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camerists who have a tendency to jab the shutter release, and thereby blur exposures made at 1/25 second or slower.
This is also advantageous in using filters. Often the use of filters under poor light conditions, or under normal conditions when the heavier filters are used necessitates exposure increases which again bring this choice between depth and definition or overly long exposures. The use of a faster film like Supreme or Ultra Speed Pan often solves this.
It naturally follows that Ultra Speed Pan can be used outdoors with filters like any other panchromatic film. Due to the somewhat flatter gradation of this emulsion, it is advantageous to avoid featureless flat lightings, and at times to utilize such filters as the G and the various red filters — the A and F series — which increase contrast. The filter factors for this film are:
Aero I 1 .5
Aero 2 2.0
K1 1.8
K 2 2.0
G 2.5
23 A 3.5
25-A 5.0
F 7.0
Infra-Red
Another film which has created a great deal of comment is Agfa Infra Red. While this film has become universally used for exterior night-effects by professional cinematographers, many miniature-camera users have seemed at a loss as to how it should be used and exposed.
One of the applications to which Agfa Infra-Red film is perhaps most admirably suited, is its use for pictorial photographs in which a dramatic sort of beauty is desired. The deep, heavy shadows, the dark skies, and glistening highlights that are obtained in outdoor pictures made on this film, are remarkably helpful in creating the dramatic mood required for some subjects. In the same fashion, a fantastic sort of beauty results from the sunny, almost snow-like appearance of grass, shrubs, and trees, for the chlorophyll contained in most foliage reflects a large proportion of infra-red radiation to which the film is sensitive. But often more intriguing and beautiful than even these effects, is the striking way in which creamy-white cloud formations are captured by Infra-red film and emphasized in dramatic relief against a cold blue sky that in the finished print is rendered in rich, deep tones. The combination and development of these effects with Infra-red film presents almost limitless possibilities to the pictorialist who is interested in interpreting the beauty of outdoor subjects.*
The matter of exposure is a difficult one to generalize upon. It is almost impossible to give an arbitrary Weston speed for this film because not only
*See also "Infra-Red for Dramatic Effects", P. 13.
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