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logical factors with which these representatives are faced in straightening out laboratory and production trouble caused by a product possibly defective.
In commenting on this subject, I do not mean to say that my experience in the laboratories has brought to light an excessive number of difficulties with Agfa products. The reason I mention this phase of my contacts with raw film manufacturers is that I believe the best opportunity of judging their ability exists when they are faced with particularly difficult situations, arising in the laboratory, which require their full manufacturing knowledge for analysis.
The general advance noted during the past decade in all technical phases of the photographic industry has brought about a status of near perfection to emulsion qualities of motion picture photographic materials, which renders it difficult for a new concern to successfully introduce its products competitively with already existing film. Naturally, to induce a producer or a responsible technician to switch to a different manufacturing brand can only be accomplished by convincing him that the new product has special merit and qualifications which justify the change.
The local representatives of film manufacturers also have the responsible task of guiding their factories in order that certain qualities will be incorporated in their products so that they may be sold on the basis of possessing special oustanding characteristics.
During my laboratory experience, I remember witnessing the efforts on the part of Agfa Ansco technical representatives in the introduction of their Superpan negative. At that time the trend of the motion picture raw film manufacturers was decidedly toward creating a negative type of ultimate general speed. Agfa Ansco's representatives, disregarding opinions to the contrary, went firmly on record in maintaining that excessive speed was necessarily causing a shortcoming in other important emulsion characteristics, such as grain structure. In the meantime, this viewpoint has been sustained as correct by many practical experiences, for the name "Agfa Superpan" and "fine grain" became practically synonymous to the cameramen and laboratory technicians. I recall many instances when cameramen and others, viewing daily prints, commented with surprise on the smooth texture of face tones in closeups photographed on Agfa Superpan.
In connection with this subject, it might be well to mention that the cameraman is rarely aware of how graininess might affect the technical quality of his finished picture due to the many lap dissolves and other effects produced by duplication and inevitably involved in every final release print.
At present Agfa Superpan has reached a degree of shadow speed and general sensitivity fully equal to competitive material without appreciable loss of its fine grain characteristics.
In closing, I want to take this opportunity to express my sincere gratitude to Mr. George Seid for whom I bad the privilege to work for the last two years. I modestly say that his fundamental technical ability, thoroughness and practical experience has helped me invaluably to widen my own knowledge.
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