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Flexible Technique
As might be expected from the varied subject-matter involved. Kronquist’s technique is flexible. Each shot is its own law. “In general." he says, “I try to deal forcefully with lines and masses, with strong highlights and shadows. I naturally try to keep my definition crisp, but luckily my pictures don't have to conform to the same standards as the more straightforward shots made by the thousands for production and engineering records, and in which the picture is no good unless you can count every rivet on the ship.
“On my exteriors, I try to keep my filtering simple; I usually stick to two filters — one good yellow one, and one good red one. With the latter, I manage everything from normal overcorrected skies to heavy night-effects. However, since we’ve had Agfa’s superfast hi ms, we’ve been able to get more and more of our night-effects actually at night.
“The problem of exposure is often complicated by having to shoot fast enough to eliminate the vibration of the plane’s engines. This is true even in shots of the ship on the ground, for 1 11 often have to make my shots while the engines are being tested, or warmed up before test hops. Here, again, no rule can be set down; if the pilot is racing his engine, you have to use a fast exposure; if he’s simply idling it, you can shoot far slower.
"Lately I’ve been exploring the possibilities of composite shots, especially as regards printing in clouds. ^ ou know, it seems that every time we get a new ship, like the DC4 or the DC5, ready to take its initial how, either there are too many clouds for
my picture, or not enough. And clouds make the picture. So I’ve taken to shooting the ship "as is,’ and printing in the decorative clouds later. When the DC5 came out. for instance, I made my negatives with a blank, "bald-headed' sky, naturally getting prints indentical with those made by the other cameramen, and useless for our purposes. My superiors wasted no time in telling me so.
Composite Printing
“But I took the negative home to my darkroom, and dug out a nice cloud negative I'd shot up in Seattle, while I was with Boeing. When I returned with the composite print, the ‘brass hats’ thought I'd been dabbling in black magic, for they couldn’t believe it was the same basic picture!
“So I'm trying to build up a library of good background shots. It may sound strange to most of you longtime residents of Southern California, who seem to feel that Southern California clouds are of an inferior variety, and that the clouds up in the northwest are more photogenic, but I've learned from experience that Southern California clouds are far more useful pictorially!
"In making these composites, I've certainly gained a lot of respect for the men in the studios who make projected-background composite shots, for I’ve learned the vital importance of coordinated perspective and lighting in the background and foreground elements of the shot. If the perspectives of the two elements don’t match, your picture, no matter how effective otherwise, stands out clearly as a ‘phoney’ — and does a nose-dive into the editorial wastebasket. The same picture, with properly coordinated perspective, is almost a cinch to ‘click’ anywhere.”
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