P A N O R A M ADecember 1997

Volume 14, Number 5

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

The Magazine Of Panoramic Imaging

however, it was never instituted. Aftermuch consideration it was decided thatwith rising costs in printing and postageit was time to follow through with theincrease.

Speaking of the newsletter, pleasemake sure your articles, display ads andclassified ads are in before the posteddeadline, to be considered for that issue.Items arriving after the deadline will beconsidered for future issues.

Please do not delay with your yearlymembership renewal. Dues are to bepaid by January 1, 1998 in order tomake sure you get into the membershipdirectory.

Don’t wait, renew today.

membership andhelping to promote IAPP

in their respective areas ofthe world. Thanks to

Johnny Kurtz, our Switzerlandliaision, for a terrific weekendconference in Paris. During theconference 20 new foreign membersjoined IAPP.

Colin and Betty Bullard, ourAustralian liaisons will be hosting aweekend conference in Sydney inNovember or December. Contact theBullards for more information. We’llgive dates and info on the website assoon as we know more.

Panorama is a publication of the InternationalAssociation of Panoramic Photographers.

Our offices are located atthe various addresses listed below:

IAPPPO Box 2816

Boca Raton, FL 33427-2816561-393-7101/561-361-0494 fax

http://www.panphoto.com

President:Fred Yake8855 Redwood StreetLas Vegas, NV 89139702-361-5885/702-361-5885 (fax)VegasPan@aol.com

President Elect:Dennis Trembley600 Pierre-Caisse St.Jean-SR-RichelieuQuebec, Canada J3A 1M1514-359-9188/514-359-9372 (fax)panoram@cam.org

Exec. Secretary/Treasurer:Addie Lorber1385-87 Palmetto Park Rd WestBoca Raton, FL 33486561-361-0031/561-361-0494 (fax)CustomLab@aol.com

Panorama Publisher:Warren Wighthttp://www.wordsandpictures.comwarren@wordsandpictures.com

Board Members:

Two

Liz Hymans, Belvedere, CA415-435-5842Will Landon, Bellevue, WA206-746-3143/206-746-6985 (fax)Bob McIntyre, Colorado Springs, CO709-577-5779 (fax)Doug Segal, Chicago, IL312-236-8545/312-704-4077 (fax)

ISSN #1090-994X

All submissions become the property ofIAPP & will not be returned. Submissions

may be edited & may or may not bepublished at the discretion of the editor.

PPPPPresidents Messageresidents Messageresidents Messageresidents Messageresidents MessageBy Fred Yake

By Addie Lorber

SecretarSecretarSecretarSecretarSecretary Saysy Saysy Saysy Saysy SaysIt's Dues RIt's Dues RIt's Dues RIt's Dues RIt's Dues Renewal Time Again!enewal Time Again!enewal Time Again!enewal Time Again!enewal Time Again!

Our association is polish-ing up the ‘’I” in IAPP.With the help of our

International members and sponsors weare truly becoming International. Ourforeign membership has expandedthanks to our world wide web site,foreign liaisons and conferences inEurope. During the Paris conference Iappointed three more board liaisons. Wenow have representives in Australia,Switzerland, Italy, China and Tokyo.

These members are kept informedabout current programs and future plansbeing developed by the board andmembers. Our liaisons are working on

Congratulations to Johnny Kurtzfor planning and executing avery successful European

meeting in Paris this past September.With the scope of presentations andvendors present it was obvious to thoseof us in attendance that he spent aconsiderable amount of time to makesure every detail was taken care of. InParis I felt we were truly an interna-tional association, with people from allover the world including China, Japanand Australia attending.

In this issue you will find your 1998renewal form. In 1994 there was anannouncement in the newsletter thatdues would be increased by $5.00 a year,

QPP PQPP PQPP PQPP PQPP Programrogramrogramrogramrogram

After January 1, 1998, IAPPwill offer a program to certifyour members as Qualified

Panoramic Photographers. Theprogram is designed to aid our mem-bers in sales and promotion of theirimages. By offering a professionaldesignation, this should also help toincrease membership.

Upon receiving certification by theQualifying Committee, members willbe allowed to add a QPP designationat the end of their name, under ourlogo, on their business letterheads or onpromotional material. IAPP will use thedesignation in our Member-shipDirectory.

The qualification of QPP signifiesthat IAPP has certified that the memberhas demonstrated, througha professional testing and certificationprogram, that they can produce aquality panoramic image.

The QPP qualification can be earnedby earning ten service points throughparticipation in IAPP, submitting 6panoramic images for judging by thecommittee and by passing a written testcomprised of 75 questions.

The QPP test will be conducted atweekend conferences and the Interna-tional Convention. Any memberinterested in earning a QPP designa-tion, contact IAPP headquarters.

exhibit. The IAPP and Moab Valley Innwill not be responsible for loss or damageto any print or prints. Any memberentering prints for display or competitionassumes full responsibly for their printsand releases the IAPP and Moab ValleyInn of any kind of liability.

Vincenzo Silvestri from Italy and MasaoNakachi from Japan. Jeff Weisenburgerhas been appointed as CommitteeChairman of our new Qualified Pan-oramic Photographer (QPP) certifica-tion program.

The Board voted to appoint DaveOrbock as Chairman of the NominatingCommittee for this year’s election ofofficers. If you are interested in runningfor an office, please contact Dave. Dueto normal increases in cost of doingbusiness the Board voted to increasedues by $5, the increase is reflected onthe enclosed renewal form. After a yearof diligent work by Addie Lorber ourSecretary/Treasurer, IAPP has receivednotice from the IRS that we have beengiven our 501 Tax Exempt Status.

IAPP can now operate officially, as anon-profit association, opening the wayfor tax-free income and the ability tosolicit special grants and funding for thebetterment of IAPP and the members.

Three

FFFFFrom The Boardrom The Boardrom The Boardrom The Boardrom The Board

The Board has approved agenerous offer by RTS Noblexand Globescope to sponsor, at a

discount, a complimentary one yearmembership to customers purchasingone of their panoramic cameras. Thankyou Noblex and Globescope for yourcontinued support of IAPP.

In October, Kamera Werke GMBH,the company producing Noblexcameras in Europe was sold. The newownership, a consortium headed byPeter Hoffmeister and their U.S.distributors RTS Noblex, assured us oftheir continued cooperation, sponsor-ship and relationship with IAPP.

Each Board Member has taken acommittee position for the Moabconvention and will be contactingmembers and sponsors for participationin our International Convention.

Three new foreign board liaisonshave been asked to represent IAPP intheir area; Maggie Zou from Beijing,

Boutique Offers IAPPBoutique Offers IAPPBoutique Offers IAPPBoutique Offers IAPPBoutique Offers IAPPMoab 1998 TMoab 1998 TMoab 1998 TMoab 1998 TMoab 1998 T-Shir-Shir-Shir-Shir-Shirttttt

The headquarter hotel for the International Convention will be the Moab ValleyInn, to reserve a room call 800-831-6622, mention you are with IAPP. Pre-registration for the convention will start on Tuesday evening, May 5, opening

will be Wednesday morning with banquet and installation on Saturday evening. Morenews on convention activities in the next issue of Panorama.

PPPPPrint Judges Announcedrint Judges Announcedrint Judges Announcedrint Judges Announcedrint Judges AnnouncedBy Bill McIntyre, Print Chairman

Moab UpdateMoab UpdateMoab UpdateMoab UpdateMoab Update

Iam happy to announce the judges forthe print competition at The 1998 IAPP

World Convention at Moab. They are:W. Ward Clark, Peter Lorber, ChuckPeterson, Dick Fowler, and Bill McBride.This is a good panel of judges and theywill do a great job.

To refresh your memory on the rules,there are the 4 categories.

1. Straight back cameras2. Swing lens cameras3. Rotation cameras4. Digital (digitally enhanced).Each category will have winners of

first, second and third, and a specialaward from Kodak. To qualify for thisaward you must use Kodak film andpaper.

Each member is limited to 4 prints forjudging and/or display. A member canenter one print in each category providinga camera in that category created theimage. All other prints will be place inthe general display. Once the conventionstarts if there is any room left in thedisplay areas, members will be permittedto hang additional prints above the 4limit. However, these prints will not beeligible for judging. Extra long printsmay need to be hung in hallways. If thereis a question the Print Chairman willdecide what is the correct category. Hewill have the final say to exhibit areasand placement of prints in the general

Our IAPP Boutique is now offering a1998 Commemorative Tee Shirt.

These shirts are 100% heavy cotton byFruit of the Loom. The shirt will be in acolor similar to the red sandstone (darkerthan in photo) of the Canyonlands andwill be imprinted with our 1998 conven-tion logo.

All of the shirts must be pre-orderedand are $14.95, plus mailing if notpicked up at theconvention.

All profits go toIAPP. Thisis a chance to get acommemorative shirtand help IAPPmember services.Send check or creditcard info to IAPPheadquarters in BocaRaton, FL.

WWWWWeb Reb Reb Reb Reb ReporeporeporeporeportttttIAPP At panphotoIAPP At panphotoIAPP At panphotoIAPP At panphotoIAPP At panphoto.com.com.com.com.comBy Warren Wight

The IAPP web site continues tochange and improve. Our list oflinks to members web sites

continues to grow, and now includes ane-mail link for those members who haveone. If you would like your web siteadded to the Members Links page e-mailme: warren@wordsandpictures.com.

You can now download the IAPP logofrom the web site. It is available indifferent formats and resolutions.

I have also added a "news ticker" to theIAPP web site. It will feature currentnews and event information.

It seems that our web site is prettypopular. I have been tracking how manypeople visit the site (hits), and found oursite is being "hit" an average of 65-75times per day per day! The site was "hit"2123 times in October, and it looks likeNovembers numbers will be even better.

Visit the site at panphoto.com.

Four

VR NewsVR NewsVR NewsVR NewsVR NewsNews from the digital side of panoramic photography.

Seybold 1997 - A Good High Visibility Use FSeybold 1997 - A Good High Visibility Use FSeybold 1997 - A Good High Visibility Use FSeybold 1997 - A Good High Visibility Use FSeybold 1997 - A Good High Visibility Use For Por Por Por Por Panoramic Images.anoramic Images.anoramic Images.anoramic Images.anoramic Images.By Terry Thompson

Seybold 1997 rolled into SanFrancisco the first week of Octoberto show off the latest in equipment

and services for the pre-press/graphicsindustry. I used the occasion to roll outone of my recent San Francisco panora-mas. The Ghirardelli Square sunsetimage, underscoring the location for theshow, was chosen by Professional ColorLab as the backdrop for their booth as anexample of what can be done with theirnew Durst Lambda 130 Printer.

The 8' by 10' background image startedas a 300 MB digital scan of the original

6x17cm transparency. Pro Color thenadded top and bottom banner elements

that demonstrated the technology of theprinter. The maximum printing width is50" with lengths of up to 100' possible.The Lambda prints, using a system ofred, green and blue lasers, direct fromdigital files to the same photographicmaterials used in traditional photographicprinting. This new technology eliminatesthe need to make transparencies ornegatives from your digital files. SalesManager Peggy Land said that the largereproduction of the image showed off theprinter B9s capability to control color(even subtle changes) as well as contrast

and density selectivelyto achieve an optimumprint, incorporatingtext with severalimages.

Above: Displayincluding Terry'spanorama used atSeybold 1997.Left: Terrys panoramaof Ghirardelli Squarein San Francisco, usedin the display.

Apple Announces QuickTime VRAuthoring Studio Contest

Apple Computer, Inc. announced theQuickTime® VR Authoring Studio “Experi-ence the Revolution” contest. The contest isdesigned to inspire QuickTime VR (VirtualReality) enthusiasts to design unique andcreative movies with QuickTime VRAuthoring Studio and other QuickTime VRtools. QuickTime VR Authoring Studio is a

new professional software application thatallows web designers and multimedia authorsto quickly and easily create QuickTime VRpanoramas and object movies.

“Experience the Revolution” entries willbe judged on their creative and artistic merits,as well as their innovative use of QuickTimeVR tools. The contest deadline is Jan. 31,1998 and winners will be notified shortlythereafter.

The categories are:• Objects - QuickTime VR object movies.• Animation Objects - QuickTime VR

object movies containing animation.• Panoramas - QuickTime VR panoramas

with one or more nodes.• Multimedia - QuickTime VR in a

multimedia project.• Web - QuickTime VR objects or

panoramas on an HTML page. Also, one

entry will be selected “Best of Show” overall.The “Best of Show” winner will be

awarded a 20th Anniversary Macintosh®computer which features a total entertainmentcenter including a television tuner; CDplayer; full computer hardware, including aPowerPC 603 RISC processor; FM radiotuner; Acoustimass® sound system by Bose;cable adapter for composite video; and acustom keyboard with detachable trackpad.

Identical first through fourth prizes will beawarded for the winners of each of the fivecategories.

• 1st prize - A Nikon N70 camera with a35mm to 80mm f/4.5 zoom lens.

• 2nd prize - Five rolls of KodakEktapress’ Multispeed film, plus Kodakprocessing and PhotoCD conversion.

• 3rd prize - A copy of the AppleQuickTime VR Authoring Studio.

• 4th prize - A Kiwi panorama headby Kaidan.

The judging panel consists of six partici-pants with extensive background in photogra-phy, design, computers and video imaging.For more detailed information on the“Experience the Revolution” contest andentry forms, see the official contest rules at:http://quicktimevr.apple.com.

Jutvision JavaVisdyn has done it again. No more

downloading of Plug-ins. No more installingnew software. No more travelling to fourdifferent websites to gather bits and bytes!Simply add the Jutvision Java applet intoyour webpages containing Jutvision scenesand feel at ease knowing that each and everyvisitor, no matter which operating systemthey are using, will be viewing your invest-ment in panoramic VR in seconds. File sizesremain between 80K to 50K.

Check their website at www.visdyn.comfor more information and samples.

Asincere thanks to the severalIAPP members that contacted mebased on my previous article

(September 97).I am pleased to let you know that we

have created a PanoramIX virtual tour ofthe Riviera Hotel and Casino in LasVegas with none other than IAPPPresident Fred Yake taking all thepanoramic photographs! The RivieraPanoramIX virtual tour can be seen at:www.theriviera.com. We have alsocreated an Air Canada virtual tour whichincludes a video of an actual 767 take offand landing! The video and audio isstreamed over the internet as opposed tothe traditional “download and play”method predominately used today inother panoramic technologies. We believethat this is the first time streaming videoand audio has been presented from withina navigable panoramic image on a publicwebsite. The Air Canada virtual tour canbe viewed at: www.aircanada.ca/about-us/virtual-worlds. The pre-releasePanoramIX authoring tool kit is nowavailable for downloading at no charge.It runs in the Windows 95/NT and theMacintosh environments. The newPanoramIX tool kit can be downloaded bygoing to the 2 sites above and taking the“IBM alphaWorks” link. Please contactme if you have any questions or to discussthis or the previous PanoramIX article.Jeffry Ullman, IBM Travel Industry,561-487-8151.

E-mail: jbullman@us.ibm.comWeb: http://www.ibm.com/travel

Five

PPPPPanoramIXanoramIXanoramIXanoramIXanoramIXUpdateUpdateUpdateUpdateUpdateBy Jeffry UllmanThis article will provide an update onPanoramIX.

Shooting Agricultural Crop PShooting Agricultural Crop PShooting Agricultural Crop PShooting Agricultural Crop PShooting Agricultural Crop Panoramics for Stockanoramics for Stockanoramics for Stockanoramics for Stockanoramics for StockBy Randy Vaughn-Dotta

Shooting agricultural crop panora-mas is a challenge because thereare so many thematic possibilities

to choose from; dormancy, planting,growing, blossoming, and harvesting.Within each theme there are evenmore decisions, should I shoot theexpansive whole crop vista, or aclose-up to reveal the fine details oftextures and colors? Within thetheme of harvesting, should Iphotograph a container brimmingwith colorful crop, or seek out thequintessential “on the vine”picture? Each has its place, and it’scustomer. Finding good compositions forpanoramic ag pictures is also a challengebecause the longer format, typically shotas “center dominant”, must carry aviewers interest across the whole image.

Shooting ag pans is satisfying to mefor several reasons. Raised on a farm, Ilike the ambiance created by the sightsand smells of farm life. Have you everseen an orchard in spring with anexplosive, colorful full bloom, or smelledan orchard full of ripe fruit?

Another satisfaction is that I can

combine my profession of photographywith my love of farm life. Living in theSan Joaquin Valley of California offersme access to a nearly unlimited variety ofagricultural crops. Shooting stock, I

believe benefitsfrom a combinationof desire and abilityto shoot a subjectrepeatedly, in orderto have a greater

depth ofpictures. Ibegan shootingpanoramas,including ag,with the original Fuji 6x17. Later, Iacquired and modified a Sinar, which Inicknamed Sipan. It’s a 5x7 C modelwith a Jim Galvin-modified Art Pan-orama 6x17cm roll back. My eight Sipanlenses, from 72mm to 720mm, allow mea wide choice in selecting the perspectiveand feeling of the image as well as greatfreedom in the placement of the camera.

Like most IAPP members, I have builtseveral pieces of equipment, two of whichI find indispensable. One is a cardboardviewfinder with separate inserts to showthe exact view for each lens that I have.This viewfinder allows me to pre-visualize a lens’s exact compositionwithout the much heavier camera. I alsobuilt a 5' x 8' plywood shooting platformfor my van roof that allows me tophotograph crops higher up in the trees.This higher viewpoint, when used forvistas, allows me the compositionalfreedom to raise, lower, or eliminate thehorizon while creating a pleasing aerialperspective.

When traveling in hot weather, I keepthe film in a Coleman electric ice chestthat plugs into the cigarette lighter andcools to 30 degrees below ambient.

I fell deeply in love with the colors ofFuji Velvia and used it almost exclusivelyfor my first 3 panoramic years onarchitecture, cityscapes, agriculture, ornature subjects. However, shooting atASA 9, due to the ND center filters

Ag Pans continues on page 6

Six

associated with wide-angle lenses, wasvery limiting. Normal and telephoto lenssubjects didn’t fare much better, even atASA 50. Today I use ASA 400 or 100,depending upon depth of field or subjectmotion considerations. When I go shoot-ing I have in mind crops that are experi-encing a certain seasonal activity.

To obtain this seasonal information Icall the state or county ag commissioner orthe ag department of a local university. Allof these sources have been very coopera-tive in sending information I need oncrops within my area. I find that a week-by-week report on harvesting and a listingof the top 10 or 20 crops for an area to bethe most useful. Keeping personal notes onlocations, farmers, seasons, and crops alsocompliments what others can tell you.

When I find a crop next to a publicroad, I don’t worry about first gettingpermission from the farmer, unless he is insight. Invariably the farmer finds me,usually within 30 minutes. Farmers areconcerned about “visitors” who helpthemselves to free samples. Once thefarmer is convinced that I am only takingpictures and not free samples I am oftenaccorded photography privileges. Since Iam photographing crops and not recogniz-able farm buildings I am not collectingproperty releases. If the crop is away fromthe road, I search out the farmer first.

I co-founded a stock agency calledCalWest with 4 other local photographersto market our photos. The ag pans typi-cally sell to ag journals all across thecountry. We have a manager who handlesall the sales and inquiries, and as a groupwe plan marketing activities. All in all, Ifind the pursuit of ag panoramics to behighly rewarding because it lets mecombine my profession with my love offarm life.

Ag PAg PAg PAg PAg Pans from page 5ans from page 5ans from page 5ans from page 5ans from page 5

Some of the "ag pans" from Randy's portfolio.

Seven

All submissions, articles,ads, etc. must be sent to:

IAPPPO Box 2816

Boca Raton, FL 33427-2816561-393-7101

561-361-0494 (fax)

Deadline for the next

issue of Panorama is:January 1, 1998

Circumnavigation AntarcticaCircumnavigation AntarcticaCircumnavigation AntarcticaCircumnavigation AntarcticaCircumnavigation AntarcticaBy Everen T. Brown

Khlebnikov. Now a leftover of the coldwar, this Russian ship has been priva-tized and is chartered for travel toursand expeditions. This would be one of ahandful of trips ever to successfullycircumnavigate the continent.

Saying farewell to the “green foliage”of Port Stanley, this would be our lastsighting of civilization as we know it.We would spend three days sailingthrough the Drake Passage as we inchcloser to Antarctica, We make our firstlanding at the South Orkney Islands.Penguins at last!

We continue through the Weddell Seafor six days before we reach land again.Along the way, we cross the AntarcticCircle. We are now officially in anothertime and world... For it is summer inAntarctica, the sun simply circles thehorizon, dipping ever slightly, but neverreally setting.

As a child I dreamt of a place wherethe sun would never set. A place thatyour parents would never demand thatyou go to sleep, since it would be asbright as noontime, at three o’clockin the morning. I have entered thatmagical space.

This would be a highlight of thecruise, having twenty-four hours of lightto photograph panoramic views. Thesun would give me energy to keep goingin the wee hours of the morning. Over

fifty-six landings would be made onthis trip. With three helicopters, plus afleet of zodiacs we had plenty of timeashore. A few of my favorite stops areoutlined below.

Riiser Larsen Ice Shelf on the “far”side of the continent. It is home to afabulous Emperor penguin rookery. Ifyou have ever wondered what you do orsee in the Antarctic, come here and youwill encounter dramatic scenery andextremely tame animals.

The blue ice caves frame a grandbackdrop for a group of Emperorpenguins who grow in excess of thirtyinches high. Scullin and MurrayMonoliths are Antarctica at its mostremote. It was even a first for ourexpedition leaders who have spent overtwenty years in this area.

After waiting for the right weatherfor the helicopters, we begin flights tothe top of Scullin. Famous for sheercliffs that provide nesting spots for157,000 pairs of Antarctic Petrels(birds). These birds flutter in groupslike a monarch butterfly migrationmating dance. Scullin is rugged andunforgiving. You must watch every stepas you wander about taking panoramicsfrom ledges. The scenery is intoxicat-ing. Six hours in the cold fly by. Idon’t want to leave; I am on the lasthelicopter out.

Holidays are celebrated with greatfanfare. Thanksgiving, Christmas witha visit from Santa, and soon it is NewYears. Ushering in 1997 with a multi-course feast and dancing the nightaway in a helicopter hangar turneddiscotheque!

Some of our stretches at sea can lastup to eight days. The ever changingscenery keeps us fascinated. We brushup on Antarctic history with lectures andplenty of time for reading and research.If there ever were a place in Antarcticathat could be dubbed “World ParkAntarctica” it would be Franklin Island.

Abundant wildlife, spectacularscenery, and a variety of unexpectedcolor! If access were easy, this would bea theme park at the bottom of the world!The visits to the historic huts of the early

On November 22, 1996, I left theSalt Lake City InternationalAirport armed with two

Globuscope panoramic cameras, adigital video camera, two suitcasesoverflowing with film and videotape,and one oversized duffel bag with thefew clothes that I could still pack insideit. I was already over every standardairline check-in allowance that has beenknown to skycaps worldwide.

I had to pack for an expedition, sinceI would be going on one... sixty-six dayscircumnavigating the entire Antarcticcontinent. All 12,565 miles of it, I wouldspend over two months sightseeing andphotographing the perimeter of the lastplace on earth. I would not have anychance to buy film, videotape, or getanything repaired since civilization wasfar behind. After a flight to Santiago andon to the Falkland Islands, I wouldboard a Russian icebreaker, the Kapitan

Entrance to Lemare, photographed by Everen T. Brown with his Globuscope.

Antarctica continues on page 8

The pieced together, black and white panof the Australian Base of Casey takensome twenty years ago, and framed.

Eight

IAPP DrawingIAPP DrawingIAPP DrawingIAPP DrawingIAPP DrawingJust $50 Just $50 Just $50 Just $50 Just $50 Could Get YCould Get YCould Get YCould Get YCould Get You A Great Pou A Great Pou A Great Pou A Great Pou A Great Panoramic Cameraanoramic Cameraanoramic Cameraanoramic Cameraanoramic Camera

Prizes will include:

Additional prizes include:Sponsored by Fuji - A brick of Fuji’s newest Arista film - a $70 value.Sponsored by Liz Hymans - Spectacular America - A beautiful panoramic coffee table book - a $75 value.Sponsored by Custom Panoramic Lab - Custom color printing - Professional quality printing - a $100 value.Sponsored by Pro Photo Connection - Panorama California Coffee Table Books - 4 copies ofPanoramic Photographs of California - a $20 value each.Sponsored by Wood Box Frame Co. - Box Framing - Beautiful all wood construction,custom made contemporary style - a $200 value.Sponsored by Globuscope - Camera Base Levels - Two Globuscope heavy duty camera base levels for hand heldor tripod mount - a $50 value each.

NOBLEX 150Super quality performance from a drum mounted swing lens.This medium format panoramic camera is very user friendly.Multiple exposure capabilitySponsored by: RTS Noblex and IAPP - a $2,900 value

ROUNDSHOT 35-35SUnmatched quality in a 35mm 360° panoramic cameraGreat for traveling and spontaneous shootingSlow speed for long exposuresSponsored by: Seitz Phototechnic AG, Custom Panoramic Lab andIAPP - a $2,600 value

For only $50 you can buy a drawing ticket for a chance to win aRoundshot 35-35s or a Noblex 150 while helping IAPP increase mem-bers services and produce color pages in our magazine, Panorama. Only200 tickets will be available and each ticket will be $50. You do not needto be present to participate. Remember only 200 tickets will be available soif you are interested you should get your ticket ASAP. Mail your check orcredit card information to IAPP at our post office address. Your ticket stubwill be mailed to you and winners notified after the drawing.

The drawing will be held during the International Convention in May '98.

explorers were nearly scrubbed due toweather. Luckily, the weather changedand we made it to Robert Falcon Scott’shut at Cape Evans, then on to thepicturesque hut of Ernest Shackleton atCape Royds. The New Zealand HistoricTrust has renovated these huts and theyare completely furnished with artifactsinside. You expect one of the wearyexplorers to return “home” any moment!

The Dry Valleys are home to many aNASA experiment replicating theMartian surfaces. It has not rained herein over two million years, but the daybefore our visit, the wind blew snowparticles around, giving the appearanceof fresh snow. Stops were made at avariety of research stations and bases.From a historic first-ever visit to theSouth African station to the totallyunderground German station, we areconstantly surprised by the amount ofwork and support that is required foreach nations endeavor.

The Russians have abandoned varioussites. The Japanese, New Zealanders,Australians, and French have a veryactive presence in the Antarctic. Ameri-can tax dollars are put to good use atMcMurdo Base, complete with a scien-tific center with modern aquariums andlaboratories. It is a self-sustaining city of1200 people in the summer months.

At the Australian Base of Casey, Istumbled upon a pieced together, blackand white panoramic photo of the basetaken some twenty years earlier, andframed (see page 7). Panoramic photogra-phy graces the walls on all seven conti-nents! Cruising via the Antarctic Penin-sula, we head back towards civilization.Arriving back in Port Stanley, theFalkland Islands, I feel as though a dream

Antarctica from page 7Antarctica from page 7Antarctica from page 7Antarctica from page 7Antarctica from page 7

Antarctica continues on next page

Nine

is coming to an end. My total film count:311 rolls of film exposed, 269 of theserolls in full 360 degree panoramic format.56 hours of videotape shot.

Keeping the Globuscopes warm, I haveno problem with them. Since they arespring driven and do not require batteries,they make my life so much easier. Thevideo camera batteries held up better thanexpected, but still had to be replacedfrequently due to the cold.

I take my final panoramic shots of theFalkland Islands, complete with the“green foliage” we had not seen for solong. Then on to Santiago, Chile and theshock of returning to big city civilization.The noise levels take a little getting usedto. I experience “nightfall”. I am back tothe nine to five workaday world. I amnow home.

AntarcticaAntarcticaAntarcticaAntarcticaAntarcticafrom previous pagefrom previous pagefrom previous pagefrom previous pagefrom previous page

Deception Island Destruction

Franklin Island

Scott's Hut

Ten

Custom Panoramic Lab

1385-87 Palmetto Park Road West • Boca Raton, FL 33486561-361-0031 • 561-361-0494 (24 hour fax)

E-Mail • CustomLab@aol.com

We Have Roundshots!Why settle for less than 360 degrees?

The Roundshot cameras are simply the best built

360 degree panoramic cameras!

Custom Panoramic Lab is your

distributor of Roundshot equipment.

Buy your Roundshot from CPL and get:

• Quick delivery on in stock inventory.

(Remember: these cameras are hand built.)

The IAPP BoutiqueThe IAPP BoutiqueThe IAPP BoutiqueThe IAPP BoutiqueThe IAPP Boutique

To order: Send check, money order, VISA, MC (include $4 shipping) to:

IAPP Boutique • PO Box 2816 • Boca Raton, FL 33427-2816

Fuji Professional Camera & Film Dealer

0-8230-7654-70-8174-3293-01-874031-63-00-8174-3609-X0-8174-3658-80-8174-3661-80-8174-3871-80-8174-4017-80-8174-3710-X0-8174-5424-10-8174-5449-70-8174-5422-50-8230-4016-X0-8230-6465-40-8174-5871-90-8230-4988-40-8174-6353-40-8174-6375-5IAPP-00000-1

Photographers ResourceAerial PhotographyGuide to Russian & Soviet CamerasThe Backpackers Photography HandbookCapturing the Landscape with your CameraCapturing the Night with your CameraField Guide to Photographing LandscapesIndustrial PhotographyJohn Shaws Landscape PhotographyThe Photographers Guide to ExposureThe Photographers Guide to Using FiltersThe Photographers Guide to Using LightPhotographing Buildings Inside and OutPro Lighting: Indoor ShotsShooting for StockA Users Guide to the View CameraUsing the View CameraThe View Camera - New EdPanorama California

$19.95$22.50$45.00$19.95$22.50$24.95$16.95$22.50$24.95$18.95$22.50$18.95$27.50$29.95$22.50$36.50$22.50$22.50$20.00

Caps -adjustable,white w/red logo -$8.00

Coasters -set of 3 - $10.00

Audio tapes - Set of six, 90 minuteaudio casettes, of presentations at the

1996 IAPP Convention - $18.00

MORE

BOOKS

IAPP members takIAPP members takIAPP members takIAPP members takIAPP members take 10% off listed price for books.e 10% off listed price for books.e 10% off listed price for books.e 10% off listed price for books.e 10% off listed price for books.

Panoramic PhotographyThe book on panoramicphotography by IAPP memberJoseph Meehan - Only $24.750-8174-5347-4FFFFFeatured

eaturedeaturedeaturedeatured

BookBookBookBookBook

IAPP Moab 1998 Commerative T-ShirtAll T-Shirts - best qualityavailable, 100% Cotton, pre-shrunk, heavy weight, tapedneck, hi-crew collar, full fit.Moab 1998 T-shirt is redsandstone in color imprintedwith our 1998 conventionlogo. All of the commerativeshirts must be preorderedand are $14.95, plus mailingif not picked up at theconvention.

Standard Logo T-shirt -red logo - $15.00

Eleven

LinearLinearLinearLinearLinear-strip Photographs Using Cirkut And Hulcher Cameras-strip Photographs Using Cirkut And Hulcher Cameras-strip Photographs Using Cirkut And Hulcher Cameras-strip Photographs Using Cirkut And Hulcher Cameras-strip Photographs Using Cirkut And Hulcher CamerasBy Andrew Davidhazy, Imaging and Photographic Technology,Rochester Institute of Technology Rochester, NY 14623

By way of introduction to thisarticle I will quote the questionthat prompted me to write it. The

question was: “How does one set-up anduse a Cirkut camera to make ‘linear stripphotographs’ of a passing train resultingin a long photograph presumably

showing the train from engine to cabooseincluding several cars in between?.”

Now the answer or solution to the abovequestion has been solved by many indi-vidual photographers but possibly a step bystep guide might still be useful for thosestruggling with this problem and in this

spirit sucha guide isgivenbelow.

Thebasicrequire-ment ormodifica-tion thatneeds to bemade toanyrotatingpanoramiccamera toenable it tobe used for“linear”applica-tions is todevise ameans forholding thecamerabody stillwhile notimpedingthe motionof the filmthrough thecamera.WithCirkut-type

cameras this is not a big problem. Simplyleave the gear train equipped tripod headoff the camera and attach the camerabody directly to a tripod or make a cradleof some sort to hold the body while stillallowing the fan or electric motor totransport the film through the back.

With other cameras the process is moreor less complicated but the idea is still thesame. I made a cradle for a Hulcheramacamera such that when the camera isriding in it the tripod head rotatesindependently and freely within adepression built into the base. Althoughnot absolutely necessary, the cameraneeds yet another “modification” for easyuse in these “experimental” modes.

This is the addition of an external on-off switch in a parallel configuration tothe on-off switch located in the tripodhead. This is not a very difficult thing todo but I suggest a handy electrician/mechanic install it for you if you are notso gifted! The circuit is easily seen andanalyzed by removing the camera’sbottom cover. This exposes all theelectronic controls and it is a simplematter to follow the leads that go to therotating tripod mount and install aparallel switch on the “control” panel onthe camera.

Once modification is completed andthe cradle is constructed the next item isto calibrate the camera to determine howfast the film moves through it at variousnumbered settings on the Hulcher, orwhen using a particular gear and aparticular fan or at a particular voltage ifusing a powered model. With a Cirkutyou only really need to calibrate thecamera with one “average” gear or setting

knowing that you can easily double orhalve the film speed by proper changes inthe gearing or voltage ... fan may be lesspredictable.

Anyway, with a Cirkut with separateback and front components you need onlythe motorized back, otherwise simplykeep the camera off the pivot or theHulcher in its cradle. Now load with film(scrap) and operate at chosen (or various)settings. To determine the rate at whichthe film moves in the camera you canproceed various ways.

With a Cirkut you may be able to reachin through the slot from the front andwith a marker place a mark onto thepassing film and let’s say 10 secondslater, place another, and so on. Eventuallyyou then look at the film and measure thedistance between marks (this will changeslightly since the take-up drum diameterchanges as film builds up on it).

With the Hulcher you do essentially thesame thing. Just operate the camera withthe top cover off and place a mark ontothe passing paper every 10 seconds. Fromthis then you can figure out the amount offilm that passes by in 10 seconds and thusalso the film speed on a per second basis:Film Rate of Motion ("/sec) = amountfilm between marks/10 seconds. Or, witha Cirkut, if you have an indicator visiblethat tells you that the take up drum hasmade a revolution, you simply need totime how long it takes the drum to makeone (or more) full turns. Then, estimatingthe diameter of the take-up drum andmultiplying times 3.14 you get itscircumference and thus determine that

Linear-strip continues on page 12

Twelve

the average rate of film motion throughthe camera is: Film Rate of Motion("/sec) = Circumference of Drum/timefor 1 drum turn.

Let’s say for the sake of argument thatthe film moves at 1 inch per second. Nowif you have an exposure slot (measure it!)that is about 1/4 inch wide it woulddeliver an exposure time of 1/4 second.This is determined from: Exposure timein seconds = slot size/rate of film motion

With the Hulcher the slot will be muchsmaller but you don’t need to make thisdetermination anyway since the camerahas attached to it a table that providesthe exposure time associated with anygiven choice of slit size and camerarotation speed.

Now eventually you will be taking thecamera out to make your photograph.Assuming that the train will be moving at10 miles per hour, you’d best translatethis to feet/sec by multiplying mph times1.5 (rough conversion). So, in this casethe subject is moving 15 feet per second.The moving image of the train’s image atthe slot is controlled by Magnification butin our case Reduction is a more appropri-ate term. That is, the image moves asmany times slower than the real train asthe size of the real train is compared to

the size of the image of the train on yourground glass. So, if you are using a givenlens and the image of a train’s featurewhich in reality is 10 feet tall getsreproduced at your ground glass as adistance of about 1" it means you aretalking about a reduction of about 120times thus: Reduction = Subject size/Image size in this case 10 feet or 120"/1"= 120x. Another way to approximatelydetermine Reduction is this (using sameunits): Reduction = Distance from lens totrain/focal length of camera lens. OK,now what to do.

Well, since the train will be travelingat 15 feet per second, this is 15x12 or 180inches per second. At the distance youhappen to be at this will give an image-speed of the train which is: Train ImageRate of Motion = Real Train Rate dividedby Reduction or, in this case: Image Rate= 180"/sec divided by 120 = 1.5"/sec. Butyou know that with the particular gearingor whatever you have, the camera movesthe film at 1" per sec. which is too slow.

You have several options now.1. You can find/determine what kind of

gearing adjustment you need to make tomake the film move faster ... smaller fan,higher voltage or appropriate adjustmentin gearing. This will also reduce the

exposure time since thatwill now be 1/4 inchdivided by 1.5 inches/sec.or about 1/6th second.

2. You can change thefocal length of thecamera’s lens to onewhich is 2/3 the originalfocal length. This willmake the image of the train a bit smaller(in fact reduce its size to 66% original)Since reduction is greater than before theimage moves slower. To figure out thefactor by which you need to multiply thefocal length of the lens you have on thecamera to determine the focal length ofthe new lens you do this: New FocalLength = Old Focal Length x AvailableFilm Rate/Given Image Rate From thisyou can see that if the film rate you haveis equal to the image rate you have, thenthe lens focal length you have is just theright focal length. Otherwise you take thefocal length you have and adjust it asshown above.

3. You could also simply change theposition of the camera and move it fatheraway (in this case). The new distanceshould be 1.5 times further away from thetrain than the distance that the camerawas from the train at the time you

determined the rate ofits image motion.Essentially this hasthe same effect aschanging the focallength and you makethe image smaller andthus it moves sloweras well. New Camera

Position = Old Camera Position xAvailable Film Rate/Given Film Rate.

One other item of importance is thatyou should make sure the train is movingfrom right to left in front of the camera asI believe inside a Cirkut camera the filmmoves from left to right. The opticsreverses image motion and thus both theimage of the moving train and the motionof the film will be in the same direction.However, in a Hulcher the film movesfrom right to left and with this camera thetrain should be moving from left to right.

Now you just load your camera, adjustthe aperture for ambient conditions andfilm speed and wait for train to approach.As it gets close to the location on thetrack that the slot on your camera isaimed at you start ‘er up and wait for thefilm to run out and then you process it

LinearLinearLinearLinearLinear-strip from page 11-strip from page 11-strip from page 11-strip from page 11-strip from page 11

Linear-strip continues on next page

the fact that you would be moving insteadof the train! Do not hesitate to contact meif any part of this is not clear or if you’dlike additional assistance of any kind. Ialso look forward to hearing of a com-plete success story!

If you would like to discuss this projectwith me I would be happy to providewhatever assistance is needed. Contactme at RIT, PO Box 9887, Rochester, NY14623. Phone 716-475-2592, fax 716-475-5804 ... but the fastest way is to justsend me e-mail at andpph@rit.edu

Thirteen

and exclaim: WOW!I hope this little “guide” that explains

some of the logic behind the variousoperations is of help to you.

As an additional thought, you mightalso experiment with placing the camerain a moving vehicle and while drivingalong a street flanked by picturesquebuildings, photograph a long stretch ofthe facades along one side of the street.The process for making this photographis very much the same as that of makingthe picture of the moving train except for

We print Cirkut negatives (up to 61" long) any quantity20" C-41 Film Processor - E-6 Processing

Panoramic Printing Specialist

Custom Panoramic Lab1385-87 Palmetto Park Road West • Boca Raton, Florida 33486 • 561-361-0031 • 561-361-0494 (24 hour fax) • CustomLab@aol.com

Prints from the Roundshot enlarger:Negatives up to 10 inches wide by 63inches long can be printed for prints upto 40 inches wide by 164 feet long!

Fuji Professional Cameraand Film Dealer

Try Our New R-3 ProcessorPrints From Transparencies

LinearLinearLinearLinearLinear-strip from previous page-strip from previous page-strip from previous page-strip from previous page-strip from previous page

May 5-9, 1998 • IAPP International Convention • Moab, UtahThe headquarter hotel for the International Convention will be the Moab Valley Inn,

to reserve a room call 800-831-6622, mention you are with IAPP.Mark your calanders now!More information to follow in Panorama magazine.

Upcoming EventsUpcoming EventsUpcoming EventsUpcoming EventsUpcoming Events

PPPPProduct Updateroduct Updateroduct Updateroduct Updateroduct UpdateHere are some new and interestingproducts for panoramic photography,both traditional and digital.

Roundabout(tm) Motorized TripodHead System. With the help of filmstudio professionals, videographers, andengineers, Visdyn has developed amotorized rotating tripod head systemthat will allow for seamless Jutvisionscene creation. Simply attach your videocamera to the Roundabout(tm) and turnon the switch. The motor, which cansupport 25lbs of weight, makes a full360-degree revolution in 100 secondswithout skipping or jerking. This tripodhead system is the first of its kind andworks perfectly with the Jutvision VideoWelder technology used in the JutvisionDesign Kit Commercial Edition. Sincethe result is a perfectly smooth filming

pan, there is no need for adjusting seamswhile creating your VR panorama. Thissignificantly reduces the time it takes tocreate a 360-degree panorama.

Roundabout(tm) delivery is normally2-3 weeks after purchase. To place yourorder for the Roundabout(tm) MotorizedTripod Head System, please email us orcall 1-888-VISDYN-1 (or 416-368-3088).Warranty: 1 yr. against defects Cost: (US)$499.95: non-members, (US) $459.95:members

QuickTime VR Authoring Studioannounced at MacWorld Boston.QuickTime VR Authoring Studio is anew professional software tool based onQuickTime VR technology that allowsweb designers and multimedia authors to

Product Update continues on page 32

Fourteen

Experimental Linear PExperimental Linear PExperimental Linear PExperimental Linear PExperimental Linear PanoramasanoramasanoramasanoramasanoramasBy Michael Westmoreland

explores very sophisticated territory inany technical sense. Take a 35mmcamera, stand on a pavement and snap abuilding across the street, walk five yardssideways and take another snap, walkanother five yards, snap...... etc etc. Takethe film to a minilab for the cheapest 6 by4 prints; scan the prints at 200 dpi with acheap desktop flatbed scanner. Squarethem up and stitch with Picture Pub-lisher; print out on an Epson 1520printer. Easy!

After 25 years humping Cirkutcameras about the world and gettingdermatitis from developing 8-foot colortransparencies in open troughs in thedark, it’s bliss. If you are an architectureenthusiast like me there are lots of

wonderful subjects (And especially if youare fortunate enough to live in historicEurope). Many hitherto unphotograph-able subjects become possible when youhave the luxury of multiple stances: useof small masts and horizontal stitchinggives access into the narrowest of streets;and the editing facility gives freedom toeliminate unwanted cars, dogs, trash cansor whatever. I don’t otherwise alteranything significantly: hopefully the ideais to enhance what is already there.

I am currently investigating variousother items of stitching and transforma-tional software to allow the speeding upof what is at present a fairly painstakingprocess. Exact geometrical perfection isunattainable, and my aim is to achieve an

approximation to the illusion one wouldget by mounting a scan camera on amoving vehicle and establishing precisesynchronicity. This last was a notion Ihad about 25 years ago, but abandoned assimply too much trouble. It was theninteresting to hear that Andrew David-hazy actually did it once two years ago. Ican’t however imagine getting the samecooperation from my local police depart-ment that he did.

The other two linear presentationswere via the familiar face of Peter Lorberand a gentleman new to most of us,Professor Jaroslav Poncar from Cologne.Peter had a commission to photograph a

The Paris get-together was anopportunity for me to show someof the experimental linear panora-

mas I have been making over the lastthree years, using a digital computer asthe stitching agent. Owing to a mix-up atthe outset of the convention, I had verylittle time to deliver my planned talk andthere were very few present, so perhaps Imay take this opportunity to amplifysomewhat; also to outline a few otherpractitioners with linear subjects I havebeen able to discover. By coincidence,there were two other presentations oflinear photography in Paris, but they bothused Roundshots and conventionalanalogue materials; more of that anon.

I can’t pretend that what I am doing Linear continues on next page

Sunset Strip” some years later (but this didn’t attemptto create an illusion of strict joined up continuity). Idid see another continuous photo of Broadway made at

a later date in a Parisexhibition but don’tknow who the photogra-pher was.

There are two notableBritish efforts: one is acomplete record of bothsides of the historicThames Waterfrontfrom London Bridge toGreenwich (severalmiles in distance) madein 1937 when London

was the worlds greatest port in terms of tonnagethroughout. This is really significant because 99% ofthose buildings have disappeared in the last 60 years;Hitler’s bombers got rid of a sizeable amount and therest went when docking techniques changed to contain-erization in the 1970s and the traffic moved elsewherein the UK. It was made by the Port of London Authority

Fifteen

gigantic 400-foot printing press, and the RoundshotCompany fixed him up with a motorized travellingcamera stand and a railway. An epic shoot followed andthe subsequent enormous print was laid out onthe floor at the Expo Center (right) for ourinspection. If you are going in for things thissize it does help to have a Roundshot enlarger...Nice one, Peter.

Those of us who heard it were privileged to beat Professor Poncars presentation. His venturewas to photograph the lengthy bas-reliefs of theAngkor Wat temples in the jungles of Cambodia,one of the most amazing ancient historic sites,and sights, on earth. Once again, Roundshotprovided a travelling camera stand and railwayand the physical problems involved has made thisone of the great photo stories. The details were fasci-nating but too numerous to mention; just one samplefrom memory... during the traverse, the camera lightsflushed out of every crevice birds, bats and giant jungleinsects of all descriptions.

At least two American photographers have donelinear subjects in the past; Todd Webb did a section ofBroadway as a joiner in 1949; and Ed Ruscha made anextraordinary foldout book called “Every Building on

Linear from previous pageLinear from previous pageLinear from previous pageLinear from previous pageLinear from previous page

Linear continues on page 31

Balloons And BoatsBalloons And BoatsBalloons And BoatsBalloons And BoatsBalloons And BoatsThese two colorpanoramas werephotographedby Rick Zuegel,using hisWidelux F8 andKodak RoyalGold 100 colorprint film.The Balloonswere shot atDansville, NYand he foundthe SunfishSailboats on St.Thomas in theVirgin Islands.

Sixteen

PPPPParis Conference a Successaris Conference a Successaris Conference a Successaris Conference a Successaris Conference a Success

In September more than 80 Panoramicphotographers from all over the worldconvened in Paris, France for an IAPP

conference. There were attendees fromChina, Australia, various Europeancountries and the U.S. President FredYake, Secretary/Treasurer Addie Lorberand Board member Doug Segal were alsopart of the activities.

Lectures were given by Peter Seitz,designer of the Roundshot 220 VRcamera, Michael Westmoreland on digitalphotography, Hans-Jorg on the Noblexand Livio Silvestri on architecturalphotography.

A fascinating presentation was givenby Professor Jaroslav Poncar on hisphotographing bass reliefs in AngkorWat deep in the Cambodian jungle witha linear scan camera and lightingequipment.

Of great interest were several VR andQTVR workshops and several camera andimaging equipment demonstrations.Many exhibitors displayed their products.Nomad Audio Visual Paris set up a 360degree projection system 5m high and 9min diameter to project normal andpanoramic images with stereo sound, itwas almost like Disneyland.

Many images were on display for theexhibition and print contest. Attendeeswere bussed to the Gitzo factory andshowroom with tours being grouped by

language. After the tour everyone wastreated to a great lunch, plenty of wineand desserts of course.

The banquet was at a local Frenchrestaurant and again more great deserts.Dave Orbock from the US received firstprize of a Roundshot 35-35S for hisPanoramic image of the Palace ofVersailles, additional runner up prizeswere a 35mm Noblex, Horizon A202 anda Gitzo Tripod. Thanks to Swiss memberJohnny Kurtz and his wife, Esther, for allof their hard work in putting theconference together. The Parisconference stirred more interest inpanoramic photography and raisedadditional income for IAPP as wellas a membership gain of 20 newInternational members.

The official IAPP European Conferenceat Paris, France groupshot was taken byPeter Lorber and Colin Bullard using aRoundshot 5" camera.

Prints are available for $25. ContactIAPP Secretary/Treasurer Addie Lorber,PO Box2816, Boca Raton, FL 33427-2816. $5 per image will go to IAPP.

Seventeen

Checking out the trade show.

Chris O'Kane of Scotland (left) chats withother pan enthusiasts.

Pete Seitz (right) presents first placewinner Dave Orbock with his Roundshot35-35S. Johnny Kurtz hold up Dave'swinning pan.

Mr. Hans-Jorg Schonherr, D.G.Ph. (right)presents second place winner ThomasYanul with his Noblex. Johnny Kurtzholds up Thomas' winning pan.

Eighteen

Color Ad

Nineteen

Historic PHistoric PHistoric PHistoric PHistoric PanoramasanoramasanoramasanoramasanoramasBy Richard Schneider

featured the decorative possibilities ofIndian Arts and Crafts.

The National Archives has manyStill Picture and Textual records of theSesqui-Centennial which can be foundin Record Group (RG) 43 (Records ofInternational Conferences, Commissions,and Expositions, 1825 - 1972), RG77(Records of the Office of the Chief ofEngineers), and RG121 (Records of thePublic Buildings Service).

Researchers can visit either researchroom at the College Park facility andutilize “finding aids” which are readilyavailable. Listed by subject, these aidswill eventually lead you to the recordsthemselves. For those outside of theWashington, DC area, you can visit ourweb site at www.nara.gov and highlightthe heading called NAIL (NationalArchives Information Locator). This isan on-line finding aid.

For a more in depth photographic

study of the Sesqui-Centennial, onecan visit the Philadelphia Free Library.In their collection of photographs are27 volumes of images taken by JohnCardinell for the Exposition. Several inVolume 15 are of the Indian exhibits andshows, both governmental and private.

John Cardinell gained some notorietyat the time by bringing a lawsuit, onbehalf of himself and other contractorsand vendors, against the Sesqui-Centennial Commission for lack ofpayments. These equity proceedingsoccurred in US District Court. Appar-ently, despite the revenue generated fromattendance, other sources and the sale ofthe property, some that had contractswith the Commission were never paidfor their services. John Cardinell mayhave had a family member, Vincent, whowas the Official Photographer at the SanFrancisco Exposition in 1915.

The Still Picture Branch has, interest-

Colonel Cummins wrote amessage on the photograph inink. It reads: “For Commis-

sioner Chas H. Burke, My compli-ments, all returned home bountifullysupplied. Nov. 17/26. Col. FredCummins. Chi[e]f Lakota.”

The Sesqui-Centennial featuredseveral US Government exhibits, suchas Library of Congress, State Depart-ment, Smithsonian Institution and theInterior Department, which alsocontained the exhibit for the Bureau ofIndian Affairs.

The “Congress” pictured does notappear to have been part of the officialUS Government presence. The BIAexhibit was in fact only a 16' squarepavilion designed to show the characterand extent of work being done by theFederal Government to make Indiansself-supporting. The pavilion’s designshowcased Pueblo style architecture and

ingly enough, a panoramic photographby Vincent of another Indian subjecttaken at the Civic Auditorium whichwas part of the Expo: a group shot ofthe Indian Board of Cooperation.

Colonel Fred Cummins was basedin California and organized IndianCongresses and Wild West Shows forfairs and expositions throughout thecountry. His activities can be tracedback at least until 1901, when hepresented an Indian exhibit at theBuffalo Pan American Exposition.

Cummins was apparently not thefirst choice for this type of venue,according to records of the Sesqui-Centennial Commission. An outfitheaded by a Mr. McCoy had originallybeen favored, but by summer of 1926Cummins had been offered the contractfor an Indian Congress exhibit andpossibly a Wild West Show.

“Col. Cummin’sIndian Congress;Sesqui-CentennialInternationalExposition,Philadelphia, Pa.,1926.”, 9 1/2" x29". Records ofthe Bureau ofIndian Affairs; 75-PA-11-5. Taken byJohn D. Cardinell,OfficialPhotographer,11-17-26.

Twenty

Scans from all formats upto 8x10, retouching, printson Fujix and Iris.

WE BUY, SELL, TRADE

Noblex, Widelux,Hulcher, Hasselblad,Mamiya and Bronica.

PRO PHOTO CONNECTION inc.17851 Skypark Circle #C, Irvine, California 92614 • 800-732-6361

Get Connected...to your Photo Connection

Roundshot • Widelux • Noblex • Art Pan • Hulcher • Fuji 617 • Linhof 612 and 617

Cibachrome, Type C,Type R, from all formats,no matter how long.

WEREPAIR

WEPRINT

WEDIGITIZE

Pan RentalsDaily Weekly

Round Shot 35mm360° camera

Round Shot 35mmw/interchangeable Nikon lensesArt Panorama 6x24w/120mm, f8 lens & centerspot

Noblex Pro 150120 formatNoblex 13535mm format

Fuji G617 6x17w/105mm, f8 lens, viewfinder,hood and centerspot filter (-1.5 stops)

$100 $ 400

$500 $2000

$ 65 $ 240

$ 50 $ 200

$ 50 $ 200

$ 55 $ 220

Twenty-one

ROUNDSHOT SUPER CAMERASfor 35mm, 220 and 70mm

The Cameras of Ultimate FlexibilityInterchangeable Lenses using Nikon,

Hasselblad or Others,TTL, Rise and Fall, Computer Controlled

for 3 Operating Modes;Panorama, Peripheral and Linear

ROUNDSHOTThe worlds finest 360 degree panoramic cameras

Swiss designed and made for the Pro and Amateur

Full Panoramic Cameras for 35mm, 220-70mm and 5 inch

• New Low Prices Beginning Below $1900 •

ALSO

Camerama Corp • 131 Newton Street • Weston, MA 02193-2314Tel 800-274-5722 • Fax 617-891-9288

The TThe TThe TThe TThe Ten Stages of a Pen Stages of a Pen Stages of a Pen Stages of a Pen Stages of a PanoramicanoramicanoramicanoramicanoramicPhotographerPhotographerPhotographerPhotographerPhotographerBy Alan KaftonThis is the story of how a newcomerjoined the ranks of addicted panoramicphotographers, and the stages we gothrough as we grow.

STAGE 1: IgnoranceI was a panoramic photographer and

didn’t even know it! For years I tookhand-held swept-sequential snapshots ofwide areas, mostly on vacation, andpasted them in my photo album. Nothingfancy. Nothing professional. No consid-eration of using a tripod to keep thecamera level. But many of them werenice none the less! It wasn’t until I sawimages made on a #10 Cirkut at acamerashow that Isaid “wow,I too am apanoramicphotogra-pher,” but Ialso knew Iwas verymuch a novice. Fortunately, one of theother folks hanging around the boothtoldme about the IAPP. A week later Ireceived a sample copy of Panoramain the mail, and since January ’96, I’vebeen a member.

STAGE 2: EnlightenmentIn that very first issue I read about a

panoramic class taught by Kate and GeirJordhal at PhotoCentral in Hayward,California (phone 510-881-6721). Whata great class! In two days we got theoryand hands-on experience with straight

back (V-Pan, Fuji 617), swing lens(Widelux, Noblex 35, Noblex Pro 150),and rotational (Roundshot 35) cameras!I was hooked. But what kind did I wantto buy? There were a number of optionsto sort out, and face it, most of thesepuppies aren’t cheap!

STAGE 3: ConfusionTo help sort out my confusion I talked

to dozens of people, but in some waysthat was a mistake! I found panoramicphotographers to be a damned opinion-ated lot,andgetting

“objective” advice was difficult. I heardcomments like “real panoramic cam-eras...” or “don’t listen to...” or “...is apiece of junk.” I became even moreconfused. In reality, I quickly decided Iwanted either a swing lens or rotationalcamera — but which one?

After months of indecision, I realizedthe answer was in my photo album allalong. I saw that many of my paste-together shots were greater than 130degrees, so that eliminated a swing lenscamera. After looking at size, price and

Ten Stages continues on page 24

Twenty-two

BuyBuyBuyBuyBuy, Sell & T, Sell & T, Sell & T, Sell & T, Sell & Trade....rade....rade....rade....rade....free ads for membersfree ads for membersfree ads for membersfree ads for membersfree ads for members

Services: All cirkut camera services.Gears cut, focal lengths measured,repairs, parts made. Stanley Stern, 2541NE 199 Street, North Miami Beach, FL33180. 305-931-0493.

Services: Gears cut - 48 pitch and 32pitch, 14 1/2 degree pressure angle gearswith any number of teeth. Less than 50teeth - $25, 50 to 125 teeth - $35, over125 teeth - by quote. Gears are fittedwith shafts or hubs made to customersmeasurements. Ron Kline, Northernlight,1208 Pike Court, Juneau AK 99801-9549. Phone 907- 780-6248.panorama@ptialaska.net

For Sale: Selling lenses, cameras andequipment that are surplus to my needs.Send SASE for listing and descriptionsto: Will Landon, PO Box 6073, Bellevue,WA 98000.

For Sale: Hulcherama w/80mmMamiya lens, 6-volt system, $3000,w/80 & 35mm Mamiya lenses, $3500.Jerry Wachter. 410-466-3866.

For Sale: Three (3) #8 Cirkutcameras, all governor type. First iscomplete with gears/bull gear, wedge,tripod legs, triple convertible Turner-Reich, and Double Goerz Dagor lenses.Second is a Century camera and back,with tripod legs and bull gear. Third is aF&S camera with a good working filmmagazine. Asking $2,600 for all three.Jeff Weisenburger, 415-752-4262.

Wanted: Looking for Fuji 617cameras, older version without inter-changeable lenses. Contact Jamie Parkerat 800-982-1873.

For Sale: Noblex 150S, shiftingmodel. Like new condition. $2000.Peter Randall 603-431-5667.Peterpix@aol.com

For Sale: New technical approachesto panoptic photography and the threeinventors present their findings to thepublic. They also reveal their inventiontotally unselfishly, not covering up any ofthe details. They even add the instruc-tions that enable skillful amateurs toconstruct their own panoptic materials,using elements that are simple andinexpensive. The last English version,revised and extended to 166 pages isnow again available. It examines indetail different 360° panoptic systemsthat are easy to build, with diagrams andadvice. Additional articles on stereo 3Dpanoptic photography on 360°, Polaroid4x5 Panoptic 360° and panoptic 360°underwater experiments, with a report onthe First Euromeeting held in Brussels in1996. ISBN 2-9600048-1-7. Price: 900BF(about US $25 at Oct. 97 exchangerate), package and airmail postageinclude. Only Visa/MasterCard accepted.Sorry bank checks can't be accepted.Unlimited Fields Research PanopticImaging 360° Panoptic Photography,Michel Dusariez 14, avenue CapitainePIRET B-1150 Brussels - BELGIUMFAX 32 2 512 68 29.dusariez.pano.optic@skynet.be

For Sale: Dust off that old 120folding camera that you have in thebottom of your camera drawer and haveme turn it into a 360 degree field of viewpanorama camera. Prices starting at just$600 when you supply the body and a35mm format lens. Complete cameras for$700. Bob Erickson, 561-276-0886.http://members.aol.com/panstore

For Sale: Foba tripod, heavy duty,ex. condition, $750. Peter Lorber,561-361-0031 or fax 561-361-0494.

Panoramics NorthWest, Inc.206.524.9510 - fax 524.2025

www.PansNW.com

DIGITAL SERVICESScanning: ARCUS II FLATBED SCANS

CHROMES NEGATIVESFLAT ART & CIRKUT PRINTS

2400 MAXIMUM DPI

NIKON LS-100035mm SLIDES & NEGATIVES

2700 MAXIMUM DPI

9594 FIRST AVE NE #432 SEATTLE, WA 98115

Custom Image Restoration: PANS & CIRKUT PRINTS, FILM OR DIGITAL FILES

Digital Output: QT-VR & WEBSITES FUJIX... UP TO 8.5X11 SIZE IMAGES

COLOR B&W SEPIA - GLOSSY OR MATTE I R I S... WATER COLOR PAPER

GLOSSY MEDIA AND CANVAS LIGHTJET 5000... DIGITAL COLOR/B&W PRINTS

DIGITAL FILES OUTPUTTED TO:ZIP - JAZ - CD-ROM - SYQUEST

SPECIAL RATES FOR IAPP MEMBERSWE ACCEPT VISA MASTERCARD & AMERICAN EXPRESS

CHECK OUR WEBSITE FOR INFO ONNEW AND USED PANORAMIC CAMERAS

V-PAN NOBLEX & HULCHERAMA

An Expanded View PAn Expanded View PAn Expanded View PAn Expanded View PAn Expanded View PanoramicanoramicanoramicanoramicanoramicPhotographs at the National ArchivesPhotographs at the National ArchivesPhotographs at the National ArchivesPhotographs at the National ArchivesPhotographs at the National Archives

The Fall issue of the National Archives ( US ) quarterly publication Prologue has anarticle written by myself, Richard Schneider, called “An Expanded View PanoramicPhotographs at the National Archives”. If you are interested in obtaining a copy ($4US I believe) please call Publication Sales at 1-800-234-8861. You might also inquireabout other publications, such as microfilm and posters, which might be of interest toyou. If you just want to see the article, then I’d suggest going to a major public or

university library. They aresure to have it on hand, Asfar as the article itself, itwas written for the noviceand not the expert inpanoramic photography. Ifnothing else, those in thelatter category might enjoysome of the images them-selves. I personally love theone of the “Civilian Guardsof the National Shipyard” -a group shot of securityguards all holding billyclubs. The designer took abit of artistic license by“sepia” toning some imagesthat were not that color inreal life, but that’s OK. I’dlike to see more publicationson the history of panoramicphotography out there,especially from IAPP’s BillMcBride, who’s the realpanoramic historian.

Twenty-three

Expand Your Sphere of InfluenceExpand Your Sphere of InfluenceExpand Your Sphere of InfluenceExpand Your Sphere of InfluenceExpand Your Sphere of InfluenceReach IAPP members in the US, Europe,Australia & Asia.

To place an ad in Panorama magazine or on ourWWW site, call 561-393-7101 or write: IAPP, POBox 2816, Boca Raton, FL 33427-2816.

PPPPPans Fans Fans Fans Fans Featured In Belgium Dailyeatured In Belgium Dailyeatured In Belgium Dailyeatured In Belgium Dailyeatured In Belgium DailyNewspaperNewspaperNewspaperNewspaperNewspaper

Starting September 6, 1997, the biggest Belgian daily newspaper “Le Soir” onMondays will devote an entire page (4 panoptic photographs) under the title of“Panoramique” signed Unlimited Fields. The pictures were taken by IAPP life MemberMichel Dusariez from Brussels in Belgium.

The publication is about 16 x 16 inches. The panoramas are mostly taken in Belgianpubs, usually one outside view and one interior view are taken. The complete serieswill contain about 40 photographs.

IAPP Membership ApplicationIAPP Membership ApplicationIAPP Membership ApplicationIAPP Membership ApplicationIAPP Membership ApplicationTo renew your membership send$40 in North America, $50elsewhere (If you are joining forthe first time add $5 administra-tive fee) to:IAPP - Addie LorberP.O. Box 2816Boca Raton, FL 33427-2816

Payment method:

Name:________________________________Address:________________________________________________________________________________________________________Home Phone:__________________________Work Phone:__________________________Fax:_________________________________Credit Card #:_________________________Expiration Date:_______________________E-mail address:________________________Are you a PPA member?_________________

If yes, your PPA#:______________________

Check (made out to IAPP)

Money Order

Visa MasterCard

Twenty-four

Specializing in Panoramic Printing up to 48"146-C West Rhapsody, San Antonio, TX 78216

800-817-4880 • 210-349-9956

Cirkut Negative Processing AvailableCirkut Film Available

Copy Work Without Negative

reliability, I quickly settled on aRoundshot 35/35S.

Stage 4: ExcitementI ordered my camera and was told to

expect it in three days. Anticipationbreeds excitement, but it also providedtime for reflection. Was mine the correctchoice? Would I enjoy my new hobby?Would I be any good at it? No matter, Iwas committed — and then it arrived!But now I had to move quickly becausein three weeks I was leaving for a three-week vacation to China and wanted totest out my new toy and gain a littleexperience. How many times has thislast-minute get-the-equipment-quickscenario happened to you? Isn’t thatwhen things usually go wrong? If I wasexcited about receiving my camera, theexcitement was doubled waiting for thereturn of my first test images. When Ireceived them, reality set in - they werenot perfect...

Stage 5: FrustrationTwo defects were apparent on the first

rolls: all exposures had a thin darkhorizontal line across the top part of theimage that was particularly noticeableagainst a blue sky, and several shots takenat the “slow” speed were compressed as ifthe film were slipping. Tick tock, ticktock, the clock was running and I wasleaving for China in less than a week!Quick phone calls followed: the cause ofthe streak was identified but the compres-sion was not. Oh well, it was just at slowspeed so that shouldn’t stop my shootingin China and I can worry about that later.As it turns out, the film-slipping phenom-enon necessitated returning the camera tothe manufacturer for repair. Fortunatelythey returned the camera quickly, and so

far with limited testing, appears to havefixed the problem.

Stage 6: DiscoveryThrough my testing process, China

trip, and subsequent experimentation, itbecame apparent that “our” type ofcamera has unique quirks. Some aregeneric, and some accompany specificmakes and models, yet often they are notdocumented in the user manual. Still,they must be well understood to optimallyuse the equipment. The best way todiscover them is by talking to other users,and experience. So in the spirit ofsharing, what have I learned about myRoundshot that has resulted in improvedimages? 1) That thin horizontal lineacross the test photos described earlierwas a 1 mm piece of dust stuck in therear slit. The manual didn’t warn aboutdust in the slit, but even to a novice, thatmakes goodsense! Now Icheck the slitbeforeloading everyroll andremove anydustt with asmall pieceof adhesivetape. 2) TheRoundshot35/35S has afixed up shiftof about2.5—3.0mm.That givesimages withmore sky andless fore-ground,which is

ideal when shooting up at mountainsfrom a valley floor. But what should bedone when shooting from the top of amountain? That’s easy, turn the cameraupside down and you’ve got downshift!3) There are two adjustments on the topof the Roundshot: one labeled withaperture values that varies the horizon-tal opening between lens elements, andone labeled shutter speed that varies thevertical opening. I assumed (wrongly)that the vertical adjustment was just likea rear-slit adjustment since it waslabeled shutter speed. On my initialhand held shots, I took great care toensure the “shutter speed” was set asfast as possible, consistent with settingthe aperture for adequate depth of field.The manual states “Bear in mind thatboth f-number and exposure timesettings are really apertures.” Now Irealize that the vertical adjustment was

labeled shutter speed for lack of anythingelse to call a second, independentaperture setting. In reality the Roundshot35/35S has just two exposure times:approximately 1/100 and 1 second,although that is never explicitly called outin the manual.

Stage 7: DangerousThis is my current level — one in

which I take some fairly decent shots,but not as consistently as I would like.I also now know enough to write anarticle, and that’s really scary! I can,however, envision the next stages Imight grow into:Stage 8: Taking consistently goodpanoramic images.Stage 9: Becoming an artist.Stage 10: Being able to make panoramicphotography pay. We’ll just have to waitand see.

TTTTTen Stages from page 21en Stages from page 21en Stages from page 21en Stages from page 21en Stages from page 21

Twenty-five

Shooting Color NegativeShooting Color NegativeShooting Color NegativeShooting Color NegativeShooting Color NegativeInstead Of TInstead Of TInstead Of TInstead Of TInstead Of Transparency Fransparency Fransparency Fransparency Fransparency FilmilmilmilmilmBy Gaétan Charbonneau

Tired of the slides excessivecontrast? The first question youwould like to ask an extraterrestrial

would be, “do you have normal contrastslide films on your planet”? There arenumerous occasions where I found myself,in front of a good photo opportunity indifficult lightning conditions, wishing thatour major film manufacturers had a sharpreversal film with a long tonal scale.

Unfortunately, those slides film, inorder to produce “punchy colors” are verylimited in their ability to record details atthe top and at the bottom of the tonalscale, as soon as you’re out of the filmstight average contrast range.

For a photographer working in hisstudio, it remains very easy to manipulatea lightning set up to fit subject contrastbrightness. But when the sun is your onlysource of light, and due to the nature ofthe wide panoramic view, you will face thetask of recording in the same photo,different subject brightness.

To record details on the longest contrastrange possible, besides getting up early atsunrise to take advantage of the soft earlymorning light, a good alternative is to usethe wonderful slow color negative filmsavailable. If your last experience withnegative film is your last Christmas partywith grandpas point and shoot camera, Istrongly suggest that you put a good120mm film in your camera and go toyour favorite location. It might be arevelation.

Unless you use an unsharp maskingtechnique when printing your slide film,the tonal scale that you will get will have

nothing to do with the one that colorreversal films produce. You will recorddetails that are simply impossible to getotherwise, these color negative films arejust shadow diggers.

Apart from my love affair with pan-oramic photography, I have been for thepast ten years a dedicated “street photog-rapher”. Since 75% of my work is doneon color negative films, I have learned towork with this flexible material. I alsohad the chance to see year after year hugeimprovements from some of our majorbrand names. Handled with the same careas the slide film, I came to the conclusionthat color negative film represents thebiggest jump in film technologies over thepast decade. Nothing less. And if youreally are a hopeless contrast freak, thereis a great choice of films with eachdifferent contrast quality, always withexceptional sharpness.

While I am not too crazy about freepublicity for big company’s, the KodakEktar 25 is in a class of its own. It isobviously very slow, but at the same time,it is the sharpest color negative filmaround. While the color rendition of theEktar is radically different from theextremely popular FUJI Velvia reversalcolor film, in less than ideal situations,you will be able to say “adios” to thosewashed out highlights, or/and, blockedshadows. For soft contrast, realistic color,in difficult lightning conditions or for“panoramic portraiture”, the 100 REALAfrom Fuji is a must. Just beware of thosecolor negative films, you may endsuffering from sudden addiction.

CCCCCCCCCCTwenty-six

HRISTMAS SPECIAL*HRISTMAS SPECIAL*Rainier Panorama is the perfect gift for loversof nature as well as the panorama enthusiast.

Rainier Panorama is a large 118 photograph book with over 50panoramics. To quote the jackets “here, in words and images, writerand photographer Will Landon of Bellevue, Washington, paints aportrait of Mount Rainier National Park in sweeping panoramas ofup to 360 degrees, counter pointed by close-ups and highlightedultra-wide panoramas of intimate scenes. Landon explores the di-versity of a remarkable mountain with photographs taken over atwenty-four year time span. Accompanying Landon’s photographsare written impressions from his Rainier journals.”

Out of the total of 118 photographs, there are over fifty panoramicviews, some of which extend 360 degrees.

*As a Christmas special, IAPP members can order their signedcopy of Ranier Panorama for $50 (that's $10 off) plus free shippingin the US and $5 shipping abroad.

To order your book (signed by Will) send $50 to: Will Landon,P.O. Box 6073, Bellevue, WA 98008.

IAPP,Just a note to thank those people

involved in putting together the Parismeeting, especially Johnny Kurtz. It wasenjoyable to meet so many of our Euro-pean members for the first time. Assecond place winner in the photo contest,I would also like to thank the judges, andof course Kamera Werke Noble, repre-sented by Mr. Hans-Jorg Schonherr,D.G.Ph., who awarded me the NoblexCamera. I also wish to congratulate firstplace winner Dave Orbock. Dave’s bodyof work has always been of the highestcaliber and I was pleased to see himrecognized.

Many thanks to all,Thomas G. Yanul

Twenty-seven

FFFFFrom The Mailbagrom The Mailbagrom The Mailbagrom The Mailbagrom The Mailbag

Get yourGet yourGet yourGet yourGet your

official IAPPofficial IAPPofficial IAPPofficial IAPPofficial IAPP

Moab 1998Moab 1998Moab 1998Moab 1998Moab 1998

CommerativeCommerativeCommerativeCommerativeCommerative

TTTTT-Shir-Shir-Shir-Shir-Shirt. Nowt. Nowt. Nowt. Nowt. Now

availableavailableavailableavailableavailable

in the IAPPin the IAPPin the IAPPin the IAPPin the IAPP

Boutique.Boutique.Boutique.Boutique.Boutique.

See page 10

Hello, to all panorama enthusiasts,I need to write this letter because it

concerns all panoramists all over theworld, who are fortunate to have aRoundshot from Seitz. Someone said tome, “when you buy a Roundshot, you buythe company”, I didn’t know what hemeant. Three years ago I bought a Super70 Roundshot because my Cyclopan gaveup its ghost and needed to be retired to amuseum. Since my whole business wasbased on the output of a variable lens360-degree camera 70mm format, I

would have been out of business without areplacement. The quality produced fromthe Super 70 Roundshot was so incrediblethat image sales more than quadrupled ina short time. The camera and I traveledfrom China to Thailand, to Italy, all overthe US to Greece and now to Portugal andSwitzerland. After putting a hundredthousand feet of film through the cameraI noticed small problems - banding,intermittent failure of electrical compo-nents, a close examination found theentry of salt water air into the gears and

that constant setting up and tearing downhad left me with broken electrical wires.Since I am a camera repairman, I calledthe factory and told them what parts Ineeded to restore the camera to itsoriginal condition. Mr. Seitz said this isnot supposed to happen, but sent me allthe parts that were needed. My cameraruns better than ever, thanks to the Seitzfactory. My hat off to the Seitz company.This is a company that I will support andI hope you will too. Now I know the fullmeaning of “when you buy the camera,you buy the company”.

Kornelius Schorle’

I wish to communicate some of myopinions on the “From the Mailbag”letter of Michael Westmoreland, pub-lished in the September Panorama aboutvideo tapes and audio tape. For video-tapes, most of the VCRs on the market inEurope are now equipped with the optionof reading NTSC system on PAL TVmonitors, some as the standard speedtrack. About the fact that videotapes arejust radio with pictures, you have to knowthat for most of members who are notAmerican or English born, images willhelp us understand what the speaker hassaid. For some of us, American andEnglish persons speak so fast and/or with

some accent, that it makesit very difficult for mostEuropean people tounderstand. MaybeIAPP can considerprinting the text oflectures. Now withthe arrival ofvocal recogni-tion software,it should beeasy and fast.

Michel Dusariez

IAPP International ConventionMoab, Utah May 5 - 9, 1998

Make your

plans now!Don't missthis one!

IAPP Member Harold Cochranresponds to a past ThinkingAhead column. Harold mentions

how much he enjoys the IAPP PhotoExhibit at conventions, where membersshow their best panorama prints. Hewas wondering if it would be possiblefor members to bring extra prints to theconventions to swap and share. What agreat idea!

When making prints to show at theIAPP Convention in Moab, why nothave a few extras printed? You couldtrade-share-sell extras to interestedmembers.

I know that I have found myselfpicking up extra prints for my “IdeaLibrary”. And you get a better pricewhen having duplicate prints made atthe same time. Save time and money onyour prints when you Think Ahead!

L.M. Eastman - MaineAlan Kravetz - MassachusettsMike Ditz - MichiganLuis DeSantos - TexasMelvin Schrepel - KansasThomas Curley - New YorkJoseph Merrion - PennsylvaniaJoseph Warnicki - IndianaKen McFadden - PennsylvaniaClarence Chapman - NevadaBill Markis - AlaskaBruce Iverson - New HampshireEdgar Reeve - WyomingNathan Osborn - WyomingD. Dean Rhodes - FloridaSteve Bein - CaliforniaSuzanne Barton - FloridaDavid Morris - MinnesotaMartin Waite - Washington

Gildas Le Lostec - FranceFred Oiyuzhou - ChinaNick Meers - EnglandThomas Banzinger - SwitzerlandKarel de Gendre - FranceLivio Silvestri - ItalyMasao Nakachi - JapanGuillaume Brown - FranceFernando Chavez - PortugalWillie Foster - SwitzerlandHans-Jorg Schonherr - GermanyDominique Devaux - MexicoGilles Vanderstichele - FranceChristian LaRue - FranceKostas Kaliakoudas - GreeceErik Nyberg - SwedenThierry Rebours - FrancePatrice Laurent - FranceJerome Pont-Senac - FrancePaul Schneller - Switzerland

Twenty-eight

New MembersNew MembersNew MembersNew MembersNew MembersWelcome to our new membersjoining IAPP.

Think Ahead!Think Ahead!Think Ahead!Think Ahead!Think Ahead!PPPPPrint Exchangerint Exchangerint Exchangerint Exchangerint ExchangeBy Everen T. Brown

Check out theCheck out theCheck out theCheck out theCheck out the“official” IAPP“official” IAPP“official” IAPP“official” IAPP“official” IAPPwebsite at:website at:website at:website at:website at:

wwwwwwwwwwwwwww.....panphotopanphotopanphotopanphotopanphoto.....

comcomcomcomcom

The Photo RThe Photo RThe Photo RThe Photo RThe Photo Review Benefit Auction andeview Benefit Auction andeview Benefit Auction andeview Benefit Auction andeview Benefit Auction andAward CeremonyAward CeremonyAward CeremonyAward CeremonyAward Ceremony

On Saturday, November 8, The Photo Review held its Benefit Auction for 1997 atthe University of the Arts, Dorrance-Hamilton Building, in Philadelphia. At this timeThe Photo Review will also give its eighth annual award for services to the field ofphotography to the James A. Michener Art Museum of Doylestown for its outstandingexhibitions of photography.

Over 125 nationally and regionally known photographers, as well as numerousgalleries, photography dealers, and collectors have contributed prints to The PhotoReview Benefit Auction for 1997. Highlights of the auction included Eugène Atget’sturn-of-the-century albumen print, Eglise, Sarcelles, France, (estimated $1,700-$2,500); Francis Frith’s The Second Pyramid from the Southeast, an albumen print

PRESS RELEASESPRESS RELEASESPRESS RELEASESPRESS RELEASESPRESS RELEASESFor Immediate ReleasePanoramic Photo of Mesa Verde, CO Cortez, CO, 16 SEP 97-

A new, nine foot long panoramic photographof Mesa Verde, CO, has been installed in theMuseum of the Anasazi Heritage Center (AHC),a facility of the Bureau of Land Management inDolores, CO. The panoramic photo, seen herewith the photographer, James Goff, CPP, is partof a display identifying various importantarchaeological sites in and around the MesaVerde National Park area. Looking toward thesouth, it portrays a view of nearly 210 degrees, encompassing the entire Mesa andSleeping Ute Mountain to the west.

The creation of the final print was made by digitally scanning six, 6x4.5 colortransparencies, combining them into a single image, and then printing the compositeinto three, 3-foot sections. Because of the digital scanner’s limitation it was notpossible to shoot the originals in a more typical panoramic format. The originaltransparencies were made by rotating a Mamiya 645 camera with an 80mm lensthrough 36 degrees for each exposure. This provided minimal, but sufficient, overlapin each image to support the synthesis.

Thousands from all over the world visit the AHC each year, as part of their trip toMesa Verde National Park, a World Heritage Site. In addition to supporting archaeo-logical research on the Anasazi and Fremont cultures, it hosts an on-going series ofdisplays. But, perhaps its shining jewel is its innovative museum. There, visitors canparticipate in a assortment of hands-on activities such as grinding corn and weavingblankets, using authentic materials and techniques. And there, they can view the newpanoramic photograph. For more information, contact: James Goff, Fax: 970-882-7545(9-4 weekdays) e-mail: jdgoff@fone.net

Press Releases continues on page 31

Tips

& T

able

s - D

ecem

ber

1997

Tips

and

tabl

es is

form

atte

d to

fit i

nto

a th

ree-

ring

bin

der.

Just

tear

out

eac

h sh

eet a

t the

per

fera

tion,

punc

h ho

les w

here

show

n an

d pu

t the

m in

you

r ow

n bi

nder

. Con

trib

ute

your

tips

and

tabl

es to

Will

Land

on to

app

ear o

n th

is p

age.

Tip

018

- A p

olar

izin

g fil

ter i

s usu

ally

effe

ctiv

e in

impr

ovin

g th

e co

lor s

atur

atio

n of

a sc

ene

depe

ndin

gon

the

angl

e of

the

sun.

Bec

ause

mos

t pan

oram

ic c

amer

as a

re n

ot S

LR n

or d

o th

ey h

ave

a gr

ound

gla

ss,

a di

ffere

nt o

rient

atio

n m

etho

d m

ust b

e us

ed. I

pre

fer t

he H

elio

pan

pola

rizin

g fil

ters

for s

ever

al re

ason

s.Th

ey ar

e hig

h qu

ality

opt

ical

filte

rs, a

nd th

ey co

me i

n ne

utra

l and

a w

arm

ing

(1A

) ver

sion

. The

y al

soha

ve a

scal

e bu

ilt o

nto

the

rim, w

hich

is th

e se

cret

to u

sing

it o

n m

ost p

anor

amic

cam

eras

.G

et a

pilo

t silv

er m

arke

r pen

from

a st

atio

nary

stor

e. M

ake

four

mar

ks 9

0 de

gree

s apa

rt on

the

mal

eth

read

ed ri

ng th

at sc

rew

s ont

o th

e le

ns. L

ine

up a

smal

l lev

el o

n th

e tw

o ho

rizon

tal m

arks

, lev

el th

efil

ter,

and

turn

the

oute

r pol

ariz

ing

ring

to g

et th

e ef

fect

you

wis

h. N

ote

the

scal

e re

adin

g on

the

top

mos

t mar

k. N

ow in

stal

l the

filte

r; m

ake

sure

the

horiz

onta

l mar

ks a

re le

vel a

nd th

at th

e sa

me

scal

e va

lue

that

you

read

off-

cam

era

is o

n th

e to

p m

ark.

Tha

t’s it

.If

you

can’

t affo

rd th

e ex

pens

ive

Hel

iopa

n fil

ters

, us t

he sa

me

pilo

t pen

to m

ake

your

ow

n sc

ale

on th

eou

ter p

olar

izin

g ri

ng, w

ith a

n ar

bitr

ary

sequ

entia

l num

beri

ng.

Tip

019

- Use

the

pilo

t silv

er m

arke

r pen

to w

rite

you

nam

e, a

ddre

ss, a

nd p

hone

num

ber o

n ev

ery

lens

cap

that

you

ow

n. If

lost

, a k

ind

soul

mig

ht ju

st m

ail i

t to

you.

I al

so m

ark

whi

ch le

ns it

goe

s ont

o so

that

I do

n’t h

ave

to g

uess

by

mak

ing

trial

fits

. I u

se th

e sa

me

lens

to m

ark

an u

p ar

row

on

larg

e fo

rmat

lens

boa

rds a

t the

top,

on

the

back

side

so th

at o

rient

atio

n is

ver

y qu

ick.

Tip

020

- It i

s pos

sibl

e on

som

e ce

nter

filte

rs to

als

o us

e a

pola

rizin

g fil

ter o

n to

p of

the

cent

er fi

lter.

For e

xam

ple,

a S

chne

ider

Cen

ter F

ilter

IV u

sed

on th

e 90

mm

supe

r Ang

ulon

f5.6

lens

on

6x17

cam

eras

has a

n ou

ter r

ing

that

acc

epts

a 1

05m

m p

olar

izin

g fil

ter.

The

doub

le d

ensi

ty o

f tw

o fil

ters

doe

s mea

nex

posu

res o

f 1/2

seco

nd a

t f22

on

ASA

100

film

, but

the

effe

ct is

wel

l wor

th it

in m

any

case

s.

0n o

ther

lens

es w

ithou

t the

out

er th

read

or w

hich

if u

sed

wou

ld re

sult

in se

vere

vig

netti

ng it

is n

eces

-sa

ry to

go

to o

vers

ize

pola

rizes

that

slip

ove

r the

cen

ter f

ilter

as a

slip

-on

filte

r. B

ecau

se th

e fit

won

’t be

exac

t in

mos

t cas

es, i

t is n

eces

sary

to w

rap

thin

tape

aro

und

the

oute

r edg

e of

the

cent

er fi

lter t

o in

-cr

ease

thei

r dia

met

er to

the

poin

t tha

t a fi

t is p

ossi

ble.

Tip

021

- A li

ghte

d m

agni

fyin

g gl

ass c

alle

d a M

agna

lite i

s ext

rem

ely

usef

ul w

hen

setti

ng ca

mer

a con

-tro

ls o

r len

s set

tings

in p

oor l

ight

ing

cond

ition

s. I t

ry to

kee

p on

e in

the

key

outfi

ts a

s wel

l as o

ne in

aph

otog

raph

ic b

elt p

ouch

.

Tip

022

- A q

uick

rele

ase

tripo

d m

ount

ing

syst

em su

ch a

s the

Lin

hof Q

uick

Set

syst

em c

an b

e ve

ryus

eful

in se

vera

l way

s. Th

ere

is th

e ob

viou

s adv

anta

ge o

f qui

ckly

mou

ntin

g a

cam

era,

of c

ours

e, b

ut o

feq

ual a

dvan

tage

is th

e ab

ility

to re

mov

e th

e ca

mer

a, c

hang

e le

ns o

r shu

tter s

ettin

gs, a

nd th

en re

-mou

ntth

e cam

era w

ithou

t cha

ngin

g th

e vie

wpo

int.

This

is es

peci

ally

use

ful w

hen

the c

amer

a is m

ount

ed in

such

a w

ay th

at y

ou c

an’t

see

the

setti

ngs e

ither

phy

sica

lly o

r saf

ely.

Tip

023

- A tr

ipod

car

ryin

g sl

ing

eith

er c

omm

erci

al o

r fab

ricat

ed fr

om tw

o in

ch w

ebbi

ng a

nd tw

o D

rings

, is a

ver

y us

eful

way

to c

arry

a tr

ipod

whe

n yo

ur h

ands

are

bus

y w

ith th

e re

st o

f the

pan

oram

icou

tfit.

I hav

e ev

en u

sed

min

e to

low

er c

amer

a ge

ar fr

om a

roof

top

acce

ssed

by

a la

dder

rath

er th

ancl

imb

dow

n th

e la

dder

with

the

gear

.

Tip

024

- For

the

norm

al o

r far

sigh

ted

pers

on, t

he d

rugs

tore

read

ing

glas

s tha

t com

es in

pow

ers u

p to

plus

4 d

iopt

er a

re e

xtre

mel

y us

eful

in c

ompo

sing

and

focu

sing

on

a gr

ound

gla

ss.

The table below w

as prepared by charter IAPP m

ember, R

ichard Fowler.

The numbers are the horizontal angle of view

for the film size and focal length lens in the left

hand column. You can com

pare a similar angle of view

and lens in one format to any other

format for sim

ilar results.Focal

Length

35mm

6454.5 Side

6x66x7

6x96x12

4x56x17

8x10

14103

1597

1695

1889.5

2083

2473

8228

6573

3061

7287

3553

6478

88.598

3850

6074

8395.5

4047

5271

78.591

4542.5

5165

7484

4741

5062

7183

100105

5038.5

46.559

6779

96101

5336.5

4556

6576

9398

5535

42.554.5

6373

9295

5833

40.551.5

59.571

8792

6032

39.550

57.568

8590

6530

3748

5565

8186

105124

7526

32.545

4858

73.578

98118

8024.5

3039

4555

7074

93114

9022

2735

4150

6468

88108

9521

2633

38.547

6065

84105

10020

24.532

3745

5862

81.5102

10519

23.531

35.543

5660

79100

11018

2229

3441.5

53.558

7597

12017

20.527

3138

5053.5

7192

12715.5

19.525.5

3036

47.551

6889

13515

18.524

2834

4548.5

6585

14014.5

1823

2733

43.547

6384

14514

1722

2632

4245

61.581.5

15013.5

16.521.5

2531

4144

6079

16512

1520

2328

3740

5574

18011

1418

2126

3437

5169

19010.5

1317

2025

3335

4967

20010

12.516

1923

3134

4763

2109.5

1215

1822

3032

4461

2508

1013

15.519

2527.5

3852.5

3007

8.511

1316

2123

3244.5

3605.5

79

1113

17.518.5

2738

4005

6.58

9.512

1617

2434

4504.8

67.5

8.511

1415

2231

4804.5

5.57

810.5

1314.5

20.529

5004.3

57

7.510

12.514

2028

6003.5

45.5

6.58

10.511.5

16.523.5

8003

3.54.5

55.5

89

1218

Thirty-one

PPPPPress Rress Rress Rress Rress Releaseseleaseseleaseseleaseseleasesfrom page 28from page 28from page 28from page 28from page 28from the 1860s ($1,400-$2,000); PeterHenry Emerson’s late 19th-centuryplatinum print, The First Frost,($1,500-$2,200); and Weegee’s raucousphotograph of Marilyn Monroe ridingon an elephant ($1,000-$1,500). Also,Barbara Crane, Larry Fink, LoisGreenfield, Ray K. Metzker, DuaneMichals, Fazal Sheikh, Jock Sturges,Ruth Thome-Thomsen, George Tice,Jerry Uelsmann, and IAPP’s ownDavid Orbock are among the more than125 photographers who have donatedwork to The Photo Review’s EleventhBenefit Auction.

In addition to images by suchcontemporary photographers, theAuction will feature an impressivearray of 19th and early 20th-centuryartists, including Thomas Annan,Édouard Baldus, Maxime DuCamp,Emory Revesz-Biro, AugusteSalzmann, Rudolf Eickemeyer, ClaraSipprell, and Doris Ulmann.

Featured mid-century artists includeEsther Bubley, Jack Delano, LotteJacobi, Mario Giacomelli, Eliot Porter,and Aaron Siskind. And for the fourthyear, an exciting array of photographicgoods and services, restaurant meals,photography books, and museummemberships are being offered in asilent auction.

The auction was held following theeighth annual Photo Review Awardceremony. Preceding the ceremony,there was a special reception honoringthis year’s award winner, The James A.Michener Art Museum. A fullyillustrated catalogue is available for $7from The Photo Review, 301 HillAvenue, Langhorne, PA 19047.

New Book RNew Book RNew Book RNew Book RNew Book Releasedeleasedeleasedeleasedeleased

These RThese RThese RThese RThese Rare Lare Lare Lare Lare LandsandsandsandsandsOne of America’s leading photogra-

phers of natural landscapes, Stan Jorstad,has captured the diversity and splendidgrandeur of America’s National Parks inthe first ever photographic documentationof all 54 of our National Parks by a singlephotographer. A culmination of a lifetimeof work, this remarkable book showcasesStan Jorstad’s passion for nature in someoff the most breathtaking landscapephotos ever published.

Dominated by panoramic photography,you’ll find this stunning volume filledwith 130 color photographs. Printed inItaly this classic book will take both theviewer and reader on an unforgettable

journey capturing the often mystical,distinctive character of each of our uniqueNational Parks. The dazzling photo-graphs are complimented by thoughtfulreflections on the images by reveredAmerican poet laureate Mark Strand.Strand enhances the photography with hislyrical and compelling commentary. Thislushly produced work opens with animpassioned introduction by RobertRedford, actor, producer, Academy Awardwinning director and passionatelycommitted environmentalist. These RareLands pleases the eye, touches the heartand satisfies the mind. To order a signedcopy please send your request and

payment of $47 (includes all taxes,shipping and insurance) to: Stan Jorstad/PhotoMark, 804 South 6th Ave., St.Charles, IL 60174. 630-513-9477.

Black Sand Basin, Yellowstone National Park, from the book These Rare Lands, photographed by Stan Jorstad.

and is a perfect example of how there isalways a need for some aspects ofrecord photography to be financed fromthe public purse; private enterprisewould have perceived no profit in suchan undertaking.

The other epic venture I have heardabout but not seen, records several

hundred miles of the French coastline,made as a reconnaissance study fromthe air before the D-Day landingsin 1944.

Last but not least; if the subject itselfis travelling, then you can try a staticcamera with moving film. (This is howrace finishes are recorded.) IAPP’s very

own Bob Meiborg achieves miracles ofsustained synchronism in his trainphotography with the aid of a policeradar gun. His classic Baraboo CircusTrain photograph is a fusion of wonder-ful subject and technical tour de forceand for my money one of the greatimages of the century.

Linear from page 15Linear from page 15Linear from page 15Linear from page 15Linear from page 15

P.O. Box 2816Boca Raton, FL 33427-2816

First Class MailIAPP President Fred Yake created thisissues cover photograph. The image,Sunset at the North Rim of the GrandCanyon, is a portion of a 360 shot onAGFA 200 70mm film with hisRoundshot 65/70.

quickly and easily createQuickTime VRpanoramas andobjects. QuickTime VR AuthoringStudio incorporates features that areintended to simplify the productionprocess of a QuickTime VRpanorama movie. Unlike other VRauthoring tools, QuickTime VRAuthoring Studio helps createmulti-node QuickTime moviescontaining objects and panoramas.QuickTime VR is the acknowledgedstandard for creating and viewingphoto-realistic environments(panoramas) and real-world objectson Mac OS and Windows comput-ers. Using a QuickTime VRauthoring tool, panoramas andobjects are automatically ‘stitchedtogether’ from digitized photo-graphs or 3D renderings to create arealistic visual perspective.

Availability/Pricing: QuickTimeVR Authoring Studio is expected tobe available in November throughretail channels and will be priced atU.S. $395.

PPPPProduct News from page 13roduct News from page 13roduct News from page 13roduct News from page 13roduct News from page 13