INDEX
TO ARTICLES—Volume 21 (2000)
37th
Frame (Editorial) by Mike Johnston
Creative Techniques
Darkroom Techniques
Digital Features
Guides
Lighting
Master Printing Class
On Assingment
Photochemistry
by Robert Chapman
Portfolios and Photographers
Product Reviews
Reader Questions by Ron Jegerings
Technical Features
Vestal at Large by David Vestal
37th
Frame (Editorial) by Mike Johnston
Begin
in the Middle (No. 1, p. 70)
One-Shot
Charlie (No. 2, p. 74)
Shopper’s
Disease (No. 3, p. 74)
Big,
Beautiful and Cheap (No. 4, p. 74)
The
Professional Camera We Don’t Have (No. 5, p. 66)
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Creative
Techniques
Double
Exposures: A Creative Opportunity by Tami Elaine Prince (No.
5, p. 30)
Hand
Coloring Infrared and Conventional Photographs by Kira Braun (No.
5, p. 37)
Printing
with Liquid Emulsion on Watercolor Paper by Marci Cooke (No. 5,
p. 40)
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Darkroom
Techniques
Gelatin
Acrylic–Photographic Posterization with Acrylic Paints by
Bob Whitfield (No. 1, p. 47)
More
Pyrotechnics by Patrick A. Gainer (No. 2, p. 28)
Optimize
Enlarger Light Intensity for Convenient Dodging and Burning by Conrad
R. Hoffman (No. 3, p. 29)
Free
Light: Using an Enlarger to Make Duplicate Slides, Transparencies
and Negatives by Ron Jegerings (No. 3, p. 59)
Filtration
Effects on VC Paper by Howard Bond, (No. 4, p. 24)
Negative
Prints by Howard Bond (No. 6, p. 27)
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Digital
Features
Millennium
Performance for Inkjet Printers by Richard Farber (No. 2, p. 57)
The
Art of Photoshop: Re-Orchestrating Light by John Paul Caponigro
(No. 2, p. 61)
The
Art of Photoshop: Color Analysis by John Paul Caponigro (No.
4, p. 56)
How
to Make Ugly Digital Pictures by Michael Covington (No. 4, p. 63)
Epson
Stylus Photo 2000P Review by Michael Reichmann (No. 6, p. 58)
The
Art of Photoshop: Color Overlays by John Paul Caponigro (No.
6, p. 62)
Creating
a Web Photography Gallery by Michael Reichmann (No. 6, p. 69)
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Guides
Guide
to Black-and-White Films 2000 (No. 3, p. 54)
Guide
to Fixed-Aperture ƒ/2.8 Zoom Lenses (No. 5, p. 46)
25
Best Cameras by Mike Johnston (No. 6, p. 46)
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Lighting
Lighting
Can Set the Stage or, "Contrast Attracts": Controlling
Light for Photography Part 6 by Norman Kerr, (No. 2, p. 24)
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Master
Printing Class
Archways
and Door, Gordes by Bruce Barnbaum (No. 1, p. 36)
Corn
Lilies by Bruce Barnbaum (No. 2, p. 44)
Surf,
Big Sur Coast, California, 1969 by Howard Bond (No. 3, p. 44)
Photographic
Myths: Part I by Bruce Barnbaum (No. 4, p. 26)
Photographic
Myths: Part II by Bruce Barnbaum (No. 5, p. 44)
Photographic
Myths: Part III by Bruce Barnbaum (No. 6, p. 24)
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On
Assignment
Extreme
Weather Photography: Images from a Changing Climate by Jim
Reed (No. 3, p. 36)
Park
and Shoot…Using Your Car as a Blind by S. James Miller
(No. 3, p. 42)
Motion
Effects: One Key to Outstanding Photography by Norbert Wu
(No. 3, p. 46)
Commercial
and Stock Child Photography by Bobbi Lane (No. 4, p. 29)
Adventures
at Wal-Mart by Chris Neal (No. 4, p. 33)
Birth!
Photographing Childbirth by Ted Grant with Sandy Carter (No.
4, p. 36)
Limited
Edition Portfolios by Howard Bond (No. 5, p. 21)
Advanced
Macro Techniques: A Simple Way to Photograph Flying Insects by
Simon Gardner (No. 6, p. 32)
The
Secrets of Travel Photography: The Keys to Obtaining Assignments
by Norbert Wu (No. 6, p. 42)
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Photochemistry
by Robert Chapman
Photo
Chemicals in Septic Systems (No. 2, p. 16)
Aged
Pyrogallol; B&W spotting dyes; Home-brew Ciba bleach (No.
3, p. 62)
Catechol
developing agent; Gullible water drinkers; Variations in color negative
emulsions; Lippmann direct color process; "White film: on transfer
emulsions (No. 4, p. 50)
Perfect
spectral sensitivity; Meatyard’s Microdol (No. 5, p. 54)
Generic
RA-4 formulas; C-41 formulas (No. 6, p. 20)
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Portfolios
and Photographers
To
Be Nobody But Yourself: Ralph Steiner on Walker Evans edited
by David Vestal with photographs of Walker Evans by Arnold Crane
(No. 1, p. 26)
Photographs
by Charles Cramer (No. 1, p. 38)
Chasing
Cartier-Bresson by D. R. Martin (No. 2, p. 21)
Photogravures
by Phil Davis (No. 2, p. 31)
Underwater
Black-and-White by Wayne Levin (No. 3, p. 31)
"Hands"
by Martin Leuders (No. 4, p. 41)
Hand
Coloring by Various Artists (No. 5, p. 33)
Martin
S. Silverman by Martin S. Silverman (No. 6, p. 36)
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Product
Reviews
Ilford
Ilfotec DDX: A Promising New Developer by Phil Davis (No.
1, p. 51)
Oriental
Seagull Papers Return! by Phil Davis (No. 2, p. 47)
Kaiser
Enlargers by Bob Meier (No. 3, p. 50)
The
Consumer Digital Camera as a Large-Format Accessory by Carl Weese
(No. 4, p. 20)
The
Hasselblad Xpan 35mm Panoramic Rangefinder by Michael Reichmann
(No. 4, p. 47)
Kodak
Professional Portra Color Negative Films by Ctein (No. 5,
p. 26)
JOBO
Colorline 5100 Analyzer by Bernhard J Suess (No. 5, p. 52)
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Reader
Questions by Ron Jegerings
Long
telephoto choice; JOBO DuoLab; Chicago libraries, sharpest ƒ-stop;
Ratio scales and ISO/E.I. (No. 1, p. 15)
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Technical
Features
Beyond
the Visible: Controlling Infrared Photography by Paul Hansma
(No. 1, p. 32)
Monobaths:
Simultaneous Development and Fixation by Kevin M. Pernicano,
Ph.D, ABPP (No. 1, p. 44)
Simplifying
and Understanding Photographic Exposure with the APEx System by
Andrew C. Eads (No. 1, p. 54)
The
Bromoil Process by David Lewis (No. 2, p. 36)
Resolution
Losses to Diffraction by Howard Bond (No. 3, p. 26)
Lens
Choices: Focal Length vs. Depth of Field by Howard
Bond (No. 6, p. 40)
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Vestal
at Large by David Vestal
Welcome
the New (No. 1, p. 13)
The
Big Question (No. 3, p. 18)
Form
is Content (No. 4, p. 16)
File
Simply…But Do File (No. 5, p. 15)
You
Don’t Have to Top Yourself (No. 6, p. 14)
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