Amateur Photographer & Cinematographer (1933)

to amateur photographer G CINEMATOGRAPHER a August 23rd, 1933 Methods and Ideals of well-known Pictorial Workers. From information communicated to our Special Representative. " TOEING a lover of Nature in whatever mood she presents K) herself, and also a lover of photography, I get a tremendous amount of health-giving pleasure in tramping around looking for likely subjects ; and surely this is where the making of an exhibition picture commences — that is, choice of subject. I am one of those who, directly they find something that makes an appeal, get busy at once so that an exposure is quickly secured. Once that is done the scene can be examined to see if a better viewpoint can be obtained The George” Yard. or if better lighting effects are likely to be available at a different hour. This is, I think, the second point in picture-making — the lighting effect. The illustration of the inn yard aptly bears out the im¬ portance of working quickly, and watching the time of day for the best lighting. Two exposures were made on this subject at ten o’clock. Then the landlord was asked at what time the sun would be shining down the yard. He said it would be six-thirty in the evening. The day was spent else¬ where, and just after six o’clock I returned and found conditions as seen in the reproduction. “ My camera is a bit of a relic — almost as old as some of the quaintly-fashioned corners it has been used to photograph. It is an old half-plate field camera, with a Beck f/8 lens. When I am getting about in a car (thanks to many kind friends) I always use this camera. When tramp¬ ing I carry a quarter-plate Goerz ‘ Tenax ’ with film packs ; but I use panchromatic cut films for the half-plate. I invariably desensitise, and then develop by inspection. I like sharpness in my negatives, preferring to get what softness may be required in printing. “ Making the print is the most interesting part of the whole job ; and when I am using bromide or chloro-bromide the utmost effort is made to get the print as perfect as may be. Although I have no objection to working on prints I think it should be avoided as much as possible. " A good bromide print is still a delight, and will hold its own among the best ; but for lowkey portraits I much prefer to use chloro-bromide ; whilst for landscape or architectural work I really do not think that anything can beat bromoil, for one’s artistic feeling can be allowed full play. " Referring to the two illustrations, perhaps some readers might like to have the data of their production. ‘ Anthea,’ portrait panchromatic film, daylight exposure, about 1 /5th of a second exposure at f/6.3. The print was made on Ilford chlorobromide with glycin developer. The only treat¬ ment on the print was just a trace of megilp rubbed in with distilled spirits of turpentine. The inn yard, taken at 6.15 p.m. in June, on panchromatic cut film, with Wratten times filter. Exposure, quick bulb at f/16 ; negative developed with pyro-metol. The print was made on Ilford cream bromoil paper, and inked up with Sinclair’s ‘ Encre Machine ’ pigment. " In conclusion I would add that those who want to improve their work should submit prints to the big open exhibitions, and go and see them hanging with others. It is safe to prophesy that in a couple of years’ time their photography will be improved to such an extent that the early failures, which are always inevitable, will be By $ani Logan. amply atoned for.” 1 8 I76