International photographer (Jan-Dec 1934)

March, 1934 The INTERNATIONAL PHOTOGRAPHER Five, formation has been published on filters and the amateur would profit by obtaining some of it. It must be remembered that a filter, because it cuts off much of the light passing through it cuts down the exposure considerably. The amount depends on the density and color of the filter. Each filter, therefore, has what is known as a filter factor, the number of times the exposure must be increased to get the correct exposure. The effect obtained with the filter can be changed somewhat by varying the exposure, particularly in the case of the red filters, where under-exposure gives a night effect because of the dark sky and the contrast in highlights and shadows, while slight over-exposure merely gives an over-corrected (that is, blues and greens are darker than normal) daylight effect. It is well to know how to obtain these various effects, for they prove of considerable value in obtaining scenes which would be impossible for the amateur to get without using filters. If professional filters are available it is best to study their effect on panchromatic film by using a miniature still camera for which panchromatic film like that used in movie photography can be used. This is considerably cheaper and permits easier study of the result. The shutter speed should be practically the same as that in the movie camera so that an accuiate comparison can be made. Night scenes made with a filter in daylight can often be enhanced by the use of a diffusion disk or gauze (the latter can easily be made out of black gauze) which gives the scene a soft, diffused quality much like one finds on a moonlight night. Diffusion also has a number of other uses and is particularly of value in close-ups and other scenes which it is desired to soften in order to iron out harsh lines. Sometimes it is desired to soften only the background so that it will not detract from the center of interest in the foreground, a trick regularly used in professional pictures. It is impossible to do this with universal focus lenses, where everything from five feet or so to infinity is in focus, but it can be done with focusing lenses by focusing critically on the desired object and opening the lens as far as possible so that the depth of field is reduced to a minimum. This increases the exposure, unless the light is such that the lens had to be used wide open anyhow, and to compensate for this increase the light can be cut down by a neutral density filter, which has no filtering effect but merely cuts down the amount of light reaching the film. It can, however, be used in connection with color filters, providing the combined filter factor does not become too great. The 3N5 and 5N5 filters are a combination of the neutral density filter and the areo filter and are excellent for very bright landscapes. Fog filters used with certain neutral density filters give good fog effects even on a clear day. Since these filters are obtainable only in professional sizes it would be well for the amateur to equip his camera with a filter holder in which they can be used. The two-inch size is perhaps the most satisfactory, for it can also be used with most 35 mm. cameras and still cameras. One of the greatest shortcomings in many amateur pictures is their unsteadiness due to the fact that the camera was held in the hand while photographing, instead of using a tripod. It is unfortunate that 16 mm. camera manufacturers advertise their product as essentially hand-held cameras for there are few persons steady enough to get good results by holding the camera while shooting. Too often the picture is so jumpy as to be unpleasant. It is true that a tripod is somewhat of an inconvenience at times, but the improvement resulting from its use is well worth the extra trouble of taking it along. It makes the picture absolutely steady and enables the cameraman to better line up his composition and obtain effective camera angles. Panning and tilting are very easy with a tripod and in most cases more satisfactory. Panning must, however, be slow and steady, otherwise an unpleasant blur will be produced, and should be used sparingly, preferably only when following a moving object or to show the relation of one subject to another. Landscapes are best photographed with a stationary camera, for better compositions can be obtained in this way. Photographing from moving objects (trains, automobiles, etc.) is inadvisable unless the movement is reasonably slow and smooth, as that of a fairly large boat in calm water. Pictures taken from a moving automobile, unless it is very steady, are seldom satisfactory. If it be desired to have a slow moving, or "trucking" shot, a camera truck can easily be constructed out of coaster, baby buggy, wheel chair, or tricycle wheels, which are strong enough to hold 16 mm. equipment and one or two persons. If a better truck is desired, it can be made out of automobile or airplane wheels (with tires), as is done in the studios. The truck must, of course, be made very steady, preferably be set very low, and must pull and push easily. If the surface over which the truck is to travel is not smooth enough it can readily be made so by suitable boards. Trucking shots, like pans, should also be used only when there is a definite reason for them. There is really no reason why the amateur should not be able to obtain shots like the professional, for, with the exception, perhaps, of certain crane and "zoom" shots, the equipment used is relatively simple and, with a bit of ingenuity, can readily be made by the amateur. Two other elements which are important to get good pictures are composition and lighting. Volumes have been written on these subjects, so I will not attempt to discuss them, but merely wish to emphasize their importance. After all, a picture consists merely of line, form, light and shade, and these can be pleasing only when properly arranged, so why ignore the importance of composition and lighting? Don't shoot at random just to have something to shoot, but carefully choose your subject and photograph it from the best vantage. It makes all the difference in the world how an object is photographed — some of the most commonplace subjects can be given new interest by clever lighting and composition. Elaborate lighting equipment and sets are by no means necessary ; it is how the available lights and sets are arranged that counts. The amateur should first acquaint himself with the basic principles of composition and lighting and then study the work of the professional, both in still and motion picture photography. He has much to learn from the professional. Much valuable information can be obtained from books and magazines like the International Photographer, but this, by all means, should be supplemented by a thorough study of photographic exhibits and motion pictures shown in theatres daily. They represent the best there is and the amateur can gain much from them. From the pictures shown in theatres he can learn lighting, composition, camera movement, camera angles, continuity and editing, special effects, and many other aspects which should give him a new source of inspiration for his own pictures. The amateur is, in many respects, to be envied by the professional. He is his own boss — he may even write and direct the pictures he produces and photographs and he does not need to worry about overhead expense and box office. If he wishes to try something new there is no one to stop him — his facilities are unlimited. Yet with all this in his favor he seldom shows any originality, any ingenuity. He merely sits back and asks: "How can I get professional effects without professional equip(Turn to Page 26) Please mention The International Photographer when corresponding with advertisers.