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PAGE 6
-THE FORSYTH COUTNY NEWS—WEDNESDAY, NOVEMBER 14, 1973
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Electronic flash is a necessity for pictures of animals—and
pictures can be lost when one is slow to “warm up” or doesn’t
function otherwise. Remember to read your instructions, and
By GILBERT HELL
Copley News Service
Electronic flash thrives on
use and can reduce per pic
ture costs materially for the
photographer who uses one
regularly. It seems almost
impossible to wear one out.
But, a unit used only occa
sionally, then left on the shelf
for weeks or months can
give trouble. And the best ad
vice is that this photographer
probably will spend less, have
more consistent pictures and
more fun, if he stays with
flash bulbs or cubes.
The rechargeable electron
ic unit appeals to the economy
minded, and to the photogra
pher who detests running to
the store for a new set of dry
cells periodically. But, again,
the relatively few flashes for
each charge with a con
stantly increasing wait be
tween pictures for the “ready
light” to come on has
caused the heavy user to stay
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New Flash Unit
Stirs Complaints
with big, and expensive, dry
cells.
The new thyristor units
have been greeted with such
enthusiasm that many units
are difficult to find with man
ufacturers unable to meet the
demand. But there are al
ready some complaints and
reports which are causing
some photographers to take a
second look and has
sparked some quiet research
that should bring some new
instructions in their use.
The thyristor is the “auto
matic” unit which can be set
for a particular speed of film
and lens opening so it not only
gives a perfect exposure with
out mental calculations by the
photographer, but “saves”
the unused electronic charge
for the next shot.
Previous “automatics”
simply cut off the flash when
there was enough light for the
exposure and “dumped” the
rest to completely discharge
the unit. This means, of
In A Flash
look for some new information upon the new automatics and
their care, especially when they become more plentiful.
course, that the length of time
between exposures is always
the same and growing long
er as the batteries lose their
charge.
With the thyristor, all of the
charge not used is stored, and
the unit may be ready to fire
again in a fraction of a second
and fire up to 1,000 times,
instead of only about 100 if
all of the pictures are closeups
and, of course, require less
light.
The things seems to work
best for the wedding photog
rapher, for instance, who may
make 100 or more shots in a
couple of hours. The photog
rapher would use another set
of charged batteries and go on
to the next wedding or
come in, put his unit on the
line to recharge and be ready
for the next job.
But the news photographer
who goes out to make a half
dozen pictures, or even a roll
or two, would come back in
and put his unit on the line to
recharge and suddenly
find, on the next job, that the
unit began to be unacceptably
slow in “warming up,” or
would “go dead” completely
after only a few shots.
Preliminary testing in the
industry seems to indicate
that photographers are now
faced with the problem of cre
ating “bad habits” for re
chargeable batteries. If they
are used only for a few shots
and then recharged, they’ll
soon start giving only a few
shots. But, if they’re used un
til they are almost exhausted
they will come back to their
rating of 100, or more, shots,
and will still be going strong
at recharging time.
Bobby Van Gives
Hoofing a Boost
HOLLYWOOD - He never
took a lesson in his life but
Bobby Van, smooth and loose
as ashes, still ranks among
the very best of the hoofers, a
dancer of style and strength
and a funny guy as well.
Bobby Van was the practi
tioner of a dying art known as
hoofing. And then, a few years
ago, he was costarred in that
wondrous ode to nostalgia, the
Broadway revival of “No, No,
Nanette,” a smash hit of in
credible proportions. Now
hoofing is back in vogue and
Bobby has his own CBS spe
cial coming 14) Nov. 15 with
his wife, Elaine Joyce, and
Richard Thomas of “The Wal
tons” as his sole guest stars.
“It’s like this,” says Bobby.
“We were looking around for
people who haven’t been done
to death on the guest star cir
cuit. First one I thought of
was Richard Thomas. He’s
hot, right? And both his par
ents are dancers and he can
hoof pretty good himself. He
knows how to move.”
Elaine Joyce is fresh from a
Broadway triumph herself,
after starring in the musical
“Sugar,” and there was a
substantial reason Bobby
tapped her for his special.
“For a guy to take a pretty
girl in his arms and dance
with her, that’s new today,”
said Bobby. “It’s so old it’s
new. We’re two contemporary
people, we dance to a contem
porary tune and we dance in a
contemporary fashion.
“The important thing is that
we’re not kidding around. We
do it straight. I used to watch
the ‘Julie Andrews Show’ last
year and I’d see Julie dance
with Ken Barry but they
kidded the dancing. They
made it like a takeoff. That’s
the trouble, people are afraid
to do anything straight. It’s
easier to kid around.”
“Bobby, do you like the
word ‘hoofer’?”
“That’s what I am, a hoof
er,” he said. “Sure, I like the
word. To me a hoofer implies
a certain rhythm. I’m a
straight hoofer, no taps. I
don’t like to use taps. They
make a clatter on the floor.
“People like hoofing. They
can see everybody dancing in
‘Nanette’ and I swear every
night they’d go bananas. Now
that was a pretty fair show,
‘Nanette,’ but I think it was
the people in it like Ruby
Keeler and Patsy Keeler that
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made it. And that’s a show
that nobody believed would
make it.
“I remember when I first
got the call to do ‘Nanette,’”
Bobby went on. “People
laughed. They said, ‘Gowan,
you’re kidding. Who’s going to
wanna see a show from the
19205?’ Whenever I bump into
Charles Nelson Reilly, he just
looks at me and shakes his
head. He still doesn’t believe
it, that we had a big hit and
turned Broadway on its ear.”
Along with spinning show
business into a new cycle of
pure nostalgia, “No, No, Nan
ette” also spawned an up
surge of interest in various
forms of hoofing.
“Right now,” says Bobby,
“they can’t fill the demand for
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teachers so many people want
to learn how to hoof and tap
dance. I remember before
‘Nanette’ it was tough for
dancers like me. It was tough
getting a job. Now the kids
Renaissance Love
Songs Are Great
By KING DURKEE
Copley News Service
The Renaissance Period
means church music, right?
Well yes. But not altogeth
er.
These are love songs of the
period and range from the
early 16th to the middle of the
17th centuries. The record in
cludes works by Italian, Ger
man, English and Flemish
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who wanted to learn ja K
dancing are turning to the old
hoofing techniques. Anybody
can do jazz dancing. ThaPs
just a lot of turns and move
ment. It’s all frantic.”
composers, which, for that
day, was spreading amore
over quite a lot of real estate.
Nonesuch wisely has in
cluded a sheet of lyrics with
the disk. The listener should
read as he listens. He’ll find
the songs amorous indeed.
Stevens and the Accademia
Monteverdia do a superb job.
The Nonesuch engineering is
excellent.