International photographer (Jan-Dec 1934)

Eighteen The INTERNATIONAL PHOTOGRAPHER January , 1934 MINIATURE CAMERA PHOTOGRAPHY (Continued from Page 7) using them constantly he will arrive at a point where he is full} acquainted with their various characteristics, such as latitude of exposure, time of development in a definite formula to obtain the finest grain, etc. There will now be at his disposal a tool with which he is well acquainted, and which he can mould to produce the results desired. Many photographers disregarding this fact continue to jump from one film to another with the conclusion that they have no definite idea of the results they are going to get. Try all the films — then decide on one or two which would serve you best, and stick to them. When a new film is placed on the market experiment with one or two rolls. If it will serve you more adequately than the emulsions you are employing, discard one of them in its favor. If it is just another film as far as you are concerned, then forget it. There are also many photographers who flock to the supersensitive emulsions, as the sole sensitive material which they employ. Let a faster emulsion be introduced, and they will immediately discard the film they are employing in its favor. Designations such as merely orthochromatic, or panchromatic, do not seem to have color to them. When a film is given a definite trade name and is designated as belonging to the supersensitive class, they immediately use it solely and expect it to produce their long desired masterpieces. Supersensitive emulsions stand as criterions to the progress in photography, but they have their specific uses. In general, the slower the film, the finer is its grain. Why is it necessary to employ a supersensitive emulsion in broad daylight, when an orthochromatic film will have all the speed that is necessary, and in addition will produce a finer grain? When photographing with artificial light it would be wisest to employ one of the supersensitive type The Leica Film Winder for quick and efficient loading of standard 35 mm. motion picture film on Leica spools when film is purchased in bulk. films. In this case resorting to a slower orthochromatic film, will not be taking advantage of the marvelous progress in the sensitizing of emulsions. Then again very soft daylight scenes may be required. In this instance a supersensitive emulsion may be prescribed, due to the soft results it produces. Bear in mind however that for the general run of outdoor "shots", slower orthochromatic and panchromatic films will produce the picture with a finer grain. * * * The Vertex Miniature Enlarger. As new products appear on the market they will be described in this department. At times, apparatus which may have been introduced some time ago, but of whose existence the miniature camera worker may not be aware, will be considered. I am including an illustration of the Vertex Miniature Enlarger, which is sponsored by Willoughbys. This enlarger The Vertex Miniature Enlarger. is made entirely of metal, and is supplied with a baseboard for 8x10 or larger. It contains a fully corrected f :6.3 lens, rough and critical focusing, swinging red glass screen to allow the paper to be adjusted while the negative image is being projected on it, film support wings, and other features. It will accommodate negatives 2.4x3.5 cm., 3 x 4 cm. and 4 x 4 cm. In short it will serve ideally for the photographer possessing a few cameras with different negative sizes. (To Be Continued in February) SCHEIBES LATEST FILTERS Graduated diffusing screens in varying degrees of diffusion are proving successful in their operation on dolly shots and, too, for stationary shots. One of the screens is made to slide through the matt-box, starting without diffusion or a very mild degree and increasing to the desired effect for a close-up. Screens 2x4 are made to fit the new Mitchell adaptor, two screens being necessary for this device, as they slide across each other from one end of the carrier to the other — diffusion coming in from each side and crossing over the center of the aperture. Graduated Color Filters and Graded Fog Filters are used in same manner, whether for dolly or stationary shots. Another new filter known as Scheibe's Hot Spot Iris has also proved successful in its use. This Iris is 6x6 inches square with color in the center and gradually blending outward to the edge of the glass minus color. The colored portion is about three inches in diameter and is used in front of the process projector at varying distances to cover the hotspot on the process screen, thereby producing an even density of image in the final shot. No more burned-up centers on the background. The new Monotone Filter, for Superpan, is becoming very popular with cameramen who use it mainly for lighting purposes. It can be used in any kind of light and shows true black and white values, thereby saving time and material for tests. This filter is now made to fit into the focusing tube on a Mitchell camera and the boys say it works fine. Please mention The International Photographer when corresponding with advertisers.