Photography Annual 1960 (Art eBook)

PHOTOGRAPHY

ANNUAL TENTH

ANNIVERSARY EDITION Including International Portfolio

and Prize Pictures of the Year

1

$3.95

Tenth Anniversary Edition

1960 PHOTOGRAPHY ANNUAL A Treasure

of the World's Greatest

Photographs Selected by the Editors of Popular

244 PAGES

•

Photography

32 PAGES FULL-COLOR

GRAVURE

PHOTOGRAPHERS

174

of Photography, the truest mirror o£ life, is capable pictures evoking every human emotion. People love because they communicate instantly and eloquently.

Here in the 1960 Photography Annual are prepictures sented about 250 of the best contemporary glance from all over the world-plus a retrospective photographers. at many of this century's finest the outstanding features of the 1960 Photography .\nnual is the remarkable "Color Avedon tells Essay of the Year" in which Richard

Among

how, on a Life assignment, he photographed Marilyn

Monroe impersonating five fabulous sirens of the Bow, Jean past: Lillian Russell, Theda Bara, Clara Harlow and Marlene Dietrich. Avedon's dash, imagMarilyn's ination, and unfailing good taste plus glamour and impressive talent as a comic actress combined to produce a gay explosion of color, art and nostalgia. The result, in full color, is an unusual expertestimonial to photography as fun, art and an iment

in the re-creation of history.

especially Serious amateurs and professionals will Retrospect," a selection from \ alue "Photography in Museum of the 626 photograph exhibition of the

Modern

permanent collection prepared under

Art's

Edward

the direction of the great

The

Steichen.

foreword to this 40-page "Exhibit of the Year" by Mr. Steichen himself. Because

Annual

photography de\otes

International

from

all

its

is

truly

international,

largest section-80

Portfolio,

is

the

pages-to the

which includes the best Germany, France,

nations, including Italy,

Switzerland,

Sweden and Japan. of the

Other timely articles display the Prize Pictures addiYear and the Best Books of the Year. A new Pictures Made tion to this year's Annual is "These Us Laugh," on the subject of humor, a difficult-toprized ingredient in photography. of course, in a special section, are exappended the technical data as to cameras, film, will posures and lighting, which every photographer

catch but

To

much

all pictures,

want

to

have

to increase his

picture-taking

own knowledge and

skill.

ZIFF-DAVIS PUBLISHING

COMPANY

ONE PARK AVENUE, NEW YORK 16,N.Y. Distributed by

630

Fifth

Simon & Schuster,

Avenue,

New York

Inc.

20, N. Y.

his

i

p

244 PAG

Photogra evoking because t

<

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.

©

I960

EDITION

7

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

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Every feature you've ever wanted

automatic twin-lens reflex

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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.,

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

work.

Other Meopto Models Axomot 16 & 35 Opemus 6x6 Magnifax 6x9

Mognifax

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.

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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

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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

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® :-PRAKTINA-, PRAKTICA',

•UFA' Trademark

of

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fifth

AvsnuB,

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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

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I

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KODACHROME EXP. ROLLS processed & mtd.

exposure

I I

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roll

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$050 4^

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35mm BLACK & WHITE °|^„^ ^j,^^ $i .25 36 exposure

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12 exposure

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$3.50

KODACOLOR PRINTS & ENLARGEMENTS BLACK & WHITE ROLLS developed & printed

rnrr

i

r IlLti

!

send for complete price LIST AND MAILERS.

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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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»»?-*««=»'

.i':

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IS.

INTERNATIONAL

PORTFOLIO

A SELECTION OF THE YEAR'S BEST PICTURES

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JAMES BLAIR

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CAROLA CREKOR

Larch Trees

PETER BASCH

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(Japan)

Flower

RICHARD DAMS

Swans

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Hoodetl Child

ANN

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City

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CAROL

JM.

SMITH

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WYLIE LEONG

Football Ballet

THESE PICTURES MADE US LAUGH l

lii?

section

is

a graphic rebuttal to

the long-standing claim that photographers can't he humorists. But the rebut-

was not intentional. The editors did humorous pictures; they came

tal

not seek

in with the

stream of submissions and.

like

appealing

out

for

special

kittens,

literally

presentation

cried

in

this

year's annual.

These photographers found humor in areas, even under the most ordi-

many

nary circumstances se(iuence of the old

—

for

instance,

man and

the dog.

the

A

commonplace occurrence, but

the alert

and

work,

their

yet

—

their

fields

.Alfred Gescheidt,

are

an

photographer shot a series of pictures

widely divergent

and came up with an amusing photo-

advertising

graphic "anecdote."

funny situations in the

Three other major categories of humor are found among these pictures: the optical illusion; the incongruous relationships of people, with each other,

Elliott

with inanimate objects, and with ani-

cepts these pictures follow or violate,

mals; and the lampoon, mostly of the

they

other arts.

that photography, like all other media,

Two

of the

already

are

photographers represented

known

for

the

humor

in

photographer, sets up his

Erwitt. a

his along the

.studio,

while

photojournalist. finds

way.

But wherever the humor was found, regardless of what

made

psychological pre-

us laugh, and

they

prove

provides plenty of opportunities for the

humorist

to find

expression.

FR-iNCES BORDEN

III

^j^^^^^^^^^^P*^^

ELLIOTT ERWITT

Fellow Travelers

^

Brief Encounter

DOUG MARTIN Optical Illusions

ROLF ERICSON

(Sweden)

WERNER MULLER

[Germany)

KEN HEViMAN

The

Biibv Sitter

ALFRED CESCHEIDT

ED CLERK.

Sylvan Portrait

Bass Fiddler

ERICH

HARTMAN

Noblest

Roman

NEWELL RICHARDSON

R. L.

KLAis

La Giocanda

A. E.

"Now showing

wooLEY

.

Shop Talk

Courtesy Minneapolis Star and Tribun<

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

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your

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— 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

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.

.

for

girl,

tungsten

daylight type girl,

type Ekta-

bounce and

di-

Yes, pleasure of operation ana pride of ownership are yours with the MEC 16. See it at Or send the

This illustration for Smith, Kline

&

French Laboratories cleverly and symbolically

EDITION

hand

Standard Camera Corp., Dept. P-29 319 Fifth Ave., New York 16, N. Y.

Please

319

rush

illustrated

Name

STANDARD CAMERA CORPORATION

I960

a whole world of fine photograptiy Ip the palm of your

lens.

rect lighting: for flower, daylight.

page 80

.

subject — portraits,

1/50 second at f/22; for

FILM: for

Ektachrome; for flower,

chrome.

HAS COME OF

mmr m

f

nue

9|

R ^^L (»

chose

"•

^

an old church Pa.,

^b^IIILl.

near the

which

artist's

Wyeth had

used as a subject for a painting.

CAMERA: lens.

ING: 232

No

^

photo

study

American

various

took

this

of

circuses,

angled

amusingly

shot of a young

riding

4x5

Special"

FILM:

4x5

EXPOSURE:

with ing a

1/50

Brothers Cii

Cristiani

cus performance

in

Miami.

fore

LIGHT-

,

Tri-X.

From the

Reynolds,

Yorker,

Is

on the

CAMERA:

Building,

lens.

Abbott made

staff of

turned

New

Popular Photography.

M-3 with i35-mm NIkkor

Leica

EXPOSURE:

in

ex-Ohioan

an

1/50 second at f/16. FILM:

Plus-X.

long time exposure

page 125

el.

shot of crowd

demolished be-

World War

II,

Clyde

is

classic

CAMERA: utes at f/16.

leaving

Beatty-Cole

New

York City,

made a

New at

Palisades

8x10 Century Universal view with

EXPOSURE:

FILM: no data.

Jersey

15 min-

a

Bros.

engagement

by Reynolds during

images of

12-Inch Zeiss Protar lens.

Backlighted

Circus matinee was

foreground.

visible in the

The picture has remained one of the

and has been reproduced many times.

Meridian View with 6-Inch

record of film and exposure.

available.

,

star

waiting for her entrance dur-

"Felnlnger

1932. The Sixth Ave-

in

assign-

Chadd's Ford.

State

Berenice

to his sur-

logically,

roundings.

bright sunlight.

devoting himself to a

few feet

a

top of the then-new Em-

is

related, visually

is

half

This

Avenue sidewalk

Fifth

40-Inch Dallmeyer //I2 lens.

page 121

Arnold Newforte

a

contrast.

Rey-

telephoto lens brought him

particular

increase

to

FILTER: K-2.

close.

man's

D-76

in

all

streets

second at f/l6.

Fuji SS.

page 116

f/16.

at

page 124 long-term

shot of

un-

Ektar

8-in.

EXPOSURE:

normal

times

those

City,

name

second

l/lOO

wood-

old

FILM: Super-XX developed one and

around

makes the cross

CAMERA: f/i.S lens.

f/b.3

nolds.

York

to

apart.

the surroundings.

stillness of

known,

lenses.

are

and

high-angle

ad-

calculated

film

en 4x5 view,

showing extreme compression

these two bulls led by two

then

day.

further Increase contrast.

pho-

of

tools

shots

New

found

Japan,

the

master

a

is

in

fire

it.

Andreas

best-known

Koyo Hosoe of

Takayama.

summer

been fascinated by His

in

about

tography, and has long

photo

just

made by

shot on a bright

CAMERA:

of

staffer,

ministered processing to

page 120

after a

March,

He

ows.

platinum

a

very -long -focus

late

Journal

6l/2x8l/2-inch

a

Felnlnger

Technology.

Mil-

a

escapes and their shad-

was made

was made from

print

Chicago's

angle.

Bauer

set out to discover the

game,

illustration

little

right

the

patterns

an

a

manipulation

technical

waukee Clarence H.

Buff,

on

these

in

FILM:

White's charming recrea-

1902,

along

l/IO second at f/8.

tion of the child's

the

common-

using

place,

and

Harry Cal-

found

lahan

Picture

under

are endless as wit-

Richard

as

page 115

Graflex with f/4.5 Tessar

unknown.

Bllndman's

Plus-X.

trees

EXPOSURE:

lens.

page 119

CAMERA:

existing.

ness the creative appli-

dealing with the

natural world.

lens.

3'/4x4l/4

textile

his

cation of the

CAMERA:

al-

is

Kimura's

characteristic

facility

artist's

sun

and Philadel-

York,

voca-

the

in

possibilities

and

phia.

perhaps the

is

in

page 123

Chicago,

in

tion

Is

An-

night.

full-time

LIGHTING:

was

exhibition,

to

home town of Biella. Italy. CAMERA: Rollelflex with 75-mm Tessar f/3.5 lens. EXPOSURE: 1/30 second at //22. FILM: Adox KBI4 developed six minutes in Rodinal.

the Family

in

or

tonacl's

industry

the best known of Mexi-

can

represented

"The quiet beauty of the Is

Al-

made

was

day

by

leaning on an

girl

railing

with

series

gest on the mountains,

"many years ago." Bravo

a

writes

of

Manuel

a

in

tasy that light can sug-

available.

is

a

show the world of fan-

varez Brave's picture of a wistful

"The Moss

photographers." Ihel

FILM: Supertwo

I.

others

It

EX-

fill-in.

page 114 Garden

No

session.

of

made

the Alps was

first

Vanity

in

Franco

shot

jewel-like sun setting on

about that time.

Fair at

address-

legislative

joint

actress

to this country.

published

Antonacl's

when

I920's.

Swedish

came

ridor as the Prime Minister

the early

in

the

Karsh a cor-

in

page 122

portrait

of

Decennber 1941.

in

supplied

this

Greta Garbo was made by Arnold Genthe

ston Churchill, which he

made

INTERNATIONAL PORTFOLIO

According

information

to

Amusement

Park.

CAMERA: with

50-mm

Leica M-3

Summlcron

PHOTOGRAPHY ANNUAL

EXPOSURE: 1/50 second .at LIGHTING: existing. Plus-X.

lens.

FILM:

//4.5.

page 130 ways

Ex-

waited

perimentation on the part Blodgett

Jerenny

and

lens,

and

his

some time before

literally

viewer dizzily along with

CAMERA:

carries

the

LIGHTING:

D-76.

California

habitat,

had the camera of

col-

por-

and

William Gelabert,

traitist

Philippe

of

New

York.

In

the

bottoms

master

He burned the

of

Halsman

turned on him while

visit-

New

York

ing the latter's

doorways for detail so that the repetition of

studio. Angle,

the design pattern would be pronounced.

combine to give Adams

4x5

in

ern

it.

Pacemaker Crown Graphic with 90-mm Schneider Angulon f/5.8 lens. EXPOSURE: 1/5 second at f/32. FILM: Super-XX developed

for

finally

league

plains

that

result"

Adams,

far from his natural north-

tripping the shutter," ex-

at different speeds, but found that l/S second this

FILM:

Master pho-

tographer Ansel

stand

to

f/8.

Microdol.

in

wife driving

the car at 30 mph, Blodgett "tried shooting

gave

page 134

so

my eye

with camera to

tripod, tripod secured to a slioot-

ing platform on his car,

had

I

Planar lens.

at

flash

the

disappeared

quickly,

car produced this dynamic illusion of speed.

Camera on

made

Rolleiflex v/Ith f/3.5

electronic

Verlchrome Pan developed

exposure. Because moving

moving

a

CAMERA: EXPOSURE:

simply

I

someone

until

subjects

School student), a wide-

angle

nylon stocking to diffuse the image, giving the figure a soft quality.

Park

Riis

walked by and

(a

Art Center

Los Angeles

the

at

Beach bathhouse,

pases 126-127 of

"Fascinated

by the pattern of door-

CAMERA: ill

Leica

50-mm Summicron

with

lllf

EXPOSURE:

lens.

1/25

FILM: Plus-X developed

in

second

D-23.

at

LIGHTING:

available

No.

PAPER:

daylight.

Kodabromide F

3.

facial

expression

a satanIc carlcaturiza-

tlon.

CAMERA:

f/16.

daylight.

and

lighting,

Falrchlld-Halsman 4x5 twin-lens

210-mm

with

reflex

Tessar

f/4.5

lens.

EX-

POSURE: I/IO second at f/ll. FILM: Super Hypan developed in DK-50. LIGHTING: two floods.

pase 128 An example

exciting

impres-

the

of

sionistic use of blur

Madrid by Swiss pho-

itfi

//2.8 lens.

EXPOSURE: 1/25 second at f/2.8. FILM: HPS developed in MIcrodoL LIGHT-

llford

ING:

A

home

in his

IIC with

a

work of

art.

CAMERA:

Fairchild-Halsman 4x5 twin-lens

210-mm

Tessar r/4.5 lens. EXPOSURE: I/IO second at f/16. FILM: Super Hypan developed in DK-50. LIGHTING: two with

reflex

his

bull, v/Ith

one spot.

floods,

page 136

legs

his

page 132 oher

immense strength and Walter Silver

made

R.

picture

this

shot

York enabled Susan Mc-

his

and

were awarded for the greatest

a tail

ever seen."

I've

"Two

Cartney to see the com-

Panning

his

camera along

with the motion of the bull caused the back-

ground to blur and heightened the feeling of movement.

CAMERA:

M-3 with a 90-mm i/l EXPOSURE; 1/200 second at FILM: Tri-X. LIGHTING: daylight.

Summicron f/3.5.

Photogra-

France,

study

He

studio. last bull.

In

used four 500-

fashion

shot

this

teur,

slight

shadows on

white paper background.

young

lancer with dio,

his

specializing

CAMERA: //2.8 lens.

FILM:

EXPOSURE:

Rolleiflex with r73.5

LIGHTING: I960

Planar lens.

counselor and

CAMERA:

1/60 second at r75.6. FILM: VeriIn

own in

^'

Rolleiflex with

EXPOSURE:

llford

is

a free-lance

80-mm

Zeiss Planar

1/125 second at f/4.

FP3 developed

ING; overcast

artist.

In

D-76.

LIGHT-

daylight.

Microdol. LIGHT-

floods.

Using

from

one

page 137

If

Gilda

with

80-mm

1/60 second at in

fluorescent banks.

Planar f/4.5.

Harvey's 777.

instead of a pho-

have painted the snov/y streetscape she saw from

Clermont

her fifth floor apartment window in New York. The medium of film emulslcn

page

132,

completely

a

different effect. This time

electronic

v/ork.

artist

tographer, she might

he

the

he used only one

stu-

fashion

an

different tech-

produced

f.

FP3 developed

EDITION

lens.

used for the photograph on

is

Hasselblad

FILM:

_

works full-time as

travel

//2.8

CAMERA:

nique

free-

EXPOSURE:

llford

v/hich lights v/ere

set up.)

entirely

Jean

Schatzberg

talented

a

They show the exact angle at

page 133

un-

simple

of

Mc-

Miss

stroll.

Rosenblum had been an

her shoulder

for Vogue.

hour

(Note

Jerrold

Patchett wearing a Siamcat on

/

Cartney, a serious ama-

ING: four 500-watt

starkly

wintry

to the left of the camera.

Leica

Schatzberg took

this

in

scene while on a lunch

the right, and two placed

chrome Pan developed

cluttered,

a

position

watt lamps, two placed to

lens.

page 129

Training

M. Clermont of

figure

Bar-

in

while

student at Cooper Union in New

Montrevll, this

celona as Ordonez fought

a

his

town, Graz, Austria, where

Retina

and

terization

made

he works as a goldsmith.

power.

ese

photograph, but a charac-

the

facing page. Herbert Rosenberg also picture

Inimita-

daylight.

rushing

between

kill

in-

on

In

Halsman fashion, the result is more than just a

50-mm Xenon f/2.8 lens. EXPOSURE: t74. FILM: Adox KB-17 developed in Fabofin. LIGHTING: afternoon

gives the viewer a feeling

ears

signment for the Safurday

William

to

shot

CAMERA:

available.

tail

of

receding

distance)

of

Edith Sitwell on as-

ble

Gelabert's •

Dame

(repeti-

to

C

is

Halsman portrait

this

and idea

Mettier.

Hasselblad 500

made

Evening Post,

tographer Lisbeth Vajda-

CAMERA:

in-

(public

pattern

tive

an

perspective

in

in

bath)

page 135

place

similar

ing Spanish dancer, taken in

study

this

is

language

ternational

to

shot of a whirl-

this

is

Proof that

world and also

that photography

convey the feeling of motion

a small

it's

from

slow shutter speed

a

page 131

light,

flash

an

unit

placed about 10 feet to the left of the model. Clermont exposed for the light only and In

printing, the

let

the background go black.

photographer used a piece of

has given her equally artistic

results.

CAMERA:

Leica

lllg

50-mm Elmar f/3.5 lens. EXPOSURE: 1/60 second Plus-X. LIGHTING: available.

with

at t74.

FILM:

233

page 141

Key Nllsson. a young

moto

Swede studying photography

possibilities

made

the

in

taken

ocean, and stopped

He

Stockholm.

in

maximum

brought about the efwanted by over-

Technlka

EXPOSURE:

Angulon

f/6.8 lens.

at f/32.

FILM: Sakura developed

daylight.

ING: afternoon

others

who

this

picture

will

the

shooting

the

Belgian

Africa.

sis-

Mi;

EXPOSURE:

Rolleiflex.

full

l/lOO

FILM: Verichrome Pan. LIGHT-

page 139

"I

Adder,

months

carried

time

35,000 refugees out of

North Viet Nam, as

who

professional photographer

on such important stories

This

Blair

EXPOSURE:

has worked

as the Hungarian

In

1/30 second at f/4.

MIcrodol.

lens.

FILM: Trl-X

LIGHTING: HTING:

LIGHTING:

MIcrodol.

in

Plus-

north

aimed here

artistry,

torso

long

CAMERA:

think,

page 148

/ith

soft,

a

gift

a

professional,

illumination

source.

is

images.

Inamura,

sociated with Orion Service

CAMERA:

in

bounced is

as-

Tokyo.

Rolleiflex with 80-mm Xenotar EXPOSURE: 1/25 second at f/6.3. Neopan SSS developed In D-76. LIGHTING: 5,000-watt studio light, bounced. lens.

Fuji

tograph

Miamian

is

Black

Flip

Schuike,

Star

an

of

which

he

staffer

followed the

continually

first

student single-lens

as

reflex

Other helpful

moved

the action In

order to obtain

fast

factors: fast film, fast

lens,

a

fast eye,

a

CAMERA: f/2 lens. Plus

X developed

with

lllf

in

let

of-the-ordlnary image of

Promicrol.

50-mm Summltar FILM:

setting

FILM: TrI-X developed 25 min-

lens.

a

Jean Dleuthe

him and create an out-

Hektor f/2.S

Is

MIcrodol.

1/500 sec-

utes at 70 degrees in

photog-

a

10 seconds at f/8.

sun's rays play tricks for

EXPOSURE:

He

and

long-

zalde

available.

Leica

125-

motorized Praktina FX with

made.

College

EXPOSURE:

page 149

f/2.5.

Jervis ever

Oberlin

made from

rapher for the year book.

know-how.

ond at

life

still

at

focal-length lens, and, of course, professional

CAMERA:

has

The photograph was

eight years' of shooting.

his

mm

This pho-

part

portfolio

unusual

and

shutter speed, of a

a

Is

keen eye for un-

a

the fact that the

is

photographer,

stances.

pleasing

York

photographer

terback making a "pitch-

such remarkable sharpness under the circum-

woman's specialty." The

Planar lens.

Robert Jer-

New

of

young

away from or toward him

are Japanese

Rolleiflex with f/3.5

EXPOSURE: 1/50 second at f/ 6. FILM: llford HP3. LIGHTING: three spots and four floods.

standing shot of a quar-

of

beautifully,

the

out-

this

through the groundglass

present delicate texture

focus,

at

print.

vis

focus

Takamasa

shot studio

his

in

lens.

The secret

in

daylight.

mura, with typical Japanese

234

FILM:

this

1

page 144

out" Rolleiflex with f/3.5 Tessar

page 140

FILM:

lens.

Giuseppe

but changed his mind while image coming through his enlarger. He played with the focus and decided to make a high contrast, out-of-focus

ual

CAMERA:

f/2.S

like a

Is

revolution.

light

1/60 second at f/4.

through window toward

ingredient

ex-

"photogenic Bellanca

looking

Nikon SP with SO-mm f/1.4

X developed light

and

Professional

picture critical

in

it!"

model and her rose looking

EXPOSURE:

was part of that mass exodus."

I

little

CAMERA:

gon was the destination of these people escaping Communism.

which,

lovely

the

one

pictured

1/50

Sometimes tests

for

quality."

story-book illustration from a long-past era.

a

PIO officer," says photographer James P. Blair. "Freedom in Sai-

and

"hold

to

he

EXPOSURE:

FILM: Verichrome Pan devel-

was testing

model

the activities

Here

he

MIcrodol.

Bellanca

his

quests

three

in

Rollelcord IV.

at f/5.6.

in

photographer

young models biding time between re-

of

Navy

a

troopship that

CAMERA: oped

late

because

picture

a soft-quality light.

The picture.

fashions,

eye saw picture pos-

sibilities in

was if

USNS Ma-

aboard the

Akron

for the

periments turn out to be

Owen's profession-

Burt al

daylight.

wanted

the

for

light

page 147

While car-

children's

on

photographer

a

Is

photographic

page 143

of

FILM: Fer-

D-76.

in

rying out an assignment

Manhattan.

in

developed

who

evening

second lens.

self-expres-

sion should be primary motivation," works

f/8.

1/250 second at f/8.

EXPOSURE: ranla

— one

"A Photog-

Beacon Journal magazine section, chose

wearing the straw hat." CAMERA: Nikon SP with 35-mm //I.8

view

University

Valaltis,

Audrey (Hepbu was between shots. She removed the nun's veil because of the heat, and that's why she is

share

time as a secretary, lives

"I

as-

portraiture at

rapher Looks At Himself."

location,

Congo in made this

picture," says Roth, "while

and

amateur who believes that

CAMERA:

a series called

hand

she relates.

feelings,"

Ohio

for

left

California

older

hope

I

and lenses and

his

in

(while a class

a

camera

home

children,

that

"to

professional who made

in

and

camera

Vytas Valal-

signment

simplicity

developed

LIGHT-

Promicrol.

In

young talented

a

is

his

He packed

evoked a warm personal

a

tis

for

charm of the

child

by

student)

little

rine

page 146

Sanford H.

assigned

was

Roth

"The Nun's Story."

to that of his

ING:

125-mm Hektor

available.

vie,

the

second at

with

l/lOO second at f/5.6.

FILM: Tri-X developed

attract-

of

serious

FX

Praktina

EXPOSURE:

//2.5 lens.

ING:

D-76.

of the powerful fullback as he

into the line.

this self portrait

his

my

movement

smashed

magazine to cover making of the mo-

brother linking

response

page 142 Life

faces, the protective at-

the

the

the

ed Anne Brennan great"The beauty of their ly.

ter,

in

t

show

to

situation

These three

Amish children

titude

l/lO second

^^

^^

in

Hasselblad 1000 F with 135-mm

CAMERA:

Sonnar f/3.5 lens. EXPOSURE: 1/250 second LIGHTat f/e. FILM: Tri-X developed in D-76.

page 138

90-mm

with

process-

in

than

expected

CAMERA:

Linhof

ing to increase contrast.

development

insure

to

speed

ing

detail.

CAMERA:

fect he

down

lens

his

slower

this fast-break-

shooting

He posed

Japan.

In

Flip

a

be

might

the model carefully on a sandy beach near the

snowy scene,

this

shutter

he

Here

used

Schuike

photograph

this

while

shapes and tonal areas in

but

out of Chicago,

the strong compositional

page 145

Ishi-

professional

photographer who works

saw

Lidingo.

in

Yasuhiro

a

is

LIGHTING:

horses and ting

wagon

along a road

trotIn

Turkey.

Dieuzaide

is

a

PHOTOGRAPHY ANNUAL

new

France, and not a

resident of Toulouse,

CAMERA:

LIGHTING:

FILTER; orange.

X.

road,"

try

Xenotar f/2.8

Rolleiflex with

"While profes-

says

lens.

1/50 second at f/S.b. FILM: Plus-

EXPOSURE:

page 153

traveling along a coun-

contributor to these pages.

setting

sun.

photographer sional Molly Malone Cook, "I noticed

the

that

ATTENTION

late

daylight gave the bridge

page 150

was

was

wheat

and

made on assignment

for

printed

^

message printed over it. shot wheat and leaves separately, then sandwiched the two negatives in printing. His was planned to assure

a

white back-

ground: a main source on subjects and strong Illumination.

many

New

years.

my work

Is In

A

Yorker

professional

Bliss

says:

the experimental

field.

for

"Much

am

I

of

often

called upon by agencies to work out photo-

graphic problems. As

a result.

Involves

It

new techniques and various methods a story by photography.

personal opinion that it

can be done as

If

many

of telling

has always been

It

my

can be Illustrated,

It

and

well,

Cook

has been a

New

most cases

In

York profe

for

al

SP

Nikon

with

CLUB

50-mm

f/\A lens. EXPOSURE: 1/60 second FILM: Plus-X developed In UFG.

Bliss

background

Miss

CAMERA:

a subscription solicitation

lighting

CAMERA

Asheville,

Carolina,

two years.

'

""

outside

North

''^

key with

high

in

/-

//

promodepartment. It was

Time's circulation tion

took

I

the picture." The bridge

oak

nal composition with

leaves

a lovely hue and

Mitchell

etched autum-

finely

Bliss'

NIkkor at i/S.b.

SECRETARIES! page 154

R.

Rosarlo

New

a

is

Miguel

professional.

For

photograph

he

York this

used

only the backlight pour-

through

ing as

Is

window

a

gives

Backlighting

source.

light

his

strong feeling of the third dimension

In

with Popular Photography?

still

photography.

CAMERA: FILM:

//2.8.

EXPOSURE:

Harvey's

in

whenever a special opportunity

777.

arises that

better, by photography."

CAMERA: f/6.3

Deardorff 8x10 with

EXPOSURE:

lens.

FILM: Super Panchro

seconds

4

Type

Press

LIGHTING:

DK-50.

in

14-in.

B

at

Ektar f/32.

developed

incandescent

(see

page 155 lighting

on

tured

nude

sculp-

been

has

balanced

to

maximum

of

a

k,>~__,

Edv

J

who

dentist

lives

in

lighting the

nude form. The

photo was

made

in

Bailey's

studio

in

Detroit where he works as a

CAMERA:

m^i

professional.

Hasselblad

lOOOF with

Rolleiflex

EXPOSURE:

f/3.5 lens.

LIGHTING:

two at

of

Club Dept., One Park Avenue, Planar

New York

1/60 second at f/S.b. In

in

16,

N. Y.

Mlcrodol. reflectors,

If

your Club

is

already listed,

left.

please keep us up-to-date on

135-mm

Sonnarf/3.5

page 156

f/8.

anni

lens. EXPOSURE: 1/50 second at FILM: Verlchrome Pan developed In D-76. LIGHTING: two No. 4 photofloods, bounced.

list

Popular Photography, Camera

75-mm

four 50D-watt bulbs

at right,

please send

used continuous

FILM: Verlchrome Pan developed

two

CAMERA:

with

—

current Club officers to:

white paper as fore- and background.

studio,

list

name, address and a

took

France,

the photograph

a

you are not already on our Club

the

Bailey's beautifully Illuminated

of experiments

and

Clermont, a

study evolved from a series

In

If

Announcements

_

Montreull,

in

„*^

,^,^

delicate modeling and softness.

page 151

interest

Camera Club.

M. Cler-

R.

beautifully

achieve

would

benefit your

artificial

mont's

adroitly

above).

The

we're

eager to keep you advised

l/IO second at

FP3 developed

llford

As you probably know,

lOOOF with 80-mm

Hasselblad

Tessar //2.8 lens.

your Camera Club registered

a

ilar

made

changes of address,

Ranati Gi-

the three sim-

photographs

young boy

of

and

a

the incon-

in

officers

other pertinent information.

Many

thanks!

gruous surroundings of an

page 152 for

a

point

abandoned house because

good vantage all

overpass

he was struck by the con-

Ted

evening,

Russell finally

York's

Hunting

trast

found an

The

above New

East

enabled

make

this

him

shot

made candidly

to

of the

headlight

self

ing

point. in

Russell,

a

York professional,

advertising

photog-

raphy.

Hexacon with 135-mm

lens.

EXPOSURE:

Tri-X

developed

headlights.

I960

He

POSURE: developed lighting

EDITION

Kllar f/3.8

1/50 second at r73.8. FILM: In

D-23.

LIGHTING:

car

with

lives

his in

In

vocation,

D-76.

LIGHTING:

Splendid Hobby or Vocation Prepare in spare time. Practical Long-established school. basic training. r "Opportunities in r Send for free booklet, Photography" and particulars. Sent . postage prepaid. No obligation.

Modem

Italy.

(three similar shots): Exakta. EX-

FILM: Plus-X

AMERICAN SCHOOL OF PHOTOGRAPHY

835 Diversey Parkway, Dept.302B. Chicago 14, Illinois

natural side-

from two large windows. (lower left-hand shot): Rolleiflex

75-mm Tessar

f/3.5

1/25 second at f/5.6.

veloped

full-time

Turin,

1/50 second at f/5.b.

CAMERA

CAMERA:

own

his

amateur:

an

CAMERA

New

magazine and

as

draftsman.

eyes

streaking past him from a distant dark spawn-

works

of

son at home, "waiting." Gianni describes him-

stream of bug-like autos

with

two.

the

photograph

(lower left-hand shot) was

River Drive

that

between fourth

In

Mlcrodol.

coming from window.

lens.

EXPOSURE:

FILM: Ferrania S4 de-

LIGHTING:

daylight

*|oRFREE boo k! ":hi„yj.^i,'^.hiiJ--t*JW

is

page

This

of

them them at leisure on film and even somewhat as enacted by her daughter Hanna in

consulin

relive

and

f/4.

and

designer

many precious moments in the process, "Grandma" Grete Mannheim can now capture

to get the

Elmar at

Harry La-

of such

avail-

of the

my

arm

FILM: Plus-X developed in Harvey's 777. Second During a weekend 4th of July trip,

York City.

Pentax with

Asahi

80-mm

'The

his

second

1/60

is

lens.

working and

with

M-3 with 90-mm

Leica

design

but

recording session. Wertheimer al,

portals,

by profession an

is

Islands

gloomy place."

CAMERA:

pow

those of Carlos Montoya. flamenco guitar virand were photographed during a tuoso,

memories or appreciation

blurred background, and helped

impression

shapes

•«>

provided the silhouette to give

page 165

tography

while he was fulfilling an

behind

In

in

EXPOSURE:

lens.

industrial

With the years of raisown children now

waited for another

and

f/4

Third

along and when she did action

In

ing her

focused

talking

colors

the

to

§_

com-

bold

look

assignment

said,

the background and set

speed.

DK-60A.

able from fluorescent fixtures.

their black

In

f/ll.

at

me-

was impressed by

women

on the

a

he

town,"

dieval

is

cam-

flash.

Wert

SURE: 1/30 second Hypan developed in

in

at-

Ektar

51/2-in.

speedllght

developed

Alfred

CAMERA:

Enna, Sicily, for a travel

Les

was

FILM: Super Anscochrome, Daylight Type.

electronic

saw

Hasselblad

while

working on assignment

to the

Graphic 4x5 with

Super-XX

FILM:

strumming The

Circus,

eye

CAMERA:

dropped

EXPOSURE:

lens.

positional

Hoepker

picture

tent

J.,

meaning to the entire shot," he explained.

strobe

his

trigger cord

its

CAMERA: f/4.7

heimer

FILM: Perutz Perpantic developed

page 159

profes-

out of a second story

close-up

EXPOSURE:

lens.

N.

Park.

the direct rays of the late afternoon sun.

tant,

Italy.

in

isades

Shooting

seat at the Pal-

his

given

snowy

through

page 162

against the misty background," he says. picture was taken

from

the canvas tent door by

man

a

y

liked the contrast of the black figures

tion. "I

page 164

package

situa-

this

UFG.

in

outstretched

window,

36 ex-

of

roll

flash at f/ll.

young New York

other

pelled him to shoot up a

the foreground.

Rollelflex.

somber keeper of the

unit

com-

contrast

in

EXPOSURE: electronic FILM: Panatomic X developed

CAMERA:

weather. Stock, a talented

Bonn,

eye for dra-

keen

His

of

shot

lighted

-

hHoepker's work.

of

pie

bank of electronic flash units for lighting.

tracted by the brilliance

went to some lengths

LIGHTING: is

I

Note how he used the leaves

Barry's

to get this unusually top-

50-mm Summicron

1/60

FILM: Perutz Perpantic developed hlere

a

Brothers

I

flash

era below at street level.

with

EXPOSURE:

lens.'

lives

Annual,

in this

page 161

plodding

"Students

r.

it

appearance of the Clyde Beatty-Cole

Roman Cath-

seminary

are

Leica MP with 35-mm wide-angle EXPOSURE: 1/125 second at f/2.8. FILM: Plus-X. LIGHTING: existing.

CAMERA:

"This pho-

is

story on a

guess

to

difficult

is

application of ferricyanlde.

f/3.5 lens.

available.

olic

a

sizing

CAMERA: //I.9

it

from analyzing the photograph, Lerner used

Sollgor

rapher.

1

practice session. Although

their pic-

Manhattan resident, made the pattern of darks and lights by empha-

magazine photog-

one

this

himself as part of a

for

had ceased." Heyman, a pro-

rain

and

fessional

in

lives

every |

their umbrellas

though the

Man-

Miss By laty

silhouetted effect.

down

ap-

has

almost

In

However, he shot

big

a

of

major fashion publication.

ture that they forgot to

for

the flesh tones,

in

seeing

at

prised

in-

Lerner

peared

rain

so

subjects'

Shooting

Norman

these

the

as

just

The work

professional photographer

had stopped. "They were and surinterested

Sonja Bullaty while vaca-

homeland.

page 163

tour

a

upon

came

man

ly

made

On

through Japan. Ken Hey-

Mexican

of

portrait

ple

EXPOSURE:

35-mm

l/lOO In

Serlnar f/2.8

second

at

f/ll.

Harvey's 777.

PHOTOGRAPHY ANNUAL

:

page 166 that

shot

might evoke mixed

re-

ations from viewers,

we

quote the photographer,

New

pro

York

Farrell

Grehan,

without

ment:

was on

"I

comself-

a

assigned story on sports

Central

in

This

Park.

scene wouldn't

but

fit,

it

was too good to pass

photographer up. This is the kind of picture a belikes to take, and because it comments, 1

most people enjoy

lieve

but

it.

rarely gets

it

."

published.

.

.

CAMERA:

Leica

EXPOSURE:

G

with Serenar f/l.8 lens.

second

l/lOO

f/2:8.

at

FILM:

Kodachrome. LIGHTING: daylight.

page 167

Gerald

Hochman chose

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-

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a

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Harold

says

• Notes on all pictures— why they were chosen, how they were made

NUAL

electronic flash.

Feinstein

pro like Ralph Morse solves problem pictures

How a

• A look at color photography by the inventors of Kodachrome

in

studio.

his

—

—

assign-

ture for Photography

ANNUAL

• Ten-page portfolios by two masters: Emil Schulthess and Hy Peskin

Don Briggs

fulfilling

ment

Here's an event you -w'on't want the publication of to miss the 1959 COLOR Compiled by the editors of Popular Photog-raphy, it's a real gem over 172 pages including such diverse and interesting features as • A symposium of experts on WHAT MAKES A GOOD COLOR PICTURE?

—

a

is

lives

professional,

works

ANNUAL

then

model,

made-up

me

a copy of the 1959

COLOR ANNUAL.

enclose SI. 25, the cost of the COLOR ANNUAL, plus 10c to cover mailing and handling charges. I

he

lives

in

the country

near Ringoes, N. describes

J.

He

printing

his

technique as "my usual .

.

.

which some consider

unusual"

meaning

that

he applied ferricyanide strategically to give

zone

state

certain highlights a heaven-sent quality.

CAMERA:

Beseler-Topcon with

58-mm Auto

Topcor f/1.8 lens. EXPOSURE: l/lOO second at f/16. FILM: Super Hypan developed in Harvey's 777. I960

EDITION

LIGHTING:

daylight.

PUBLISHING COMPANY One Park Avenue, New York

16,

N. Y.

page 170

//3.5

The shapes

figure have

produced a

but

interesting

page 174

during a

Germany,

Lahn,

lives in

Wetilar-

photographic

Leitz

a

is

in-

50-mm Summlcron

Leica lllg with

f/2 lens.

EXPOSURE:

at //5.6.

FILM: Kodachrome

LIGHTING:

1/5

with a

on a plank.

fully

Dr. Steinert, a professor,

FILTER: 8S-C.

F.

impatience to view

window. The

Supra

Peco

9x12

with

90-mm

EXPOSURE: not given. FILM: LIGHTING; daylight.

lens.

Agfa Isopan

FF.

page 175 On

con

Still

ment

cerned with the shape

and

objects

of

usefulness

for a

their

Ludwig Friedel shot from low angle here to get the effect he wanted.

a

CAMERA: cron

f/2

EXPOSURE:

lens.

LIGHTING:

50-mm Summl1/60

second

at

UV.

FILTER:

Kodachrome.

FILM:

f/5.6.

M-3 with

Leica

daylight.

Friedel again

In

about

space

In

pleasing formed

rain,

equipped with a reflection for

prepared for sun or

frequent contributor to Popular Photog-

a

is

raphy and Photography Annual.

EXPOSURE: 1/125 second at FILM: Ektachrome. LIGHTING: existing.

present

and

ficent colors

f/4.

an

in

New York

his

Haas went

Wat

the

had

mind

CAMERA: lens.

FILM:

Plus-X.

Berko calls

to

something dead,

atchlng the oppo-

of

Ith

50-mm 1/50

f/2

sec

at

Sumf/8.

in

sunlight

ac-

Breughel.

the

of

the background,

f/2

in

Leica

lllf

EXPOSURE:

lens.

with

cat

sat

finally J.

Barry

Los Angeles

a

it

was

In

the shade!

I

able

Zoo

at

New

pro-

Berko frequently strays far from h

50-mm Te ssar

lens.

in

Rodinal.

Professional

Wlnchell

Fred

ton, Texas,

of

Hous-

used a coarse

textured material and

York's

his

in-

pat-

grain

He this

of

Sunday

the

CAMERA:

f/4.5.

with

of

lens.

Leica

shooting

made

4x5 Graflex

7l/2-inch

Ektar f/5.6

lens with 21/4x31/4 roll-film

visitors.

CAMERA:

the

shot "an experiment,

an exercise."

com-

crowds

called

session at which he

found in

Wollensak

FILM: Anscochrome rated at 64. open shade, diffused sun in background.

page 181

admission) Barry

15-In.

LIGHTING:

tern through his enlarger.

Les

recommended

l/IO second at f/5.6.

ent of accompanying

for

its

4x5 Graflex with

EXPOSURE:

troduced the

Hektor with

CAMERA: f/5.6

Bronx Park by the expedi-

ence

Bangkok, Thailand

64 rather than

at

32.)

1/125 second at f/5.6.

plete oblivion to the pres-

in

VX

50-mm Summlcron

Having

these two doves

ex-

Exakta

lens.

FILM:

foggy daylight.

proc-

reduced the tones to a clear black

I

FILM: Isopan FF developed

sons,

Aspen, Colo., home.

CAMERA:

chrome I

reminded me of some Renaissance paintings by Giotto and it

and white."

eligible

the

in

Palace, faintly visible

238

old

the

of

two (young enough to be

rules,

tremely colorful Emerald

fessional,

saw

I

dren's

stands

courtyard

O'Rourke,

dazzling

'golden goddess." The statue

f/5.6.

to

close

for

she

pro. "Naturally

gained entry to the Chil-

the

at

pa-

I

the

down," explains

Ferenc

strictly

to

second

"After

followed

hour,

available.

photographed

cording

LIGHTING:

around

pic-

essed the shots, and

EXPOSURE: LIGHTING:

his

Panatomlc-X.

bliz-

a

page 177 subject,

l/lOO

page 180

on one of the negatives after

CAMERA:

page 173

mood

to the

Rolleiflex with Tessar f/3.5

EXPOSURE:

tiently

my

against the

form

fiigures in

Leica M-3

micror

the scene.

In

de and opened Rather than miss the shot took a reading afterwards, which s the reason (He rated Anscofor pushing It one stop."

the

happen."

site

and feeling

about. They were

woman

life

many months

after so

^ I

at-

little

He stopped

and took the photograph in the rain and fog which added

500-

German

white of the snow.

he

"to

Y.,

pond

lovely

this

CAMERA: f/2.

N.

when he

to get off three shots, this one being the best.

ning

to give a

its

was

"making

silhouetted

taking this pho-

in

tempt

in

4.

tures of the people run-

Ernst

he recalls,

through

studio.

"I

says

Hoepker,

and look at the antiquitograph,

flowers

photographer Thomas

"to recover myself

ties." In

the

Asahi Pentax with 58-mm Biotar

page 176

Angkor-

to

the

driving

Hill,

from the road.

lens.

zard,"

After

Indo-China,

in

took a brandy glass

photographed

Charles

was

Catskllls

spotted

beat manner. "Eventual1

79

through Rock

off-

shooting through

fighting during the war in

the

magni-

their

window during

photographing

EXPOSURE: by

IV.

watt floods.

lens.

page 172

Rollelcord

FILTER: neutral density No.

1 Reynolds

EXPOSURE: 1/50 second at FILM: Kodachrome. LIGHTING: three

M-2 with 50-mm Sun micron

Leica

might

CAMERA:

viewfinder.

CAMERA: fll

he

n

a

until

this city

in

many masterpieces." Photographer Sherman

of

page

wandered

about how

think

tulips

fl2

composition his

in

one

fisherman

solitary

a

two fishing rods, and with only

D-76.

bottom." Satow, a professional, made the shot

camera

his

to

and

utilized

the world around

moved

him,

some tulips cover on Jhh Week

off

ly

the simple shapes avail-

able

—

ned

meter, not recorded. FILM: Tri-X developed

assign-

to shoot

tow's thoughts

elements,

compositional

at 6 a.m.

magazine, Y. Ernest Sa-

strong

as

shows

picture

this

CAMERA:

page 171

this fa

and drew me

me

sight was a rewarding

bank become a watery masterpiece

CAMERA: Angulon

"My

companionship. The buildings on the opposite

Essen,

in

Germany.

second (hand-held)

existing.

to the as

and works

New

beauty woke

city of

juxtaposed

fish

Flor-

in

says

Italy,"

Sherman.

the

in

pectedly

lives

structor.

CAMERA:

hotel located

York photographer Susan

sculptor's tools unex-

him-

calls

my

of

ence,

Steln-

backdrop of

patterned

an amateur, Friedel. who

self

dow

daylight.

Interesting

subjects

still-llfe

to Spain.

visit

Otto

found

ert

photographing

Although he

"Thi:

was made from the win-

FILTER:

Type.

on the Arno River

composition for Ludwig Friedel,

LIGHTING:

page 178

l/lOO second at //8.

Daylight

human

the contrapuntal

simple

Kodachrome,

Skylight.

shadows, and

ings, their

EXPOSURE:

lens.

FILM:

of these adiacent build-

M-3

EXPOSURE:

with

135-mm

1/125

f/4.5

second

FILM: Kodachrome, Daylight Type.

at

back.

second

EXPOSURE: at

Tri-X developed

1/5

FILM:

f/5.6. in

D-76.

PHOTOGRAPHY ANNUAL

page 182

The b^'a-t

Walt Hartlage's

of

and 135-mm Nikkor

f/3.5

EXPOSURE:

at f/4.

Kodachrome

light

lenses.

Professional

page 192

came from the garden of his own home in Minneapolis. He visua!life

•

Ized

them

and

colorful Ingredients

them

shot

page 187

a

CAMERA: f/2.8

the

5

seconds

Tessar

at //22.

through window.

f/3.5 lens.

page 188

and

emphasis

picture

fashion

shooting session while the

model was relaxing with a cup of coffee.

CAMERA:

Mi indc

90-mm Angenieux

with

second

I/SO

LIGHTING:

at

composition

the of

late

afternoon sunlight.

f/1.8 lens.

FILM:

//2.8.

EXPOSURE: llford

FP3.

home, caught a

A

there.

LIGHTING:

existing.

photo

During

a

Its

recording

CAMERA:

Nikon

105-mm Nikkor second

1/60

at

z"

project was self-as-

that

page 193

it

might have

SP

CAM-ERA: Miranda with 135-mm Isco f/3.5 lens. EXPOSURE: 1/60 second at f/3.5. FILM: FILM

LIGHTING:

version.

developed

window

in

light.

Veteran

tashion pro Erwin Blumenfeld titles his strong, off-

beat color portrait simply which happens also

C)

(Type

Ektacolor

CAMERA: combination

been taken almost anywhere.

f/4.

1/25 second at

Pan

north

8x10

Dear-

dorff with 14-ln. Ektar lens.

would make a picture, although

Kodachrome Type A.

LIGHTING:

Microdol.

paper.

of

f/2.5

EXPOSURE:

name. His print was made

Incongruous

this

lOOOF with 'SO-mm

Hasselblad

FILM: Verlchrome

//5.6.

on

i-

countryside and per-

ceived

the scene.

with

up around many different types of

Instruments. The

musical

early-morning quality of

visit-

festival

a

out

set

morning to capture the

slice of

lens aided'his un-

obtrusive

series built

to be his model's unusual

to England, Ha-.;,'

Shaman

medium-teie-

'

light-

"This picture was

made," says White, "as part of an extensive

Ektar f/2.8 lens.

Tri-X developed in D-25.

visit

Tokyo

while

life

during

ing

—compelling

design and superb

CAMERA:

in

Maine last summer at 45 mph, with rain streaming down the windshield, Ann Treer photographed this farmhouse. The rain blur gave the scene an other-worldly aspect. CAMERA: Hexacon with 50-mm Tessar f/2.8 lens. EXPOSURE: l/lOO second at f/8. FILM:

page 189

Jun Mikl

from .his

in

good example

a

Is

of his work

BanI,

skylight.

page 184

Bolivian

background

Driving

"

Tar

art

ing.

with

along a country road

The portrait was made a

a

Forgetting

135-mm Nikkor S2 EXPOSURE: no record. FILM: KodaNikon

LIGHTING:

sive

signed."

texture to his model's pro-

after

it.

bold gray and black abstract shapes.

CAMERA:

uses his exten-

This

with

becomes almost

it

He

producing fine pictures.

in

one of

is

a

is

art direc-

111.,

tor.

Ee'l

chose sidelighting to add

file.

this

made

series

chrome.

page 183 Hugh intriguing

test

trees,

FILM: Daylight Ektachrome. LIGHTING: daylight

and

lens

Aspen, Colo., a

45-mm

with

I

EXPOSURE:

lens.

135-mm

Chicago,

By profes-

White

Jerry

sion

acquired

shot ot aspens, taken

familiar realism of natural light.

Contaflex

had

recently

and

all

In

John

Meyer of Tolland, Conn..

as Interesting

photograph

for a

FILM: Ektachrome. LIGHTING: day-

through window.

LIGHTING: moon.

A.

;t:

FILM:

above.

see

red and green sub ec'i

FILTER: standard conearly morning daylight.

ING:

EXPOSURE:

FILM: 4x5 Ektacolor

light at f/32.

S.

speed-

LIGHT-

electronic flash.

page 194 A mood and

despair exists

In

of

desolation

Guido Organ-

schl's picture of a solitary

page 185

Jeffrey Gor-

don, a

New

for

heavy snowfall to

a

blanket

Henry

Yorker, waited

piece

this

Moore

Museum

he

sion

of

wanted.

of

New

Modern

captured Art, for the impres-

Looking

very

much

like

a

mood first

cron {12

Leica

EXPOSURE:

lens.

page 186

1/250 second

at

.200.

N.

Y..

call

light"

lens.

CAMERA:

since

1942.

made from

the color slide. The

Chappaqua. N.

In

Leica

EXPOSURE:

with

He

then switched Immediately to a

Is

page 195

1/30 second at f/6.3. FILM:

molded

red

1960

EDITION

film

wanted

FILM;

infra-

he

because

a soft effect in

photograph

fanciful

clouds

SO-mm

Elmar

Its

the help of natural light.

CAMERA: Xenar

Rolleiflex

f/3.5

lens.

l/IO second

modwaited

blocked

his

purpose with

the

its

successful results.

over-brightness, to insure

His desolate and beautiful

shooting locale was a Long Island beach. Nero

natural sculp-

beauty on film with

EXPOSURE:

his

He

album.

sun so as not to defeat

the

Is

with with

his cre-

on

theme of Here he

never-ending

the film. lllf

variations

the female form.

tural

Leica

Nlkkor

Sandl Nero

was shooting with

Peter Basch

known for

well

ative

l3S-mm lens, locating the moon on his viewfinder window just where he wanted it, and stopped down to f/5.6 at 1/30 to put it on

CAMERA:

135-

at f/5.6.

f/2

till

double-exposed

wide open to register the poorly lighted itself,

« 'ith

Y.

50-mm Summar

el's

page 191

snowy Vermont farm by the light of the moon, taking a full five minutes with a 50-mm

scene

M-3

Leica

intended for

this

lens

room over-

daylight.

says he has been doing it

took

window

EXPOSURE: 1/30 second HP3. LIGHTING: available.

photographer,

pictures by

sisters,

lens.

Kodachrome Daylight Type. LIGHTING: foggy

"moon-

a

Bronte

shot from the

looking the graveyard.

a

might

barren

11x14 enlargement from a 21/4x31/4 black-and-

CAMERA:

whom one

by

gravestones.

of Charlotte's

misty

She shot

white negative

Carsten

dentist

and

this

on Daylight Koda-

Goros rss-de

Johnson, a Pleasantville.

framed

Guido, on a story about

chrome. then printed an

M-3 with 50-mm Summi-

ih. FILM: Plus-X rated at

the

man trees

the

of a wintry forest

of larch trees.

photographic Christmas card, the picture was shot on an overcast winter afternoon.

CAMERA:

Caro'a

Gregor [wife of pro Fritz Goro) employed bad weather conditions to her advantage and

sculpture,

familiar to visitors to

York's

page 190

a professional

CAMERA:

who works

Rolleiflex with

in

New

Xenar

York City. f/3.5

lens.

EXPOSURE:

1/25 second at f/4. FILM: infra-

red. FILTER:

Wratten 25A. LIGHTING: over-

cast daylight.

239

page 196

possibly because

Regina Re-

her

lang. a professional living

Munich, Germany, has

in

earned

an

women

an

EXPOSURE:

ethereal

by spreadi

picture

quality to the

then

Hasselblad with 135-mm Sonnar

top

printing through

CAMERA: f/3.5

LIGHTING:

Fabofin.

in

says

producing

In

these

In

calm atmosphere." Kajiwara, a professlona

is

associated with Orion Service

Topcor //3.5

Automat

In

Tokyo,

L with

one of

Is

his

75-mm

^^BK^^l^T

with the stipulation

one of the

Under

way."

his

this

pensive,

little girls,

Claudia,

Nikon S-2 with 8S-mm Nikkor ill

LIGHTING:

In

Stutt-

200-mm

1

7

1/500

developed

diffused

back-

developed

LIGHTING:

Kerofine.

in

Boden.

Sweden,

on

assign-

was

that city to shoot

in

of

swimming

a

Since other photographers were

there for the same purpose, Ericson decided to take

his

pictures from a different angle and the

accompanying shot

He

approach.

his

swimming

a

an excellent sample of

is

says.

expert

Leong

am my

not sure that picture

biggest Scandinavian

the

but

newspa-

published a whole series of them."

per,

CAMERA: f/1.5 lens.

ING:

nicely

"I

liked

Leica

with

lllf

EXPOSURE:

50-mm Summarit

1/200 second at f/2.8.

FILM: Tri-X developed

D-76.

caught

press

a

of

1/50 second at f/5.6. FILM:

EXPOSURE:

natural.

(bottom)

full-t'me

with

lla

FILM: Adox KB

Ericson,

Expressen,

available. in

is

EXPOSURE:

lens.

photographer

competition.

*~-

his fine results.

Wylie

LIGHTING:

Blau.

pictures

B^V^ t^-^U

accepted and

he

CAMERA: lens.

1/25 second at

FILM: Neopan SSS developed

//4.

Neofin

ment

Li

sisters

little

terms,

Plus-X

EXPOSURE:

lens.

two

natural study of

home. Primoflex

com-

fulfilling

that he could "do the job

and ShoJI screen

CAMERA:

spends most of

time

tures on

harmony between nude, flower,

f/5.6.

Rolf

shoot a series of pic-

sim-

this

home

lighting.

Morris

but was requested to

was "to make

ple study

his

Varex

Exakta

Quinar f/4.5

second at In

MiJller's

late afternoon.

mercial assignments,

Ka-

purpose

his

LIGHT-

page 201 his

jlwara

CAMERA: Tele

existing under big

in

Jaffe

artificial.

page 197 Tabo

sec-

1/15 second at //8.

developed

FP3

llford

lens.

Hypan.

ING:

EXPOSURE:

lens.

FILM:

d

it.

i/2

engineering;

Is

had to focus

Miiller

Germany.

gart,

ond at iSl.b FILM: Super

gauze over the printing pape

of

piece

i

profession

1/60

thus making

field,

accurately and shoot fast.

Konica

Hexanon

with

(the marvelous one). She

Introduced

meant

few seconds

a

three-

CAMERA:

she calls La MerveSleuse

long-focus lens which

a

For another, the fact that

critical.

the seal would peer out of the water for only

easily

the

In

using

gave him shallow depth of focusing

performances.

ring

one

this

like

was

he was

thing,

for very

still

photographed while engrossed

photographs of beau-

tiful

was

it

too young

Still

she

long,

Internationa

reputation for her esthetic

first.

to remain

in

MIcrophen. LIGHT-

existing daylight.

youngster's

this

Data unavailable. ball-throwing leap, get-

After

studying the fresh, open

charm

of the

hood,

his

photographer's

boy who

CAMERA:

one of

FILM:

our neighbors has always been terest to us."

Pirkle Jones,

aroid picture.

CAMERA: and

Cook

developed for about

I

'/2

50-mm Nikkor

l/lOO second at f/5.6. In

Harvey's 777.

pages 202-203

page 203

at

really

minutes

between

reflected daylight.

it's

This

warm

a

two

Data

unavailable.

isn't

greeting Martians:

the ends of two

Ital-

ian railroad coaches, pos-

page 199

A

photographer

can

find

ces Borden was standing on the railroad plat-

almost

any-

form when she became aware of the "Interest-

familiar

ing" effect caused by this detail of the over-

a

picture

where, even

everyday as did

Ann

In

surroundings Treer

shot out the

west

wet

fall

window

50-mm

Plus-X.

Hexacon Tessar

LIGHTING:

f/2.8

lens.

EXPOSURE:

FILM: Tri-X developed

in

natural.

available.

out

four children

In

this

in

the group

daughter Jaye was the most enthralled,

shooting

situa-

produce the

to

amusing,

best-of-flvc

shot

99-per-cent-

of

a

submerged

seal

Stuttgart zoo.

in

a

For one

with-

doing something

his

famous collection

for his

humorous

photo-

So he added a

mask to the groom and came up with incongruity. Joan

tial

was

willing

this

Burke, the pretty

nup-

mod-

go along with the gag.

to

Gescheidt didn't Identify her colleague.

CAMERA: 4x5 Super D Graflex with 190mm Ektar //5.6 lens. FILM: Daylight Anscochrome

was made EXPOSURE: 1/5 secLIGHTING: two lOOO-watt dif-

(a black-and-white negative

from the transparency).

ond

at f/22.

fused speedllghts.

(bottom) Technical data unavailable.

page 206

Murray Zinn

was

shooting

story

about father-son

picture

a

I

re-

lationships. During a break In

the session

this

(top) Dat

Werner MiJller overcame several difficulties tion

Carol Smith took to the circus, her four-year-

240

LIGHTING:

page 204

page 200 Of old

Leica

one

side

1/50 second at f/8. D-25.

M-3 with 35-mm Canon EXPOSURE: not recorded. FILM:

f/1.8 lens.

of

New

between Rome and Ostla. Fran-

scene.

CAMERA:

day.

CAMERA: with

all

in this

her apartment on York's

ing on a track

true

the fully-cos-

let

tumed couple leave

el,

VI

Gescheldt

Alfred

of

shade.

THESE PICTURES MADE US LAUGH

Fr

Convertlbh

second

I/IO

SP with

developed

Plus-X

but

graphs.

Land 4x5 Professional

Polaroid

Nikon

who

San

Ansco 5x7

l2'/4-In.

EXPOSURE:

lives in

showing only their hands, hated to

LIGHTING: open

professional

a

Is

and teacher and

for a record cover album,

York free-lancer Le relatively inexperienced amateurs, advanced omateurs, seasoned profe!

sionals,

people "who don't know much about photography but

pictures," as well as the ortists, editors

and

art directors

who

A View

From The Table Of Contents

COLOR ESSAY OF THE

r^%

It

is

3,500,000 copies (three-quarters of a million abroad) ond published over 3,000 pictures by outstanding photographers from almost every country in the world."

lov

just

ore the influentic

YEAR. Color has o magic

especially powerful

all

its

own.

the creation of picture stories.

in

was Life's "Fabled Enchantresses," One for which Richard Avedon photographed Marilyn Monroe of the year's finest

impersonating

five

fabulous sirens of the post:

Lillian Russell,

Theda Bora, Cloro Bow, Jean Harlow and Marlene Dietrich. The inset shows Marilyn as the "It" girl Clara Bow. The actual reproductions ore in

full,

vivid color.

EXHIBIT OF THE YEAR. As the doors of museums and galleries across the nation contir ue to open to photography, the

Number One

Art.

Steict en

shows -"PHOTOGRAPHY

fnest

many

exhibitor rer lains the

Edward

This year,

IN

Museum

of

Modern

put together one of

his

RETROSPECT "- including

of the great pictures of the 20th Century.

The ANNUAL

presents a 40-page portfolio from the show. The inset

is

a

who

h

superb study of Mr. Steichen by Phillippe Holsmon.

INTERNATIONAL PORTFOLIO. Photography

transcends language barriers

PRIZE PICTURES, Anyone

c

geographical borders, and makes worm friends everywhere. Reflecting international freedom, the ANNUAL, this year, devotes its largest section-

pages— to remorkoble

pictures from

in

a picture

elections as a guide to the kind of pictures that win

the prizes. However,

ts

to the

oround the globe.

entered a prized photo

contest will value the

work

special section, the

ANNUAL pays

serious attention

and professionols who won secondary

of ornate

prizes as well

as to the top prize-winners.

THE BEST IN ADVERTISING PHOTOGRAPHY.

Photography's

place

in

world of advertising has never been stronger. Indeed, the leading advertis

agencies are constantly calling upon the work. The

New

ANNUAL

truly great

presents a selection of

some

camera

artists for spei

of the best pictures

camero's most

reportoge-the unfolding

of

papers. This year, the

from

York Art Directors Club exhibition, with notes on how they were

PHOTOJOURNALISM. The

stories- "Sister of

u

the

stories

ANNUAL Bride,"

in

vital

responsibility remains simple

pictures

for

martre"— plus many strong, single photojournolistic

and why they are outstanding.

magazines and

shots.

the following The 1960 PHOTOGRAPHY ANNUAL is published by the Ziff-Davis Publishing Company, which also publishes HiFi Review, Popular periodicals: Popular Photography, Popular Boating, Electronics World. Flying, Sports Cars Illustrated, Electronics, Modern Bride: and fine books in related fields.

ZIFF-DAVIS PUBLISHING This special edition distributed

COMPANY, ONE PARK AVENUE, NEW YORK by Sitnon

&

Schuster, Inc.,

630

Fifth

news-

superb examples of picture "Mordi Gros," and "Old Women of Montpresents three

Avenue,

16, N. Y. Nevi/ York,

N. Y.