Académique Documents
Professionnel Documents
Culture Documents
ANNUAL
TENTH
ANNIVERSARY
EDITION
Including
International Portfolio
and
Prize Pictures of the Year
$3.95
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.
Among
especially
Serious amateurs and professionals will
Retrospect," a selection from
\ alue "Photography in
Museum of
the 626 photograph exhibition of the
Modern
Art's
Edward
The
Steichen.
Annual
photography
de\otes
International
from
all
its
is
truly
international,
largest section-80
Portfolio,
is
the
pages-to the
Switzerland,
catch but
To
much
all pictures,
want
to
have
to increase his
picture-taking
skill.
ZIFF-DAVIS PUBLISHING
COMPANY
630
Fifth
Avenue,
New York
Inc.
20, N. Y.
his
244 PAG
Photogra
evoking
because t
<
Here in
sented
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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.
Because
Annual
Internal
from
all
Switzerl
Other ti
Year an
tion to
Us Lau
catch bi
To
all
append
posures
want
to
picture
or
Irving
Penn
out
using
Anscochrome
film Daylight
depended on technically
exposed
8%
his
Anscochrome
Type (Exposure
this
photograph
perfect execution.
in
an 8 x
Mr. Penn
camera using an
down
to
recorded
the
difficult
liked the
and
The
^nd greys
many
neutrals so im-
-rendition of texture
is
outstanding."
90!
way Anscochrome
elusive
Anscochrome
How
about you?
Division of General
/m
Ansco
FOR EVERYONE
WHO TAKES
PRIDE
IN
HIS PICTURES
ZEISS IKON
Here
is
the
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camera
want
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Contaflex
At leading dealers.
Fifth
Avenue,
New York 17
^Eisn
IKON
Synchro Compur MXV shutter (fully
synchronized). Speeds to 1/500
sec. and self-timer.
ultimate for
ALL MADE
IN
WEST GERMANY
^..
Zeiss 8x30B
component lenses
Attachment
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polarizing filter
^^^
monocular; AOOmm.
Screws
in
lens
mount
now
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 Summicron
SOirim
7
in a 50, 35, or
f/2
35inm Summicron
1/2
PHOTOG RAPH
..keeps turning
times.
Rolleiflex
"T"
with
and
$169.50
16 exposures.
Rolleiflex 2.8E
with or
without built in meter,
.
se
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finest lenses, Schneider or Zeisssynch Compur-Ropid shutters, some with ond some
Rolleiflex "Tele"
135mm Sonnar
with
lenses.
fcatun
See
Rollei
o.
$399.50
New
York 36, N. Y.
INC.
Germany
PHOTOGRAPHY ANNUAL
PHOTOe RAPHY
ANNUAL
Including the
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
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
SO A
S2
62
Advertising
Exhibit of the
FORBES LINKHORN
Associate Editors
CHARLES REYNOLDS
CAROL MILLER SMITH
Assistant Editor
Illustration
Photography
Year
in
202
FESCE
P.
Art Editor
Retrospect
122
LES BARRY
Production Editor
Picture Editor
JOSEPH
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
210
Year
Editorial
One
William
216 Books
of the
Year
224
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,
B.
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
TiLSBICA
is your
best buy
...always!
Every Yashica camera
be-
Before you buy any camera -at any price see these two
outstanding Yashica values at your photo dealer. Compare
them with cameras selling at twice their price and see how
much more they have to offer you.
YASHICA-MAT
YASHICA 35YF
with interchangeable lenses and focal-plane shutter
f/1.8 lens;
interchangeable lenses with Leiea-type threadmount; focal-plane shutter with speeds from 1 second to
1/lOOOth and 'B'; single-stroke film-advance and shutterwind lever rapid-rewind crank X and FP flash synchroniaccepts
50mm Yashinon
easy cleaning.
The
35mm
4"
and
mounts for
filters,
close-up
lenses
Commands
the field at
Your photo
YASHICA
INC.,
<;^shira> In
C^fe-
234
Fifth
Avenue,
Canada: Anglophoto
New York
Ltd., Montreal,
1,
N. Y.
P.Q.
ANNUAL
nun
A DECADE
by
Tliis.
BRUCE DOWNES
Appearing in 1950
an
it
exciting-
Photography Annual,
photographic decade.
Photography Annual
3, .500, 000
copies (three-quai'ters
is
impressive. In ten
it
will
some 15,000.000
tainment, pictorial
pleasure;
and
it
peojile
pictiu-e
Photographs^ Annual
accomplishment.
It
in
it
ANNUAL
DECADE
continued
all
the best
in these ten
hefty volumes.
RAN6EFINDER
FOCUSING?
Don't
let
is
"new-fangled"
not
foclured
Meopto
works, the
Opemus
^^^^^^B
II
all
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Mognifax
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this
it
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include:
79.95
69.95
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164.95
II
New York
in a
minority and
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little
issue
IMPORTERS:
E, Fischel Jr., Inc.,
and
17, N.V.
DISTRIBUTORS
Tech Photo Products,
IN
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Angloohoto Ltd., 880 Champaeneur Ave., Montreal
10
8,
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PHOTCGRAPHY ANNUAL
Training
Shows YOU How
to:
security
you can
THE
there.
with the
than enough to pay for tuition and topnotch equipment while learning. It's
easy with NYI's unique LEARN-BYDOING method. From the very first
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hundreds of dollars for a single pic-
THE ONLY
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ACCREDITED
BY NHSC
ture!
error"
KNOW
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NEW YORK
Dept.
26
and picture
regarding
prices are at a
D Home
record-breaking
high. This factfilled 50ih An-
Name
Dept. 26,
I960
10 West 33
EDITION
St.,
niversary
Book
New York
Opportunities
expert,
PHOTOGRAPHY
Please send
assignment
personalized attention
gets
INSTITUTE OF
10 West 33 Street,
N. Y.
illustrate
Study
Resident Training
(Please print)
Address
City
1,
Zone
put this
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into your
BE PRACTICAL
0\VN A
PRAKTI
SINGLE-LENS
MIRROR-REFLEX
CAMERA
PRAKTI
CA
Automatic 35mm
but
was not
it
until
thing important,
occurred when
C (now
not revolutionary,
if
and Ektacolor
positive color
accustomed
to in black-and-white. Col-
An
creative direction.
new
important mile-
All at a
popular price.
first
raphv.
Annual made
provide
NA
PRAKTI
Automatic 35mm
debut in 1956 to
its
an
with
photographers
en-
permanent form.
popularity, which
The wave of
was ushered
stereo
in on
By 1959
them
of
was
color
Speed Ektachrome"!
(Exposure Index 160) than
(High
faster
Testifying
photography's
to
extra-
burgeoning
In
and
exhibitions
all
shows,
1950 photographic
than
the
picture
unprogressive
salons,
other
were
at Your Dealer
Now
rare:
exhibitions
was.
Steichen's Familv of
ing broken
the
Museum
all
of
course.
of
is
in
New
Director of
EDITION
New
people in
many
parts of
FA
Filters the
attendance records at
Modern Art
And
Edward
illus-
PRAKTINA
PRAKTICA
LIFA Filters
Name
Address..
City
or lens.
:-PRAKTINA-, PRAKTICA',
UFA' Trademark
of
fifth
AvsnuB,
New York
18, H.Y.
13
MONEY!
DECADE
continued
Uail your
TO
FOR
ily
of
Man was
The decade
COLOR PRINTS
& ENLARGEMENTS
from your slides
only
WALLET IIR;^
photographic under-
international
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Modern
2 GIANT
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^n
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I
I
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roll
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4^
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FILM
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roll
KODACHROME
8mni
MAGAZINES
sold out
The
omy
7Cp
$1.00
.
...$1.00
KODACOLOR
8 exposure
roll
12 exposure
roll
$050
$3.50
rnrr
r IlLti
r4
New York
3, N. Y.
will
photography
light
is
work done
to
some
of the
in
as well.
excellence
technical
of
in
in
which
dows
will
this
area.
no longer be so readily
will increase in
sive controls
er,
should
It
is
safe
it
say
to
that
finally
complacent sleep
this great
museum
it
i)y
of Art
the
American
cal
its
and exhibit
!
It
took
the
first
exhibit
and
in the
is
was
further
Museum
awoke from
fine art"
hung
still
the
even though
long-awaited
crown
and
to accept
photography "as a
its
to
art.
the Metropolitan
New York
strides.
revolutionary
photograph-
offers to the
make extraordinary
medium
all
ushered in
Fifties
Although available-
scale.
finest
tion
Sta.,
It
though a
in
camera
it
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
more
little
P. 0.
$2.50
2^^d^Vr';^ted
felt
40-page section
for
appropriate to devote a
MJ.4L
fiftv
be an-
it
progress
printing in
its first
Will
such
of
17.50 a copy
at
it
sational
than a month.
9(1
L\l
of pho-
slides)
ci15
collection
panorama
Photography, which
B^l 36
(full
permanent
Art's
of the Sixties?
decade
other
ists,
YOUR CHOICE:
3ALBUM^?Sts'^^'
much
What
DEVELOPWiG
scene.
Meanwhile,
criti-
tograph v
the decade
is
may be
darkroom
for a
new
era of crea-
be greater.
PHOTOGRAPHY ANNUAL
'35'
the finest
is
NIKON
IP
To
equipped
\vii\x
"It's
a Xikkor lens,
a Nikon "
to
say that
it
is
be equalled a
acknowledgement and recognition, especially among
is
35mm
equipment.
optics
J\
IKON SP Raxgefixder-Coupled '35' with Universal ViewSystem providing built-in finders for six difi'erent focal
finder
A'rKON
lens,
$375).
performance.
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EDITION
hands
is
the finest
Fifth Ave.,
New
St.,
York
3,
N. Y.
Montreal, P.Q.
FREE AIDS
to better
54.)
PHOTOGRAPHY
58.) Folder:
Comet
PROCESSING EQUIPMENT
PHOTOGRAPHY
except
1 20.
8mm
covering
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Enlarging.
FR
8mm
Photo Co.
182.)
134
Booklet:
illus.
and
description; 6 pp.
163.) Circular: Ilford
how to use It and what
165.) Booklet
FR
Microphen Developer,
does. Ilford Co., Ltd.
it
Special
adjustable
roll
film.
Corp.
EXPOSURE METERS
13.) Pamphlet: Illustrated guide to Sekonic
exposure meters including technical data and
information. Sekonic Electric Co.
Help in Selecting the Right Exposure Meter. 15 pp.. illus. Describes and discusses the workings of a meter. Weston Electrical Instrument Corp.
95.) Booklet:
GE
128.) Leaflet:
Exposure Meters, significant
features which adopt one of three
meters
to specific requirements.
GE
129.) Booklet: Color Control Meter and Variable Color Filter; how to achieve full control
of color. General Electric Co.
103.) Booklet:
projection charts.
New York
157
Photographic
105.) Booklet:
156
"New Super
154.) Booklet:
sal
field
Statior<
its his-
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104.)
New York
other com-
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LENSES
PHOTOGRAPHY ANNUAL
Church Street
kit,
illus.
dustries.
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153.) Booklet:
and material
viewing and
cular:
Developing
89.)
with Electronic
title
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electric features.
143.) Booklet:
maker,
Marshall's
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battery-operated
C3
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illus.,
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Information on
Photo-Oil Pencils. Marshall Mfg.
to use
Files
Pamphlet:
118.)
Camera Co.
139.)
Pamphlet:
117.)
Eumig
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126.) Booklet:
above,
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for professionals.
as
Four
90.1 Circular:
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listing of all
Darkroom." Booklet on
89.)
CAMERAS
135.) Booklet:
In the
"Fun
77.)
mm camera
Complete
135
160
136
137
numbers
guide to use of
have
white, films,
139
165
177
182
PB6
16
etc. Instructions on
Scientific.
"how
to
Edmund
1
I
NAME
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Print clearly)
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49.)
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I
"Why You
50.) Folder:
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taking hints.
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the only
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Interchangeable lenses, the 25-year dream of twin-lens reflex enthusiasts, is now a reality!
Think of it! You can switch lenses right in the middle of a roll 'normal' lenses
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,
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And
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auxiliary attachments of any kind. You get richly detailed close-ups, hairline sharp.
you are
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Your dealer
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MAMIYA
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(focuses to I6V2") $93.00; 135mm f/4.5 lens set (focuses to 241/2") $103.00;
180mm f/4.5 lens set (focuses to 36") $139.50. All accessory lens sets supplied
with leather case. For illustrated brochure, write Dept. PA-60
MAMIYA
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I960 EDITION
PHOTOJOURNALISM
"T^espite a recent, much-lamented decline in the size of
its
markets,
graphic images.
The
question,
has the
gift of
life
making us participants
as well as merely
PICTURE STORY
by
KEN HEYMAN
What
i?
relationship.
covered,
Here, in the
photojournalist
first
A human
Ken Heyman
gently hut
SISTER
OF
THE
BRIDE
wedding day.
It
Heyman
realized a poignant
human
story
He was
little sister's
and consideration
"'like
a mother
memorable afternoon
sister.
continued
momentous
Unconcerned by
the
younger
clari-
At the wedding
itselj the
(right)
ys
^-
1
.\ /.\
,i
>^>^t
beloved hand
coniiiuied
lightly held
and
An hour
of splendor
for the
Laughing again,
the sister
oj
tlie
morning's flowers.
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
larger story
we have
Mardi Gras
and sense
of
an
wiNFiELD
J.
P4RKS, JR.
The Captive
Providence Journal-Bulleiin
CHARLES CORIE
mad"
CHARLES HOFF
ALLYX BAUM
XTrecked Airliner
Leapers
OLD
WOMAN OF MONTMARTRE
The central
PICTURE STORY
by
BRUCE
DAVIDSON
magazine photographer,
its
is
Madame
and emotional
New York
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
P hotojournalism
in
lost
one of
its
Dan Weiner
in
an airplane
known
Among
his
best-known
and
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.
to
in
became
in
Germany, she
and specialized
in
to
\ear
in the 19.53
Woman
Photographer of the
won
Russian Champion
Woman
in
museum
exhibitions.
Athlete
View
of
tlie
Krenili
Moscow Window
.Shopper-
ai
I v\
.1>^
>
s/?
^'/V#*
c-.
J"
AVEDON
PHOTOGRAPHS
MARILYN
MONROE
yJne
of the
most entertaining
bits in Life
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,
as effervescent as a
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
Photography Annual
J_.illian
Russell,
whose
wasp-
Gay
made her
Avedon-Monroe team
in
'f.':
^^
H.
who
Mary Leatherbee.
agreed to do
ment
pictures.
We
Monroe
worked on the
prefers to
assign-
work
in the
evening.
off
it if I
stills
started with an
It
pictures
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,
needed,
distill it
as
think perhaps
we had
is
a great,
Lillian Russell,
Mon-
roe and Harlow, Clara Bow, and even Theda Bara (Bara hid behind so
much
makeup
is
it
is
such a
fine actress,
itself.
whenever
is
anything
photograph.
else.
Anyone can
take pictures.
into
ble."
My
is
little
more
do
direction than
it
when developed by
the same
man
who
develops
my
film,
mine
as well as
technically. I've
men who
bomb
and then
to fall,
if
turn the camera on a crpng child in a station and take a great photograph.
to
art of
journahsm, which
is
to
is
of interest.
This creativity
ture
is
actual
may begin
moment
is
on certain
composition. But
picture,
I
it all
an unconscious argimient, or
its
Modern Art
talk.
it
It
if,
The music
that
creates a
little
is
at the
my
sitter,
little
way
It
has a way of
room
for you;
has a
on certain
of taking the
an atmosphere to
an enormous help.
lighting,
moment
Museum
pic-
talking
on the
in
set.
of releasing inhibitions.
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
phisticated charm,
glamorous
The
hypnotic
of
eyi-s
Theda
the
don".- tip to
Marilyn
in recaptur-
58
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
coming book,
tion of
a brilliant collec-
Avedon
portraits of per-
AVEDON
COMMENTS BY
TRUMAN
uled
appear
to
in
October.
CAPOTE
Theda Bara. She kept
I
saying,
"What am
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
Diamond Jim
worked with an
it
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
of a night club
we
all
these pictures. All, with one exception, were shot with 1,000 watt-
where
flash units.
Dietrich picture,
come
many
as 100
ing.
Sometimes, the make-up took three or four hours. Then we'd work
from perhaps
to 3 or
4 A.M. Even so
Clara
Bow and
color
The triumph,
if
you want
to call
found
it
thought
flats,
lights.
used an 8x10 Deardorff with 12-inch Ektar lens and Ektachrome film
for
it
Modern Art
it
some
unpleasant, in
if
not in the
this extraor-
the sex
C lara
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"
as
this
back-
picture.
ADVERTISINO &
ILLUSTRATION
Selections from the
New York
I^owhere has
of the
in the last
commercial
medium than
decade as a
in
this
New
art
graphic.
selection of
them appears on
these pages.
Why
did
and
tography happens
illustrative art.
to
dominate the
Phofield.
to
photography?
Because
new
tration,
art directors to
directions in advertising
said, "advertising
and
illus-
"Today," he
fresh approaches.
1921. but
men behind
with
fresh
open
fields for
ideas;
and ilyoung
opportunities
rapher
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*itMMH?-*=<--
*^">r^
WINGATE PAINE
Ad: CBS Radio Network
Agency: Doyle Dane Bernbach,
Art Director: Robert Gage
Inc.
x^
JERRY PLUCER
Ad: Wamsutta
Mills, Inc.
HUGH BELL
Publication: Esquire
Art Director: Robert Benton
EDGAR DE
EVtA.
:-0t.
M,^
^.i
.jiMimimki,
DON BRIGGS
Ad: Charles of the Ritz
Agency: The Rockmore Co.
4rt Director: Ched Vuckovic
>-iS ;.ri?5i5*:>=
''=:.
rv**
WINGATE PAINE
Ad: Chemstrand
Agency: Doyle Dane Bernhach,
Art Director: William Taubin
Inc.
jf^
'~
c^^
'
'
^'^^4.
>^
'
'
li'^
^_
3^^
--/.
-^
A
^
s^
i^^r::yr
WIINGATE PAINE
IRVING PENN
Kammer
:(2
DONALD MACK
Ad: Industrial Rayon Corporation
Agency: Grey Advertising Agency, In
Art Director: Onofrio Paccione
SEYMOUR MEbNICK
Ad: Smith Kline & French Lal)s.
An Directors: Warren Blair/Jacic
tJregory
STEPHEN COLHOUN
Publication : Modern Packaging
Art Director: Donald Rulher
~N
.#
PHOTOGRAPHY
A
RETROSPECT
IN
exhibition of the
Modern
permanent
of
Museum
Art's
collection
EDWARD STEICHEN
photographs
reproduced
The Museum
here
of
Mod
It
included
626
photo
cross-section
of
the
Mu
human
all
As a witness
fields
of
tions,
potentialities
esthetic
its
are
sometimes overlooked.
When
magic
form
to
and concepts.
While the Museum possesses
standing examples of some of the
liest
photography,
predominantly
prints.
It
its
of
fragment of growth
In the collection.
or of deterioration.
man's passionate search for truth, rendered with technical precision and
mental precision, separately or on
The
oc-
out-
casion together.
ear-
now
twentieth-century
collection
is
swift freezing of
man
has
in-
of places.
it records with an
beyond the scope of any
other visual means. Because of the
magnitude and variety of these func-
sion that
times,
activity.
and events,
exactness
newer
uing
talents
effort
PHOTOGRAPHY ANNUAL
to
appearance of
work
making
a contin-
or
seeking to
man
these are
inheritance
with
sense
exactitude.
of
often rendered
timelessness
and
YoiCHi
R.
OKAMOTO
Dream Dance
< ip
LEWIS w. MINE
Workmen, Empire
State Building
FERENC BERKO
Dog
in
Snow
TAKECHi HOTTA
HAJIME OHiGASHi
--mm
Fallen Leaves
Headlight
EDWABD WESTON
Pepper
CHARLES SHEELER
Stairway
N.
ALFRED STIEGLITZ
i CLARENCE WHITE
Nudes
IRVING PENN
t-:-T''i^,'-
'
';?'-'
^-
*?'-
J?v^]--
'^m#^'^
*-^Wl.
ANSEL ADAMS
Landscape
PHILIFPP.
H\LSMAN
Dali Atoiiiicus
WEECEE
The
Critic
TOKUTARO TANAKA
The Bird
CORO IKE
The Mask
ALFRED STIEGLITZ
Steerage
DAN WEINEH
.-^f^*?^^
:^'5^'
sgSWI*'
!-'<
^!aiEPBKP*-a
NELL DORR
MAN RAY
Peach
HENRI CARTIER-BRESSON
Alfred Stieglitz
EDWARD STEICHEN
Alfre^ Stieglitz
HISAE IMAI
Raveling
FRITZ CORO
Poles
^^V^'iPi^^l^H
EDWARD STEICHEN
Carl Sandburg
mtr^***^.
DOROTHEA LANCE
BETTY STATLER
Cat
BARBARA MORCAN
Head
ROBERT CAPA
W. ELT.ENE SMITH
Mivi\,
V;
''''^
BILL BRANDT
Roofs
YoiJSUF KARSH
Churchill
IHEI
KIMIHA
'Jmk^
HARRY CALLAHAN
KOYO HOSOE
Winter Trees
Bulls
ill
Snow
laf
ARNOLD CENTRE
Courtesy Life
Time,
Garbo
Inc.
ARNOLD NEWMAN
Andrew Wyelh
r^j.ilv*?
"n
*^Sjr,
CLARENCE H. w HITE
Daydream
Blindnian's Buff
BEREMCE ABBOTT
ANDREAS FEiNiNCER
Fifth
Avenue
mm^B
^i'^^'X^^H'^
IS
^^m
*^^^
''M'N.'li-
'S
Manhattan
at
Night-
'=^'
.
mML"^
nT'
'''I'i
.k:;-"":
i-.^
.,',*
l^'^t'^y:^^'-
*'
.;.'''
..;.>'
.i':
.i''-"
;%':!:-'
.#
^':
IS.
INTERNATIONAL
PORTFOLIO
A SELECTION
OF THE YEAR'S
BEST
PICTURES
CHARLES REYNOLDS
Circus
y^
Im
2'*^
>^^~-^-
-.^SL.-
V*
Ifr^/*
'^^^"^
;>-^-;v^-.-.
mu
JEBEMY BLODGETT
Speed
127
4^^>
JERROLD SCHATZBEHG
Fashion Model
129
WILLIAM CELABERT
Perspectives
H.
M.
CLERMONT (France)
Figures
:M::^
'"f'Vi,
PHILIPPE
HALSMAN
Anel
Adams
w^^m^ii^
m^
i'\f
PHILIPPE
HALSMAN
Edith Sitwell
SUSAN MCCARTNEY
KEY NILSON
(Sweden)
GILDA
ROSENBLUM
ANNE BRENNAN
Amish Children
JAMES BLAIR
^'irm
mm'^:^
Vietnamese Refugee
Nudes
YASUHIRO ISHIMOTO
(Japan)
BURT
SANFORD BOTH
Audrey Hepburn
OWEN
Rose
^^1%^^
Flip
SCHULKE
Football
VYTAS VALAiTAs
Screen
lBt'''.''.'i'r'
GIUSEPPE BEILANCA
Silhouette
MITCHELL BLISS
Autuiiin Pattern
J.
EDWAAD BAILEY
III
Nude
"^*
SONJA BULLATY
Trio
Roman
THOMAS HOF.PKtH
Priests
German
Winter Morning
i i
Sicilian
Women
III
fc_
rat>
-,
* v-t.
mi
'
II
ji
1^
KEN HEYMAN
Umbrellas
.^/
'^
DENNIS STOCK
Snowfall
ALFRED WERTHEIMER
Guitarist
NORMAN LERNER
CRETE
MANNHKIM
"I'leaso Kal"
Torso
LL^i^i
tm-i
<
frmnfafnfrrrrffl:
.^^^v^r^^i^-^-vi^^
-^ ^
s^
---:
HARRY LAPOW
^Xi
Four Horizontals
is-o-i'\-^r?w-
11
.,<^>:-.-sr^^.*
^5r^>*^
VH=;.:-K
vE
.'.
X'.
*/
".V
/S25i
.;,jis^
<
GERALD
HOCHMAN
Portrait
167
DON UKIGGS
Seated
Nude
HAROLD FKIMSTKIN
Floek
U%i*Ml^'
kJ^**iAMC:.im^^
^vmmmmma^^
.ii*v:rtf>iw^'
Germany
Spain
'
'
"\;
K
ER.NST
HAAS
Angkor-Wat
t^Hrtf*
'
DR.
Subjective Photograph
jpr;?^?!*'
n.'
-^tii'
'*v>.
LES BARRY
Feathered Friends
^^^^j^
vj,i
'^^^~
0SL
If
'
SUSAN SHERMAN
The Ar
CHARLES REYNOLDS
Gottlieb's
Pond, Catskills
J.
8AKK1
(I
HIM Hkh
Si
FRED WINCHELL
The Gown
>M:
JEFFREY
A.
Market Place
GORDON
V
f-
,1^.
^.ftsitfi
jr--rs^i
dHlHHH
CAROLA CREKOR
Larch Trees
PETER BASCH
Girl
iiSli
wi-
JERRY WHITE
Still
Life with
Trumpet
ERWIN BLUMENFELD
Bizarre
^-"v-
'\^l^^^^
r-.i;:^^
Bii%'i..>if^i
SANDI KERO
Sondra
BECINA RELANC
(Germany)
The Hat
JjH
'
lAKAO KAjiWARE
(Japan)
Flower
RICHARD DAMS
Swans
piRKLE JONES
Hoodetl Child
ANN
TREER
City
Windov
.MORitis 11.
CAROL
JM.
SMITH
.1
VFiT
Claudi
JayC
WYLIE LEONG
Football Ballet
lii?
section
is
a graphic rebuttal to
the long-standing claim that photographers can't he humorists. But the rebut-
tal
not seek
in with the
like
appealing
out
for
special
kittens,
literally
presentation
cried
in
this
year's annual.
many
nary circumstances
se(iuence of the old
for
instance,
man and
the dog.
the
the alert
and
work,
their
yet
their
fields
.Alfred Gescheidt,
are
an
widely divergent
advertising
graphic "anecdote."
Three other major categories of humor are found among these pictures:
the optical illusion; the incongruous relationships of people, with each other,
Elliott
they
other arts.
Two
of the
already
are
photographers represented
known
for
the
humor
in
Erwitt. a
.studio,
while
photojournalist. finds
way.
made
psychological pre-
us laugh, and
they
prove
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
WILLIAM
C.
Wheels
SEAMAN
of
Death
Pulitzer Prize
PICTURES
Tlie
popularity of photo
international
winning pictures
Photography As-
to
many news
PFC.
GREGORY
USAREUR
D.
YAKOOBIAN
Reflected Spectators
Photography Contest
picture competitions,
On
when
seen by outsiders.
in the contests
The high
quality of
sage a
new generation
of considerable
of
photographers
skill.
editors of
Photogra-
As
a result,
many
we
WrSFIELD
I.
PARKS, JR.
Hea\y Seas
Best Sports Pictures oj 1958
Selected by Look
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
'
'^rllk-^^
Lebanese Boy
'Magazine Photographer oj the Year"
Courtesy
New
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
last several
years the
number
of photographic
books
last year.
fine
particularly outstanding.
The
we considered
Again many
16,
PHOTOGRAMS 1959
S.E.
1,
IHffe
&
St.,
London
England.
PRISON EXPOSURES
PRIS0J8
by Robert Neese
EXPOSUKES
THE WORLD
IS YOUNG
by Wayne Miller
Ridge Press Book distributed by
Young
girls at a
author
to
freelancer, focused
on his own four
flight
first
many
where he
resides.
New
York. N. Y.
124
BULLFIGHT
by Peler Buckley
Simon and Schuster,
New
York, N. Y.
$10
of the bullring
ANIMALS
IN INDLA.
by Ylla
New
York,
in both color
was
is
The
final
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
of a Chital deer.
THE THRONES OF
$17.50
statue
219
Once
upon a City
)\CE
UPON A CITY
nostalgic look at
New York
City
Byron took
this shot in
MASTERS OF
PHOTOGRAPHY
Edited and with
text by Beaumont
and Nancy
A ewhall
George Braziller,
Inc.. New York
$12.50
Tliis collection
Adamson
(Courtesy
Museum
of City of
New
York)
Inc.,
New York
$17.50
Easily the most spectacular picture book
page history of the
craft of photography.
and
Over 600
high-quality reproductions, with accompanying text, span the 125 year period
many
journalists
He
whose work
is
covered.
at once.
-
Notes on
cover
Don Bnggs,
which he used
was taken
POSURE:
prints on
Ko-
the
developed
CAMERA:
ferrl-
page
CAMERA:
50-mm
Leica with
lens.
LIGHTING:
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-
re-
shooting
directly
LIGHTING:
f/2.
practice
available.
CAMERA:
page 23 (top)
not
flash.
50-mm
Leica with
the
instead
Into
them
used
lights,
add
to
the
to
composition,
picture's
quality
ethereal
resulting
the
with
por-
Magnum,
agency.
his
"more than
reports this
shot
was
available-light, hand-
3S-mm,
likely
CAMERA:
(bottom)
sensitive
very
this
to
EXPOSURE:
lens.
LIGHTING:
available.
page 24
CAMERA:
EXPOSURE:
Leica with
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
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
developed
In
D-23.
3S-mm
Although
224
Heyman
35-mm lens.
LIGHTING:
in
flash
ring
Wil Blanche
Newmar (once
lie
known
as
Jones"
of
Abner]
L'il
better
"Stupefyin'
the
musical
straight
in
by
sidellghted
the
sun.
CAMERA:
FILM:
RoHelflex
with
EXPOSURE:
Verlchrome
LIGHTING:
80-mm Xenotar
developed
Pan
in
D-76.
sun.
Don
photo
Ornltz
took
pixylsh
of
this
Vikki
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.
this
shot
size
men
hard
also
at
Rolleiflex
EXPOSURE:
l/lOO at f/8."
LIGHTING:
so
black
was
made on assignment
CAMERA:
works
lives,
with
with
75-mm
"probably
Leica
M-3
50-mm Summlcron
f/2 lens.
EXPOSURE:
natural
In
picture
This
for Esquire.
worker
photo assignments.
lens.
and hands
be suspended
void.
dynamic
CAMERA:
//3.5
legs,
dustrlal
VIkkl,
light-toned
only the
face.
New
of
Robert Motthis
strong
himself,
electronic
Foriune
for
made
work.
doors,
Prowling
signment
magazine.
lens)
Leica with
tar
lens.
page 30
In
page 28
lance
180-mm
EXPOSURE:
diffused daylight.
daylight.
fitted with a
light.
diffused daylight.
CAMERA:
page 27
pages 20-27
wide-angle
f/2.8.
at
shot of
shot
LIGHTING:
D-23.
In
N. Y.
Flushing,
CAMERA:
second
with
chronicled the
his
has
lives in
He
ranks
sional
Bob
to market.
passing of these
child
idle
proceed.
could
iungle
his
lens.
CAMERA:
EXPOSURE: l/lOO
LIGHTING: daylight.
civiliza-
dition
with
Vlsoflex.
180-mm
with
Waiting out
In
M-3
and
daylight.
lens.
page 19
35-mm Hektor
Leica
bellows,
f/2.8 lens.
page 25
the rains
to
for
use.
available.
photo-
graphic
Company
company
f/4.5 lens,
page 20
Stock decided to
assignment for
PHOTO JOURNALISM
nis
the
photographs
take
order
up with
bril-
of
Miniature Precision
Bearings
printed
In
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
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
ly.
shadow
Inspection
and delicate-
beautifully
slight
100 and
assignment
this
filled
provide
He
to
instances
come
Mayna
Wolfe produced
Frank
few
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
newcomer
to
the
professional
ranks,
PHOTOGRAPHY ANNUAL
cf
bulbs
light
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
New
of
part
1958
the
of
of
He
past year's
looks at this
Simmons
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
in
UFG.
FILM:
pages 38-41
Bruce
leave
Nikkor
at il8.
Paris,
in
first
saw
Davidson,
D-76.
on
Madame Fauche
Army
from
way
brimmed
old
his
and white
in
living alone
L'J^i
took
;".
medium-speed, medium-flne-grain
ephoto
f/5.6 lens.
film.
tel-
Miranda
with
EXPOSURE:
300-mm
Kilfltt
UFG. LIGHTING:
in
New
ability
in
of
"so that
band's work
better through
After
his
story
was
published
and
her
Army
her hus-
memories."
in
1957, the
Davidson
returned
signment,
surprise
to
with
it,
Is
Magnum
picture agency.
page 38 CAMERA:
Leica M-3 with 35-mm
see above.
players
a state
of mind.
Madame Fauche
lens
She was
formal
105-mm Nikkor
CAMERA:
CAMERA:
viewing stands,
rith
of
in
a
I.
Prometheus.
EXPOSURE:
EDITION
UFG.
D-23.
in
opening of
In
page 33
50-mm Sum-
1/60 second at
//4.5 lens.
I960
with
EXPOSURE:
editor
duty.
UFG.
in
Europe
in
picture
f/1.8 lens.
in
il4.
spending
angry
caught
at
has
years,
balanced
for
Newsplctures,
An
was
lost.
Baum
onet here.
with
If
was
UP,
then
INP,
with
EXPOSURE:
second
carrying forward
-fight
pal Auditorium.
50-mm Summicron
Leica
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
CAMERA:
page 37
great fun
Children's
many
has
daylight.
Broth-
ers
10
rammed
landing was
became
Britannica-NPPA-University
the
left,
in
photographer
General-assignment
climax,
eventually
Encyclopaedia
LIGHTING:
out
photographic
which
York
the foreground
In
paper,
his
sweated
Parks
M-3
Summicron
pages 32-35
photo.
his
EXPOSURE:
net given.
and took
on
while
on
the
New
of The
offices
the
magazine.
with
news
realisti-
November
lyn
is
Jr.,
into the
last
collision,
Parks,
just
Winfield
of
was
fire
been
killer
cally
camera
planes and
Times
wounded double-cop
Pageonf
for
came
mo-
wide-
This
airlines
coverage.
of
made
Dalton,
assignment
1/250 second at
interest-
design to Don
positional
The
ment of capture
ing,
EXPOSURE:
lens.
one
effect,
the resultant
50-mm Summi-
with
lllg
f/5.6.
in
Quarter on
French
in
tungsten.
contemporary
page 37
braced by
jor
Leica
page 36
background
St.
Ektar f/4.7
51/4-in.
lens.
one
4x5 Anni-
Speed Graphic
il8.
Hasselblad
llford.
CAMERA:
crash
Bourbon
on
pole
at
UFG.
in
junior size,
the
on camera.
1/250 second
New
90-mm Elmar
Celtic
from
ball
versary
with
D-23.
In
shows
Knicks.
lllg with
Leica
EXPOSURE:
lens.
the shot
shot
Bill
St.
CAMERA:
CAMERA:
and Knickerbockers;
the
Royal
a studio.
in
EXPOSURE:
den
bound
French Quarter.
in
with
lllg
f/5.6.
nude
a
made
York pro,
Leica
lens.
at
f/4
UFG.
in
ilS.
interest-
this
like
cron il2
like
most creative
second
1/500
at
tics
90-mm Elmar
with
outside
Bienville St.
lllg
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
veloped
in
D-76.
225
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PHOTOGRAPHY ANNUAL
page 39 (top) CAMERA: Leica M-3 with
85-mm lens. EXPOSURE; l/lOO second at
f/1.5 FILM: Tr:-X developed in D-76. LIGHT-
ING: twilight,
M-3 with 85-mm
second
CAMERA:
Leica
EXPOSURE:
l/lOO
//1. 5.
at
f/2.5
FILM:
//3.5.
page 42
training
On
basic
march to
a biv-
ing
Army
part of the
CAMERA:
LIGHT-
Carl Shira-
caught
this Intimate
favorite
famous
romantic
'
and
Mr.
M"
New
Ball at
is
and
tones
of
clarity
other prints,
In
Paris
York's
Wal-
methods
working
confound
50-mm
takes
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
he
with
illumination
existing
Nikkor
written
ING:
light
existing
permits
careful
time
If
an
Shiraishi,
technical-
or occasionally a wide-angle.
lens,
on
jewelers.
simple
his
the
Mrs.
in
Sometimes he
details.
developed
Tri-X
America's
and
couples,
contingent.
Leica
at //5.6.
^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
f/1.2 lens.
at
Davidson
Hills,
50-mm Canon
with
35-
1/30 second
Bruce
ouac,
M-3 with
Leica
developed
Tri-X
ING: daylight
MP
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
in
existing.
The
Roumanian
and
family
Russian
page 46
nun,
Leica.
ruins of
twilight.
this
page 43
portrays
Blair
picture
strong
which
lighting.
hurl
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
producing
and
covers
since
illustrations
advertising
1956,
and
is
and
CAMERA:
f/3.5 lens.
FILM:
with
through
hood, perceived
parentthis
Johnny
son
dishis
and dog,
moment
Judy, as a tender
worthy of record.
is
Bryson
well-known free-lance
professional
I960
85-mm Wollensak
Plus-X.
and
EDITION
"Virva
'Spartakiada,'
Iron
Curtain
tival
held
is
aptly
pics,"
in
which
was
it
made.
ex-Life
CAMERA:
pur-
Vigia,
in
San Fran-
speedlight
LIGHTING:
Super-XX.
14-in.
at
Ektar lens.
f/22.
FILM:
hard
have
to
find
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
(male)
wrote
but unfortunately
neces-
out-of-focus,
pretty
GUM
that
pictures
photo-
Lisa
this
dow-shopping in Mosdepartment
cow's
made
candid,
by
Mos-
young Russian
not
is
the
in
in
graphed
goal.
Thi:
Fujinor
Kremlin
the
page 51
though technique
husband.
Life.
You
technician
competent
in
took this
of
with
search
to
Larsen's
Larsen
her
lens.
would
Lisa
Leica
view
four 200-watt-second
pages 48-49
Ras-
Nils
writes
f/3.5 lens.
EXPOSURE
in
Karsh
Paula,
Lenin
Moscow
CAMERA:
at the
in
the way to
all
the
sport fes-
Karsh
at
all
the
1956
inclusion
woman
Ernest
Yousuf
Rus-
Rolleid,
champion
sian
of
edi-
currently
com-
then,
torial
LIGHTING:
UFG.
Portraits of Greatness,
traveled
wonderful
.
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
portrait
Fujinon
Other data
lens.
not known.
debris.
in
lllc
This
set-
Leica M-3
35-mm
time to
existing.
the
She
in
f/3.5
EXPOSURE:
lens.
suited
sidered
CAMERA:
with
Manhattan
in
Leica
Hemingway
customer,
St.
comrades buried
page 47
44
private
on Wooster
LIGHTING:
this
CAMERA:
sunlight.
page
48-hour
f/2.8
Rolleiflex with
EXPOSURE:
at
five
other lands.
CAMERA:
lens.
arrived
of
the
kiada.
the
Sickle
from
lighting
ting
Van
Kenneth
photojournalis
numerous
out
participants
scene
fire
the
sil-
composition
help of back-
the
with
athletics
interesting
houette
fire in
flames.
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
in
that
James
hideous
the
the contrary, a
size
girl
of
good Weiner
who the
CAMERA:
f/1.4 lens.
Leica
M-3 with
50
mm
in Life.
Nikkor
AVEDON PHOTOGRAPHS
MONROE
own account
For Avedon's
of
how he mad
page 65
sedentary
this
off-beat
Louis
page 52
the
Leading pre
was
Russell
llan
P
H^
Gay
to
expended
effort
In
Kane, a
York
professional,
semblage of famous
^,
as-
jazz
Deardorff
Kane flew
sitting.
Armstrong to
spot where
Ne-
desert was
the
can
flash.
afford
to
now
relax
In
rocking
old
his
created a subtle
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,
fa-
Dietrich's
CAMERA:
EXPOSURE: V7 second
B. LIGHTING:
Monroe
as sllent-fllm siren
CAMERA:
rugs and
tiger
EXPOSURE: speedlight at
FILM: Ektachrome. LIGHTING: 1,000
pouring
Bow,
champagne
confetti.
talented
tising
his
right
cat
this
and
shot
page 64
a
Is
function
lens.
to
creative
Marc
Bomse
photo for
the
took
the
per Co.,
specialized
has
photographic
Illustra-
CAMERA:
Ektar f/6.3
ond. FILM:
lens.
Royal-X.
f/8.
777.
fill-in
Illustrate
conveying
qualities
In-
available-light
in
made
was
It
assignment
for
Es-
long-time
by
devotee
New
Bell, a
Yorker
Greenwich Village
studio.
Yorker,
background
carry
carefully
Don
Briggs, a
New
in
added
York,
to symbolizing
herself.
of
tising
in
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
of a
his
meter
up a
full
reading
stop,
effect
reflection
man-made pool
his
In
of
the
here
FILM:
lens.
He
studio.
girl,
then
Rollelflex
with
EXPOSURE:
Trl-X
LIGHTING:
developed
tungsten.
for
stocking
made up
of two
is
f/6.8 lens.
took
opened
always
page 76
80-mm Xenotar
12-in.
//9.
Harvey's
777.
of Win-
More
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:
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.
be known professionally
ing
FILTER:
page 73
ad.
aid to clients
Biotar f/2
water
as
58-mm
late
pages 74-75
HIro
with
LIGHTING:
full
page 69
VX
Exakta
EXPOSURE:
to-
reminiscent
is
Illustration for
CAMERA:
(cut
client's fabric
picture
in-
beauti-
all
to
model's
tal
women
model
lovely
and
lens.
skylight.
segment
props
f/2
print of his
amusing
West
228
Photographs
dancer
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.
clever example
as
at
Harvey's
Plucer's transparency.
In-
tographic
in
This
Tessar
second
developed
rest.
75-mm
Into
f/32.
at
LIGHTING:
E-l.
page 72
adver-
shot
chrome
Ektar //6.3
12-ln.
1/25 second
existing.
Wamsutta
moment.
CAMERA:
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
Hugh
city's
editorial
in
CAMERA:
locale,
the tapestry-like
ADVERTISING &
ILLUSTRATION
page 63
the
CAMERA:
Marilyn,
In
great
flash.
page 61
known
for an
with
f/3.5
lens.
as
vari-
In
magazines,
Theda Bara.
and
Evia
lustration
Country magazine.
available-light
Ektar
appeared
national
for
by
quire
Illustration
this
//22.
together
New
on
studio
filters).
Oriental
ous
Many
at f/8.
pages 58-59
which
hattan
12-ln.
brought
shooting.
page 56
skin
jects
herent
available daylight.
Harlow.
Technical data: same as above.
pleas-
ous
club
chair."
page 54 Avedon
This
cluttered.
less
to
out with
fly
in.
page 70
Brady.
CAMERA:
of
belles
was to photograph an
from Dia-
Lillian
mond Jim
portrait
Armstrong
New
m
W*
|^
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
il-
Polaroid
radio
personality
and
Arnold
Stang.
CAMERA:
5x7
Dear-
PHOTOGRAPHY ANNUAL
conveys
In
Seymour Med-
page 77 A
combina-
Pa.,
of experimentation
at work
discover-
here,
and
beat
off-
possibilities
color
chrome
LIGHTING:
seconds
^to
ma-
two
chine parts
in
this
pho-
blend
Bazaar,
Is
and
totally refreshing
In
CAMERA:
Harper's
new
CAMERA:
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
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
the
strategic jobs relating to the use of pictures;
Modern
In some
of
no data available.
photographers are
the
of
client
house
Ektar
at f/4.5.
The
tion of their
look at
"ex-
world
the
at
to watch the
LIGHTING:
Type.
page 78
high
tv/o
Ektar
14-in.
EXPOSURE: 30 seconds
FILM: Ektachrome B. LIGHTING:
lens.
In
Deardorff
f/6.3
vegetables.
f/6.3
page 84
Packaging magazine.
subtle
the
with
beautifully
so
210-mm
EXPOSURE:
tograph
compen-
v/ith
backlighting.
teristics of
which
reflex
speedlight.
LIGHTING:
ing,
and
field
with
Falr-
tv/in-lens
Lomb
the
In
element
design
4x5
child-Halsman
f/32
captured
fessional
great depth of
CAMERA:
Verl-
York pro-
bles
30
Is-
raphy.
EX-
lens.
FILM:
Stephen Col-
New
houn, a
In
September 1959
Bausch &
page 81
f/2.8
and
appears
Rolleiflex
POSURE:
flood.
In
the
Hals-
equipment
techniques,
studio.
his
in
CAMERA:
on
details
man's
signment
the
with
Philadelphia,
of
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
the U. S. Information
In
CAMERA:
lost.
Angulon
open
wide-angle
shutter
dancers.
Agency.
f/6.3
at
FILM:
f/16,
lens.
with
EXPOSURE:
speedlight
on
Tri-X.
baby
Is
One
contrived.
un-
New
of
turned-photographer,
caught
sweet mo-
this
CAMERA:
ond at
f/3.5.
page 79
sec-
in a
two
is
separate
dye transfer
making
In
graph for
print.
that's the
photo-
the
girdle ad-
vertisement, Donald
Mack shot the figure of the
girl in his
studio to
Mack
professional
who
lives
and works
in
New
York City.
CAMERA:
EXPOSURE:
flower,
Hasselblad
for
f/2.8.
girl,
LIGHTING:
with
New
80-mm
MEC
16.
Here at
Automatic
Ultra-
Miniature
small
last is
camera convenience .
an ultra-miniature that is
panoramic landscapes,
.
for
girl,
tungsten
daylight type
girl,
type
Ekta-
bounce and
di-
&
EDITION
hand
Please
319
rush
illustrated
Name
STANDARD CAMERA
CORPORATION
I960
a whole world
of fine photograptiy
Ip the palm of your
lens.
page 80
subject portraits,
FILM: for
chrome.
HAS COME OF
mmr m
f<m^
gar-
16 mm PHOTOGRAPHY
AGE
With The Elegant
This shot of
a lilliputian girl
actually
an-
Address
City
me,
MEC
without
brochure.
obligation,
the
page 85 Famed
and
1931. This
in
one of
my
All that
painting."
that Mine's ca
is
No
came
of
Berko
Colorado,
fascinated by the
snow.
in
one of a group
is
He
"Without
comments:
it
it
CAMERA:
Swiss
of
photogra-
phy's
one
made
in
CAMERA:
75-mm
l/IOO second at
No
lens.
daylight studio
his
data available on
filn
mm
Tessar r73.5
and exposure.
Tessar //3.5
f/l
FILM:
I.
Super-XX.
study
and
the
great
page 87
of a
on
four-story
building,
made
from a platinum
who
by
CAMERA: Canon
FILM:
Neopan
Fuji
35-mm NIkkor
IV-SB with
EXPOSURE:
f/3.5 lens.
FILTER:
SS.
medium-
highway
outside
Hokkaido,
interesting
that
picture
of
him 28
slow shutter
prevent flare
in
Ektar
is
Shimbun.
picture was
(This
CAMERA: Canon
f/1.8
incorrectly cred-
Haiime Ohigashl.)
ited to
IV-SB with
Vl
f/4.7
SO-mm Canon
second at
LIGHTING:
ton,
th's
the
Edward Wes-
in
favorite
in
ing,"
of his
"models" was
green pepper: he
other
Panchro
American
230
Charles
Sheeler.
speedllght at
Press
Type
B.
"While
his life.
photographers
an
eminent
is
closely
in
the
York
in
Museum show
form
the
of
^rini
in
iL4t
hand
of
is
This
portrait
most
fa-
mous
and
lished
photograph made
widely
pub-
Opera
"This
is
an
me fame and
Naked
Europe.
Cify,
unposed shot:
fortune
in
was
in
It
and due to
America,
my
this
for the
it
first
photo,
movie of
an
in
No data
is
the picture.
page 101
bum
who was
past year
page 100
of the Metropolitan
he says.
CAMERA:
page 89
New
in
available on
is
pho-
The Steer-
is
airplane crash.
tween
data
TT
Perhaps the
documentary
killed this
book,
No
Asahiflex
lens.
page 99
entire
the
Hollywood, and
Kuni-
'm
photojournalist
calls
with
picture
has brought
liked to
a dental
son
men threw
electronic flash.
warm lobby
the
House,
the humblest
One
which he
of American photography,
subject matter.
took
so.
delighted
Super
is
course of
page 88
shot,
EXPOSURE:
lens.
f/l.8.
FILM: Super-XX.
it
Even
FILM:
f/16.
its
EXPOSURE:
lens.
close friend
of originality, and
tools.
this
his
bulb on camera.
arriving
a
Is
explains, "Three
a 2S-year
used
CAMERA:
He
by profession,
f/3.5
tographs
full
is
his
get
tries to
Doll Atomicus.
a car
cats,
using
master of
Is
transpar-
lltz'
Philippe
disaster.
positive
skill
is
page 98
in
tricky
is
he
might
the snow,
in
of Salvador Dali, he
5'
mar
Sap-
Japa'^
Ike,
it
from
in
CAMERA:
is
Surrealism
photography
.^h
as the model.
poro.
page 94
duce
yellow.
Goro
print;
pages 92-93
FILTER:
a true
is
made
leaves.
Is
show.
1/200
negative
f/8.
New
ency,
mag-
The reproduction
azine.
this
Konipan SS.
advanced experiments of
hero, dressed
pioneer-
Stieglltz'
Here
technician
Comero
in
photographic
ing
Gifu
of
Tot+a
Japan,
City,
used
IVor^,
December morning
Takeichi
was
it
HLM:
first like
EXPOSURE:
lens.
tographer. Actually,
is
page 97
figure
This
Museum
f/S
page 91
the
ultraviolet.
decade ago.
Karlprotar
second at f/ll.
detail study in
this
in
He
Irving Penn.
His shot
afternoon snowfall.
late
CAMERA: Canon
mm
to-
been published
from the
One who
beginning.
almost
Rolleiflex with
EXPOSURE:
been
finesse
actually snowing."
is
page 90
is
lens.
This
is
many hours
difficult subjects
means while
Wood, some 25
where thousands of white
data
be-
photographed.
he
have engaged m
shapes of dogs
This
"For
available.
few years
Ferenc
ago.
heron
is
n a k a
a 4x5 Graflex.
page 86 A
Aspen,
T a
years.
pro-
profession
basic
of the
specialties
picture-taking
kutaro
George
One
unusual
photography
Eastman House.
known technically
in
have long
"I
fessional
the collection of
is
as
Now
since discontinued
is
from
series,
his
camera
the
more
em-
time
he writes:
Empire State
the
Building
for
ployed
of
page 96
related to photography,
doc-
umentary photographer
Lewis W. Hine was as-
al-
Ray made
Man
a color photo-
camera.
black-and-white was
separations
This
-"probably
the
red."
of
the
He
no
but
been made
in
believes
1933.
PHOTOGRAPHY ANNUAL
page 102
ra
The
able Alfred
was
Stieglitz
photographed
hon
in his
pression.
She
the
time
first
those days."
made
by window
with a Leica,
No
us
71/2-inch
with
an
YOU
BUYi
up
fel
Leica
lllc
with
50-mm Nikkor
available.
incan-
descent.
page 104
109
page
"por-
Lloyd
and
Barbara
motion of wind
of
life
N.
still
made
in
EXPOSURE: I/2
Neopan SS. LIGHT-
lens.
FILM:
second at f/S.
wanted to
phone
line
might
this
Turner-Reich
f/6.3
second at //I6.
Type
Goro chose
for
infrared film
on assignment for
is
in
made
Utah,
shot,
in
in
color,
Life in
1948.
sci-
ence assignments.
CAMERA:
Tessai
f/4.5
f/16.
FILM:
EXPOSURE:
lens.
Kodak
LIGHTING:
red.
Infrared.
late
seconds at
FILTER:
his
afternoon sun.
page 110
1939,
recorded
Spain
in
1937, he
accompanied
Loyalist
war.
In
enemy
B.
al.
mercurial
expressions.
page 107
One
the classics
the tra-
in
of
documenphotography
is
dition of U. S.
tary
Dorothea
Lange's
ture of an old
a
pic-
man on
made
line,
the
in
1933,
depths of the
1960
EDITION
in
De-
complete with
model,
light
good photo
latest in
reading.
the
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the second
front
as
of
the
into
data section
1960 PHOTOGRAPHY
the
or
^*L. ^0^
in
This
rank.
made on
Capa hit the
roll
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page 112
The dreary
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Bill
across
Brandt's
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Brandt offers
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copy
PHOTOGRAPHY DIRECTORY
GUIDE.
(name)
of the
and
1960
buying
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DIRECTORY,
poet's
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waves of troops.
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PHOTOGRAPHY-World's
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broth-
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ful
the
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making a series
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bound
The late
Capa
Robert
some
In
er-in-law Carl
in
of
diagrams.
dark
Steichen
photographed
l/lOO
B.
page 106
EXPOSURE:
special
12-inch
with
shutter ranges,
features on over
types.
prices,
speeds,
cameras
Goro
lens.
View
studio floods.
that region.
Mor-
Mrs.
picture.
poles
of
shot
this
Fritz
Kodak
5x7
enced
Life's
be
is
CAMERA:
can be a chal-
pro.
Compare
about
write
tele-
book she
appropriate opening
gan
Dramatizing something so
effort.
You'll
as
this
She was
of a
thought
spotlight.
pages 104-105
commonplace
of her son
her studio.
thinking
with
Koniflex
made
pro.
Y.
trait"
in
her studio.
CAMERA:
Scarsdaie,
back-of-the-head
some
and
matting,
raveled
this
in
jar
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PHOTOGRAPHY DIRECTORY
CAMERA:
tographic
attracted
was
and
armchair
asleep.
data
other
New
an
in
platinum
no
an
BEFORE
friend,
8x10 view
from
give
1:DIRECTORY.
in
"While
visiting
writes
camera. Reproduction
print;
CAMERA FANS:
the
posure.
was
Steichen's
was
on
and engulfed
Graflex
31/4x41/4
page 108
earliest,
working
light.
page 103
plate
CAMERA:
one of my
surrounded
which
by Henri Cartier-Bresson
a few days before his
is
attempted
alone.
streets,
tions
says, "This
and
Foreign
H3
page
One
page 117
of
Destmy"
that of Win-
is
by Stelchen.
in
ings
Ottawa.
in
was
came from
ing
CAMERA:
XX.
floods for
floods, plus
of Kolcedera
perpetual
is
attraction
Kimura
technical data
page 118
iron
is
for
photographers,
Tokyo.
Man
of
garden
heightened by
New
Lack of sharp
the moss.
contrasts
ways
composition
simple
Japanese
is
in
it
of
the
Rollelflex with
EXPOSURE:
75-mm
Tessar f/3.5
beauty
somber
glass
plate:
bare
lakefront.
He
fessor
photography
of
at the Illinois
CAMERA:
TTrf
pro-
is
Institute of
On
a cloudy
snowfall.
morning
the
made
He was
men.
FILM:
with
lens.
tele-
LIGHTING:
Charles
in
depth.
portraiture
subject
and
which
in
seem only
the
CAMERA:
this
In
case,
Andrew Wyeth on
ment
as
home
for
Life,
setting
in
pire
he
this
>
nue
9|
R ^^L (
chose
"
an old church
Pa.,
^b^IIILl.
near the
which
artist's
Wyeth had
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.
Leica
EXPOSURE:
in
ex-Ohioan
an
Plus-X.
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
EXPOSURE:
FILM: no data.
Jersey
15 min-
Bros.
engagement
by Reynolds during
images of
Backlighted
foreground.
visible in the
available.
star
"Felnlnger
in
assign-
Chadd's Ford.
State
Berenice
to his sur-
logically,
roundings.
bright sunlight.
devoting himself to a
few feet
is
related, visually
is
half
This
Avenue sidewalk
Fifth
page 121
Arnold Newforte
contrast.
Rey-
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
around
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,
then
day.
pho-
of
tools
shots
New
found
Japan,
the
master
is
in
fire
it.
Andreas
best-known
Koyo Hosoe of
Takayama.
summer
been fascinated by
His
in
about
photo
just
made by
shot on a bright
CAMERA:
of
staffer,
ministered processing to
page 120
after a
March,
He
ows.
platinum
late
Journal
6l/2x8l/2-inch
Felnlnger
Technology.
Mil-
was made
Chicago's
angle.
Bauer
game,
illustration
little
right
the
patterns
an
manipulation
technical
waukee
Clarence H.
Buff,
on
these
in
FILM:
1902,
along
the
common-
using
place,
and
Harry Cal-
found
lahan
Picture
under
Richard
as
page 115
unknown.
Bllndman's
Plus-X.
trees
EXPOSURE:
lens.
page 119
CAMERA:
existing.
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
the Family
in
or
tonacl's
industry
can
represented
Al-
made
was
day
by
leaning on an
girl
railing
with
series
writes
of
Manuel
in
available.
is
"The Moss
photographers."
Ihel
FILM: Supertwo
I.
others
It
EX-
fill-in.
page 114
Garden
No
session.
of
made
first
Vanity
in
Franco
shot
Fair at
address-
legislative
joint
actress
to this country.
published
Antonacl's
when
I920's.
Swedish
came
the early
in
the
Karsh
a cor-
in
page 122
portrait
of
Decennber 1941.
in
supplied
this
made
INTERNATIONAL
PORTFOLIO
According
information
to
Amusement
Park.
CAMERA:
with
50-mm
Leica M-3
Summlcron
PHOTOGRAPHY ANNUAL
lens.
FILM:
//4.5.
page 130
ways
Ex-
waited
Jerenny
and
lens,
and
his
literally
CAMERA:
carries
the
LIGHTING:
D-76.
California
habitat,
col-
por-
and
William Gelabert,
traitist
Philippe
of
New
York.
In
the
bottoms
master
He burned
the
of
Halsman
visit-
New
York
studio. Angle,
4x5
in
ern
it.
for
finally
league
plains
that
result"
Adams,
FILM:
Master pho-
tographer Ansel
stand
to
f/8.
Microdol.
in
wife driving
gave
page 134
so
my eye
with camera to
had
Planar lens.
at
flash
the
disappeared
quickly,
Camera on
made
electronic
moving
CAMERA:
EXPOSURE:
simply
someone
until
subjects
angle
Park
Riis
walked by and
(a
Art Center
Los Angeles
the
at
Beach bathhouse,
pases 126-127
of
"Fascinated
CAMERA:
ill
Leica
50-mm Summicron
with
lllf
EXPOSURE:
lens.
1/25
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,
210-mm
with
reflex
Tessar
f/4.5
lens.
EX-
pase 128 An
example
exciting
impres-
the
of
itfi
//2.8 lens.
llford
ING:
home
in his
IIC with
work of
art.
CAMERA:
210-mm
reflex
his
bull, v/Ith
one spot.
floods,
page 136
legs
his
page 132
oher
made
R.
picture
this
shot
his
and
a tail
ever seen."
I've
"Two
Panning
his
camera along
CAMERA:
Summicron
f/3.5.
Photogra-
France,
study
He
studio.
last bull.
In
fashion
shot
this
teur,
slight
shadows on
young
lancer with
dio,
his
specializing
CAMERA:
//2.8 lens.
FILM:
EXPOSURE:
LIGHTING:
I960
Planar lens.
counselor and
CAMERA:
own
in
^'
Rolleiflex with
EXPOSURE:
llford
is
a free-lance
80-mm
Zeiss Planar
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-
Clermont
page
132,
completely
electronic
v/ork.
artist
he
the
stu-
fashion
an
different tech-
produced
f.
FP3 developed
EDITION
lens.
is
Hasselblad
FILM:
works full-time as
travel
//2.8
CAMERA:
nique
free-
EXPOSURE:
llford
set up.)
entirely
Jean
Schatzberg
talented
page 133
un-
simple
of
Mc-
Miss
stroll.
her shoulder
for Vogue.
hour
(Note
Jerrold
starkly
wintry
Leica
Schatzberg took
this
in
cluttered,
position
lens.
page 129
Training
M. Clermont of
figure
Bar-
in
while
student at
Cooper Union in New
Montrevll,
this
his
Retina
and
terization
made
he works as a goldsmith.
power.
ese
the
Inimita-
daylight.
rushing
between
kill
in-
on
In
50-mm Xenon
f/2.8 lens. EXPOSURE: t74. FILM: Adox KB-17
developed in Fabofin. LIGHTING: afternoon
ears
William
to
shot
CAMERA:
available.
tail
of
receding
distance)
of
ble
Gelabert's
Dame
(repeti-
to
is
Halsman
portrait
this
and idea
Mettier.
Hasselblad 500
made
Evening Post,
CAMERA:
in-
(public
pattern
tive
an
perspective
in
in
bath)
page 135
place
similar
study
this
is
language
ternational
to
shot of a whirl-
this
is
Proof that
that photography
a small
it's
from
page 131
light,
flash
an
unit
printing, the
let
results.
CAMERA:
Leica
lllg
with
at t74.
FILM:
233
page 141
moto
possibilities
made
the
in
taken
He
Stockholm.
in
maximum
Technlka
EXPOSURE:
Angulon
f/6.8 lens.
at f/32.
daylight.
ING: afternoon
others
who
this
picture
will
the
shooting
the
Belgian
Africa.
sis-
Mi;
EXPOSURE:
Rolleiflex.
full
l/lOO
page 139
"I
Adder,
months
carried
time
who
professional photographer
This
Blair
EXPOSURE:
has worked
as the Hungarian
In
MIcrodol.
lens.
FILM: Trl-X
LIGHTING:
HTING:
LIGHTING:
MIcrodol.
in
Plus-
north
aimed here
artistry,
torso
long
CAMERA:
think,
page 148
/ith
soft,
gift
professional,
illumination
source.
is
images.
Inamura,
CAMERA:
in
bounced
is
as-
Tokyo.
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
lens,
fast eye,
CAMERA:
f/2 lens.
Plus
X developed
with
lllf
in
let
of-the-ordlnary image of
Promicrol.
50-mm Summltar
FILM:
setting
lens.
Jean Dleuthe
Hektor f/2.S
Is
MIcrodol.
1/500 sec-
utes at 70 degrees in
photog-
10 seconds at f/8.
EXPOSURE:
He
and
long-
zalde
available.
Leica
125-
made.
College
EXPOSURE:
page 149
f/2.5.
Jervis ever
Oberlin
made from
know-how.
ond at
life
still
at
CAMERA:
has
his
mm
This pho-
part
portfolio
unusual
and
shutter speed,
of a
Is
is
photographer,
stances.
pleasing
York
photographer
Planar lens.
Robert Jer-
New
of
young
are Japanese
of
beautifully,
the
out-
this
focus,
at
print.
vis
focus
Takamasa
shot
studio
his
in
lens.
The secret
in
daylight.
234
FILM:
this
page 144
out"
Rolleiflex with f/3.5 Tessar
page 140
FILM:
lens.
Giuseppe
ual
CAMERA:
f/2.S
like a
Is
revolution.
light
ingredient
ex-
"photogenic
Bellanca
looking
X developed
light
and
Professional
picture
critical
in
it!"
EXPOSURE:
little
CAMERA:
which,
lovely
the
one
pictured
1/50
Sometimes
tests
for
quality."
and
"hold
to
he
EXPOSURE:
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
troopship that
CAMERA:
oped
late
because
picture
a soft-quality light.
The picture.
fashions,
sibilities in
was if
USNS Ma-
aboard the
Akron
for the
Owen's profession-
Burt
al
daylight.
wanted
the
for
light
page 147
While car-
children's
on
photographer
Is
photographic
page 143
of
FILM: Fer-
D-76.
in
Manhattan.
in
developed
who
evening
second
lens.
self-expres-
f/8.
EXPOSURE:
ranla
one
"A Photog-
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
"I
as-
portraiture at
location,
Congo in
made this
and
CAMERA:
a series called
hand
she relates.
feelings,"
Ohio
for
left
California
older
hope
his
in
(while a
class
camera
home
children,
that
"to
in
and
camera
Vytas Valal-
signment
simplicity
developed
LIGHT-
Promicrol.
In
young talented
is
his
He packed
tis
for
charm of the
child
by
student)
little
rine
page 146
Sanford H.
assigned
was
Roth
to that of his
ING:
125-mm Hektor
available.
vie,
the
second at
with
attract-
of
serious
FX
Praktina
EXPOSURE:
//2.5 lens.
ING:
D-76.
his
my
movement
smashed
magazine to cover
making of the mo-
brother linking
response
page 142
Life
the
the
the
ter,
in
show
to
situation
These three
Amish children
titude
l/lO second
^^
^^
in
CAMERA:
page 138
90-mm
with
process-
in
than
expected
CAMERA:
Linhof
development
insure
to
speed
ing
detail.
CAMERA:
fect he
down
lens
his
slower
this fast-break-
shooting
He posed
Japan.
In
Flip
be
might
snowy scene,
this
shutter
he
Here
used
Schuike
photograph
this
while
but
out of Chicago,
page 145
Ishi-
professional
saw
Lidingo.
in
Yasuhiro
is
LIGHTING:
horses and
ting
wagon
along a road
trotIn
Turkey.
Dieuzaide
is
PHOTOGRAPHY ANNUAL
new
resident of Toulouse,
CAMERA:
LIGHTING:
FILTER; orange.
X.
road,"
try
Xenotar f/2.8
Rolleiflex with
"While
profes-
says
lens.
EXPOSURE:
page 153
setting
sun.
photographer
sional
Molly Malone Cook, "I
noticed
the
that
ATTENTION
late
page 150
was
was
wheat
and
made on assignment
for
printed
white back-
many
New
years.
my work
Is In
Yorker
professional
Bliss
says:
the experimental
field.
for
"Much
am
of
often
graphic problems. As
a result.
Involves
It
can be done as
If
many
of telling
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
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
oak
leaves
Mitchell
etched autum-
finely
Bliss'
NIkkor
at i/S.b.
SECRETARIES!
page 154
R.
Rosarlo
New
is
Miguel
professional.
For
photograph
he
York
this
used
through
ing
as
Is
window
gives
Backlighting
source.
light
his
In
still
photography.
CAMERA:
FILM:
//2.8.
EXPOSURE:
Harvey's
in
777.
arises that
better, by photography."
CAMERA:
f/6.3
EXPOSURE:
lens.
seconds
Type
Press
LIGHTING:
DK-50.
in
14-in.
at
Ektar
f/32.
developed
incandescent
(see
page 155
lighting
on
tured
nude
sculp-
been
has
balanced
to
maximum
of
k,>~__,
Edv
who
dentist
lives
in
lighting the
photo was
made
in
Bailey's
studio
in
CAMERA:
m^i
professional.
Hasselblad
lOOOF with
Rolleiflex
EXPOSURE:
f/3.5 lens.
LIGHTING:
two at
of
New York
in
16,
N. Y.
Mlcrodol.
reflectors,
If
your Club
is
already listed,
left.
135-mm
Sonnarf/3.5
page 156
f/8.
anni
list
75-mm
at right,
please send
used continuous
two
CAMERA:
with
studio,
list
took
France,
the photograph
the
of experiments
and
Clermont, a
In
If
Announcements
Montreull,
in
*^
,^,^
page 151
interest
Camera Club.
M. Cler-
R.
beautifully
achieve
would
benefit your
artificial
mont's
adroitly
above).
The
we're
l/IO second at
FP3 developed
llford
Hasselblad
ilar
made
changes of address,
Ranati Gi-
photographs
young boy
of
and
the incon-
in
officers
Many
thanks!
gruous surroundings of an
page 152
for
point
good vantage
all
overpass
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,
York professional,
advertising
photog-
raphy.
lens.
EXPOSURE:
Tri-X
developed
headlights.
I960
He
POSURE:
developed
lighting
EDITION
Kllar f/3.8
D-23.
LIGHTING:
car
with
lives
his
in
In
vocation,
D-76.
LIGHTING:
Modem
Italy.
FILM: Plus-X
natural side-
75-mm Tessar
f/3.5
veloped
full-time
Turin,
CAMERA
CAMERA:
own
his
amateur:
an
CAMERA
New
magazine and
as
draftsman.
eyes
works
of
with
two.
the
photograph
River Drive
that
between
fourth
In
Mlcrodol.
lens.
EXPOSURE:
LIGHTING:
daylight
IMM^
235
page 157
Candid
page 160
tri-
youths
fortu ito us
grouped
was
children
by
tioning
her
in
doors
with
only
light,
she
exposed
detail
American taking
existing
take
a free-lance
Is
and getting
d,
picture a
Miranda
EXPOSURE:
lens.
50-mm
with
1/60 second
at //4.
lights with
UFG. LIGHTING:
in
pase 158
tograph
part
of
ere
f^
missionaries
trained,"
say;
Thomas
photographer
Hoepk6
the Vat-
In
This picture
inary.
Japanese, an Ice-
landic,
who
Germany,
by
represented
is
photographs
CAMERA:
//2
MP
Leica
and
unit
the
In
in
several
Dennis Stock
electronic
his
another exam-
matic
whole
on
posures
second
at
f/8.
Perufin.
in
CAMERA:
ill
extended
sional,
MP
Leica
made
this
35-mm Summicron
with
1/50 second
at
f/5.6.
Perufin.
in
magazine. "Enna
"and
the
Here
dresses.
women
shot.
This
wanted
^.
this
In
fingers
at
guitar
strings
RCA
for
Victor.
living
In
New
a profession-
Is
her,
Tessar
at
f/2.8.
D-76.
adapted
an
lens.
EXPO-
FILM:
Super
f/2.8
LIGHTING:
shutter at a slow
woman
to
come
that
me
lens.
Leica
EXPOSURE:
MP
with
the
town
was
90.mm Elmar
Perutz-Peromnia developed
236
phohigh
professional
calibre
that
in
I.
Rodlnal.
f/4
FILM:
work
his
hard to believe he
it's
an amateur.
a
sampling
his
EXPOSURE
Lapow found
CAMERA: Canon
EXPOSURE:
Coney
ING:
Mannheim
all
lives
over the
design
35-mm
with
in
the side
Serlnar f/2.8
FILM:
Harvey's 777.
EXPOSURE:
He
Fourth
35-mm
with
Serlnar f/2.8
Harvey's 777.
New
Brunswick,
Canada
trip
Lapow
CAMERA: Canon
with
EXPOSURE: 1/30 at
developed In UFG. LIGHT-
lens.
white-walled kitchen.
Miranda.
in
In
CAMERA: Canon
lens.
existing
f/ll.
this
FILM: TrI-X
at
saw
f/8.
Serlnar f/2.8
second
bath house.
CAMERA:
Magdellan
developed
Plus-X
time
New
l/lOO
Mass.,
this
Mrs.
the
with 35-
this interesting
Rockport,
of a
Plus-X developed
Neal.
or
Canada.
CAMERA: Canon
lens.
grandson
this
vacationing
picture while
In
is
work.
Lapow made
First
nBlHyi>t*JW
is
page
This
of
them
them at leisure on film and even
somewhat as enacted by her daughter Hanna
in
consulin
relive
and
f/4.
and
designer
to get the
Elmar
at
Harry La-
of such
avail-
of the
my
arm
York City.
Pentax with
Asahi
80-mm
'The
his
second
1/60
is
lens.
working and
with
Leica
design
but
portals,
by profession an
is
Islands
gloomy place."
CAMERA:
pow
memories or appreciation
impression
shapes
>
page 165
tography
behind
In
in
EXPOSURE:
lens.
industrial
and
f/4
Third
In
ing her
focused
talking
colors
the
to
com-
bold
look
assignment
said,
speed.
DK-60A.
their black
In
f/ll.
at
me-
was impressed by
women
on the
he
town,"
dieval
is
cam-
flash.
Wert
in
at-
Ektar
51/2-in.
speedllght
developed
Alfred
CAMERA:
Les
was
electronic
saw
Hasselblad
while
working on assignment
to the
Super-XX
FILM:
strumming
The
Circus,
eye
CAMERA:
dropped
EXPOSURE:
lens.
positional
Hoepker
picture
tent
J.,
strobe
his
trigger cord
its
CAMERA:
f/4.7
heimer
page 159
profes-
close-up
EXPOSURE:
lens.
N.
Park.
tant,
Italy.
in
isades
Shooting
his
given
snowy
through
page 162
from
man
tion. "I
page 164
package
situa-
this
UFG.
in
outstretched
window,
36 ex-
of
roll
flash at f/ll.
other
the foreground.
Rollelflex.
unit
com-
contrast
in
EXPOSURE: electronic
FILM: Panatomic X developed
CAMERA:
Bonn,
keen
His
of
shot
lighted
hHoepker's work.
of
pie
LIGHTING:
is
Barry's
50-mm Summicron
1/60
Brothers
flash
with
EXPOSURE:
lens.'
lives
Annual,
in this
page 161
plodding
"Students
r.
it
appearance of the
Clyde Beatty-Cole
Roman Cath-
seminary
are
CAMERA:
"This pho-
is
story on a
guess
to
difficult
is
application of ferricyanlde.
f/3.5 lens.
available.
olic
sizing
CAMERA:
//I.9
it
Sollgor
rapher.
their pic-
magazine photog-
one
this
himself as part of a
for
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
of
for
in
seeing
at
prised
in-
Lerner
peared
rain
so
subjects'
Shooting
Norman
these
the
as
just
The work
professional photographer
homeland.
page 163
tour
upon
came
man
ly
made
On
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
re-
we
New
pro
York
Farrell
Grehan,
without
ment:
was on
"I
comself-
Central
in
This
Park.
scene wouldn't
but
fit,
it
photographer
up. This is the kind of picture a
belikes to take, and because it comments,
1
lieve
but
it.
rarely gets
it
."
published.
CAMERA:
Leica
EXPOSURE:
second
l/lOO
f/2:8.
at
FILM:
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
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
EXPOSURE:
in
contrast.
increase
further
thus
and
Manhattan.
in
LIGHTING;
daylight.
page 168
was
an
An-
made
this
nual when
he
nude
sensitive
study
CAMERA:
f/3.5
at //I4.
1/25 second
Daylight Type.
chrome.
Hasselblad
135-mm Sonnar
lOOOF with
POSURE:
lens
FILM
LIGHTING: bounce
page 169
flock of
his
in
his
photograph
real
is
Ziff-Davis Publishing
ethe-
Department PA60
434 Soutli
COLOR AN-
or use
sale at newsstands
coupon today and your copy T\-ill
you right away
now on
of
Co
Wabash Aver
"backyard," which
Please send
understandable since
is
Harold
says
NUAL
electronic flash.
Feinstein
How a
in
studio.
his
assign-
ANNUAL
Don Briggs
fulfilling
ment
is
lives
professional,
works
ANNUAL
then
model,
made-up
me
COLOR ANNUAL.
he
lives
in
the country
near Ringoes, N.
describes
J.
He
printing
his
unusual"
meaning
that
zone
state
CAMERA:
Beseler-Topcon with
58-mm Auto
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
is
in-
50-mm Summlcron
f/2 lens.
EXPOSURE:
at //5.6.
FILM: Kodachrome
LIGHTING:
1/5
with a
on a plank.
fully
FILTER: 8S-C.
F.
impatience to view
window. The
Supra
Peco
9x12
with
90-mm
lens.
Agfa Isopan
FF.
page 175 On
con
Still
ment
and
objects
of
usefulness
for a
their
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
is
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,
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
it
was
In
the shade!
able
Zoo
at
New
pro-
50-mm Te ssar
lens.
in
Rodinal.
Professional
Wlnchell
Fred
ton, Texas,
of
Hous-
used a coarse
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
visitors.
CAMERA:
the
an exercise."
com-
crowds
called
session at which he
found
in
Wollensak
page 181
admission)
Barry
15-In.
LIGHTING:
Les
recommended
ent of accompanying
for
its
EXPOSURE:
troduced the
Hektor
with
CAMERA:
f/5.6
ence
Bangkok, Thailand
64 rather than
at
32.)
in
VX
50-mm Summlcron
Having
ex-
Exakta
lens.
FILM:
foggy daylight.
proc-
sons,
CAMERA:
chrome
I
reminded me of some
Renaissance paintings by Giotto and
it
and white."
eligible
the
in
238
old
the
of
rules,
fessional,
saw
dren's
stands
courtyard
O'Rourke,
dazzling
f/5.6.
to
close
for
she
pro. "Naturally
the
at
pa-
the
down," explains
Ferenc
strictly
to
second
"After
followed
hour,
available.
photographed
cording
LIGHTING:
around
pic-
EXPOSURE:
LIGHTING:
his
Panatomlc-X.
bliz-
page 177
subject,
l/lOO
page 180
CAMERA:
page 173
mood
to the
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
woman
life
many months
after so
^
I
at-
little
He stopped
500-
German
he
"to
Y.,
pond
lovely
this
CAMERA:
f/2.
N.
when he
ning
to give a
its
was
"making
silhouetted
in
tempt
in
4.
Ernst
he recalls,
through
studio.
"I
says
Hoepker,
flowers
photographer Thomas
ties." In
the
page 176
Angkor-
to
the
driving
Hill,
lens.
zard,"
After
Indo-China,
in
photographed
Charles
was
Catskllls
spotted
79
through Rock
off-
shooting through
the
magni-
their
window during
photographing
EXPOSURE: by
IV.
watt floods.
lens.
page 172
Rollelcord
1
Reynolds
Leica
might
CAMERA:
viewfinder.
CAMERA:
fll
he
until
this city
in
of
page
wandered
about how
think
tulips
fl2
composition
his
in
one
fisherman
solitary
D-76.
camera
his
to
and
utilized
moved
him,
some tulips
cover on Jhh Week
off
ly
able
ned
assign-
to shoot
tow's thoughts
elements,
compositional
at 6 a.m.
strong
as
shows
picture
this
CAMERA:
page 171
this fa
and drew me
me
CAMERA:
Angulon
"My
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
him-
calls
my
of
ence,
Steln-
backdrop of
patterned
self
dow
daylight.
Interesting
subjects
still-llfe
to Spain.
visit
Otto
found
ert
photographing
Although he
"Thi:
FILTER:
Type.
LIGHTING:
page 178
Daylight
human
the contrapuntal
simple
Kodachrome,
Skylight.
shadows, and
ings, their
EXPOSURE:
lens.
FILM:
M-3
EXPOSURE:
with
135-mm
1/125
f/4.5
second
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
f/3.5
EXPOSURE:
at f/4.
Kodachrome
light
lenses.
Professional
page 192
Ized
them
and
colorful Ingredients
them
shot
page 187
CAMERA:
f/2.8
the
seconds
Tessar
at //22.
through window.
f/3.5 lens.
page 188
and
emphasis
picture
fashion
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
there.
LIGHTING:
existing.
photo
During
Its
recording
CAMERA:
Nikon
105-mm Nikkor
second
1/60
at
z"
that
page 193
it
might have
SP
LIGHTING:
version.
developed
window
in
light.
Veteran
C)
(Type
Ektacolor
CAMERA:
combination
f/4.
1/25 second at
Pan
north
8x10
Dear-
Kodachrome Type A.
LIGHTING:
Microdol.
paper.
of
f/2.5
EXPOSURE:
Incongruous
this
Hasselblad
FILM: Verlchrome
//5.6.
on
i-
ceived
the scene.
with
Instruments. The
musical
early-morning quality of
visit-
festival
out
set
slice of
obtrusive
series built
to England, Ha-.;,'
Shaman
medium-teie-
'
light-
visit
Tokyo
while
life
during
ing
compelling
CAMERA:
in
page 189
Jun Mikl
from .his
in
good example
Is
of his work
BanI,
skylight.
page 184
Bolivian
background
Driving
"
Tar
art
ing.
with
Forgetting
135-mm Nikkor
S2
EXPOSURE: no record. FILM: KodaNikon
LIGHTING:
sive
signed."
after
it.
CAMERA:
This
with
becomes almost
it
He
in
one of
is
is
art direc-
111.,
tor.
Ee'l
file.
this
made
series
chrome.
test
trees,
and
lens
Aspen, Colo.,
a
45-mm
with
EXPOSURE:
lens.
135-mm
Chicago,
By profes-
White
Jerry
sion
acquired
Contaflex
had
recently
and
all
In
John
as Interesting
photograph
for a
through window.
LIGHTING: moon.
A.
;t:
FILM:
above.
see
ING:
EXPOSURE:
light at f/32.
S.
speed-
LIGHT-
electronic flash.
despair
exists
In
of
desolation
Guido Organ-
page 185
Jeffrey Gor-
don, a
New
for
heavy snowfall to
blanket
Henry
Yorker, waited
piece
this
Moore
Museum
he
sion
of
wanted.
of
New
Modern
captured
Art, for the impres-
Looking
very
much
like
mood
first
cron {12
Leica
EXPOSURE:
lens.
page 186
1/250 second
at
.200.
N.
Y..
call
light"
lens.
CAMERA:
since
1942.
made from
Chappaqua. N.
In
Leica
EXPOSURE:
with
He
Is
page 195
molded
red
1960
EDITION
film
wanted
FILM;
infra-
he
because
a soft effect in
photograph
fanciful
clouds
SO-mm
Elmar
Its
CAMERA:
Xenar
Rolleiflex
f/3.5
lens.
l/IO second
modwaited
blocked
his
purpose with
the
its
successful results.
over-brightness, to insure
natural sculp-
EXPOSURE:
his
He
album.
the
Is
with
with
his cre-
on
theme of
Here he
never-ending
the film.
lllf
variations
tural
Leica
Nlkkor
Sandl Nero
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
'ith
Y.
50-mm Summar
el's
page 191
scene
M-3
Leica
intended for
this
lens
room over-
daylight.
took
window
photographer,
pictures by
sisters,
lens.
"moon-
Bronte
might
barren
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
the
man
trees
the
of a wintry forest
of larch trees.
CAMERA:
Caro'a
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:
red. FILTER:
cast daylight.
239
page 196
possibly because
Regina Re-
her
in
earned
an
women
an
EXPOSURE:
ethereal
by spreadi
picture
quality to the
then
top
printing through
CAMERA:
f/3.5
LIGHTING:
Fabofin.
in
says
producing
In
these
In
is
Topcor //3.5
Automat
In
Tokyo,
L with
one of
Is
his
75-mm
^^BK^^l^T
one of the
Under
way."
his
this
pensive,
little girls,
Claudia,
LIGHTING:
In
Stutt-
200-mm
1/500
developed
diffused
back-
developed
LIGHTING:
Kerofine.
in
Boden.
Sweden,
on
assign-
was
in
of
swimming
his
accompanying shot
He
approach.
his
swimming
an excellent sample of
is
says.
expert
Leong
am
my
biggest Scandinavian
the
but
newspa-
per,
CAMERA:
f/1.5 lens.
ING:
nicely
"I
liked
Leica
with
lllf
EXPOSURE:
50-mm Summarit
D-76.
caught
press
of
EXPOSURE:
natural.
(bottom)
full-t'me
with
lla
FILM: Adox KB
Ericson,
Expressen,
available.
in
is
EXPOSURE:
lens.
photographer
competition.
*~-
Wylie
LIGHTING:
Blau.
pictures
B^V^ t^-^U
accepted and
he
CAMERA:
lens.
1/25 second at
//4.
Neofin
ment
Li
sisters
little
terms,
Plus-X
EXPOSURE:
lens.
two
natural study of
home.
Primoflex
com-
fulfilling
CAMERA:
spends most of
time
tures on
f/5.6.
Rolf
sim-
this
home
lighting.
Morris
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
in
Jaffe
artificial.
sec-
developed
FP3
llford
lens.
Hypan.
ING:
EXPOSURE:
lens.
FILM:
it.
i/2
engineering;
Is
had to focus
Miiller
Germany.
gart,
of
piece
profession
1/60
thus making
field,
Konica
Hexanon
with
Introduced
meant
few seconds
three-
CAMERA:
critical.
easily
the
In
using
performances.
ring
one
this
like
was
he was
thing,
for very
still
photographs of beau-
tiful
was
it
too young
Still
she
long,
Internationa
first.
to remain
in
MIcrophen. LIGHT-
existing daylight.
youngster's
this
Data unavailable.
ball-throwing leap, get-
After
charm
of the
hood,
his
photographer's
boy who
CAMERA:
one of
FILM:
Pirkle Jones,
aroid picture.
CAMERA:
and
Cook
'/2
50-mm Nikkor
Harvey's 777.
pages 202-203
page 203
at
really
minutes
between
reflected daylight.
it's
This
warm
two
Data
unavailable.
isn't
greeting
Martians:
Ital-
page 199
photographer
can
find
almost
any-
familiar
picture
where, even
everyday
as did
Ann
In
surroundings
Treer
west
wet
fall
window
50-mm
Plus-X.
Hexacon
Tessar
LIGHTING:
f/2.8
lens.
EXPOSURE:
in
natural.
available.
out
four children
In
this
in
the group
shooting
situa-
produce the
to
amusing,
best-of-flvc
shot
99-per-cent-
of
submerged
seal
Stuttgart zoo.
in
For one
with-
doing something
his
famous collection
for his
humorous
photo-
So he added a
tial
was
willing
this
nup-
mod-
to
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
ond
at f/22.
fused speedllghts.
page 206
Murray Zinn
was
shooting
story
about father-son
picture
re-
the session
this
(top) Dat
240
LIGHTING:
page 204
page 200 Of
old
Leica
one
side
f/1.8 lens.
of
New
scene.
CAMERA:
day.
CAMERA:
with
all
in this
her apartment on
York's
ing on a track
true
the fully-cos-
let
el,
VI
Gescheldt
Alfred
of
shade.
THESE PICTURES
MADE US LAUGH
Fr
Convertlbh
second
I/IO
SP with
developed
Plus-X
but
graphs.
Polaroid
Nikon
who
San
Ansco 5x7
l2'/4-In.
EXPOSURE:
lives in
LIGHTING: open
professional
Is
EXPOSURE:
f/1.4 lens.
Data unavailable.
(top)
signed to himself.
state-
is
page 205
speed.
New
a series that
wonderful
little
"This
to
boy
little
peering out of
ment.
enough blur
ting just
page 198
he caught
refreshment scene,
his
own
taste.
CAMERA:
Leica
M-3
with
f/ll.
LIGHTING:
Day-
light.
PHOTOGRAPHY ANNUAL
There's an
incongruous
the
relationship
final
note
to
of the
tographer,
staring
boy,
little
Hektor f/4.5
nnembers of
of the
rest
Charles Rapoport,
was starting to
it
rain
and
f/2.5
105-mm Nikkor
Tri-X. EXPOSURE:
LIGHTING: Daylight,
1/125
FILM:
lens.
second at
flA.
Ethol
LIGHTING:
page 209
As
UFG.
heavily
long
for
illustration
story on
of
dead
reclining
fic-stopping
nude
came
quickly
got him
and
sitter
his
in
nar f/2.8
application
of
ferri-
180-mm Sonat
his
suggested
when
girl
lens.
FILM:
LIGHTING:
natural.
New
painter's
A.
Rollelcord
picture was
One
,000-watt
ing
EXPOSURE:
III.
Verlchrome Pan.
daylight
with
an
assist
ceiling.
this
put
realized
quickly
It
end of
signment.
In
in
formation
New
with
Woolley
veloped
in
said
Angenieux
ING:
Pentax
FILM:
signment
Clerk,
trait
I960
with
Plus-X.
28-mm
LIGHT-
On
painter
Bill
working on a porof
designer
EDITION
brought
that
Conger
of
the
"Newspaper Photog-
News
annual
in
Pic-
Year com-
He
shot this
vertical
from
under
construc-
tion In Denver.
lllf
f/1.5 lens.
EXPOSURE:
f/2.8 lens.
FILM:
LIGHTING:
Tri-X.
daylight.
data
Technical
(bottom)
unavailable.
diffused daylight.
page 213
as-
Skipper
for
Magazine,
Parks Jr.
with
Daylight.
Photographer Ed Clark
his
super-
CAMERA:
LIGHTING:
page 210
informa-
lens.
Dean
hotel
lives
Leica
D-23.
Miss
Winfield
made
long
of
games
is
The univer-
child hood
reflected
In
vertical
of
candid
Lebanese boy by
a
Thomas J. Abercromble
of the National Geo-
I.
this shot
lens
sality
this
yachting
publication,
f/3.5
the
PRIZE PICTURES
pictures
unusual
tion:
CAMERA:
LIGHT-
sun.
in-
Dektol.
petition.
is
50-mm Summarit
he did give
80-mm Xeno-
1/250 second at
in
This strik-
of
tures of the
N. Y.
Paltz,
reply to the
Hartmann
use
the
two sculpture
CAMERA:
In
long as-
EXPOSURE:
its
listed aid of
and author-teacher,
as part of celebrat-
ing the
his
as
and
potentialities,
students.
reports
made
lens.
page 212
Lisa.
FILM:
I.
Woolley saw
E.
artistic
Magnum photographer
Rome
he
undraped
this
It
London,
professional photographer
this
f/2.8
Hartmann
CAMERA;
the
where
studio
Conn.,
police
picture.
Klalss.
L.
visiting
When
Erich
He
tographer Rudy
was
warning
call
f/16.
Rudy
tar
is
LIGHTING:
boy.
Harris
LIGHTING: Mostly
Rolleiflex.
Pan.
staff. Moments before the acciSeaman had seen the boy from his photo
cruise car,
ture,
EXPOSURE:
f/4.
at
Gescheidt
CAMERA:
chrome
second
him.
told
as
"Just
CAMERA:
photo-humorist
Gescheidt.
pro-
Alfred
Ricoh
idea
of
man,
1/500
friend,
artist
spotted
The
location, he
page 208
studio
professionally
script writer.
Plus-X.
itself
works
FILTER: yellow.
Plus-X.
lens.
FILM:
f/2.8.
Yorker,
CAMERA:
those areas.
CAMERA:
New
Richardson
photogra-
In
dent,
photograph.
his
1957 Pu-
the
Prize
and Tribune
clean
with
desired
crumpled coaster
Richardson took
EXPOSURE:
cyanide
protest
In
this
highlights
was
It
charge.
her
Heyman obtained
his
litzer
draped.
cinematographer and
Is
lens
be
to
lying
in
wagon won
photo
nine-year-old
side
to
his
photo
tragically
graphic spot-news
comparison
annual
of the
Exakta
ordered
Look's
pictures
In
lens.
page 211 A
Hey-
France doing
in
dramatic sea-
this
f/3.5
ities
man was
made
best sports
a block-
Ken
CAMERA:
fltt
f/8.
overcast.
page 207
he
I.,
year.
1/200 second
in
R.
of the
daylight.
CAMERA:
Leitz
morning
Sunday
for
ly,
135-mm
IV-S2 with
EXPOSURE:
lens.
Newport,
off
at f/8.
his
would appear.
it
CAMERA: Canon
added the
from
graphic Society.
was
Aber-
named
cromble
Magazine Photographer
dence
of the Year
Journal
staffer
Columbia during
Race.
a trial of the
nual
America's
Cup
the
News
in
the an-
Pictures
of
Year competition.
CAMERA:
LeIca M-3
'J^
~^'
50-mm Summlcron H2
with
lens.
EXPOSURE:
THE PHOTOGRAPHERS
LIGHTING:
MIcrodol.
In
daylight.
This listing gives names ol the photographers whose work appears in this
A.'SMAL, together with pages on which their pictures can be found.
com-
humorous
won
NAME
second-place
New
the
News
York
the
in
Dc;''v
fes-
Karsh. Ynu.<!Uf
i"3
Kinu
.\nsel
New
the
Avedon, Rictiard
Queens
in
made
CAMERA:
127-mm
Ektar
f/4.5
Type
LIGHTING:
B.
EXPOSURE:
lens.
1/400
second at f/l6.
It2-:3
]:;2
Antonac'. Franco
Clarity
Edward
Bailey.
J.
Barry,
I^.-.s
!S1
III
ii:;,
Basch, Peter
Bauer. Rictiard
71. l':5
86,
4.3.
Wil
150
12G-127
193
Blodgett. Jeremv
Blunienfeld. Erwin
Bonise. Jlavc
Bordf^n.
TV
Canadian
Toby
Brit;gs,
the
the
for
Show
National
12th
Print
maximum advantage.
CAMERA:
240-mm
(bottom)
lens.
data
Technical
page 215
Brian
unavailable.
captured
grace
and
beauty
44
Clarity. Ed
Clerk. Ed
Clermont. R. M.
110
.
Colhoun. Steplien
Conger. Dean
Cook. Molly .Malone
Corte, Charles
....
....
.
Davidson, Bruce
."n-41, 42
Davis, Richard
De Evia, Edgar
Dieuzaide, Jean
Dorr. Xell
197
70
149
....
202,
Feininger, Andreas
Feinstein, Harold
Ford. Barton
Friedel, Ludwig
the
of
220
213
Eisenberg, Harry
Ericson. Rolf
Erwitt, Elliot
West-
Mich.,
73
21S
157
214
22i
....
lighting to
72. IfiS
Callahan, Harry
Capa. Robert
Cartier-Bresson. Henri
Press Photogra-
phers' Association of
13S
Don
Bryson, .lolin
Buckley, Peter
BuUaty, Sonja
Byer, Mrs. William
Byron, Percy C
Commer-
the
of
and
cial
of the
class
Annual
203
....112.223
118
Brown. Jes
first
fi4
Frances
Brandt. Bill
Bravo. Jlanuel Alvarez
Brennan. .\nne
actress.
was
Robins,
subject
lovely
147
219
173
221
KJ9
?.n
riiss. Mitchell
page 214 A
77
1:3
37
James
Blanche.
'}/!
'anni. .A.;lyn
Bell. Hngli
Bellanca. Giuseppe
Beny, Rol ff
Berko. Ferenc
Bischof, Werner
Blair.
daylight.
2o:!,
IiiO
223
44
215
204
205
120
169
31
170.171
"Grand Award"
take a
in
won top
has
prizes
many
In
Westveer
of the
nation's
photo contests.
In
contest for
high
school
students.
CAMERA:
fl2
Leica
EXPOSURE:
lens.
with
lllf
ING:
50-mm Summitar
in
MIcrodol. LIGHT-
daylight.
his
lens
to
vantage
this
Nikon
S2
with
SO-mm
Nlkkor
FILM: Panatomlc-X.
242
135
Hartniann. Erich
Heyman, Ken
Hine. Lewis
....
20-27.
Hii
Hochman. Gerald
Goro
97
104
110
141
Imai, Hisae
Inami'ra. Takamasa
Ishimoto, Yoichi
lens.
190
166
Halsman, Philippe
Hartlage. Walt
Ike.
I'4, 105
Grehan, Farrell
capture
ture
CAMERA:
.185
Goro, Fritz
Gregor, Carola
Haas. Ernst
130
117
208
156
19
....
his
J115.
and
1.'
Hoepker, Thomas
Hosoe, Koyo
Hotta, Takeichi (see Totta)
good ad-
to
Gelabert, William
Genthe. Arnold
Gescheidt, Alfred
Gianni, Ranati
Gomel, Bob
Gordon, Jeffrey
Hoff, Charles
PAGES
I'l
Abercrombie. Thomas
Adams,
an-
of the 23rd
class
PAGES NAME
Abbott. Berenice
Jaffe,
.lervis.
Morris H
Robert
201
14S
i'-i
i:'8
a.
Klais, R.
hii
INTRODUCING
a
new name
cameras
in fine
new, spectacular
- 2H-sq.
reflex
^^
i
zenza
the all-new
fully automatic
BRONICA
At
first
its
offers
not
flip
up
clearance.
for exposure;
The
result
is
it
It
does
correction.
a normal 75mm lens, and is the only 214 -square reflex that
can be used with a 50mm wide angle.
50mm
stops the
* so original they^re
permits you to
Before the back can be
Division of
Caprod
Ltd.
super-telephoto.
camera body
roll.
1000mm
wide-angle through
their incredible
Bronica, with
111 Fifth
75mm
Avenue,
protected by
Nikkor
mo
than 60 patents.
j 12.8 lens
New York
3, N.Y.
$489.50
COLOR!
DAYLIGHT
INDEX
Kodak
~%
New Kodak High Speed Ektachrome
New
sensational
Fast enough to
So
day-
ail
color films!
liglit-type
feel
anything's possible.
skiers flashing
down
a sunset
20
eJ"^
Film
greens
fine,
make you
fast
of 160!
own darkroom
Type B, balanced for 3200K, use usual filters for photoflood and photoflash. Typical
available-light exposure in sports arenas, theaters, other interiors, with 30 to 40 footcandles incident illumination, 1/50 second at//2. Typical flash settings, using 81C filter:
bulb, 1/30 second with guide number 160; for M5, 5, or 25 bulbs, 1/100 or 1/125
with guide number 190.
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change without notice.
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4,
N. Y.
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Here
is
to the
new and
these covers
is
Between
work done by
photographers of
all
One need
raphy
and
the
is still
a mystery.
new
tional
The
For those to
and
whom
camera
on
and
instructive.
essay entitled,
pleasure,
medium
creative touch.
244 pages
BRUCE DO'vVNES,
32 pages
full-color gravure
174 photographers
of POPULAR
produced this 1960
PHOTO ARTS QUARTERLY,
ond Publisher
that
Editor of
insistence
is
helping to
toste-mokers
No
and
its
other picture collection reaches so varied a public around the world: ne>
relatively inexperienced amateurs, advanced omateurs, seasoned profe!
sionals,
and
art directors
who
A View
r^%
It
is
lov
just
especially powerful
all
its
own.
in
impersonating
five
Lillian Russell,
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
Edward
This year,
IN
Museum
of
Modern
his
The ANNUAL
is
who
pages to remorkoble
pictures from
in
a picture
ts
to the
work
ANNUAL pays
serious attention
of ornate
prizes as well
Photography's
place
in
world of advertising has never been stronger. Indeed, the leading advertis
New
ANNUAL
truly great
presents a selection of
some
camera
camero's most
reportoge-the unfolding
of
from
York Art Directors Club exhibition, with notes on how they were
PHOTOJOURNALISM. The
stories- "Sister of
the
stories
ANNUAL
Bride,"
in
vital
pictures
for
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
&
Schuster, Inc.,
630
Fifth
news-
Avenue,
16, N. Y.
Nevi/ York,
N. Y.