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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.


In-camera special effects. The fine art of color separation. Using "in-camera color separation" and multiple exposures to make unique color photos.

Make a photographic mandala.
DARKROOM PHOTOGRAPHY Nov 1980 (v.2#7) pg. 71

Crinkled visions. How to force reticulation of Tri-X film to produce patterns and textures and manually distort the photographic image.
DARKROOM PHOTOGRAPHY Mar-Apr 1982 (v.4#3) pg. 26

How to make prints with a deliberate coarse grain pattern.
DARKROOM PHOTOGRAPHY Jul-Aug 1982 (v.4#5) pg. 58

The human forest. Rephotographing landscape, flower, tree and animal images that are projected onto human models with a slide projector.
DARKROOM PHOTOGRAPHY Mar 1989 (v.11#3) pg. 20

The art of special effects. Ingenuity, not equipment, is what's important. Some tips.
INDUSTRIAL PHOTOGRAPHY Nov 1980 (v.29#11) pg. 32

Peripheral photography: Shooting full circle. Photographing cylindrical objects in two dimensions. How to include in one photograph (periphotograph) the front, sides, and back of an object.
INDUSTRIAL PHOTOGRAPHY Jan 1987 (v.36#1) pg. 28

The moving image. Creating "motion" in still images through multiple flash lighting.
INDUSTRIAL PHOTOGRAPHY May 1988 (v.37#5) pg. 33

In-camera masking technique combines color and black-and-white images on a single piece of transparency film using a Sinar camera.
INDUSTRIAL PHOTOGRAPHY May 1994 (v.43#5) pg. 28

Taking multiple image (strobe) pictures with ordinary light bulbs by using a $.49 flasher button in the bulb socket.
MODERN PHOTOGRAPHY Jun 1968 (v.32#6) pg. 30

Moving film continuously past a slit creates enlongated photographs with the illusion of time and motion.
MODERN PHOTOGRAPHY Apr 1971 (v.35#4) pg. 78

Create interesting pictures by using shutter speeds slow enough to let a subject move during the exposure. Results of using various shutter speeds are illustrated.
MODERN PHOTOGRAPHY Feb 1976 (v.40#2) pg. 76

Use a slide projector to project a "zebra" light pattern on models. Then photograph models without any other light source.
MODERN PHOTOGRAPHY Jun 1976 (v.40#6) pg. 109

A set of ten charts list various ways to create special effects such as multiple exposures, darken sky, diffusion, etc. Copy this information onto 3x5 cards to keep in your camera bag.
MODERN PHOTOGRAPHY Mar 1978 (v.42#3) pg. 102

Photographing images reflected in a convex wide-angle mirror, like those used on trucks, will give the illusion of having used a fisheye lens.
MODERN PHOTOGRAPHY Jul 1978 (v.42#7) pg. 120

Low-Budget streak camera features a homemade streak shutter that passes in front of the camera lens. Use it to make "twisty" photographs.
MODERN PHOTOGRAPHY Apr 1979 (v.43#4) pg. 134

How to simulate action in still photos. Tips on using freeze, blur, scan, strobe, zoom, or multiple exposure to indicate "action".
MODERN PHOTOGRAPHY Apr 1980 (v.44#4) pg. 102

Stretch your vision. Strip photography made easy with do-it-yourself camera modifications.
MODERN PHOTOGRAPHY Jul 1980 (v.44#7) pg. 80

Produce special effects. (1) Print b&w negatives on color paper. (2) Double print two negatives (color or B&W) on color paper.
MODERN PHOTOGRAPHY May 1981 (v.45#5) pg. 86

Setup for photographing the reflection of something off of two sheets of Mylar to produce interesting distorted pictures.
MODERN PHOTOGRAPHY Nov 1983 (v.47#11) pg. 38

Examples of trick photography using a mirror.
MODERN PHOTOGRAPHY Dec 1983 (v.47#12) pg. 22, 24

Sharp and blurred. How to freeze expression and capture motion in one exposure. Six techniques illustrated.
MODERN PHOTOGRAPHY Apr 1986 (v.50#4) pg. 40

Some easy special effects "stoppers" you can do in-camera.
MODERN PHOTOGRAPHY Aug 1986 (v.50#8) pg. 28

Using a plastic material called Rowlux to produce interesting photographic effects.
PHOTO METHODS FOR INDUSTRY Oct 1972 (v.15#10) pg. 41

Tips on making very grainy, high-contrast b&w photographic images.
PHOTO TECHNIQUES Jan-Feb 1998 (v.19#1) pg. 22

Use pictures of flame patterns on the bottoms of copper-clad pots as the basis for abstract color photos.
PHOTOGRAPHIC Feb 1978 (v.6#10) pg. 68

How to photograph motion. Various methods used to imply or stop motion in the still image.
PHOTOGRAPHIC Jul 1978 (v.7#3) pg. 35

Magic with props. Tips on incorporating props into your still photos. Silhouettes, images cut from paper, model trains, and other objects can be incorporated into your pictures. Placing the prop at the correct distance from the lens in relation to the main subject allows the size ratio to be controlled.
PHOTOGRAPHIC Mar 1979 (v.7#11) pg. 52

Tips on photographing puddles of water, often with juxtaposed objects to create a "vivid surrealistic metaphor".
PHOTOGRAPHIC Apr 1979 (v.7#12) pg. 70

How to make photographs of sequences. The various types of sequences explored include (1) conceptual relationships, (2) storytelling, (3) stroboscopic movement, (4) motion: multiple images, (5) motion: individual images, (6) panorama, (7) space, (8) multiple viewpoints, and (9) time.
PHOTOGRAPHIC Jun 1979 (v.8#2) pg. 88

The fantasy box. Build your own anamorphic kaleidoscope. Use it to project colored light and images onto rear-projection material that you re-photograph to get desired combined images.
PHOTOGRAPHIC Dec 1980 (v.9#8) pg. 61

Panning moving objects in order to blur the background will add to the illustion of motion. How to do it.
PHOTOGRAPHIC Feb 1981 (v.9#10) pg. 14

Using slower shutter speeds when filming moving objects will result in blurring which adds to the feeling of motion. Some tips.
PHOTOGRAPHIC Mar 1981 (v.9#11) pg. 26

Fun with illusions. Small plywood boxes and scale-model rooms can be used as props in creating illusions of size and space.
PHOTOGRAPHIC Apr 1981 (v.9#12) pg. 29

Romance of an era. How to take those "slightly out of focus" pictures which remind us of those taken in the early days of photography. Tips on props, location, models, equipment, lighting, etc.
PHOTOGRAPHIC Sep 1981 (v.10#5) pg. 38

Light tricks. Three special effects. UFO's, Spacemen, and "Merry Christmas" written across a winter scene (for use in a greeting card).
PHOTOGRAPHIC Dec 1981 (v.10#8) pg. 84

Space theater. How to make "outer space" color slides using plastic models, ultraviolet light, a "star field" background, and other simple, homebuilt equipment.
PHOTOGRAPHIC Oct 1982 (v.11#6) pg. 46

How to photograph spiral patterns of light to produce graphic and colorful images.
PHOTOGRAPHIC May 1983 (v.12#1) pg. 14

Tips on controlling shutter speeds to give the illusion of motion or to stop motion in your photographs.
PHOTOGRAPHIC Aug 1983 (v.12#4) pg. 85

Tip: A cardboard tube with "Mylar" glued to the inside is used to produce interesting colored photos.
PHOTOGRAPHIC Jan 1984 (v.12#9) pg. 94

Gadget-free spectaculars. Special effects that you can achieve by using standard camera controls.
PHOTOGRAPHIC May 1984 (v.13#1) pg. 74

How to create a photographic illusion of objects floating in space. The photo also shows a person around whom the objects seem to float.
PHOTOGRAPHIC Oct 1984 (v.13#6) pg. 72

Still-life photograph creates the illusion of flames using a strobe and colored gels.
PHOTOGRAPHIC Sep 1985 (v.14#5) pg. 56

Tapestry on a window screen. Rephotograph slide images which are rear-projected on a dirty window through a window screen to produce unique results.
PHOTOGRAPHIC Nov 1985 (v.14#7) pg. 72

Basic photo techniques: In-camera special effects. Includes special effects produced by focus, lens, shutter, multiple exposure, film, filters, and reflections.
PHOTOGRAPHIC Feb 1986 (v.14#10) pg. 39

Tips on making color photos of "Whatzits", ordinary objects photographed from unusual perspectives and/or focal points.
PHOTOGRAPHIC Sep 1986 (v.15#5) pg. 38

Produce the illusion of three dimensionality using visual tricks and primary color for emphasis.
PHOTOGRAPHIC Sep 1986 (v.15#5) pg. 64

Laser light on film. Description of a technique for producing laser-generated patterns on color or b&w film and printing the results on Cibachrome.
PHOTOGRAPHIC Jan 1987 (v.15#9) pg. 12

35mm SLR super course. Part 10. Night photography and in-camera special effects.
PHOTOGRAPHIC Jul 1987 (v.16#3) pg. A

Onomatopoeias. Photographic representations of visual puns.
PHOTOGRAPHIC Nov 1987 (v.16#7) pg. 40

Action abstracts. Four techniques in the act of conceptual photographic image making.
PHOTOGRAPHIC Feb 1988 (v.16#10) pg. 22

School of photography. Lesson 11. Special effects and night photography. A comprehensive look at camera, film, processing and subject selection techniques.
PHOTOGRAPHIC Jan 1989 (v.17#9) pg. 40+

Dry-Ice Fogger. How to make the moodiest prop of all. Construction guidelines, safety tips, and lighting techniques.
PHOTOGRAPHIC Feb 1989 (v.17#10) pg. 46

Kitchen color. Whimsical and animation-style colors and dramatic textured planes are the result of using food coloring, dish soap, and other common kitchen items.
PHOTOGRAPHIC Apr 1989 (v.17#12) pg. 46

Special section: Special effects and night photography. Topics covered include focus effects, lens effects, shutter effects, film effects, filter effects, multiple exposures, development, etc.
PHOTOGRAPHIC Jul 1990 (v.19#3) pg. 55

Soft and dreamy photos. Tricks of enchanement. Using filters and other simple techniques to create soft and dreamy effects.
PHOTOGRAPHIC Oct 1990 (v.19#6) pg. 44

Stars without filters. "Straight shooting" special effects. How to turn almost any light source into a multipoint starburst without the need for special filters or unusual conditions.
PHOTOGRAPHIC Oct 1990 (v.19#6) pg. 56

How to blast grain. Reticulating (cracking) Kodak 2475 recording film to produce an even grainier effect.
PHOTOGRAPHIC Nov 1990 (v.19#7) pg. 42

Elemental Cibachromes. Jay Dunitz describes his technique for using chemical electrolysis to "paint" on sheet metal and macrophotographing the colorful results.
PHOTOGRAPHIC Jan 1991 (v.19#9) pg. 36

Fluid forms. An easy way to make dramatic color photos in your studio. Uses multiple strobe flash that is filtered through colored gels.
PHOTOGRAPHIC Feb 1991 (v.19#10) pg. 58

Special effects and night photography. Special section on focus effects, lens effects, shutter effects, multiple exposures, film effects, filter effects, reflections and shadows, night exposures, development and things to shoot.
PHOTOGRAPHIC Jun 1991 (v.20#2) pg. 85

Water drop lenses. How to take macro photos of images viewed through water drops.
PHOTOGRAPHIC May 1992 (v.21#1) pg. 27

Zoom in on tricolor. Shoot triple exposures using a different color filter for each exposure. Use a zoom lens and change the focal length in-between exposures to enhance the effect.
PHOTOGRAPHIC May 1992 (v.21#1) pg. 40

Top ten special effects techniques. (1) Space illusion. (2) Negative painting. (3) Freezing motion with light. (4) Moons. (5) Translucent subjects. (6) Accelerated negatives. (7) Painting with light. (8) Kinesiography. (9) Slide-dupe FX. (10) Rainbows.
PHOTOGRAPHIC Jun 1992 (v.21#2) pg. 16

Soft focus. Demystifying the use of diffusion filters and soft-focus lenses.
PHOTOGRAPHIC Oct 1992 (v.21#6) pg. 20

Foiled again. Create unique abstract images by photographing the reflections of backlighted colored gels on the surface of corrugated aluminum foil.
PHOTOGRAPHIC May 1993 (v.22#1) pg. 22

Ten special effects that are easy to photograph. (1) Dish-soap fractals. (2) Mylar ink spots. (3) Reverberation. (4) Add moon to multiple exposure. (5) Projection composites. (6) Enhancing colors. (7) Bipolarized ice crystals. (8) Penlight tracing. (9) Environmental-damaged negatives. (10) Zoom explosion.
PHOTOGRAPHIC Jun 1993 (v.22#2) pg. 16

Photographic's super course of photography. Night photography and special-effects photography. Using focus, shutter, multiple-exposure, reflection, film, filter, and/or lens to create a special effect.
PHOTOGRAPHIC Apr 1995 (v.23#12) pg. 57

Pinwheel. Make this clever device and turn everyday objects into striking kaleidoscopic photos.
PHOTOGRAPHIC Jun 1995 (v.24#2) pg. 55

Back-to-basics. How to shoot special effects. (1) Shutter-speed effects. (2) Long exposures. (3) Depth of field. (4) Focal length and point of view. (5) Special lenses. (6) Zoom lenses. (7) Film. (8) Reflections and flare. (9) Filters.
PHOTOGRAPHIC Apr 1996 (v.24#12) pg. 71

Ten special effects ideas.
PHOTOGRAPHIC Oct 1996 (v.25#6) pg. 32

Zoom effects. How to produce some startling explosion effects by zooming your lens during exposure.
PHOTOGRAPHIC Feb 1997 (v.25#10) pg. 100

How to use slow shutter speeds to enhance the illusion of movement in still photos.
PHOTOGRAPHIC May 1997 (v.26#1) pg. 30

Tips on using lens flare to produce striking special effects.
PHOTOGRAPHIC May 1997 (v.26#1) pg. 32

Tips on photographing reflections off water, glass, etc.
PHOTOGRAPHIC May 1997 (v.26#1) pg. 34

Tips on taking fog photos using both real fog and fog filters.
PHOTOGRAPHIC May 1997 (v.26#1) pg. 49

The one-second exposure. Tips on film and techniques to make long exposures which add to the sensation of motion.
PHOTOGRAPHIC May 1998 (v.27#1) pg. 54

Guide to in-camera special effects. (1) Exposure-time effects. (2) Long exposures. (3) Depth of field. (4) Focal length and point of view. (5) Special lenses. (6) Multiple exposures. (7) Film effects. (8) Reflections and flare. (9) Filters
PHOTOGRAPHIC Apr 1999 (v.27#12) pg. 48

Tips from Don Carrol on creating multidimensional images.
PHOTOMETHODS Feb 1980 (v.23#2) pg. 26

Setup to photograph salt erupting from a saltshaker like a volcano.
PHOTOMETHODS Aug 1986 (v.29#8) pg. 54

Photographic interpretation can go astray. How to construct a 3-dimensional wooden framework (the "impossible box") that when photographed at a distance of 90" to 100" will appear to have two of the foreground objects moved into the background.
PHOTOMETHODS Jan 1991 (v.34#1) pg. 12

How deceptive images of UFOs (unidentified flying objects) can be faked using double-exposure camera techniques.
PHOTOMETHODS Oct 1991 (v.34#10) pg. 10

Using accessory lenses and filters which create unusual images.
POPULAR MECHANICS Oct 1972 (v.138#4) pg. 148

Tip: Attach tennis ball directly onto racket when doing "fashion" tennis photos.
POPULAR MECHANICS Aug 1980 (v.154#2) pg. 6

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

Fun with film. Achieve special effects by using ordinary film in extraordinary ways. How to bend the rules to get exotic effects without special gear.
POPULAR MECHANICS Jul 1988 (v.165#7) pg. 93

Using moire patterns to create "OP" photo art.
POPULAR PHOTOGRAPHY May 1966 (v.58#5) pg. 70

The Hattersley Class. Spacemanship. Manipulating space in photographs. Creating optical illusions.
POPULAR PHOTOGRAPHY Oct 1966 (v.59#4) pg. 63

Placing a bent piece of clear plastic in front of a lens to create distorted pictures.
POPULAR PHOTOGRAPHY Aug 1967 (v.61#2) pg. 115

Rothschild shows six unusual techniques. (1) Thermoplastic sandwich, (2) zoom as you shoot, (3) pan during exposure, (4) diffraction grating, (5) negative images and (6) multiple-image prism.
POPULAR PHOTOGRAPHY Jan 1972 (v.70#1) pg. 98

The Hattersley Class: Supernatural photography.
POPULAR PHOTOGRAPHY Apr 1972 (v.70#4) pg. 76

Create the illusion of a live person by projecting the face of a person onto a styrofoam wig holder or plain white mannequin head. Rephotographing the results can produce interesting effects.
POPULAR PHOTOGRAPHY Jun 1972 (v.70#6) pg. 62

Action photography. How to capture motion with your camera.
POPULAR PHOTOGRAPHY Aug 1972 (v.71#2) pg. 60

Use camera optics, like image repeaters, on your enlarger lens to create unique prints.
POPULAR PHOTOGRAPHY Apr 1974 (v.74#4) pg. 34

A look at some type of soft (unsharp) imagery, their uses, and ways they can be made.
POPULAR PHOTOGRAPHY Oct 1974 (v.75#4) pg. 86

Creative darkroom techniques. Photographic paste-ups.
POPULAR PHOTOGRAPHY Oct 1974 (v.75#4) pg. 98

How to deliberately create grainy prints.
POPULAR PHOTOGRAPHY Oct 1974 (v.75#4) pg. 118

The Hattersley class. Space tricks to boggle the mind. The use of converging lines can be used to deceive the viewer of a photo.
POPULAR PHOTOGRAPHY Sep 1975 (v.77#3) pg. 86

The Hattersley class. Crazy optical effects. It is all done with mirrors and textured glass from an Edmund Scientific kit.
POPULAR PHOTOGRAPHY Oct 1975 (v.77#4) pg. 78

Creating fantastic color from black-and-white. Use Kodalith film and Cibachrome paper to make "kinetic color graphics" from ordinary negatives.
POPULAR PHOTOGRAPHY Dec 1979 (v.85#6) pg. 82

How to produce pictures with a feeling of motion.
POPULAR PHOTOGRAPHY Oct 1981 (v.88#10) pg. 100

How to highlight your highlights. How to shape out-of-focus light sources any way you please.
POPULAR PHOTOGRAPHY Dec 1982 (v.89#12) pg. 96

Moving pictures. How to capture movement by using slow exposure times.
POPULAR PHOTOGRAPHY Mar 1983 (v.90#3) pg. 44

Create unusual color photographs by shooting through a prism.
POPULAR PHOTOGRAPHY Feb 1985 (v.92#2) pg. 34

Slow motion. Long exposures let you transform moving subjects into beautiful blurs. Some tips.
POPULAR PHOTOGRAPHY Nov 1987 (v.94#11) pg. 80

Deep Space. Nine techniques for conveying a sense of depth and dimension (the 3-D effect).
POPULAR PHOTOGRAPHY Jan 1989 (v.96#1) pg. 55

Build a better bubble machine for soap-film photography. Also includes plans for an electronic flash housing equipped with a modeling light.
POPULAR PHOTOGRAPHY Jun 1989 (v.96#6) pg. 60

Seven techniques to convey the sense of time in photographs.
POPULAR PHOTOGRAPHY Oct 1989 (v.96#10) pg. 48

Tip on determining the correct ISO number when planning to make multiple exposures.
POPULAR PHOTOGRAPHY May 1991 (v.98#5) pg. 144

Photo impressionism. Create photographic "Monets" by rephotographing slide images through textured plastic or glass.
POPULAR PHOTOGRAPHY Jul 1992 (v.99#7) pg. 54

How to take action photos which incorporate blurred images and/or other visual signs which impart the feeling of motion.
POPULAR PHOTOGRAPHY Jan 1993 (v.100#1) pg. 30

How to take mirror-image photos using a small hand mirror.
POPULAR PHOTOGRAPHY May 1993 (v.57#1) pg. 88

How to deliberately take a flash-plus-blur ghost photo using a point-and-shoot camera.
POPULAR PHOTOGRAPHY Jun 1993 (v.57#2) pg. 15

How to blur photos creatively.
POPULAR PHOTOGRAPHY Oct 1994 (v.58#10) pg. 56

Tips on capturing photos which depict action while still providing adequate sharpness of the central object.
POPULAR PHOTOGRAPHY Jul 1999 (v.63#7) pg. 78

Tips on photographing reflections in glass or water.
POPULAR PHOTOGRAPHY Oct 1999 (v.63#10) pg. 85

Fanciful fogging. Tips on selecting and using fog machines (smoke machines) to create unique photographs.
PROFESSIONAL PHOTOGRAPHER #2141 Oct 1990 (v.117) pg. 22

Moving still images. How technical "errors" produce photographs with impact. Tips on creating still photos that convey the illusion of motion.
PROFESSIONAL PHOTOGRAPHER #2143 Dec 1990 (v.117) pg. 28

Creative control the matte box way. Selecting and using this lens shade designed to hold a variety of special effects devices (filters, vignetters, masks, etc.) that allow the photographer to create special effects.
RANGEFINDER May 1994 (v.43#5) pg. 8

Girl in bottle (or glass) photo trick.
SCIENCE & MECHANICS Oct 1963 (v.34#10) pg. 89

Projecting moire patterns on 3-dimensional objects and photographing the results.
SCIENTIFIC AMERICAN Oct 1973 (v.229#4) pg. 120

How to make cylindrical and conical anamorphoscopes. Also includes instructions for making drawings using the geometrical technique and with the use of an enlarger or 35mm slide projector. (Anamorphic art is realistic art that has been grossly distorted in projection. By viewing the distortion through an anamorphoscope the image is reflected undistorted.)
SCIENTIFIC AMERICAN Jan 1975 (v.232#1) pg. 110

How to create impressionistic photographs by rephotographing slide images that are rear-projected on shower curtain glass.
SHUTTERBUG #278 Nov 1993 (v.23#1) pg. 26

The mystery of motion. Photograph what the eye can't see. Techniques for using long shutter speeds to visually capture the feeling of motion.
SHUTTERBUG #309 Jun 1996 (v.25#8) pg. 50

Using panning to bring your photographic subject to life. Tips for getting started.
SHUTTERBUG #316 Jan 1997 (v.26#3) pg. 88

Never use as directed. Tips on using the "wrong" chemistry, film, exposure, ... in an attempt to create high impact photos.
SHUTTERBUG #329 Feb 1998 (v.27#4) pg. 162

Reflections. Add a new dimension to your images by photographing reflections. Some tips.
SHUTTERBUG #332 May 1998 (v.27#7) pg. 78

Project a new image. How to create spectacular and unusual effects without a computer.
SHUTTERBUG #333 Jun 1998 (v.27#8) pg. 88

Image manipulation without a computer. Various in-camera and darkroom techniques.
SHUTTERBUG #341 Feb 1999 (v.28#4) pg. 74

Once is not enough. How to add energy and impact to your images with multiple exposure.
SHUTTERBUG #348 Sep 1999 (v.28#11) pg. 40

Mirrored reflectons. How to use mirrors to create unique photos in almost any venue (portrait, still life, landscape, fashion, ...).
SHUTTERBUG #360 Sep 2000 (v.29#11) pg. 58