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From the Editor: VOL. 3, NO.6 • JULY/AUGUST 2003
 Nobody’s complaining. Quite the opposite. In fact, well over a majority of our renewals are for two years (or more).So, what am I on about? Many of our renewals have been accompanied by editorial requests. For example, one reader wants more travel oriented articles. One asked for less darkroom and more equipment reviews. One said the main reason he subscribes is for Paul Lewis’, “Camera Views,” and another enjoys Joette O’Connor’s “From the Gallery.” The problem is, there is not a consensus, or a majority, of readers requesting any one thing. In fact, if there is any suggestion we get the most, it’s to soften our stance on no digital. One reader informed me, “For over twenty years I”ve photographed using color film and had a lab print my work. My lab has gone to digital printing. Are you trying to tell me I’m not a photographer?” How do you feel about this? Do you want portfolios by film photographers outputting to inkjet printers? So far, I’ve tried to screen them out, but more and more photographers are discovering the digital darkroom a convenient way to reproduce their work, especially for submission. I have always felt that the editorial content of Photovision should be reader driven, “by photographers, for photographers,” and will always try to be responsive to your interests, even when those interests change. Want more portfolios? You got it. Want more travel. Your wish is my command. Want articles on digital lightroom? How can I refuse? But I need to hear from you. On the basis that one response represents ten readers (or so I am told), write, email, or call. Let me know what you want to read about in your magazine. While you’re busy writing about what you want in future issues, let me know how you liked Mako’s six part piece entitled “Maximum Control over Your Craft.” The last installment appears in this issue. Mako has more ideas on control over your craft, but I want to hear from you, first. This issue is packed with portfolios, four to be exact. The theme, if there is one, is spiritualism and mysticism in photography. In some ways, the timing is appropriate with the passing of Cole Weston, the last of Edward Weston’s four sons, which included Chandler, Brett, and Neil. The In Memoriam on page 6 was written by his long-time friend and photographer, Dr. Richard Chepey. As part of this theme, the manipulations of Czech photographer Jan Pohribn? are an attempt to explore man’s relationship with the mysteries. And Cuban photographer, Pupo, is clearly engaged with the other side through his powerful images of voodo and the Cuban spiritual practice of Santeria. Crop circles present a mystery to both scientists and spiritualists alike. Ron Russell has spent many years documenting this phenomenon. Meanwhile, the nocturnal work of Robert Vizzini records one of the greatest mysteries of all, the mysticism of the night, light, and movement. A special treat for those who develop their own black-and-white film is an article by Dr. M. J. Vajed, on a substitute for pyro. Our erstwhile technical editor, Paul Lewis, has tested this formula and says it’s the real thing. Anyone wishing to obtain the results only available with pyro-based formulas, but have been scared off by warnings of toxicity, can use this new formula with confidence, while enjoying a cup of healthy green tea. Steve Anchell Editor Email: pvedit@ctelco.net |