International photographer (Jan-Dec 1934)

April, 1934 The INTERNATIONAL PHOTOGRAPHER Fme it is caused bv waves crashing against rocks, one would get a photograph that will delight your heart. A pan ordinarily judge that a fast shutter speed is necessary film and a "23-A" or "A" filter will do a wonderfu|l because the spindrift does move with considerable speed job, or, if you have ortho film in the camera, use your in the air. Yet if it is shot at a fast shutter speed the yellow filter, which will do a fair job considering the result is a lifeless record of a white mass hanging in mid material you are working with. If you are out in the Left — Ocean liners offer their majestic appearance to the cameraman, by George V. Moran; The sailboat is still the queen of the seas, by C. J. Lewis; "The Lighthouse", photo by Karl Barleben; below — even the canals in Europe offer material for the camera, by Karl Barleben; "Clouds Behind the Masts", Leicaphoto by C. J. Lewis (Miami). air. Unnatural as can be. In order to inject life and animation into the spray, slow the exposure down a bit. Experience seems to indicate that from l/25th to l/75th second exposure produces the best results. Try it yourself if you are doubtful. The spray may then reveal a "drag," but look at the print! You will catch the true-to-life action as the eye saw it. The picture will radiate action, life. Then we come to when to snap the shutter. Only experience can teach this, for there is a decided knack in knowing how to judge the spray at its height — and as a rule the shutter must be released a fraction of a second before the big moment to compensate for the delay of the shutter mechanism in getting into action. This may be splitting hairs, I'll admit, but what a difference it really makes. A low view point — when possible — is suggested for waves and spray on the coast. A high position for the camera will have a tendency to dwarf the waves and spray. Get low down and shoot slightly upwards and see how massive and impressive they will then be. In order to get the camera low, enthusiasts get right into the water, as was indicated before, holding the camera barely above the surface of the water. A tripod is absolutely out of the question when working in swirling water, hence we again must mention the miniature camera as being the ideal instrument for marine photography. We mustn't overlook the possibilities of sunsets on the water. Pick out a smooth, sandy beach. Wait until the tide is low, having gone out during the afternoon, thus leaving the sand wet. Then catch the red, setting sun as it glints and gleams on the wet sand. You will water in a boat, catch the narrow ribbon of gold as the sun sets, throwing the golden pencil of dancing light across the water. Not only will such scenes inspire you personally, but your camera will also be delighted with having been made to record such scenes that thrill artists. Ships are always good subjects for your camera. Each one has hundreds of angles to photograph, and the worker is cautioned not to shoot hasty exposures — rather wait until both the angle and the light are favorable. The giant liners never fail to offer material for countless exposures. Their hugeness alone can be worked up into pictorial material. Then there are sailboats. By all means catch those white sails, place them against a cloudflecked sky, and see if you don't get a picture. A filter will of course be found necessary to differentiate between the white sails and clouds, and the blue sky. At sundown, wait until the sails entirely hide the sun — a true backlighted shot. With the proper filter and correct exposure you will have something. All in all, the cameraist who lives near the water and doesn't shoot plenty of film on or near it is missing half the fun of picture-making. Some folks travel hundreds of miles just to get a crack at it with their cameras. They know and appreciate it. Do you make the most of your opportunities? Westberg's Cinematographer's Book of Tables is ready. $1.00. The International Photographer, 1605 Cahuenga Avenue, Hollywood. PHOTOFLASH SYNCHRONIZER Taking Photoflash Snapshot Pictures is very simple with this Synchronizer. You simply insert cable release in groove on lamp holder and press the trigger and the Synchronizer does the rest. Designed especially for the amateur, makes it easy to take action pictures of children, pets and a host of other subjects, or against the light. The amateur photographer has always been seeking new oppor with this small Synchronizer ; it will work the shutter up to 1/50 of a second. The size of the complete outfit fits in a box 5x3x1^4". We suggest Mazda Photoflash Lamp and Verichrome or any highly sensitized film. Only two small dry cell batteries required to set off lamp. Satisfaction guaranteed — free trial gladly granted. Distributed by Burleigh Brooks, New York, N. Y. Price complete, $3.50. tunities for picture taking in the home. Now you have it Please mention The International Photographer when corresponding with advertisers