Camera, November, 1973, Volume 52, No. 11.

English edition. Edited by Allan Porter. Photographs by Nathaniel Lieberman, James Marchael, Dick Frank, Ron Stark, Dick Arentz, Warren Krupsaw, Burk Uzzle and Wayne Sorce; short technical articles re ultra-sonic radiography, concentrated macro-illumination; film processing by magazine; enlarger function and design ideas; steady shooting from moving supports; sophisticated macro-photography; variable-gamma film; electronic color negative grading; news re photo products. In fine, virtually as new condition except for minor imperfections on covers. Summary:

The November 1973 issue of Camera (Volume 52, No. 11) serves as a profound exploration of moving away from the "decisive moment" toward a more deliberate, constructed form of photography. This edition focuses on how disparate visual elements—whether through multiple exposures, sequencing, or meticulous darkroom layering—can be unified into a singular aesthetic vision.

The Portfolios

The issue features a diverse group of photographers who utilized the quiet deliberate approach to challenge traditional perspectives:

• Nathaniel Lieberman & James Marchael: Their contributions emphasize the architectural and structural possibilities of the medium, using overlapping forms to redefine space.

• Dick Frank & Ron Stark: Both artists lean into the graphic potential of the medium, with Stark often focusing on still-life elements that gain new meaning through juxtaposition.

• Dick Arentz & Warren Krupsaw: These photographers bring a naturalist’s eye to the theme, using tonal depth and complex framing to create "synthetic" landscapes that feel more emotionally resonant than a standard wide shot.

• Burk Uzzle: A prominent member of Magnum Photos, Uzzle’s work in this issue showcases his ability to find surreal, layered narratives within the "real" world, often capturing multiple layers of action that feel like a collage.

• Wayne Sorce: Known for his urban observations, Sorce’s inclusion highlights the intersection of color and composition, where the city is viewed as a series of interlocking planes and textures.

Editorial Theme

Under the direction of Allan Porter, this issue argues that the photographer’s role is to act as a synthesizer of reality, rather than a mere observer. By highlighting these eight specific photographers, the magazine illustrates a shift in 1970s photography: the transition from the photograph as a "window" to the photograph as a "constructed object."