Amateur Photographer & Cinematographer (1933)

August 2nd, 1933 The AMATEUR PHOTOGRAPHER o L CINEMATOGRAPHER a Methods and Ideals of well-known Pictorial Workers. From information communicated to our Special Representative. “ ^pHE ground in this series has already been so ably and fully covered that it is diffi¬ cult to say anything new. It may, however, be interesting for beginners to know how a fellow photographer gradually improved his results, and by what means he progressed. Reflections. " Like most amateurs I drifted along for several years, doing no work of any moment, until, fortunately, I strolled idly into the Manchester City Art Gallery, where the Northern Photographic Exhibition was being held. My eyes were instantly opened to the possibilities of photography, and I at once resolved to try to emulate the fine work shown, and, if possible, to have a print accepted at such an exhibition. " Realising that technique is the basis of all good work, I decided to study The Amateur Photographer, and also to join the Manchester Amateur Photographic Society, where I soon found that expert advice was always to be obtained. I advise young and aspiring photographers to act in a similar way, and in addition to visit By A. H. Greev. as many photographic exhibitions as possible, and particularly to study the pictures which have obtained awards. “I generally work with a 3^X2^ Ensign Reflex, or a Sibyl camera also taking this size of plate. For quick work I prefer the latter, as I am able to judge distance’ with a fair amount of accuracy, and the setting of the camera takes only a few seconds. I mainly use panchromatic plates, preferably Soft Gradation, as I find the extra speed valuable. To obtain 108 better colour values, and to include clouds when present, I have ‘ Alpha ’ filters fitted to my lenses. These increase the exposure to about double when using pan. plates. “ Previous to development I de¬ sensitise for two minutes, and am then able to develop in a bright green light. I prefer to develop rather fully, as this gives me the type of negative I require. I generally make my enlargements on chloro-bromide paper, as a finer quality of print results ; but when only a very small portion of a negative is used I enlarge on to soft-grade bromide paper, the exposure being much shorter than with chloro bromide paper. To obtain a softer and more artistic result I generally use bolting silk for about half the exposure. “ I have recently been experimenting with a small roll film camera, and am astonished at the results obtained, and the large size to which the negatives can be enlarged without showing grain. “ I think that the print ‘ A Slump in Trade ’ proves that good pictures can be obtained near home. I had often observed sun rays illuminating a large Manchester station. The correct time having been noted, I waited for a favourable opportunity, and when this came I sallied forth with my Sibyl camera. When the platform was clear I obtained the co-operation of a news¬ boy, who became the motif and also supplied the title of the picture. A fast matt plate was used, the lens opened out to f/5.6, and i/8th of a second exposure given — the utmost I dare chance with the camera held in my hand. “ The other print, ' Reflections,’ was taken many years ago at Newby Bridge, but can never be repeated, as the large tree which almost forms a frame to the picture has been felled for road-widening purposes. The title covers both the mood of the girls and their reflection in the water.” 20