From the Editor: VOL. 2, NO.4 • MARCH/APRIL 2002
“Damn, we’re in a tight spot.” Ulysses Everett McGill (George Clooney in O Brother, Where Art Thou). 9-11 may have done more than blast the foundation of our national security. Unless photographers unite in protest it may have spelled the end of silver-based photography.From what I have been hearing, most, if not all, airports are refusing to hand check film. This means that not only families on vacation, but photojournalists and photographers on commercial assignments cannot travel with film. If we can’t travel with film, it will disappear in favor of digital cameras that aren’t affected by x-rays. The manufacturers of film cannot stay in business on sales to stay-at-home fine art photographers. To my knowledge, the only common item that is adversely affected by x-rays is light-sensitive film. To my knowledge, there is no justifiable reason that security personnel cannot hand check film. Not only that, but most major airports, worldwide, are equipped with film-safe wands that can detect explosive material.
If photography is to survive we need to do two things. First, we should standardize on how we travel with film, making it as easy as possible for airport security to recognize and inspect our materials. I recommend that all photographers carry their film in 1 gallon size Ziploc® bags. I also suggest that all roll film, 35mm and 120, be removed from boxes and plastic cassettes so that it can be easily identified by security personnel. Large format users should transport their film in manufacturers 25 sheet boxes as larger, 50 and 100 sheet boxes may appear more suspect as a place to hide weapons.
Do not request hand-inspection of cameras. Remove all film, partially exposed or otherwise, and allow your cameras and bag to be x-rayed. The second thing we need is organized protest, an American tradition since the Boston Tea Party. All photographers who are concerned about airport x-ray should write their Congressmen and Senators demanding a law which guarantees the right of hand inspection of film (photographers in other countries should write their respective leaders). If we don’t do it, no one else will.
In this issue we are pleased to present the color Vietnam portfolio of Geoffrey Clifford, the platinum work of Ryuijie, and the black-and-white work of Gail Maxwell. We are also pleased to begin a series by photographer Mako on sensitometry, the roots of our craft (Mako’s portfolio can be seen in the July/August 2001 issue). Speaking of roots, Robert Hirsch weighs in with a piece on simple cameras.
Our traveling publisher, Michael St. Peter, a Leica man from way back, has finally decided to take a walk on the wild side by trying something new, the lightweight Contax Aria SLR. Once he overcame his resistance to cameras which let you see through the lens, he liked it. Today an SLR, tomorrow autofocus?
Steve Anchell
Senior Editor