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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.


Piece-by-piece astrophotography. How small CCD images can be combined into larger images using digital mosaicking techniques.
ASTRONOMY Dec 1996 (v.24#12) pg. 84

Blue steel. The Cyanotypes of Suzanna Steel. How to make photo collages using both the Cyanotype (blue) and Van Dyke (brown) process.
CAMERA & DARKROOM May 1992 (v.14#5) pg. 32

The multiple image print. Description of a registration easel and glass shelf for an enlarger that allows the combining of images from two (or more) negatives onto a single b&w print using a system of masking and projections.
CAMERA & DARKROOM Jan 1994 (v.16#1) pg. 22

How to make photo-montages, the combining of two or more images into a single image which looks realistic.
CAMERA 35 Jun 1976 (v.20#4) pg. 10

Niklas Deak describes his process of producing color graphics using equidensities and sandwich-montages of chromoginically developed contact prints. His method does not require expensive registration equipment.
CAMERA 35 Jun 1976 (v.20#4) pg. 24

Dazzling diazo. How to create posterization color effects by making contact prints on colored diazo film. The diazo film can be sandwiched for added effect.

Image modification. Using lithographic copy films and slide duplication films to modify images. Looks at silhouettes, neon glow effect, overlays, posterization, etc.

Photocomposites for the professional. Tom Skrivan explains his technique for inserting "minicomposites" into an architectural photo.

Combination (multiple-image) printing in the darkroom. How to select two separate images that interrelate (through texture, shape, light, ... etc.) and produce a single black-and-white print that combines the images.

Simple combination printing. A personal approach to multiple-negative imagery.
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1995 (v.16#3) pg. 18

Stripping for the stars. An interview with Keith Williamson includes tips on negative stripping, masking and multiple printing to produce a composite print or collage like those found on record album covers.
DARKROOM PHOTOGRAPHY May-Jun 1979 (v.1#2) pg. 50

Tips on multiple-image printing using the vignetting method.
DARKROOM PHOTOGRAPHY Sep 1979 (v.1#4) pg. 62

Multiple images. Printing two or more identical images on a single sheet of paper, and then selectively adding color using colored pencils. Other multiple image techniques also discussed.
DARKROOM PHOTOGRAPHY Mar-Apr 1981 (v.3#2) pg. 82

The magic of blends. How one photographer combines two different negatives on a single sheet of paper to create alluring photographic visions.
DARKROOM PHOTOGRAPHY Jan 1982 (v.4#1) pg. 17

Make novel color prints (collages) by contact printing magazine pages onto color slide paper.
DARKROOM PHOTOGRAPHY Feb 1982 (v.4#2) pg. 70

Make unique pictures by sandwiching lithographic sheet film prints with colorful painted backing sheets.
DARKROOM PHOTOGRAPHY May-Jun 1982 (v.4#4) pg. 70

Use a lightbox as the "stage" or backdrop for photo collages. Both two- and three-dimensional objects may be combined into one photograph.
DARKROOM PHOTOGRAPHY Feb 1983 (v.5#2) pg. 48

The surreal sandwich. Tips on preparing composite negatives.
DARKROOM PHOTOGRAPHY Mar-Apr 1984 (v.6#2) pg. 74

Multiples in the making. How one photographer pre-exposes negatives of one scene, stores them for up to 4 years, and then takes a second (double) exposure to produce "in camera" composites.
DARKROOM PHOTOGRAPHY Sep 1984 (v.6#5) pg. 54

Lithomontage. How to combine montage techniques with litho film to produce striking high-contrast images. Includes instructions for converting an enlarger into a process camera by reversing the normal function of the optical system.
DARKROOM PHOTOGRAPHY Nov 1984 (v.6#7) pg. 44

Pin registration demystified. An in-depth look at a simple technique that can help you in applications ranging from posterization to contrast-controlled color printing.
DARKROOM PHOTOGRAPHY Oct 1985 (v.7#6) pg. 33

Leaving reality behind. How one photographer combines posterization with montage to create dramatic color images. Includes description of a homemade duping system which is used in connection with a Beseler 45M enlarger to form a copy camera.
DARKROOM PHOTOGRAPHY Dec 1985 (v.7#8) pg. 19

Strip-ins, frame-ups and mandalas. Three simple manipulations to transform (rearrange) an existing image.
DARKROOM PHOTOGRAPHY May-Jun 1986 (v.8#3) pg. 54

Altered image file. Three examples of special-effect techniques viewed. (1) Sabattier, (2) positive-negative sandwich, and (3) painting with flash.
DARKROOM PHOTOGRAPHY Sep 1986 (v.8#5) pg. 50

Making music in your darkroom. How to combine photomontage with B&W posterization.
DARKROOM PHOTOGRAPHY Dec 1987 (v.9#8) pg. 22

How to make exposures from multiple negatives onto the same photographic print without a pin-registration system.
DARKROOM PHOTOGRAPHY Apr 1989 (v.11#4) pg. 7

Radial collage. Use a simple rotating easel to create a photographic collage in a circular (radial) form.
DARKROOM PHOTOGRAPHY Sep 1989 (v.11#9) pg. 12

Make new images from old negatives with composite printing. How to combine two or more negatives onto the same print.
DARKROOM TECHNIQUES Winter 1980 (v.1#1) pg. 48

Color poetry. Part 1. The medium and the method of making composites. Part 2. Overcoming darkroom difficulties in composite printing.
DARKROOM TECHNIQUES Spring 1980 (v.1#2) pg. 19, 23

How to make or select slides or negatives suitable for sandwiching when making prints.
DARKROOM TECHNIQUES Dec 1981 (v.2#4) pg. 11

Dramatic images through derivative photography (forming a single picture from separate photographic images). Homemade lightbox, illuminated by electronic flash and featuring pin registration, is described.
DARKROOM TECHNIQUES Jan-Feb 1983 (v.4#1) pg. 12

Front-projection techniques for taking action photographs of models. Detailed instructions for taking the background photos, setting up a front-projection system using a slide projector, and incorporating the model into the final picture.
FINESCALE MODELER Mar 1989 (v.7#3) pg. 60

The in-camera masking way to multiple color imagery. Modifying sheet film cameras to achieve multiple exposure effects with minimal fuss.
INDUSTRIAL PHOTOGRAPHY Aug 1974 (v.23#8) pg. 16

Using traditional graphic arts methods to make multiple image composites. Combining separate film images of many distinct types, on a single sheet of film, in perfect register.
INDUSTRIAL PHOTOGRAPHY Aug 1975 (v.24#8) pg. 19

Emulsion stripping. One technique for combining two different photographs into a composite.
INDUSTRIAL PHOTOGRAPHY Jan 1980 (v.29#1) pg. 22

Multiple exposures, lighting with colored slides, and other techinques used to highlight colored photographs of industrial tools. The trick is in careful advanced planning to achieve the desired reslut.
INDUSTRIAL PHOTOGRAPHY Feb 1980 (v.29#2) pg. 31

Alan Zenreich on special effects. Combining photographic and computergraphic images. Some tips.
INDUSTRIAL PHOTOGRAPHY Aug 1987 (v.36#8) pg. 27

Making light of the darkroom. How to make a "photo composite" of yourself (or anyone else) in the darkroom. The result is several images of a person, in various sizes and activities, on a single print.
INDUSTRIAL PHOTOGRAPHY Oct 1987 (v.36#10) pg. 28

Anatomy of a shoot. How to create the background illusion of sunrise on a hot summer morning (red sun against an orange sky) inside a studio. How to superimpose the foreground against the "sky" by means of multiple exposures.
INDUSTRIAL PHOTOGRAPHY Jan 1990 (v.39#1) pg. 26

Adding a background moonrise to an image without the need for pin registration equipment.
INDUSTRIAL PHOTOGRAPHY May 1990 (v.39#5) pg. 36

Anatomy of a shoot. Composite image resulting from the sandwiching of two negatives shows an "idea" superimposed on the head of a person.
INDUSTRIAL PHOTOGRAPHY Jul 1990 (v.39#7) pg. 16

Anatomy of a shoot. Double exposure image shows nuts and bolts "raining down" on an umbrella.
INDUSTRIAL PHOTOGRAPHY Nov 1990 (v.39#11) pg. 21

Basic photocomposition technique utilizing masks is described and illustrated.
INDUSTRIAL PHOTOGRAPHY Feb 1993 (v.42#2) pg. 26

Multiple exposures onto enlarging paper, of the same image, at increasing sizes, can produce interesting "zoom" effect.
MODERN PHOTOGRAPHY Nov 1969 (v.33#11) pg. 109

Rephotographing the image formed by projecting two slide images on the same screen can produce interesting effects.
MODERN PHOTOGRAPHY Jan 1973 (v.37#1) pg. 82

Photos illustrate various techniques for making multiple images on the same print. They include sandwiching, masking, double exposing, etc.
MODERN PHOTOGRAPHY Feb 1975 (v.39#2) pg. 96

Cut and paste creations. Make collages and composite pictures from unused photographic prints.
MODERN PHOTOGRAPHY Jun 1979 (v.43#6) pg. 114

Multiples make it. Techniques for making multiple exposures with almost any camera are revealed by five experts.
MODERN PHOTOGRAPHY Feb 1981 (v.45#2) pg. 84

How to form unusual facial portraits by cutting, tearing and pasting up a composite image.
MODERN PHOTOGRAPHY Jul 1981 (v.45#7) pg. 98

How to make composite color prints from sandwiched negatives.
MODERN PHOTOGRAPHY Jul 1982 (v.46#7) pg. 80

Expanding your view. How to assemble your own expanded field collage.
MODERN PHOTOGRAPHY Jan 1984 (v.48#1) pg. 52

Tip: Enhance simple photograph by collaging small items onto the surface of the picture.
MODERN PHOTOGRAPHY Jan 1985 (v.49#1) pg. 47

How to capture the essence of a flower by making in-camera multiple exposures.
MODERN PHOTOGRAPHY Aug 1985 (v.49#8) pg. 48

Homemade rotary shutter is used to photograph multiple, overlapping images of moving objects on a single frame of film.
MODERN PHOTOGRAPHY Mar 1987 (v.51#3) pg. 80

The wonderful, wild world of multiple-image printing. Tips on selecting and preparing the negative and making the print.
MODERN PHOTOGRAPHY Oct 1987 (v.51#10) pg. 8

How to make soft focus images of static subjects with a normal lens and no additional attachments. Requires a camera capable of multiple exposures.
MODERN PHOTOGRAPHY Nov 1987 (v.51#11) pg. 56

How to create a montage using Adobe Photoshop 3.0's Layer Mask tools.
PHOTO ELECTRONIC IMAGING 1996 (v.39#4) pg. 18

Lighting for digital. Part 3. Compositing foregrounds with backgrounds.
PHOTO ELECTRONIC IMAGING Aug 1997 (v.40#8) pg. 42

How to create the image of a monkey falling into a deep well using Photoshop.
PHOTO ELECTRONIC IMAGING Jun 1998 (v.41#6) pg. 16

Enchanted forest. Tutorial on using Photoshop and Kai's Power Tools to place a decorated egg image on a park bench.
PHOTO ELECTRONIC IMAGING Jun 1999 (v.42#6) pg. 18

Grow your own. Using Photoshop and Alien Skin Software's Xenofex filter set to overlay images on the face of a TV picture tube image.
PHOTO ELECTRONIC IMAGING Jun 1999 (v.42#6) pg. 52

Create a Y2K bug. Combine the image of a beetle with a computer circuit board using Photoshop.
PHOTO ELECTRONIC IMAGING Nov 1999 (v.42#11) pg. 14

Techniques for multiple printing. Shirley I. Fisher tells how she achieves multiple exposure prints.
PHOTOGRAPHIC Mar 1978 (v.6#11) pg. 57C

Multiple-image photography. Explore in-camera techniques.
PHOTOGRAPHIC Mar 1978 (v.6#11) pg. 68
Added Info PHOTOGRAPHIC Sep 1978 (v.7#5) pg. 18

Double exposures the lazy man's way. Use two or more slide projectors to superimpose images on a screen. Then photograph the resulting image with a camera equipped with a telephoto lens. With this method you will have greater control over the resulting image.
PHOTOGRAPHIC Feb 1979 (v.7#10) pg. 82

How to create a symmetrical world. Photo syllogisms are made from two regular prints and two mirror-image prints of the same negative. They are cut and pasted together to form the finished image.
PHOTOGRAPHIC Apr 1980 (v.8#12) pg. 27

Create rainbow colors by making three multiple exposures through different filters. The rainbow effect is most noticeable in photos of clouds, steam, smoke, and water.
PHOTOGRAPHIC Nov 1980 (v.9#7) pg. 78

How to create Rorschach-type pictures by photographing interesting patterns (such a tree branches against the sky), developing, making high-contrast negatives and taping 2 negatives together to get a desired image.
PHOTOGRAPHIC Dec 1980 (v.9#8) pg. 10

How to make your own dual-image filter and use it to photograph two images on the same frame.
PHOTOGRAPHIC Apr 1981 (v.9#12) pg. 88

Cut-and-paste. Part 1. Create special-effect photographs the easy way, by cutting images apart and pasting them up in a different arrangement.
PHOTOGRAPHIC May 1981 (v.10#1) pg. 23

Cut-and-paste. Part 2.
PHOTOGRAPHIC Jun 1981 (v.10#2) pg. 28

Kodalith photo-collages. How to make high-contrast images out of old slides.
PHOTOGRAPHIC Sep 1981 (v.10#5) pg. 56

Enhance old black-and-white photos by superimposing a colored three-dimensional object on top of the photo (such as colored rocks, flowers, jewelry, etc.) and rephotographing the resulting image onto colored film.
PHOTOGRAPHIC Nov 1981 (v.10#7) pg. 90

How to use beam splitters to combine two images onto a single negative with only one exposure.
PHOTOGRAPHIC Feb 1982 (v.10#10) pg. 12

Montage X3. Three techniques for producing photographic montages.
PHOTOGRAPHIC Aug 1982 (v.11#4) pg. 68

Phantastic photographic profiles. How to make composite profiles of the human head, but substitute images of other objects for the person's skin.
PHOTOGRAPHIC Nov 1982 (v.11#7) pg. 84

How to make topographical contour maps (isophote maps) out of your best slides or negatives. Generate a series of high-constrast separation negatives and rephotograph thru color filters.
PHOTOGRAPHIC Apr 1983 (v.11#12) pg. 62

Make "mirror-image montage" photograpic prints from a single negative.
PHOTOGRAPHIC Aug 1983 (v.12#4) pg. 82

How to create a photographic illustration using the technique of on-camera masking to produce a single image with multiple viewpoints.
PHOTOGRAPHIC Sep 1983 (v.12#5) pg. 50

How to make "Rorschach" photographs (mirror-images, "inkblot" images) in the darkroom.
PHOTOGRAPHIC Sep 1983 (v.12#5) pg. 74

Moon shots. How to place the moon into photographs where you want it. Two techniques: Sandwiching and double exposure.
PHOTOGRAPHIC Oct 1983 (v.12#6) pg. 12

Special effect secrets. Use a combination of slide sandwiches, masking and rear projection to do your own matte photography.
PHOTOGRAPHIC Oct 1983 (v.12#6) pg. 84

Step into the montage zone. How to create a photo montage.
PHOTOGRAPHIC Mar 1984 (v.12#11) pg. 80

Superpositions. Superposing or sandwiching two or more negatives or transparencies to form a photo-montage.
PHOTOGRAPHIC Jul 1984 (v.13#3) pg. 32

Using simple pin registered masks and an original photograph, create a surreal illustration by dropping in various backgrounds.
PHOTOGRAPHIC Dec 1984 (v.13#8) pg. 72

Photograph the wind. How to produce a vast number of multiple exposures on a single 35mm frame.
PHOTOGRAPHIC Apr 1985 (v.13#12) pg. 30

Liquid lenses. How to take photographs through water droplets. Photographs through multiple droplets results in multiple images of the same object, each from a slightly different perspective.
PHOTOGRAPHIC Jul 1985 (v.14#3) pg. 16

How to make your own vignetter masks to take selective double exposures.
PHOTOGRAPHIC Sep 1985 (v.14#5) pg. 68

Visual incongruities. A lesson in how to "see" photographically. How to combine two or more visual incongruities in a single photograph.
PHOTOGRAPHIC Feb 1986 (v.14#10) pg. 22

Bubbles in a bag. How to add bubbles to a photograph by placing a bag of oil between the camera and a light box. Use polarizing filters to further enhance the images.
PHOTOGRAPHIC Jul 1986 (v.15#3) pg. 52

Splits and fractures. Salvage mediocre photographs by cutting them up and rearranging the pieces to form more unique images.
PHOTOGRAPHIC Nov 1986 (v.15#7) pg. 48

Rainbow strobo. Using a stroboscope and colored gels to achieve multiple-image colored photographs. Includes instructions on making a "bicycle wheel flash sequencer."
PHOTOGRAPHIC Nov 1987 (v.16#7) pg. 16

Spacious sky. Use double printing techniques to put the desired background in your photographs. Tips on photographing sky/cloud patterns and combining them with other images during the printing stage.
PHOTOGRAPHIC Nov 1987 (v.16#7) pg. 44

Comp book. Dusk dawn. Produce an image by the use of creative filtration and multiple exposures. Learn how to create night scenes under daylight conditions.
PHOTOGRAPHIC Feb 1988 (v.16#10) pg. 32

Comp book. Using in-camera masking techniques to allow a maximum amount of control to produce composite images.
PHOTOGRAPHIC Mar 1988 (v.16#11) pg. 52

Earthscapes. Use NASA's free photograph of earth from space in your own creative multiple exposure prints.
PHOTOGRAPHIC Jan 1989 (v.17#9) pg. 12

Conceptual Cibachromes. Techniques for creating multi-image prints.
PHOTOGRAPHIC Aug 1989 (v.18#4) pg. 34

Comp book. Dusk-to-dark double exposures. Includes basic daylight exposure guide.
PHOTOGRAPHIC Aug 1989 (v.18#4) pg. 84
Added Info PHOTOGRAPHIC Dec 1989 (v.18#8) pg. 96

Darkroom magic. Using multiple printing to make the images you couldn't take. Building a registration easel to hold print masks, making the masks, and printing the multiple exposures. Includes suggestions for producing master negatives on duplicating film.
PHOTOGRAPHIC Sep 1989 (v.18#5) pg. 22

Comp book. Create a photograph depicting fireworks over a city skyline in winter.
PHOTOGRAPHIC Jan 1990 (v.18#9) pg. 82

Composite photo shows a welder working on the front suspension of a "moving" automobile.
PHOTOGRAPHIC Jun 1990 (v.19#2) pg. 20

Six great ways to incorporate grain into color photos in order to achieve a more "artistic" appearance.
PHOTOGRAPHIC Aug 1990 (v.19#4) pg. 44

Comp book. Space music. Create a high-tech theme assemblage using in-camera multiple-exposure techniques.
PHOTOGRAPHIC Aug 1990 (v.19#4) pg. 98

Composite photograph shows "lightning" arcing between a screwdriver and the head of a screw.
PHOTOGRAPHIC Dec 1990 (v.19#8) pg. 24

Comp book. Double print / Shadow masking. Making two separate exposures with two different negatives on one piece of paper. Combining a close-up portrait on color film with a mask on high-contrast b&w film.
PHOTOGRAPHIC Feb 1994 (v.22#10) pg. 14

Multiple images in the darkroom. Technique described involves a separate exposure onto photo paper for each negative to be used. A sketch helps in placement of images on finished print.
PHOTOMETHODS Aug 1978 (v.21#8) pg. 20

Try the moire effect by combining two negatives of the same image to make the print.
PHOTOMETHODS Aug 1979 (v.22#8) pg. 20

Special effects using simple equipment. Tips on using a camera rotating bracket, camera filters and a simple wooden matte box to produce multiple exposure images.
PHOTOMETHODS Jan 1982 (v.25#1) pg. 48

Tip on adding a moon image to a photograph on 4x5 film using your enlarger.
PHOTOMETHODS Aug 1988 (v.31#8) pg. 37

Creative electronic flash. Stroboscopic effects in rainbow colors. An easy solution to the problem of subject movement when attempting stroboscopic tracing combined with a single front flash illumination.
PHOTOMETHODS Oct 1988 (v.31#10) pg. 10

Award-winning photographers tell their secrets. Using Kodalith masks to produce composite photographs.
PHOTOMETHODS Mar 1990 (v.33#3) pg. 32

How to make a montage from a collection of small photographs.
POPULAR MECHANICS Nov 1969 (v.132#5) pg. 144

How pros take those "impossible" photos. Lighting set-ups for high-speed, multiple exposure, close-up, and "painting with light" photos.
POPULAR MECHANICS Apr 1980 (v.153#4) pg. 120

Photographic special effects. (1) Drop-shutter exposures. Includes tips on building your own drop-shutter. (2) Reflective distortion. (3) Double exposure. (4) Panning.
POPULAR MECHANICS Mar 1985 (v.162#3) pg. 98

Using trick prisms and other techniques to get multiple images on the same sheet of film.
POPULAR PHOTOGRAPHY Jan 1966 (v.58#1) pg. 118

How to take multiple images of a single person's face by the use of prisms, mirrors, etc.
POPULAR PHOTOGRAPHY Feb 1968 (v.62#2) pg. 30.

How to create pictures showing a full moon in the background by pre-exposing a roll of film with the moon image, and then re-exposing the foreground material.
POPULAR PHOTOGRAPHY Jul 1969 (v.65#1) pg. 24

Multiple exposure techniques.
POPULAR PHOTOGRAPHY May 1970 (v.66#5) pg. 88

"Building" a print by using several exposures at different times and with different filters, masking out those portions of the print not to be exposed.
POPULAR PHOTOGRAPHY Feb 1971 (v.68#2) pg. 34

Creative darkroom techniques. Multiple images the easy way, by putting two negatives in the enlarger at the same time.
POPULAR PHOTOGRAPHY Sep 1974 (v.75#3) pg. 90

Make multiple image photos or slides by placing a multi-faceted clear plastic or crystal ball on the slide or object being photographed. The ball is available at the notions counter in a sewing supply store.
POPULAR PHOTOGRAPHY Jan 1975 (v.76#1) pg. 106

How to make multiple exposures through color filters to produce unusual pictures.
POPULAR PHOTOGRAPHY Aug 1975 (v.77#2) pg. 82

Masters of the darkroom. How Jerry Uelsmann creates his multiple image prints by combining many different negatives to form the final print.
POPULAR PHOTOGRAPHY Jan 1977 (v.80#1) pg. 78

Masters of the darkroom. How Duane Michals creates his mystical masterpieces.
POPULAR PHOTOGRAPHY Oct 1977 (v.81#4) pg. 136

How to make multiple-image photos using two or more small electronic-flash units. Includes description for a simple intervalometer to trip several flash units in succession.
POPULAR PHOTOGRAPHY Feb 1980 (v.86#2) pg. 30

The Hattersley class for beginners. Make montages the easy way by sandwiching your negatives.
POPULAR PHOTOGRAPHY Feb 1982 (v.89#2) pg. 100

The Hattersly class for beginners. How to shoot double exposures by running the same roll of film through the camera twice.
POPULAR PHOTOGRAPHY Jun 1983 (v.90#6) pg. 130

Shoot motion using the "motion stroboscopics" technique developed by Bruce Curtis.
POPULAR PHOTOGRAPHY Sep 1983 (v.90#9) pg. 66

Tip on taking multiple exposures on a single frame when using a camera equipped with a rapid winder.
POPULAR PHOTOGRAPHY Oct 1983 (v.90#10) pg. 8

Glassograms. How to create whimsical, abstract designs by combining textured glass with colored acetate and photographing the resulting patterns on top of a light box.
POPULAR PHOTOGRAPHY May 1985 (v.92#5) pg. 84

Tips on creating photo montage or collage. Cut and combine images from various photographs into one image.
POPULAR PHOTOGRAPHY Aug 1985 (v.92#8) pg. 27

Moon shots. Double-exposure technique lets the moon rise over any night scene you want to shoot.
POPULAR PHOTOGRAPHY Sep 1985 (v.92#9) pg. 56

How to make in-camera multiple-image photographs. Have fun combining photos with paintings, sculptures, or other images.
POPULAR PHOTOGRAPHY Mar 1986 (v.93#3) pg. 20

Projecting the past. Projecting two or more slide images on the walls of empty rooms, and photographing the results, produces unique composite images.
POPULAR PHOTOGRAPHY Jun 1987 (v.94#6) pg. 48

Multiple takes. Add fantasy and fun to your photos by making several exposures on one frame of film. Tips on making in-camera multiple exposures.
POPULAR PHOTOGRAPHY Feb 1988 (v.95#2) pg. 38
Added Info POPULAR PHOTOGRAPHY Mar 1989 (v.96#3) pg. 4

Shoot multiple exposures with any camera. Simply rewind and reload the same film using a simple registration technique.
POPULAR PHOTOGRAPHY Apr 1989 (v.96#4) pg. 38

How to combine day and night images on the same negative or make moonlit time exposures.
POPULAR PHOTOGRAPHY Sep 1992 (v.99#9) pg. 45

Tips on making several types of in-camera multiple exposures.
POPULAR PHOTOGRAPHY Oct 1994 (v.58#10) pg. 55