Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-03-28
Comero Angles


coming into its own Great
numbers of photographers
have come to realize that
converting their pictures into
slides is the best way to
permanently preserve them.
Slides take up only a fraction
of the space that prints do
and in the long run are less
expensive to produce.
AS most of us know, it does
not take long for a collection
of prints to reach such huge
proportions that it is difficult
to maintain in any good order.
Pictures are constantly spill
ing from desk and bureau
drawers and generally clutter
Up the place but we hate to
throw any away because each
picture has some personal or
particular significance. But
we can have our cake and
eat it too if we turn our pic
lures into slides instead of
prints
Slides are easy to make
you can do it yourself. In sue
ceeding articles we will tell you
how. Slide projectors are
modestly priced these days
within the reach of everyone.
They are far less expensive
than the costly enlarger that
is required to make the paper
prints and the picture images
they cast on your screen are
far larger and considerably
more impressive than the
largest of prints made on pa
per. And imagine the cost of a
color print, or black and white,
for that matter. the size of
your projection screen.
Sequence Stories
Slides can be used to pre-
serve any type of picture COL.
lection, whether it be a gen.
eral one such as most of us
have that includes everything
from portraits to landscapes to
travel shots or a more special
lied collection of bird of
flower pictures or the like. If
you like to make storytelling
sequences with your camera.
the slide is just the thing.
A slide film sequence is very
much like the motion picture.
It tells a story with a series Of
related shots that are very
closely tied together and de-
pendent upon one another.
Each still shot must contribute
something to the story you are
trying to tell. Last week in our
column about selling pictures
to editors we pointed out the
fallacy in padding a sequence
Just to make it bit longer.
There is absolutely no point
in using a single picture that
doesn't contribute materially
to a series of related shots.
So put your slide sequence
to the acid test by removing,
one at time, each shot. If
the remaining slides still tell
the story adequately. you will
have your anSWer-throw out
the ones that are superhuous.
And if you should wind up
with only one slide, it will then
be apparent that the sequence
idea was not justified at all
in this instance.
Make Up O Script
You can avoid making the
unneeded shots in the first
place by making a list in ad-
vance of the key shots that
will be necessary to tell your
story with slides. This can be
in the form of shooting
script such as the movie max
erS use or, in its more simple
form, Just a list of the shots
to be made. Without such an
advance plan you are more
apt to shoot twice the num-
Der of films that will actually
be needed.
When making a slide COL
lection give top priority to a
corresponding card index
which will be used later to
identify each of the slides as
they are used. Memories grow
rusty with the years and
although you may be able to
identify most of the subjects,
even after the passage of sew
eral years, the odds are that
you will have a hard time try
ing to identify many of the
pictures by locality and date
taken unless you have some
means to jog your memory.
To make an easy job of it
simply take a few notes at
the time each picture is taken
such as date, location. names
of individuals included, etc.,
and later transfer this infor-
nation to file card that car
ries the same number as the
corresponding slide. This in
formation will be very helpful
In preparing a commentary to