I lu,„ I It I "It was the only thing to do after the mule died." Three years back, the Hinsleys of Dora, the two contenders? Hay vs. gasoline "It sets out there all day and the point Missouri, hod a tough decision to moke. As Mr Hinsley puts it: "I get over eighty looks near as good as the day we got it." To buy a new mule. miles out of o dollar's worth of gas and I Finally, there was maintenance to think Or Invest in a used bug. get where I want to go a lot quicker." about. When a mule breaks down, there's They weighed the two possibilities. Then there's the road leading to their only one thing to do: Shoot it. First there was the problem of the bitter cabin. Many a mule pulling a wagon ond ®ut if ond when their bug Ozark winters. Tough on a warm-blooded many a conventional automobile has spent fa A breaks down, the Hinsleys hove mule. Not so tough on on air-cooled VW. many on hour stuck in the mud a Volkswagen dealer only two Then, what about the eating habits of Also, o mule needs a barn. A bug doesn't gallons oway Photographers Photographen Photographes 3) DAVID LANGLEY 4) RICHARD NOBLE 5) 6) CHARLES FUHRER/GATEWAY STUDIO Designer Gestalter Maquettiste 5) 6) RON SALTER Art Directors Directeurs artistiques: 3) BOB KUPERMAN 4) JIM BENEDICT 5) 6) RON SALTER Agencies Agenturen/ Agences: 3) DOYLE DANE BERNBACH, INC., NEW YORK 4) PACCIONE HURVIS CHURCHILL «Sc LAUNEY 5) 6) FAHLGREN ASSOCIATES, INC. 3) Advertisement for the Volkswagenpointing out its advantages as compared to a mule. 4) Trade magazine advertisement for the photoengravers Collins Miller Hutchings, Chicago. 5) 6) Double spread from a booklet about wineglasses made by West Virginia Glass, with detail of the photograph. 3) Anzeige für den Volkswagender hier als Ersatz für ein Maultier angeschafft wurde. 4) Ein Verschnitt könnte peinlich sein: Fachzeitschrifteninserat für einen Klischeur. 5) 6) Doppelseite und Illustration aus dem Prospekt einer amerikanischen Glashütte, die die neueste Kollektion ihrer Weinglaser vorstellt. 3) Annonce pour le Volkswagen, qui dans ce cas-la remplace le vieux mulet. 4) Une erreur de coupage peut être dommageableannonce pour un photolithographe américain. 5) 6) Double page et illustration correspondante du prospectus d'une verrerie américaine pré- sentant sa dernière collection de verres a vin. was widely voiced that good portraits could only be done in black-and- white, while colour was at best useful to the dermatologist for diagnostic purposes. This myth has been exploded primarily by a constant flow of good colour portraits in advertisements, on magazine covers and record sleeves. Advertising photographers proved that a colour portrait is not necessarily unnatural and that it clearly does not present any insuperable technical difficulties. A similar development has in my opinion taken place in illustrated magazines. Colour advertisements made it clear to readers that colour pages could be attractive in the editorial section too, and that they were technically quite feasible. Before long, editors were asking their photographers to work both in black-and-white and in colour, or even in colour alone. Statements to the effect that 'colour is iconographic and black-and-white is documentary', which were long in circulation and even today are defended tenaciously in numerous rear guard actions, are simply not true any more. It is advertising photo graphy which has here done most to change the attitude and the response of the reader. Fashion magazines were among the very first to register this change of heart; their editorial pages grew more colourful along with the advertising section. Vogue, House and Garden, Glamour and Harper's Bazaar were already doing outstanding things with colour photography as much as twenty-five years ago. Another domain in which advertising photography has taken the lead is that of experimentation. New colour effects enabled the attention value of an advertisement to be stepped up and at the same time imparted new impulses to the development of colour photography. A field which is not very important in terms of turnover, but which is growing from year to year, is that of the advertising calendar. Here too there has been a pronounced move from black-and-white to colour in the last ten years. Wall calendars full of colour photographs leave no doubt as to the greater eye-catching power of colour. The evidence was too strong for calendar printers to overlook, and although the much |«q fl ao ■flOO'J fvEWSSNG Mtrny times wove been can you len- pf a littia ht-6. can yoc *<mv* a Hftt* them 0 We 00 can. 8ut 'Vr6 wont Short out* v n91 Oof Style ft We maks photo I oenyovinga *rxj h'm opotltwc-s ortjf Ohh «a*. Step by steo. Oot by 0-.' V' A' iv.U'./ 'juaSt* nmk- feoq M owiay .ur. by goto;, it ric'it Which -K Because t w owfch .just one «jrpr.fl cubit SflOWS

Graphis de | 1973 | | page 44