The international photographer (Jan-Dec 1934)

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August, 1934 T h INTERNATIONAL PHOTOGRAPH K R Thirteen to keep the film in the center of the paper covering. The cine film with its attached paper covering is wound on a spool and inserted into the camera. We are now assured that the film will move along evenly when the winding knob is turned ; and we can also avail ourselves of the numbers on the paper covering to guide us in winding the film, just as with the regular roll-film. When panchromatic cine film is used, the same precautions in regard to the red windows should be followed as are recommended with the regular supersensitive panchromatic roll-film. In this manner I have made successful exposures on cine film with the Foth Derby camera. Other miniature roll-film cameras can be used in a similar fashion. Cameras which have an automatic film transport instead of the usual red windows make the matter much simpler. Many miniature camera photographers may have experimented along this line and may have discovered simpler methods of using 35 mm. film in the roll-film camera. We would be glad to hear from such photographers and of the work they have accomplished. It would undoubtedly be of great interest to the readers of this department. Kindly write me in care of The International Photographer. Any photographs or diagrams' of alterations performed on a roll-film camera to allow it to accommodate 35 mm. cine film will be welcomed. After all, it is through an exchange of ideas and accomplishments that we are able to progress more successfully. H'ratten "A" Filters: Last month it was mentioned that in the case of filters made by cementing colored gelatine between two pieces of glass, strains were set up by the cement so that the filter would not be plane or parallel, except when glasses of unusual thickness were used as in the case of the Wratten A filters. These filters are made from glass known as A glass in contrast to the cheaper or B glass. The term A in this case has reference to the type of glass used and not to the color as the 23-A or tricolor-A filters. Parallax: The finder and the lens on the camera occupy different positions and therefore the field of view as seen in the finder may be different from the picture formed by the lens. The difference in the fields produced by these two components of the camera does not become apparent until we get closer than about 15 feet to the object. The nearer we are to the latter, the greater is the difference in the picture seen in the finder as compared to that produced by the lens. To compensate for this parallax we must move the center of the subject as seen in the finder slightly towards the lens. If the finder is situated above the lens and we are close to our subject, the latter is first carefully composed in the finder, then the camera is tilted slightly upward to bring the center of the subject downwards towards the bottom of the finder, in this manner compensating for the parallax existing between the lens and the finder. When the finder is situated to one side of the lens, the camera is moved to bring the center towards the side of the finder near the lens. The amount of displacement of the center of the subjct necessary is dependent upon the distance of the subject ; the nearer it is, the more correction for parallax being necessary. Some cameras have provisions whereby the parallax can be accurately taken care of, such as the Leica to which can be attached either a universal optical finder, or a direct vision wire type finder, both of which can be adjusted for parallax at close distances. In this case the field seen in the finder will be the same as that formed by the lens. In the case of the Rolleiflex, the separation between the finder lens and the taking lens is so small as to practically eliminate parallax. Many photographers have been wondering why portions of the subject are cut off in the negative when at the time of exposure the subject was carefully composed in the finder. This happens when the subject is close to the camera and can be eliminated by adjusting it in the (Turn to Page 24) The Toughest Spots on Land, in the Air, under Water EYEMO takes them in its stride Martin Johnson films animal herds on the African veldt from 1,000 feet up; Arthur C. Pillsbury, naturalist, records the domestic affairs of fishes in the ocean deep; Bernard R. Hubbard, the glacier priest, invades the steaming depths of remote Alaskan craters. The Eyemo 35 mm. hand camera is there— catching every movement in these re mote and difficult places of the world. Small and compact enough to be carried anywhere, Eyemo may be operated by spring motor, hand crank, or electric motor. Takes 100-foot daylight loading spools, or may be used with 200 or 400-foot external magazines. Seven film speeds, from 4 to 32 or 8 to 48, including sound speed. BELL & HOWELL COMPANY 18+9 Larchmont Ave., Chicago; 11 West 42nd St., New York; 716 North LaBrea Ave., Hollywood; 320 Regent St., London (B & H\ Co., Ltd.). Established 1907. Please mention The International Photographer when corresponding with advertisers.