Amateur Photographer & Cinematographer (1933)

September 6th, 1933 The AMATEUR PHOTOGRAPHER p 6 CINEMATOGRAPHER e line, in angle and curve, in gorgeously detailed colour painting or the utmost economy of strokes of the pen, was everywhere manifest. The photographic basis which underlies a great deal of poster work seemed more evident in a general view of this exhibition than in isolated posters or groups of posters seen on the hoardings. We felt somehow the cleverest things were either those in which photography had been used frankly as the basis, or else those in which photo¬ graphy evidently had had no part at all. The least successful were some in which photographs had probably been used, but care had been taken to obliterate the evidence. In taking away the photography, something of the character had disappeared also. Fixing Miniature Negatives. Now that miniature cameras are in fashion attention has rightly been paid to the composition of developers that will produce images of the finest grain, so that satis¬ factory enlargements may be made from the small negatives. Little attention, however, has been given to the making of a perfect fixingbath. Although in theory no normal fixing bath should interfere with the most delicate details in a negative, some workers are of opinion that a normal fixing solution, es¬ pecially one of the acid type, does sometimes have a reducing action upon the finest details. In July, 1914, efforts were made in Germany to find an ideal non-reducing bath for fixing miniature negatives, but the war came and nothing has been heard of any later experiments. As far as the experiments went, they proved that the best fixer for miniature negatives was : Hypo, 5 oz. ; sulphate of magnesia (Ep¬ som salts), 1 oz. ; warm water to 16 oz. The salts act as a mild hardener, without interfering with the fixing properties of the hypo. The A mateur Photographer ” EXPOSURE T ABLE — September EVERY MONTH a brief exposure table will be provided for the assistance of our readers in their practical work. A glance at the current approximate exposures as here given will serve as a reliable guide for most purposes. The subjects will be varied to suit the time of year. The following exposures will serve as a working guide for any fine day during the month, between the hours of 10 in the morning and 2 in the afternoon, with the sun shining, but not necessarily on the subject. Stop used, f/8. The exposure should be doubled if the sun is obscured or if stop f/n is used. For f/16 give four times the exposure. For f/5.6 give half. From 8 to 10 a.m. or from 2 to 4 p.m., double these exposures. From 6 to 8 a.m. or from 4 to 6 p.m., treble them. From 5 to 6 a.m. or 6 to 8 p.m., about four times these exposures will be required. N.B. — The times given above are by “ sun time.” The exposures , therefore, which are laid down as suitable for 2 to 4 p.m., for instance, will be those to be given between 3 and 5 p.m., by the clock, during “ summertime." Subject. Ordinary. Medium. Rapid. Extra Rapid. Ultra Rapid. Open seascapes and cloud studies . . 1/25 sec. 1/40 sec. 1/75 sec. 1/100 sec. 1/120 sec. Open landscapes with no very heavy shadows in foreground, shipping studies or seascapes with rocks, beach scenes . . 1/15 1/25 f * 1/45 * f 1/60 yy 1/75 t* Ordinary landscapes with not too much foliage, open river scenery, figure studies in the open, light buildings, wet street scenes 1/8 * y 1/12 1/25 * * 1/30 * y 1/40 yy Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/5 * * 1/10 ** 1/20 1 » 1/25 1 1/30 yy Buildings or trees occupying greater portion of picture, river scenes with heavy foliage 1/3 ** 1/4 * y 1/8 1/12 * y 1/15 yy Portraits or groups taken out of doors, not too much shut in by buildings . . 1| ** 1 y » 2/3 n 1/3 y y 1/4 y y Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 5 secs. 4 secs. 2 secs. 1| yy 1 yy As a further guide we append a list of some of the best known makes of plates and films on indicate the speeds referred to above. The hypersensitive panchromatic plates the and market. They have been divided into groups, which approximately films re/{uirc less exposure than the ultra-rapid. Ultra Rapid. Agfa, Special Portrait. „ Super Pan. Film. „ Super-speed Film. „ Isochrom Film. „ Ultra Special. Barnet, Press and Super Press. „ XL Super-speed Ortho. „ Soft Panchromatic. ,, Studio Fast. „ Ultra Rapid. Criterion, Enelite. Eastman, Par Speed Cut Film. „ S.S. Cut Film. ,, S.S. Pan. Film. Gevaert, Super Sensima. „ Sensima Fast. „ Sensima Ortho. „ Super Chromosa. „ Roll Films and Packs. Hauff, Ultra Rapid. „ Ulcroma. „ Ultra Roll Film and Pack. Herzog, OrthoIsodux Roll Film. Herzog, Ortho-Isodux Film Pack. Ilford, Golden Iso-Zenith. „ Iso Zenith. „ Hypersensitive Pan. Plates and Films. „ Portrait Film (Ortho Fast). „ Monarch. ,, Press. „ S.S. Ex. Sens. ,, Zenith Ex. Sens. ,, S.G. Pan. Illingworth, Fleet. „ Super Fleet. „ Super Fleet Ortho. „ Pan. Fleet. Imperial, S.S.S. Press Ortho. „ Eclipse. „ Eclipse Ortho Soft. „ Eclipse Soft. „ Eclipse Ortho. „ Eclipse Pan. Soft. Kodak, Verichrome Film. Marion, Record. „ Iso Record. Selo, Selochrome Roll Film and Film Pack. „ Selo Pan. Roll Film. Standard, Film. Wellington, Anti-screen. „ X Press. Extra Rapid. Agfa, Chromo. „ Isolar. Extra Rapid. Isolar. Iso Rapid. „ ,, Chromo. Roll Film. Barnet, S.R. Pan. „ Studio Ortho. Criterion, Iso E.R. „ Portrait. „ Roll Film. „ Special E.R. Ensign, Roll Film. Gevaert, Filtered Ortho. ,, Chromosa. „ S.R. „ Regular Cut Film. Hauff, Analo-Flavin. „ Extra Rapid. „ E.R. Ortho. „ Roll Film and Pack. Ilford, Auto Filter. „ S.R. Pan. „ Pan. Film. ,, Rapid Chromatic. Imperial, Non-Filter (new series). „ Eclipse Pan. B. „ S.S. Ortho. Kodak, Roll Film and Film Pack. Pathe, Roll Film. Selo, Roll Film. Zeiss Ikon, Roll Film and Film Pack. Rapid. Barnet, S.R. ,, Self-screen Ortho. Criterion, Extra Rapid. Hauff, Ortho Anti-Halo. Ilford, Screened Chromatic. „ S.R. „ Commercial Ortho Film. Imperial, Non-Filter. S R ” S.R. Ortho. Kodak, Cut Film. Lumiere, Extra Rapide. „ Instantanee. ,, Pelliculaire. Medium. Ilford, Empress. ,, Chromatic. Ordinary. Barnet, Ordinary. Criterion, Ordinary. „ Ordinary Iso. Gevaert, Ordinary. Ilford, Ordinary. „ Rapid Process Pan. Imperial, Ordinary. .. Pan. Process. 6 21 1