International photographer (Jan-Dec 1934)

Four The INTERNATIONAL PHOTOGRAPHER Further Notes On Marine Photography By Karl A. Barleben, Jr., F.R.P.S. April, 1934 BOUT seventy-five per cent of the world consists of water. Is it any wonder that it holds certain fascinations for everyone who is fortunate enough to come in contact with it ? The sea is most glamorous — to those wrho can see beauty in the various moods of the sea. The cameraist is particularly fortunate who has grasped the idea of picturizing the sea — and you may rest assured that most of them who live near or by the sea make the most of their opportunities. Perhaps the most interesting thing about the sea is its moodiness — one day it is calm and serene, the next it may be a raging tempest. The changeability affords the photographer a new set of negatives every time the wind changes. He can live near the sea for years and never hope to exhaust its possibilities, even in that one locality. Secondly, the sea offers everyone some particular interest. Those who lean towards pictorialism will find it in all its glory by the sea. Those who want news, speed and action pictures will also find these qualities on the water — swimming, speed boat races, sailing, fishing. And lastly, just think of that salty, tangy sea air that you can breathe into your lungs as you sally forth in quest of sea pictures. But to come to the point. Marine photography doesn't differ greatly from the regular run of straight photography. As far as equipment is concerned, any camera can be used to good advantage from the lowly Box Brownie to the expensive Graflex. Amateur movie workers, too, have in the water a most active subject. Rollers gliding upon the smooth, sandy beach or dashing themselves cruelly against rocky cliffs make most attractive subjects. In the still field, however, I personally feel that the miniature camera has the edge on most other equipment — and I'll tell you why. When working on old man sea you must be prepared for anything and everything. Pictorialists are gluttons when it comes to punishment. I've known them to balance themselves on tiny rocky ledges with the breakers coming in full tilt, threatening to dislodge the photographer at any moment. I've seen them tumbled into the seething, foaming, icy-cold water, cutting their legs and hands unmercifully because of their dangerous positions. Do they care? I should say not — that is, if they can show results in the darkroom that evening as they develop their films. Whenever I see enthusiasts taking chances like these I'm reminded of the newsreel correspondent of the International Photographer, Ray Fernstrom, whom I knew in the days when . . . Back in Boston, that was. Ray has this same daredevil quality. Now you can well imagine how easy (?) a large camera would be to tote around on rocky cliffs and in caves. At least one hand is needed for support or balance. With the baby camera it is different — it can be tucked away in an empty pocket, although most photographers' pockets are usually bulging with filters, telephoto lenses, spare film rolls or magazines, and what not. But anyway you can see where the small camera is just the thing for marine photography. On the wharves and on ships things are pretty much the same. Here one is required to climb about, over and under, in order to get just the right view-point. Won't you admit that the diminutive camera is the most practical? Then again, there is a real desire to shoot picture after picture. You can't help it, the urge is too strong. With the larger camera you have to go easy with the shots, for they are costly. When shooting baby roll film or cinema film, the expense involved is not worth mentioning, hence the enthusiast may shoot away to his heart's content. This in turn means that there will be just so many more negatives to select from. A filter is an excellent thing to use on the water. There will usually be clouds to be recorded, and the sky will want to be filtered so that a proper differentiation can be recorded between sky and water. For all practical purposes, a medium density yellow filter will do the trick or, if you want a real dark sky, use that most excellent of excellent filters, the "23-A." Of course this presupposes the use of panchromatic film. A good, fine grain ortho film such as perutz Fine Grain Special or Agfa Plenachrome will be found excellent, providing other than yellow filters are not found. If speed in the film is a consideration, forget it. On the water there is always an abundance of light except on real dark and stormy days. A speed film is superfluous. A good sunshade should not be forgotten. In fact you will be sorry if you leave it at home. Take a good shade such as made by the Hollywood Camera Exchange, Solite, Woesching, Willo, and others. Most of these, besides acting as efficient sunshades are also filter holders. It must be remembered that the water as a rule reflects an abundance of light — so does the white, sandy beach if you happen to be working on such territory. This extra light should be prevented from reaching the camera lens, and the only way to accomplish this successfully — and without bother — is by using a sunshade for each and every exposure. The light may be somewhat deceptive on the water due to just the reflection that was mentioned previously. A good exposure meter will do wonders to keep the worker straight on this point. In general, it might be said that the complaint is usually over instead of underexposure on the water. A small lens stop, even when using a comparatively heavy filter will ordinarilv be required, yes, even with a slow film. Shutter speeds may give a little trouble to the begin The real camera enthusiast laughs at hardships and difficulties— he finds a way to get the picture he wants. By George V. Moran. ner on the water, because they should be used in accordance with the subject being photographed. To illustrate, take speed boats. Here a quick, snappy shutter speed of between 300 and 500th of a second will be found necessary. This is because of the movement of the boat itself. When on the seashore, photographing spray as Please mention The International Photographer when corresponding with advertisers.