International photographer (Jan-Dec 1934)

Fourteen The INTERNATIONAL PHOTOGRAPHER November, 1934 Has Infra-Red Photography a Place In Commercial Work? By Fred S. Tobey (Feature Writer and Photographer of the Boston Transcript and a Brother of Our Own Bob Tobey.) |T is somewhat astonishing that the perpetual search for new instruments with which to stir public attention from its lethargy has not fosused more attention upon infra-red photography. From the scientists' quarter there has been no lack of interest ; on the contrary, much effort has been directed to research on the theory that discoveries important to warfare lie not far away. As to the commercial photographers, however, it seems to have escaped all but an isolated few that there is a commercial market today for infra-red pictures. To be sure, the public has no exclusive right to lethargy. A striking appearance makes the infra-red photography valuable commercially. Still life by the "light" of a warm flatiron. Infra-red photography by Fred S. Tobey and Donald M. Came. Specifically, the implication is this: If a degree of quality and a measure of novelty are characteristics that practically assure the success of any product, then by virtue of having more than a share of the latter attribute, infra-red photographs get off to an excellent start by themselves. As to the quality, that is, the photographer's hunt, of course, and quite possibly the stumbling block that has led him to drop the thing after spoiling a dozen plates or so. For it is true that to acquire anything resembling an adequate technique in this type of work, the photographer must be possessed of a zeal reminiscent of those sturdy pioneers who used to tramp over the countryside with a light-proof tent and a couple of bird-baths in the interest of the wet collodion process. Since the development of emulsions sensitive in a practical degree to infra-red "light" — the invisible radiation so low in the spectrum that it may be characterized as a heat ray — two angles of this type of photography have been exploited in the press: First, the spectacular angle, with illustrations to show how the infra-red ray will carry a true image over a distance of hundreds of miles, while visual radiations bring only a confused mass of light; and second, the supposed future usefulness of the ray in warfare, when the production of speedier emulsions will have made possible the accurate photography of enemy fortifications over long distances and through atmospheric haze. The slow speed of emulsions prohibits this in present practice. Only under ideal conditions may aerial photographs be made by infra-red light, because of the relatively long exposures necessary. To return to our theme, the third application of infrared photography, and the one that has been neglected, is its practical use in every-day commercial work, taking advantage of the ultra-sharp definition obtained, and even more of the striking characteristics which draw attention to the infra-red picture wherever it is shown. As for those whose sensibilities are offended by the thought of making an appeal purely on the ground of the unnatural qualities of these pictures, let them open any of the more expensive magazines and note the growing tendency toward the use of heavy black areas and high contrasts to gain effectiveness in the advertising pages. These are the major characteristics of the infra-red picture: Great clarity and definition; complete elimination of detail in shadow areas, which print totally black ; high contrast between these areas and the subject. Properly composed, therefore, the infra-red photograph may achieve a striking effect while losing nothing from the artistic viewpoint. During the past year and a half Donald M. Came, of Brookline, and I have devoted some time to securing a series of pictures for the Boston Evening Transcript, to show the various applications and effects of infra-red light. With the cooperation of Joseph Garside, of E. W. Wiggins Airways, we have made altitude flights to test a new Eastman emulsion, getting fair results with exposures cut down to one-fiftieth of a second. We have taken distance shots and close-ups on the ground, and have made laboratory exposures by the irradiation from hot objects. While the intent of this series of pictures has not been a commercial one in the sense that the word is used above, the variety of pictures obtained has been great, and some of them have been of a type readily adapted to commercial uses. None of the usual salesmanship was necessary in disposing of the latter outside the newspaper field. One photograph, for example, was used as a cover picture by a trade magazine, and although the subject, a new Federal building, was one that had been prospected until it hurt, the cover presented a striking appearance that resulted in an extra call for that issue of the magazine. The above point is cited as a slight relief from theorizing. Looking at it from the commercial photographer's viewpoint, there is an important difference between infrared photography and the usual sort. While it is generally thought advisable to have an order for a picture before you take it, this hardly holds true in infra-red work. It is much safer to take the picture first and then seek a market. The reason for this is that you never know until you take the plate out of the fixing solution just what your infra-red picture will turn out to be. It is a source of constant amazement to view the widely varying results obtained under conditions which, to the eye, appear almost identical. This is due, of course, to the fact that although the camera is focused and the picture composed by visual light, only the invisible infra-red rays act upon the plate. The photographer can no more than conjecture as to the power and distribution of the infra-red radiation present at the time the plate is exposed. In general, areas subjected to direct sunlight will register strongly, while other surfaces, though they may appear very bright, show scarcely at all. Objects in shadow, even though it be not a deep shadow, will not appear on the plate, however well it may be exposed. Grass and foliage reproduce as pure white, appearing snow-covered, while a bright blue sky turns out dead black, in effective contrast to marble-white clouds. Evergreens, unlike the leafy foliage, photograph normally. These are generalizations, however. It is perfectly Please mention The International Photographer when corresponding with advertisers.