We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
matic correction, the film gives a very pleasing rendition of face tones and textures.
Both of these films have the extra speed which gives a welcome margin of safety when rapid focusing is necessary. This means that we can use smaller lens stops, which give increased depth of focus and improved overall definition. When working in the air. it means we can use shorter exposures, to be sure of offsetting not only the speed of the plane, but the otherwise imperceptible vibration of the powerful engines.
In addition, we've found that Agfa films have a delightful quality of brilliance, as distinguished from excessive contrast, which helps a lot in producing the good, snappy prints needed for good newspaper and magazine reproduction. This can hardly be stressed too much, for mere strong contrast becomes exaggerated through the reproduction processes and can often be distorted into an unpleasant “soot-andwhitewash” effect, while the brilliance we get from Agfa negatives is a very different thing, and gives a pleasing sparkle to the final result.
Fine-grain characteristics are important to us. Practically all of our pictures are made with the newsman’s standard equipment — the 4x5 Speed Graphic — and enlarged prints, 8x10 or larger, are made from these comparatively small negatives. A print whose grain structure proclaims it an enlargement is useless for our purposes, and especially for pictures made for magazine reproduction where “slick” paper and really good printing and engraving show up all the good — and bad — points of a picture. It is a tribute to the Agfa materials
we use that our 8x1 0’s have repeatedly been taken for big-negative contact prints.
A generous proportion of our stills are shot with synchronized Hashglobes. Working in the darker recesses of hangar or repair-shop, the flash is necessary. And working outside, where we often have the problem of balancing deep shadows with the highly reflective expanse of the polished metal fuselage of a Mainliner, the flash is invaluable. We use our speed flashes much as a studio cinematographer would use reflectors or “booster" lights under similar circumstances — and with similar beneficial results.
Both of these films lend themselves admirably to the rapid processing necessary in the newspictures we make for local papers and for the syndicates. Superpan Press, we have found, develops and fixes in about two-thirds the time required for other makes. In wet-negative printing, the water smooths out on the surface instead of forming droplets which would show up in the print.
The final, but by no means the least important link in the chain is the paper used in making the print. Brovira paper, with its extra latitude in printing, saves on remakes, develops rapidly, and gives us, even in rush prints, the sort of quality usually associated exclusively with Salon prints.
The first requirement in any photographic business — and especially in one like ours which seldom permits retakes — is the use of dependable sensitive materials. Experience in making thousands of pictures of all kinds, and under all conditions, has convinced us that Agfa certainly fills the bill!
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