraordinary
medium
all
ushered in
Fifties
Although available-
scale.
speed and the negative-positive system
finest
tion
Sta.,
It
vears ago. the exhibition affords
though a
in
camera
blocked-up highlights and empty sha-
it
nature, the step
Cooper
skill of the
pages 82 to 121
to
from the Steichen show. Alfew of the pictures were made
selections
ect
Box 323P
and
the ingenuity
designers, optical engineers, and chem-
more
little
badly and was pressured into the proj-
P. 0.
tographers will begin to catch up with
editors of this an-
$2.50
2^^d^V°r';^°ted
and accomplishment during which pho-
Graininess will tend to disappear and
felt
40-page section
a
for
photography? Of course. It will be a
decade of fulfillment, of further growth
appropriate to devote a
MJ.4L
fiftv
be an-
it
progress
nature of the sensitized materials at
printing in
its first
Will
such
of
§17.50 a copy
at
niversary edition of PhotogR-\phy An-
it
,
book The Picture History of
sational
than a month.
9(1
L\l
of pho-
tographv as did Peter Pollack's sen-
slides)
ci15
collection
panorama
Photography, which
B^l 36
(full
permanent
Art's
of the Sixties?
decade
other
ists,
This year Steichen's 600-print exhibit of pictures
YOUR CHOICE:
3ALBUM^«?Sts'^^'
much
Cologne. Germany, contributed
to
What
Moscow. The Fam-
the world including
DEVELOPWiG
in the right direc-
a feather, if slightly ruffled,
cap of photography in America.
scene.
Meanwhile,
criti-
grudging admissions that color phoBefore
is a major medium.
tograph v
the decade
is
half over, color
may be
expected to lead photographers back
to the
tive
darkroom
for a
new
era of crea-
enchantment and by decade's end
black-and-white will be largely over-
shadowed by the magic of color.
It was a great decade, but the Sixties
will
be greater.
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it
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)
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C3
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for
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your Cine- Voice,
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new Mamiya 35 Magazine which enables the
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25.) Booklet: 32 pages of information and description of the Nikon S2 and Nikkor lenses.
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In the
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NAME
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the only
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Think of it! You can switch lenses right in the middle of a roll — 'normal' lenses
for standard shooting, long focus and telephotos for portraits, candids, news sports,
,
travel.
.
itself
And
each lens-set delivers quality
among
— quality
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the nation's top professionals.
And
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auxiliary attachments of any kind. You get richly detailed close-ups, hairline sharp.
OTHER FEATURES INCLUDE fresnel-typc focusing-screen
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:
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M and X flash synchronization
shutter speeds: 1 second to
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at all serious about photography,
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•
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•
•
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MAMIYA
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I960 EDITION
PHOTOJOURNALISM
"T^espite a recent, much-lamented decline in the size of
its
markets,
'^'^photojournalism continues to be a vital creative force in the
growth of photography. Its approaches and techniques have won
an ever-widening acceptance on Madison Avenue, in the pages of
annual reports and house organs, in the releases of public relations
firms, and by millions of amateurs. In the narrow sense, photojournalism and its sister, press photography, can be defined as reporting with a camera. But photojournalism has come to imply
much more it is any photography which concerns itself with
the human predicament, with recording the cutting edge of
:
experience, with seeing
graphic images.
The
and interpreting the universe in vivid,
"What is photojournahsm?" is
question,
answered to some extent by the pictures reproduced in this section.
In some cases it involves a complete story (of which we've included
a few samples), and other times the event or emotion is crystalized
in a single photograph. But always, good photojournalism strikes
its impact, and involves us
captured by the camera. It
us with the freshness and immediacy of
emotionally in the fragment of
has the
gift of
life
making us participants
spectators to past and distant events.
as well as merely
PICTURE STORY
by
KEN HEYMAN
What
the hest subject for a picture story?
i?
relationship.
covered,
Here, in the
photojournalist
first
A human
and only wedding he ever
Ken Heyman
gently hut
perceptively explores the emotions of a young girl on her big
sister's
SISTER
OF
THE
BRIDE
wedding day.
It
was only during the reception,
while recording the wedding as a favor for a friend, that
Heyman
realized a poignant
human
story
was unfolding before
him. a story dealing with "pure emotion and tenderness
.
.
.
that could not have been acted by the best of actresses."
He was
repeatedly struck, not only by the
little sister's
evident sense of impending loss but also by the big sister's
tact
and consideration
for this feeling
—
"'like
a mother
leading a child through an ordeal." Working swiftly and
35-mm cameras, and shooting mostly by
Heyman captured these evocative images of a
unobtrusively with three
available light.
memorable afternoon
in the life of a familv.
Flowers arrive before the ceremony
and for the moment their glamor
entrances the bride's younger
sister.
SISTER OF THE BRIDE
continued
momentous
Unconcerned by
the
events, the bride's
younger
brother happily tootles his
net in a corner.
clari-
At the wedding
itselj the
sister participates as flower girl.
Later, during the reception
(right)
the excitement wears off and she
begins to feel pangs of loneliness.
ys
^-
1
.\ /.\
,i
>^>^t
SISTER OF THE BRIDE
A
beloved hand
coniiiuied
lightly held
and
a glass oj punch bring some comfort.
An hour
of splendor
for the
bride, but sensing her sister s
reaction she bends to comfort her
mother leading a child
through an ordeal."
"like a
Laughing again,
the sister
finds companionsliip with a friend
as ihey pose ultlt a bouquet
oj
tlie
morning's flowers.
SISTER OF THE BRIDE continued
MAY.NARD FRANK WOLFE
ICOEERT M.
MOTTAR
(
ionsliuclioil
WolkcrS
Closeup
DON ORMTZ
DON ORINITZ
Glamor
WIL BLANCHE
BAHTON FOR
H.
MItUEL ROSARIO
DON ORNITZ
PICTURE STORY
by
ROBERT
SIMMONS
MARDI
GRAS
Rohert Simmons, whose work appears in Photocr\i-hy
Annual for the first time here, is a young photojournalist
living in New Orleans. A continuing project of his is to
document the city and its many facets. From this
selected these vivid impressions of the
larger story
we have
Mardi Gras
for their freshness, impact,
almost hysterical excitement.
and sense
of
an
wiNFiELD
J.
P4RKS, JR.
The Captive
Providence Journal-Bulleiin
Unifed Press Inferncrfional
CHARLES CORIE
"I never get
mad"
CHARLES HOFF
ALLYX BAUM
XTrecked Airliner
Leapers
OLD
WOMAN OF MONTMARTRE
The central
figure in these intensely personal
photographs by Bruce Davidson, a young
PICTURE STORY
by
BRUCE
DAVIDSON
magazine photographer,
its
is
Madame
view of ]Montmartre"s windmill
(
and emotional
New York
Fauche. In her garret with
see ne.xt spread
)
Gauguin once learned lithography from her painter-husband,
artists like Lautrec and Renoir dropped in for cognac and
conversation. Here she is as Davidson saw her. an aged
woman whose life was peopled by bright ghosts of the past.
JAMES BLAIR
Soldiers
BRUCE DAVIDSON
^
PHOEBE DUNN
CARL SHIRAISHI
Affection
JOHN BRYSON
44
^.^
!^P'*r.
^V-M-
YOUSUF KARSH
Hemingway
^
*
A TRIBUTE TO
DAN WEINER
May Day
Caucasian Family, Russia, 1956
P hotojournalism
in
lost
one of
1959 with the death of
its
most distinguished members
Dan Weiner
in
an airplane
crash while on assignment. Weiner has long been
known
through his work in the pages of leading magazines and
picture annuals as a 35-mm photographer who combined keen
psychological and social insights with a strong sense of
design and flawless craftsmanship.
Among
his
best-known
achievements are picture stories on a home for the aged,
an Iowa flood, a portrait of Judge Learned Hand (see page 99)
book on South Africa in cooperation with novelist
He was most recently at work documenting
life in Russia and other iron-curtain countries. On
these two pages are reproduced a few examples of his
and
a
Alan Paton.
work from
a recent
memorial exhibition.
Mother Su|urinr.
Ituiuiuinia, 1957
Parade,
New
York, 1949
Home
for the
Aged,
Ft.
Wayne, 1950
A TRIBUTE TO
LISA LARSEN
A.
second major talent
to
pass from photojournalism
1959 was Lisa Larsen. Born and educated
in
became
in
a consistent contributor to Life in 1949
Germany, she
and specialized
in
United Nations and overseas reportage. Her frequent travels
to
remote regions of the world
I
including Outer Mongolia in
19461 resulted in pictures of deep
emotional intensity. She was voted
\ear
in the 19.53
human sympathy and
Woman
Photographer of the
National Press Photographers"
Association-£nfy/opae(/"/ Britannica contest, and also
the
won
Matthew Brady Award sponsored by the University
of Missouri. In addition to publication in Life, her pictures
have been widely displayed
Russian Champion
Woman
in
museum
exhibitions.
Athlete
View
of
tlie
Krenili
Moscow Window
.Shopper-
m
ai
•••I v\
.1>^
>
s/?
^'/V#*
c-.
J"
COLOR ESSAY OF THE YEAR
AVEDON
PHOTOGRAPHS
MARILYN
MONROE
yJne
of the
most entertaining
bits in Life
magazine's special Entertainment
Monroe reTheda Bara, Clara
Issue last year was Richard Avedon's color portrayal of Marilyn
creating five fabulous sirens of -the past: Lillian Russell,
Bow, Jean Harlow, and Marlene Dietrich. The choice both of photographer
and model was an unusually happy one. Avedon's dash, imagination, and
unfailing good taste plus Monroe's glamor and impressive talent as a comic
actress combined to produce a gay explosion of color, wit, and nostalgia. The
photographs are as sympathetic as they are
freshly uncorked bottle of
satirical,
Mumm's, and comprise a
as effervescent as a
delightful spoof of Ameri-
can sex fantasies and seductresses. The spontaneity of the pictures gives the
impression they were shot as a lark, on a moment's impulse. Actually, as
Avedon recounts in his own words below, they resulted from weeks of research
and many hours of intensive shooting and reshooting in his Manhattan studio.
We
are pleased to include the results of the ebullient
Photography Annual
J_.illian
Russell,
whose
wasp-
waisted silhouette and contralto
singing
Gay
made her
the toast of the
90's, is recreated by Marilyn
on a gold-plated bicycle against
a backdrop of lilacs. The entire
assignment took eight weeks of
research and shooting to finish.
the gloomiest ones.
Avedon-Monroe team
in
as evidence that the best pictures are not necessarily
'«f.':
^^
I
u
H.
AVEDON TELLS HOW HE MADE THESE PICTURES
The assignment for the
editor,
who
Mary Leatherbee.
agreed to do
ment
would take the
pictures.
for about eight weeks, mostly at night.
We
Monroe
worked on the
prefers to
assign-
work
in the
enormous amount of research, naturally: running
old movies, going back to the files of Metro and other film studios for
evening.
off
it if I
"Fabled Enchantresses" pictures came from a Life
I understand she suggested it to Marilyn Monroe
stills
started with an
It
of the period, conferences with Monroe, and so forth.
pictures
came from any one
None
of the final
—except possibly
we were copying
specific still
the Dietrich shot. Rather each was a composite symbol, attempting to capture the essence of the performer's quality.
to
Monroe needed,
I
needed,
be aware of everything these performers had created, in order to
distill it
as
into a single image.
I
think perhaps
we had
the most difficulty with Dietrich. There
an almost physical, resemblance between Monroe and
is
a great,
Lillian Russell,
Mon-
roe and Harlow, Clara Bow, and even Theda Bara (Bara hid behind so
much
makeup
that the effect could be easily recreated).
not Dietrich's appeal and for this picture
But Monroe's appeal
is
became a problem of lighting and
it
makeup and reproducing superficial aspects of Dietrich whereas with the
others, Monroe was able to get into the personality of the performer.
Marilyn
is
such a
fine actress,
her performance so true, that the problem
of recreating physical likeness took care of
itself.
She became these actresses
because she and they have a fundamental similarity of allure in common.
I
participated as a director in creating these pictures to the extent
whenever
is
I
anything
photograph.
else.
I
think that photography
Anyone can
take pictures.
shoot a picture that's clear and sharp, and
J ean Harlow, slinky platinumblond seductress of the 30's, immortalized the line: "Wait 'til I
something comfortadied seven
years later at peak of her career.
slip
into
ble."
A star at 19, she
My
is
little
more
I
do
direction than
it
boy, six years old, can
when developed by
the same
man
who
develops
my
film,
comes out looking
mine
as well as
technically. I've
never been interested in the so-called reportage photographers as a group
the
men who
wait for the
bomb
and then
to fall,
they happen to be there,
if
turn the camera on a crpng child in a station and take a great photograph.
To me this has very little
amoimt to do with the
do with the art of photography and an enormous
to
art of
journahsm, which
Directing a photograph, creating a photograph
is
to
is
quite another thing.
me the only photography
of interest.
This creativity
ture
is
actual
may begin
with research and decisions long before the
taken, but this aspect
moment
is
of photography. In other words, there are intellectual deci-
on certain
sions to make: one decides on certain colors,
composition. But
picture,
I
it all
can go terribly wrong
an unconscious argimient, or
locking out the world and
of
its
camera and the subject. One
Modern Art
talk.
it
It
if,
The music
that
creates a
little
is
at the
my
sitter,
little
way
It
has a way of
area between the
embarrassed, one doesn't hear oneself
room
for you;
you become so wrapped up
you don't hear phones ringing or other people
has a
on certain
of taking the
an atmosphere to
an enormous help.
intrusions from that
isn't
lighting,
moment
joy, or appeal doesn't take over.
usually try to create an atmosphere around
which the performer responds. Music
Museum
pic-
of less importance than what happens at the
talking
on the
in
set.
of releasing inhibitions.
For these pictures we used a variety of background music. With Clara
Bow it was a record called "Charlie My Boy," and for Dietrich it was Lotte
Lenya singing Kurt Weill songs, and for Theda Bara I think we used Frank
Sinatra recordings. Incidentally, one thing Marilyn found hard to do was
(pictures continued on following page)
Marlene
Dietrich's cynical, so-
phisticated charm,
glamorous
and husky voice first captivated American audiences in
193 O's film classic. The Blue
Angel. Here Avedon and Marilyn Monroe reproduce famous
cabaret scene from that movie.
legs,
The
hypnotic
of
eyi-s
Theda
Bara, most daiiReroiis vamp of
them all. turned strong men
weak and good men wicked in
more than 40 silent films she
made from 191S to 1921. Ave-
the
don".- tip to
Marilyn
in recaptur-
ing Tlieda'a expression: "Imagine
a
58
you're starving and there's
big
steak
in
front
of
you.""
OBSERVA
-TIONS
RICHARD
Although best-known
Avedon
I'HOTOCRAPHS BV
as a fash-
photographer, Richard
ion
also
portraitist.
an accomplished
reproduced
is
At
left is
the jacket design for his forth-
coming book,
tion of
a brilliant collec-
Avedon
portraits of per-
famous and obscure,
with a text by Truman Capote.
Observations, published by Simon and Schuster, |15, is schedsonalities,
AVEDON
COMMENTS BY
TRUMAN
uled
appear
to
in
October.
CAPOTE
Theda Bara. She kept
I
saying,
"What am
I
supposed to be thinking about?"
decided that she ought to imagine she was starving and a great juicy steak
was
in front of her.
Creating the sometimes rather elaborate sets and finding the right props
was, along with costume and makeup, an important preliminary aspect of
pictures. For example,
making these
we wanted
show
to
We
Brady.
Russell
Lillian
posing with the famous gold-plated bicycle given to her by
Diamond Jim
found one similar to the original in a prop studio and had
painted for our purposes.
I
worked with an
it
and an assistant in con-
artist
structing the sets themselves. Perhaps the largest and most complicated was
of
the cabaret scene for Marlene Dietrich, which looks even larger than
actually was.
The
illusion
smoke, and colored
of a night club
we
created from stage
all
these pictures. All, with one exception, were shot with 1,000 watt-
second studio electronic
where
I
flash units.
The exception was the
Dietrich picture,
used tungsten illumination. The number of exposures made during
each shooting session ranged from perhaps 50 or 60 up to as
or 150. Marilyn would
come
to the studio at 7:30 or
many
as 100
8 in the evening, but
might be midnight or one o'clock in the morning before we started shoot-
ing.
Sometimes, the make-up took three or four hours. Then we'd work
from perhaps
to 3 or
1
4 A.M. Even so
Clara
Bow and
color
scheme of the one and on the
The triumph,
if
you want
to call
found
I
the Jean Harlow pictures.
I
it
necessary to reshoot the
thought
I
could do better on the
set of the other.
it
that, of these pictures is
photography but in Marilyn's acting within the framework of
dinary situation. Imagine, for a moment,
of
flats,
lights.
used an 8x10 Deardorff with 12-inch Ektar lens and Ektachrome film
I
for
it
Modern Art
it
some
these photographs were taken
The humor could have been heavy,
other words, the Monroe magic gone.
less gifted actress.
unpleasant, in
if
not in the
this extraor-
the sex
C lara
Bow, fabulous red-haired
Roaring Twen-
"It" girl of the
ties,
by
is
exuberantly
recreated
champagne-pouring Marilyn
amid what could be a scene from
one of the Great Gatsby's wildest
a
jazz-age orgies.
"Charlie
Avedon played
My Boy"
ground music for
as
this
back-
picture.
ADVERTISINO &
ILLUSTRATION
Selections from the
New York
Art Directors Club Exhibition
I^owhere has
of the
there been more evidence
tremendous forward strides photog-
raphy has made
in the last
commercial
medium than
decade as a
in
this
year's 38th annual exhibition of the
New
art
York Art Directors Club. Obvious even to
the most casual viewer was the fact that
the majority of the entries were photo-
graphic.
A
selection of
them appears on
these pages.
Why
did
photography dominate the
show? Because, say
officials of the club,
the exhibition reflects the current trends
in advertising
and
tography happens
illustrative art.
to
dominate the
Phofield.
And why have
been turning
to
art directors themselves
photography?
Because
tography that influenced
look to the
they've found that photographers are ex-
new
citing creative artists, constantly seeking
tration,
The acceptance of photography was a
slow process. The Art Directors Club,
organized in 1920, held its first show in
it
wasn't until 1949 that a large
number of entries featuring photographs
made their appearance at the annual exhibition. It was the highly experimental,
and thereby daring, work of such photographers as Richard Avedon in fashion
and Irving Penn in food and product pho-
art directors to
the cameras for
directions in advertising
said, "advertising
lustration are wide
talent
and
illus-
according to a club spokesman.
"Today," he
fresh approaches.
1921. but
men behind
with
fresh
open
fields for
ideas;
and ilyoung
opportunities
exist that never existed before."
In the background are the scientists
and manufacturers of
photographic
equipment and materials, who make possible new situations and techniques for
recording on film, and who continue to
open the door for the creative photog-
rapher
art directors are seeking.
L. B.
BEN ROSE
Ad: A. H. Robins Co.
Agency: Sudler & Hennessey,
An Director: Herb Lubalin
Inc.
TAKE A LOOK.
DIMElAXi:
Dimetane
MARC BOMSE
Ad: West Virginia Pulp & Paper Co.
Agency: Fuller & Smith & Ross Inc.
Art Director: James G. Robertson
ART KANE
Publication: Esquire
Art Director: Robert Benton
,iii*i«tMMH»»?-*««=<--
*^">r^
WINGATE PAINE
Ad: CBS Radio Network
Agency: Doyle Dane Bernbach,
Art Director: Robert Gage
Inc.
p
x^
Publication: Harper's Bazaar
Art Director: Henry Wolf
JERRY PLUCER
Ad: Wamsutta
Mills, Inc.
Agency: Mogul, Lewin, Williams & Saylor
Art Director: Robert Blend
HUGH BELL
Publication: Esquire
Art Director: Robert Benton
EDGAR DE
EVtA.
Publication: Town & Country
Art Director: Anthony Mazzola
%
:-0t.
•M,^
:
^.i
.
.jiMimimki,
DON BRIGGS
Ad: Charles of the Ritz
Agency: The Rockmore Co.
4rt Director: Ched Vuckovic
OTTO MAYA & JES BROWN
Ad: Reed & Barton
Agency: Hockaday Associates
Art Director: Alvin Chereskin
Til
.
>-iS» ;.ri?5i5*«:>=
''=:.
rv**
WINGATE PAINE
Ad: Chemstrand
Agency: Doyle Dane Bernhach,
Art Director: William Taubin
Inc.
jf^
'~
.
c^^
'
'
^'^^4.
>»^
«
'
'
li'^
^_
3^^
--/.
-^
A
^
s^
Publication: Harper's Bazaar
Art Director: Alexey Brodovitch
i^^r::yr
WIINGATE PAINE
»
Ad: Polaroid Corp.
Agency: Doyle Dane Bernbach, Inc
-
IRVING PENN
—
Ad: Johnson & Johnson Baby Products
Agency: Young & Rubicam
Art Director: William
Kammer
:(2
DONALD MACK
Ad: Industrial Rayon Corporation
Agency: Grey Advertising Agency, In
Art Director: Onofrio Paccione
SEYMOUR MEbNICK
Ad: Smith Kline & French Lal)s.
An Directors: Warren Blair/Jacic
tJregory
STEPHEN COLHOUN
Publication : Modern Packaging
Art Director: Donald Rulher
~N
.#
/
EXHIBIT OF THE YEAR
PHOTOGRAPHY
A
RETROSPECT
IN
selection from the 600-print
exhibition of the
Modern
permanent
of
Museum
Art's
collection
prepared under the direction of
EDWARD STEICHEN
FOREWORD BY EDWARD STEICHEN
The
photographs
are from one of
reproduced
The Museum
here
of
Mod
ern Art's most important photographic
exhibitions.
It
included
626
photo
graphs by 273 photographers repre
senting
a
cross-section
of
the
Mu
seura's permanent collection as well
condensed summary of the 34
exhibitions I have organized for the
Museum during the past ten years.
Photography has become an indisas
a
pensable tool in nearly
human
all
As a witness
fields
of
tions,
potentialities
esthetic
its
are
sometimes overlooked.
When
magic
practiced by the artist, pho-
tography becomes a medium capable
of giving
form
to
ideas and incisive
expression to a wide range of emotions
and concepts.
While the Museum possesses
standing examples of some of the
liest
photography,
predominantly
prints.
It
its
of
translate into pattern and design the
detail of a
fragment of growth
In the collection.
or of deterioration.
there are prints that give evidence of
man's passionate search for truth, rendered with technical precision and
mental precision, separately or on
The
oc-
out-
casion together.
ear-
now
an exact instant; the gamut of feeling
written on the human face in its con-
twentieth-century
trasts of joy. serenity or despair; the
collection
is
contains the work of widely
swift freezing of
beauty of the earth that
man
has
in-
of places.
recognized photographers as well as
herited and the wealth and the confu-
it records with an
beyond the scope of any
other visual means. Because of the
magnitude and variety of these func-
experimental and exploratory work b\
sion that
times,
activity.
and events,
exactness
newer
uing
talents
effort
PHOTOGRAPHY ANNUAL
to
appearance of
Stelchen at Eighty by Philippe Halsman
Commissioned by
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<
WILLIAM
C.
Wheels
SEAMAN
of
Death
Pulitzer Prize
PICTURES
Tlie
popularity of photo
international
contests brought another flood of prize-
winning pictures
Photography As-
to
NUAL. For the second year in a row, they
were deemed worthy of a special section
of their own.
In the
many news
PFC.
GREGORY
USAREUR
D.
YAKOOBIAN
Reflected Spectators
Photography Contest
picture competitions,
the emphasis of the judges was. as usual,
on the spectacular, the tragic, and the
"scoops." However, pictures with great
news impact to those working in the field
often lose this
On
when
seen by outsiders.
the lighter side, children and pets
dominated the top pictures
held for amateurs.
in the contests
The high
quality of
the high school contestants seems to pre-
sage a
new generation
of considerable
of
photographers
skill.
Once again the
phy Annual took
editors of
Photogra-
the liberty of second-
guessing the judges.
As
a result,
many
top prize-winners were bypassed in favor of lesser award winners which
we
decided looked stronger to us.
WrSFIELD
I.
PARKS, JR.
Hea\y Seas
Best Sports Pictures oj 1958
—Selected by Look
Courtesy Skipper Magazine
211
PAUL SCHUTZER
Rioting in Caracas
White House Press Photographers Association
I)EA> 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
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last
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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<m«^
gar-
16 mm PHOTOGRAPHY
AGE
With The Elegant
This shot of
a lilliputian girl
actually
an-
Address
Fifth Ave., N. Y. 16, N. Y.
City
me,
MEC
without
brochure.
obligation,
the
—
page 85 Famed
and
signed to make pictures
well as the brush.
1931. This
in
one of
my
All that
painting."
that Mine's ca
is
No
came
of
Berko
Colorado,
fascinated by the
snow.
in
one of a group
is
He
"Without
comments:
trast film, etc.)
it
it
was made during a
CAMERA:
Swiss
of
photogra-
phy's
one
made
—
our conditions this
in
CAMERA:
75-mm
l/IOO second at
No
lens.
daylight studio
his
data available on
filn
mm
Tessar r73.5
and exposure.
1
Tessar //3.5
f/l
FILM:
I.
Super-XX.
study
and
the
great
teacher Clarence White:
page 87
of a
on
From the roof
four-story
building,
made
from a platinum
who
by
vocation, has been an active amateur photog-
rapher for 20 years.
CAMERA: Canon
FILM:
Neopan
Fuji
35-mm NIkkor
IV-SB with
EXPOSURE:
f/3.5 lens.
l/IOO second at f/5.6.
FILTER:
SS.
medium-
highway
outside
Hokkaido,
interesting
that
picture
of
him 28
slow shutter
a
prevent flare
in
the lens. Otsuka
Ektar
is
Shimbun.
picture was
(This
CAMERA: Canon
f/1.8
incorrectly cred-
Haiime Ohigashl.)
ited to
IV-SB with
Vl
f/4.7
SO-mm Canon
second at
LIGHTING:
ton,
th's
the
Edward Wes-
in
favorite
in
ing,"
of his
"models" was
green pepper: he
other
Panchro
available for this photograph.
American
230
Charles
Sheeler.
speedllght at
Press
Type
B.
"While
his life.
photographers
I
an
painter, uses a style which
eminent
is
closely
in
the
York
in
Museum show
form
the
of
^rini
in
iL4t
hand
a
proof from an 11x14 gravure plate.
of
is
This
portrait
Judge Learned Hand
perhaps the
most
fa-
mous
and
lished
photograph made
widely
pub-
Opera
"This
is
an
me fame and
Naked
Europe.
Cify,
unposed shot:
fortune
in
was
in
It
and due to
America,
my
this
for the
it
first
photo,
movie of
4x5 Speed Graphic with S'A-lnch
EXPOSURE: 1/200 second at
f/W. FILM: no record. LIGHTING: flashbulb.
Tessar f/4.5 lens.
an
in
No data
is
the picture.
page 101
bum
who was
past year
page 100
of the Metropolitan
was out on the cold sidewalk shoot-
he says.
CAMERA:
page 89
New
in
1907. This was exhibited
available on
Hollywood bought the book
the same title."
is
pho-
The Steer-
is
airplane crash.
tween
data
TT
Perhaps the
documentary
killed this
book,
No
Asahiflex
lens.
page 99
entire
the
Hollywood, and
forms and those of the human body.
Kuni-
Santa Claus hat and beard.
'm
photojournalist
suggest the similarities beIts
calls
with
picture
has brought
a
liked to
a dental
son
men threw
electronic flash.
warm lobby
the
House,
the humblest
One
which he
were making posed shots
of American photography,
subject matter.
took
so.
page 95 Weegee credchanging
one of the patriarch;
delighted
Super
is
by Dan Weiner, a young
course of
page 88
shot,
EXPOSURE:
lens.
f/l.8.
FILM: Super-XX.
it
Even
4x5 Speed Graphic with 127-mm
FILM:
f/16.
its
EXPOSURE:
lens.
close friend
of originality, and
tools.
this
his
bulb on camera.
arriving
a
Is
explains, "Three
a 2S-year
veteran on the staff of the newspaper Asahl
used
age, showing immigrants
one man threw the water."
CAMERA:
speed. The snow diffused the light enough to
He
by profession,
f/3.5
tographs
full
is
his
get
tries to
Doll Atomicus.
a car
cats,
using
master of
a
Is
transpar-
lA with 50-mm TakuEXPOSURE: 1/50 second at
FILM: Neopan SS. LIGHTING: one flash-
lltz'
Philippe
disaster.
positive
a
most famous of Stieg-
or taste can pro-
skill
is
Japanese amateur who
a
page 98
in
tricky
is
business; the least failure
he
might
the snow,
in
Technical data unavailable.
of Salvador Dali, he
5'
be made by silhouetting figures against
headlight
mar
qualifications for success: he
Sap-
Japa'^
Gen Otsuka saw
Ike,
it
from
turn from an original negative.
in
CAMERA:
is
Surrealism
photography
.^h
as the model.
Halsman has the best of
Driving at night along
poro.
page 94
duce
yellow.
a
Goro
no other data available.
print;
pages 92-93
FILTER:
a true
is
print
made
leaves.
public service employee
a
Is
show.
1/200
York fashion pho-
negative
f/8.
angle shot of a tree and
Totta,
New
ency,
mag-
The reproduction
azine.
this
Konipan SS.
advanced experiments of
hero, dressed
pioneer-
Stieglltz'
Here
technician
Comero
in
photographic
ing
Gifu
of
Tot+a
Japan,
City,
used
IVor^,
December morning
a
Takeichi
was
it
HLM:
one of the more
first like
a
laboration between Alfred
Stieglltz
EXPOSURE:
lens.
tographer. Actually,
the result of col-
is
page 97
a
figure
This
Museum
IV-SB with long-focus 480-
f/S
"stopper." which looks at
Rolleiflex with 75-
page 91
the
ultraviolet.
decade ago.
a
Karlprotar
second at f/ll.
detail study in
this
in
He
Irving Penn.
His shot
afternoon snowfall.
late
CAMERA: Canon
mm
to-
day photographs the
body with great taste and
is
been published
magazine Camera, Popular Photogra35-MM Photography, and in This Week,
as well as having a place in the
from the
One who
beginning.
almost
Rolleiflex with
EXPOSURE:
The nude has
been
finesse
actually snowing."
is
page 90
almost necessary to shoot
is
on a very overcast day
lens.
photograph was taken from blinds after
of waiting." Well rewarded hours
This
is
many hours
difficult subjects
manipulation (high con-
means while
Wood, some 25
where thousands of white
herons gather during spring to autumn season.
data
phy's most absorbing and
4
be-
photographed.
he
have engaged m
I
too, for the picture has
shapes of dogs
This
"For
:
miles north of Tokyo,
available.
few years
Ferenc
ago.
heron
is
n a k a
taking photographs of Heron
a 4x5 Graflex.
page 86 A
Aspen,
T a
years.
pro-
profession
basic
of the
specialties
picture-taking
kutaro
and devote my time to
George
One
unusual
photography. Writes To-
photography
Eastman House.
known technically
in
have long
"I
fessional
the collection of
is
as
Now
since discontinued
is
from
series,
his
camera
the
more
em-
time
a
he writes:
Empire State
the
Building
for
ployed
during the construction
of
page 96
related to photography,
doc-
umentary photographer
Lewis W. Hine was as-
Technical data unavailable.
For an
al-
of his work covering
the years 1920-1934.
Ray made
Man
a color photo-
graph of a peach, using
tri-color
camera.
black-and-white was
separations
a
This
^
made trom one
—-"probably
the
red."
of
the
He
no
longer remembers any details of equipment or
technique,
but
been made
in
believes
the shot must have
1933.
PHOTOGRAPHY ANNUAL
page 102
ra
The
able Alfred
was
Stieglitz
photographed
hon
in his
pression.
She
the
time
first
those days."
death. Cartier-Bresson consistently refuses to
"remember" equipment or technique, will say
Tessar //4.5 lens.
made
by window
with a Leica,
No
us
71/2-inch
with
record of film and ex-
an
YOU
BUYi
a
York pro Betty
up
fel
Leica
lllc
with
50-mm Nikkor
EXPOSURE: 1/30 second
LIGHTING; available,
FILM: Tri-X.
available.
incan-
descent.
page 104
109
page
"por-
Lloyd
and
Barbara
|
motion of wind
of
life
N.
still
made
in
EXPOSURE: I/2
Neopan SS. LIGHT-
75-mm Hexanon V3.5
lens.
FILM:
second at f/S.
ING: one 500-watt
wanted to
phone
line
might
this
Turner-Reich
f/6.3
lenge to the most experi-
second at //I6.
Type
Goro chose
for
infrared film
on assignment for
is
in
made
Utah,
story on the geology of
a
shot,
in
in
color,
Life in
1948.
widely used by the magazine on
sci-
ence assignments.
CAMERA:
4x5 Linhof Technika with 165-mm
Tessai
f/4.5
f/16.
FILM:
EXPOSURE:
lens.
Kodak
LIGHTING:
red.
Infrared.
late
2
seconds at
FILTER:
his
afternoon sun.
page 110
1939,
recorded
of our most power-
Spain
in
1937, he
accompanied
a
Loyalist
war.
In
enemy
B.
al.
mercurial
expressions.
page 107
One
the classics
the tra-
in
of
documenphotography
is
dition of U. S.
tary
Dorothea
Lange's
ture of an old
a
pic-
man on
San Francisco bread-
made
line,
the
in
1933,
depths of the
1960
EDITION
in
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complete with
model,
a
light
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page 111
Technical data unavailable.
page 112
The dreary
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London's
of
comes
graphically
in
Bill
across
Brandt's
shot of rows of rooftops.
The picture was made
in
1933 with a Rolleiflex; Mr.
Brandt offers
information.
no
further
me
a
copy
PHOTOGRAPHY DIRECTORY
GUIDE.
I
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waves of troops.
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images of the face of
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making a series
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How
bound
The late
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some
In
er-in-law Carl
in
of
diagrams.
FILM: Super Panchro-Press
dark
Steichen
photographed
l/lOO
LIGHTING: window, supplemented by
B.
War, he again was
page 106
EXPOSURE:
special
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Almost the same
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Mor-
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picture.
poles
of
shot
this
Fritz
Kodak
5x7
enced
Life's
be
the wife of the author and publisher of
is
CAMERA:
can be a chal-
pro.
Compare
about
write
also enjoy these other extra features:
CAMERA COMPARISON CHARTS
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photographic books, Willard D. Morgan.
tele-
a
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appropriate opening
gan
Dramatizing something so
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You'll
young people, and
an
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this
She was
of a
thought
spotlight.
pages 104-105
commonplace
of her son
her studio.
thinking
with
Koniflex
.
made
pro.
Y.
trait"
in
her studio.
CAMERA:
Scarsdaie,
a
back-of-the-head
some
and
matting,
raveled
this
in
jar
a
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CAMERA:
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tographic
attracted
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I
You'll find the
and
armchair
asleep.
data
other
New
an
in
platinum
a
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an
BEFORE
friend,
Statler, "his cat curled
8x10 view
from
give
1:DIRECTORY.
in
"While
visiting
writes
camera. Reproduction
print;
CAMERA FANS:
the
posure.
was
Steichen's
1909 or 1910, on a glass
was
on
and engulfed
Graflex
31/4x41/4
page 108
own portrait of Stieglitz
in his prime was made in
in
earliest,
working
light.
page 103
plate
CAMERA:
one of my
wanted to record the condi-
I
surrounded
which
by Henri Cartier-Bresson
a few days before his
only that this picture was
is
attempted
I
alone.
streets,
tions
says, "This
and
Foreign
H3
page
One
page 117
of
Yousuf Karsh's "Faces of
Destmy"
that of Win-
is
by Stelchen.
the Parliannent Build-
in
ings
Ottawa.
in
got the picture
was
came from
ing
a
CAMERA:
8x10 view (lens unknown).
POSURE: l/IO second at f/l
LIGHTING: banic of 5
XX.
floods for
floods, plus
of Kolcedera
perpetual
is
attraction
Kimura
technical data
page 118
iron
is
for
photographers,
Tokyo.
Man
of
garden
has had shows
heightened by
New
Lack of sharp
the moss.
contrasts
secret of the beauty of the place, and
ways
challenge to the imagination."
a
composition
simple
Japanese
is
in
it
of
the
Rollelflex with
EXPOSURE:
75-mm
Tessar f/3.5
l/iOO second at f/8. FILM:
beauty
somber
glass
plate:
bare
lakefront.
He
fessor
photography
of
at the Illinois
CAMERA:
TTrf
pro-
a
is
Institute of
8x10 Deardorff view with 14-inch
Goerz Artar f/9 lens. EXPOSURE: 1/5 second
at f/45.
FILM: Isopan.
On
a cloudy
snowfall.
morning
the
made
He was
men.
fascinated by the contrast be-
tween the motion of the subject and the total
FILM:
with
lens.
tele-
MInoltaflex with 75-mm Rokkor
EXPOSURE: l/lOO second at f/S.
LIGHTING:
Charles
a
in
depth.
portraiture
subject
and
which
in
seem only
the
CAMERA:
this
In
case,
photographing the painter
Andrew Wyeth on
ment
as
a
home
for
Life,
setting
in
pire
he
this
>
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! ":<'<: ^:,"^^^»--"^'
i.h»i,i.kii>hi„yj.^i,'^.hiiJ--<^.i.i.iuw!ni PA
IMM^
235
—
page 157
Candid
page 160
tri-
youths
fortu ito us
grouped
was
children
by
tioning
her
in
doors
with
only
light,
she
exposed
detail
American taking
existing
take
washing out the backgrou
hattan and
a free-lance
Is
and getting
d,
a
picture a
Miranda
EXPOSURE:
lens.
50-mm
with
these areas In his printing technique:
he printed dark and brought back the high-
1/60 second
at //4.
lights with
FILM: Plus-X developed
UFG. LIGHTING:
in
pase 158
tograph
part
of
ere
f^
missionaries
trained,"
say;
Thomas
photographer
Hoepk6
a
the Vat-
In
from more than 40 countries hve at the semshows
This picture
inary.
Japanese, an Ice-
a
and an Indian student reading
landic,
seminary's park." Hoepker.
who
Germany,
by
represented
is
photographs
CAMERA:
//2
MP
Leica
and
unit
the
In
in
several
Dennis Stock
electronic
his
another exam-
matic
whole
on
posures
second
at
f/8.
Perufin.
in
CAMERA:
ill
extended
sional,
MP
Leica
made
this
35-mm Summicron
with
1/50 second
at
f/5.6.
Perufin.
in
magazine. "Enna
"and
the
I
Here
dresses.
women
I
I
shot.
I
This
wanted
^.
this
In
fingers
at
guitar
strings
RCA
for
Victor.
The hands are
living
In
New
a profession-
Is
her,
Tessar
at
f/2.8.
D-76.
adapted
an
lens.
EXPO-
FILM:
Super
f/2.8
LIGHTING:
shutter at a slow
woman
to
come
panned with the
technique gave me a
I
— that
me
lens.
Leica
EXPOSURE:
MP
with
the
town
was
90.mm Elmar
1/30 second at f/l
Perutz-Peromnia developed
236
phohigh
professional
calibre
that
a
in
I.
Rodlnal.
f/4
FILM:
work
his
hard to believe he
it's
an amateur.
a
sampling
his
EXPOSURE
Lapow found
CAMERA: Canon
EXPOSURE:
Coney
ING:
Mannheim
all
lives
over the
design
35-mm
with
in
the side
Serlnar f/2.8
FILM:
Harvey's 777.
EXPOSURE:
He
says he shot this
Fourth
35-mm
with
Serlnar f/2.8
1/200 second atf/16. FILM:
in
Harvey's 777.
While on another vacation
In
New
Brunswick,
Canada
trip
— Lapow
old graveyard as he passed through
the countryside. The afternoon sun was slowly
sinking and the angle at which it caught the
stones and bars, caught Lapow's eyes.
CAMERA: Canon
with
EXPOSURE: 1/30 at
developed In UFG. LIGHT-
lens.
white-walled kitchen.
FILM: Plus-X developed
Miranda.
in
In
CAMERA: Canon
lens.
York metropolitan area.
existing
f/ll.
picture while on a "boardwalk prowl."
this
FILM: TrI-X
at
Island continued to be a place
saw
f/8.
Serlnar f/2.8
second
bath house.
of fascination for Lapow.
Brooklyn, photographs children
CAMERA:
Magdellan
l/lOO second at f/8.
developed
Plus-X
time
New
l/lOO
Mass.,
this
Mrs.
the
with 35-
this interesting
Rockport,
of a
Plus-X developed
Neal.
or
Canada.
CAMERA: Canon
lens.
but not the
grandson
this
vacationing
picture while
In
is
work.
Lapow made
First
nBlHyi>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
ON SALE
AT NEWSSTANDS
OR USE COUPON
BELO^V TODAY!
THE
OUTSTANDING
PHOTOGRAPHIC
ACHIEVEMENT
OF THE YEAR!
POPULAR
PHOTOGRAPHY'S
NONAA
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<jng as-
EXPOSURE:
f/1.4 lens.
Data unavailable.
(top)
The models were hired
signed to himself.
state-
is
page 205
speed.
New
a series that
wonderful
little
a
The picture was part of
one can appreciate the
"This
to
fairly fast shutter
boy
little
peering out of
ment.
enough blur
show movement with
ting just
page 198
he caught
refreshment scene,
with both father and
!
Imbibing, each according
to
his
own
taste.
CAMERA:
Leica
M-3
135-mm Hektor f/4.5
lens. FILM: Tri-X. EXPOSURE: 1/500 second at
with
f/ll.
LIGHTING:
|
Day-
light.
PHOTOGRAPHY ANNUAL
There's an
incongruous
Ignez Franco. The insoucient poodle
the
relationship
final
note
to
of the
tographer,
staring
boy,
little
Hektor f/4.5
fronn the church, while the
nnembers of
of the
rest
ing to photographer Irwin
Charles Rapoport,
was starting to
it
rain
and
the youngster had looked up to check on the
falling raindrops.
f/2.5
Nikon S-2 with
105-mm Nikkor
Tri-X. EXPOSURE:
LIGHTING: Daylight,
1/125
FILM:
lens.
second at
flA.
Ethol
LIGHTING:
daylight, slightly overcast.
page 209
As
UFG.
heavily
long
for
illustration
a
story on
of
painter Goya, this traf-
dead
reclining
fic-stopping
nude
came
quickly
got him
and
sitter
his
in
nar f/2.8
application
of
ferri-
180-mm Sonat
his
suggested
when
girl
lens.
FILM:
LIGHTING:
natural.
New
painter's
A.
Rollelcord
picture was
One
1
,000-watt
ing
EXPOSURE:
III.
Verlchrome Pan.
daylight
with
an
assist
ceiling.
this
put
realized
quickly
It
end of
signment.
In
a
in
formation
New
with
Woolley
veloped
in
said
Angenieux
ING:
Pentax
FILM:
signment
shot this unposed view of
brother,
Clerk,
trait
I960
K
with
Plus-X.
28-mm
LIGHT-
On
painter
Bill
working on a porof
designer
EDITION
brought
that
Conger
of
the
"Newspaper Photog-
News
annual
in
Pic-
Year com-
He
shot this
vertical
from
under
construc-
tion In Denver.
Panon Alll with 50-mm Panon
EXPOSURE: 1/200 second at f/16.
lllf
f/1.5 lens.
EXPOSURE:
FILM: Super Hypan de-
f/2.8 lens.
FILM:
LIGHTING:
Tri-X.
daylight.
data
Technical
(bottom)
unavailable.
diffused daylight.
page 213
as-
Skipper
for
Magazine,
Parks Jr.
with
Daylight.
Photographer Ed Clark
his
super-
CAMERA:
LIGHTING:
page 210
informa-
lens.
Dean
hotel
lives
Leica
D-23.
Miss
a
Winfield
made
long
of
games
is
The univer-
child hood
reflected
In
vertical
of
candid
Lebanese boy by
a
Thomas J. Abercromble
of the National Geo-
I.
this shot
lens
sality
this
yachting
a
publication,
f/3.5
the
the 20th floor of a new
PRIZE PICTURES
Model's name Julius Caesar. Do you have
written release? No.
Asahi
pictures
unusual
tion:
CAMERA:
LIGHT-
sun.
in-
posure he used, although
this
Dektol.
era was one of the
petition.
a
is
50-mm Summarit
he couldn't recall the ex-
he did give
80-mm Xeno-
1/250 second at
in
This strik-
of
tures of the
N. Y.
Paltz,
1/50 second at f/8.
reply to the
Hartmann
use
the
two sculpture
CAMERA:
In
long as-
request for technical
EXPOSURE:
rapher of the Year"
its
to use with the en-
listed aid of
and author-teacher,
as part of celebrat-
ing the
his
wide-angle Panon cam-
as
and
potentialities,
students.
reports
made
Rolleiflex 2.8 with
lens.
FILM: Tri-X developed
page 212
Lisa.
FILM:
I.
Woolley saw
E.
artistic
Magnum photographer
Rome
was the same
he
undraped
this
It
(bot+om) Technical data unavailable.
London,
professional photographer
this
f/2.8
ING: backlighting from
huge photograph of sculp-
1/125 second at//l6. FILM: Veri-
Hartmann
"knew then" that
raced back to the scene to make
CAMERA;
the
where
studio
Conn.,
police
a
picture.
Klalss.
L.
visiting
When
Denver Post recognition
speedlight unit bounced off side wall.
Erich
He
tographer Rudy
was
warning
soon after reported the accident at that
call
f/16.
Rudy
a
But the lad had turned back to the curb, so
tar
is
LIGHTING:
and he almost shouted
the photographer drove on.
boy.
Harris
LIGHTING: Mostly
Rolleiflex.
Pan.
staff. Moments before the acciSeaman had seen the boy from his photo
cruise car,
Rodvogin, struck the fun-
ture,
EXPOSURE:
a
f/4.
at
from a small fluorescent unit on the
Gescheidt
CAMERA:
chrome
second
l/IO second at //I
him.
told
as
"Just
imagine that the
really a bass,"
DIacord with f/3.5
CAMERA:
photo-humorist
Gescheidt.
14-year veteran of the Minneapolis Star
a
ny bone of amateur pho-
pro-
Vince Milone visited the
Alfred
Ricoh
copy of the famous Mona
idea
fessional bass fiddle player
of
man,
to the youngster not to cross the busy street.
1/500
friend,
artist
spotted
The
phy for William C. Sea-
location, he
EXPOSURE: 1/200 second
LIGHTING: natural.
page 208
studio
professionally
script writer.
The sense of humor of
Plus-X.
itself
works
FILTER: yellow.
Plus-X.
Asahi Pentax with
lens.
FILM:
f/2.8.
Yorker,
CAMERA:
those areas.
CAMERA:
New
a
Richardson
photogra-
In
dent,
photograph.
his
1957 Pu-
the
Prize
and Tribune
clean
with
desired
crumpled coaster
Richardson took
EXPOSURE:
the other by printing dark, then bringing back
cyanide
protest
In
this
whites at the one extreme and rich blacks at
highlights
was
It
charge.
her
Heyman obtained
his
litzer
draped.
cinematographer and
added bonus: an amusing
shot of a Parisian baby
the street along-
against this "brutish censorship" that Newell
Is
lens
be
to
lying
in
wagon won
responsible for such things and she was
photo
nine-year-old
a
side
to
his
observant eye and a tele-
photo
1
tragically
graphic spot-news
comparison
a
annual
of the
Exakta
Naked Maja, about the
ordered
of Parisian parks when
Look's
pictures
In
lens.
page 211 A
a
Hey-
France doing
in
dramatic sea-
this
VX lla with 50-mm KilEXPOSURE: 1/200 second at
FILM: Plus-X. LIGHTING: bright, hazy
f/3.5
Broadway movie. The
ities
man was
made
best sports
a block-
the attention of author-
Ken
CAMERA:
fltt
f/8.
overcast.
page 207
he
I.,
year.
1/200 second
in
R.
of the
daylight.
services. Actually, accord-
CAMERA:
Leitz
morning
Sunday
for
ly,
135-mm
IV-S2 with
EXPOSURE:
lens.
Newport,
off
scape which took top prize
selection
FILM: Plus-X developed
at f/8.
family enter, reverent-
his
would appear.
it
CAMERA: Canon
skyward and turned away
added the
humorous touch by posing for the pho-
from
graphic Society.
was
Aber-
named
the flying bridge of an
cromble
escort vessel. The Provi-
Magazine Photographer
dence
of the Year
Journal
staffer
was following the yacht
Columbia during
Race.
a trial of the
nual
America's
Cup
As she cleaved through the heavy seas
the
News
in
the an-
Pictures
of
Year competition.
CAMERA:
LeIca M-3
'J^
~^'
50-mm Summlcron H2
with
lens.
EXPOSURE:
THE PHOTOGRAPHERS
1/500 second at tIS. FILM: Plus-X developed
LIGHTING:
MIcrodol.
In
A
daylight.
This listing gives names ol the photographers whose work appears in this
A.'SMAL, together with pages on which their pictures can be found.
EXPOSURE: 1/25 second
at f/ll. FILM: llford HP3 developed in DK
60A. LIGHTING: one floodlamp.
Schneider f/S.b
(bottom)
lens.
data
Technical
page 215
Brian
unavailable.
veer of Pleasant Ridge.
captured
grace
and
beauty
44
R
Clarity. Ed
Clerk. Ed
Clermont. R. M.
.
.
110
.
.
Colhoun. Steplien
Conger. Dean
Cook. Molly .Malone
Corte, Charles
.
.
....
....
.
.
.
.
Davidson, Bruce
."n-41, 42
Davis, Richard
De Evia, Edgar
Dieuzaide, Jean
Dorr. Xell
197
70
149
Duncan. David Doughis
Dunn, Phoebe
....
202,
Feininger, Andreas
Feinstein, Harold
Ford. Barton
Friedel, Ludwig
the
of
220
213
Eisenberg, Harry
Ericson. Rolf
Erwitt, Elliot
West-
Mich.,
73
21S
157
214
22i
....
Canada. The photogra-
pher was Robert C. Ragsdale of Toronto who
lighting to
72. IfiS
Callahan, Harry
Capa. Robert
Cartier-Bresson. Henri
Press Photogra-
phers' Association of
13S
Don
Bryson, .lolin
Buckley, Peter
BuUaty, Sonja
Byer, Mrs. William
Byron, Percy C
Commer-
the
of
and
cial
of the
class
Annual
203
....112.223
118
Brown. Jes
first
prize winner in the publicity
fi4
Frances
Brandt. Bill
Bravo. Jlanuel Alvarez
Brennan. .\nne
actress.
was
Robins,
subject
lovely
147
219
173
221
KJ9
?.n
riiss. Mitchell
page 214 A
77
1:3
37
James
Blanche.
1
'}/!
'anni. .A.;lyn
Bell. Hngli
Bellanca. Giuseppe
Beny, Rol ff
Berko. Ferenc
Bischof, Werner
Blair.
daylight.
2o:!,
IiiO
223
44
215
204
205
120
169
31
170.171
two Florida seagulls to
"Grand Award"
take a
Eastman Kodak's High School Photographic
in
contest. Although only 17 years old.
won top
has
prizes
many
In
Westveer
of the
nation's
photo contests.
The same day he made this
picture he took another which won a top prize
another national
In
contest for
high
school
students.
CAMERA:
fl2
Leica
EXPOSURE:
lens.
with
lllf
1/200 second at f/ll.
FILM: Plus-X developed
ING:
50-mm Summitar
in
MIcrodol. LIGHT-
daylight.
his
lens
to
vantage
this
Nikon
S2
with
SO-mm
Nlkkor
EXPOSURE: 1/60 second at f/5.6.
LIGHTING: daylight.
FILM: Panatomlc-X.
242
.
.
.
S2. 94. i:;4.
135
Hartniann. Erich
Heyman, Ken
Hine. Lewis
W
....
20-27.
1
Hii
Hochman. Gerald
.
.
,
Goro
.
.
.
97
104
110
141
Imai, Hisae
Inami'ra. Takamasa
Ishimoto, Yoichi
dog. The pic-
lens.
190
166
Halsman, Philippe
Hartlage. Walt
Ike.
won him a second prize In the school or
community life division of the ScholartlcAnsco Photographic Awards for 1959.
fl.4
I'4, 105
Grehan, Farrell
capture
ture
CAMERA:
.185
Goro, Fritz
Gregor, Carola
Haas. Ernst
130
117
208
156
19
....
candid and spon-
his
J115.
.
.
.
taneous shot of a boy
and
.
1.'
Hoepker, Thomas
Hosoe, Koyo
Hotta, Takeichi (see Totta)
good ad-
to
Gelabert, William
Genthe. Arnold
Gescheidt, Alfred
Gianni, Ranati
Gomel, Bob
Gordon, Jeffrey
Hoff, Charles
Harry Eisenberg used
PAGES
I'l
Abercrombie. Thomas
Adams,
:
an-
of the 23rd
class
PAGES NAME
Abbott. Berenice
Jaffe,
.lervis.
Morris H
Robert
Jolinson. Dr. Carsten
Jone.s, Pirkle
W
201
14S
i'-i
i:'8
a.
Klais, R.
hii
L
.
INTRODUCING
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cameras
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new, spectacular
a
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^^
i
zenza
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where the similarity ends. The new Bronica
automatic features that distinguish it from any other
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lose sight of your subject. The image remains bright and clear
at all times, except at the instant of exposme. Here's how:
At
first
its
type, but that's
removed, the darkslide must be inserted to protect the film.
This slide cannot be removed while the back is off the camera.
And when on the camera, no exposure can be made until the
slide is completely withdrawn. \Vhen a back is attached to the
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offers
THE INSTANT RETURN AUTOMATIC MIRROR instantly
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not
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The
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It
INCOMPARABLE NIKKOR OPTICS. World renowned for
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a normal 75mm lens, and is the only 214 -square reflex that
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THE REMOVABLE TILMINDER' BACK
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Before the back can be
Division of
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111 Fifth
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Avenue,
protected by
Nikkor
mo
e
than 60 patents.
j 12.8 lens
New York
In Canada: Anglophoto Ltd., 880 Champagneur, Montreal, P.Q.
3, N.Y.
$489.50
COLOR!
DAYLIGHT
INDEX
Kodak
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liglit-type
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skiers flashing
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a sunset
make available-daylight studies indoors,
hand-held ... or shoot extreme telephoto pictures where
hoih shutter speed and depth of field are critical.
Fast
and with magnificent color quality, as well
long scale to hold shadows and highlights
superb definition to bring details decisively to your screen.
In your transparencies, you'll see clean whites, pure
slope ... or
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L
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20
—
eJ"^
Film
rich reds, but never exaggerated
and
glowing yellows.
Quality without compromise
and a daylight index
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make you
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fast
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of 160!
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—
Three processing choices, too
at home in your
... by an independent lab ... or by
Kodak, through your dealer.
Ask your dealer for Kodak High Speed Ektachrome
Film, Daylight Type, exposure index 160 ... or Type B,
own darkroom
index 125 tungsten. Just $2.50 for 20-exposure No. 135
magazines.
Daylight Type, basic sunny-day exposure 1/250 second at //1 6.
Type B, balanced for 3200K, use usual filters for photoflood and photoflash. Typical
available-light exposure in sports arenas, theaters, other interiors, with 30 to 40 footcandles incident illumination, 1/50 second at//2. Typical flash settings, using 81C filter:
bulb, 1/30 second with guide number 160; for M5, 5, or 25 bulbs, 1/100 or 1/125
with guide number 190.
„/ subjc.
change without notice.
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THE 1959 POPULAR PHOTOGRAPHY
COLOR ANNUAL
An
International Treasury of the
World's Finest Color Photographs
•
72 PAGES OF FULL-COLOR GRAVURE
64 MASTER PHOTOGRAPHERS
Here
the world's only annual de\oted exclusively
is
to the
new and
these covers
is
Between
work done by
exciting color photography.
a gallery of the best
photographers of
all
nations within the past year.
not be a camera-fan to enjoy the Color
Annual. In the International Portfolio, a tour of the
best from the studios of the world's most accom-
One need
plished photographers provides unlimited spectator
pleasure for the thousands to whom color photog-
raphy
and
the
is still
a mystery.
film are daily tools
new
tional
The
For those to
and
whom
camera
on
delights, the section
negative color process will be both inspira-
and
instructive.
essay entitled,
"The Flight From Realism." by
how photographers have at
Bruce Downes. reveals
found a way to escape from documentary realism
and, having discovered a new creati\'e freedom, are
enlarging the horizons of the world of color. The
Color Annual is definitely for all who feel that a
last
provides them with more fun, more
and often more profit, than any other
roll of color film
pleasure,
medium
of entertainment that calls for the personal
creative touch.
TENTH ANNIVERSARY EDITION
I960 PHOTOGRAPHY ANNUAL.
Treasury of the World's Greatest Photographs Selected
A
by the Editors of Popular Photography
244 pages
BRUCE DO'vVNES,
•
32 pages
the distinguished Editor
PHOTOGRAPHY, coptoined the team
PHOTOGRAPHY ANNUAL. Formerly
full-color gravure
•
174 photographers
of POPULAR
produced this 1960
PHOTO ARTS QUARTERLY,
ond Publisher
that
Editor of
Mr. Dowries has earned on internationol reputation, with few peers
commentator.
in his field, as both o shrewd critic and o sympathetic
His determined
on the highest standards
insistence
is
helping to
elevate photography to the status of on independent creotive ort.
Under his personal supervision are r!so produced the famed COLOR
ANNUAL, 35-MM. PHOTOGRAPHY, HOME MOVIE MAKING and the
POPULAR PHOTOGRAPHY DIRECTORY AND BUYING GUIDE.
in the United States, Canada and across the seos. Conscious of
unique position, the ANNUAL maintains its high standards proudly but
keeps always in mind that photography Is for the millions and that the
ANNUAL'S primary mission is to entertain - From the Editor's Introduction:
the 1960 edition, i' will have sold more than
"In ten years, including
toste-mokers
With the Tenth Anniversary Edition of PHOTOGRAPHY ANNUAL, it is estimoted
ies of
that nearly fifteen million people have read and enjoyed these treo
1950.
the world's greatest photographs s nee the first ANNUAL appeared
No
and
its
other picture collection reaches so varied a public around the world: ne>
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