Amateur Photographer & Cinematographer (1933)

[Hi amateur photographer t» 6 CINEMATOGRAPHER a / October nth, 1933 The author says that it is only since photography came in that the pre¬ judice, in painting, against the “ mirror held up to nature ” has increased, and Holbein and other old painters, who were photographic in their style, are still worthy of reverence, because, or so it is implied, they lived before the photo¬ graphic era, and therefore could not be expected to model their style in opposition to what can be achieved by the camera. It seems, therefore, that the departure of art from naturalism and its recourse to cubism and the like is due to the fact that photography has come along and spoiled its old pitch. Truly photo¬ graphy has a lot to answer for. Amateur Photography on the Continent. Judging from the conspicuous advertisements in public places (writes a correspondent who has just returned from France and Switzerland), amateur photography has a bigger vogue than ever on the Continent. Nights at Geneva are illuminated by an immense electric sky-sign, indicating where film may be obtained, and outshining all the usual advertisements of clocks and watches, perfumes and bon-bons. Then, on the railway line just outside the Gare du Nord at Paris there straddles a hoarding with letters a yard deep advertising amateur photographers’ necessities. Everywhere in continental cities one finds shops which undertake develop¬ ing and printing for the amateur, the showcases containing samples of enlargement sizes and experiments in tones. The doings of photo¬ graphers are also well noticed in the daily Press, although that same Press does not reproduce their work to anything like the same extent as our own. _ The Customs Barrier. A recent experience of the Customs at Folkestone seems to suggest that the officers are specially on the look-out for cameras. A gentleman near us at the Customs bench was subjected to a tooth-comb scrutiny, and even his pockets were turned out, the official asking suspiciously, “ Cameras ? ” Another gentleman had a camera, and this led to long questioning of which we did not hear the end. In our own baggage the officer discovered, with great triumph, what had all the appearance of a camera case. He opened it with lively expectation, only to find that it contained a hair-brush and comb. His disappointment was so great that he chalked the rest of the baggage forthwith. _ _ Airscape. The word “ airscape,” we see, is coming in, and is used in an official publication to describe an aerial survey photograph. The word “ cloudscape ” first appeared, ac¬ cording to the Oxford Dictionary, in a London daily newspaper seventy years ago, while “ moonscape ” was a word used by the poet Coleridge. Tracts and formulae : NEW SERIES A selection of useful hints classified according to subject BROMOIL. It is best for the beginner in bromoil work to keep to one of the bromide papers specially prepared for it. When he is familiar with the procedure he may experiment with ordinary papers, such as Kodak “ Royal ” or “ Permanent Rapid,” and Barnet “ Cream Crayon.” " Ordinary ” and " Tiger Tongue,” all of which have been recommended by such a prominent bromoil worker as C. J. Symes. * * * The majority of opinions are in favour of a light bromide print, full of detail, but practically free from actual blacks.. Some workers, however, prefer a print with a full range of tones. * * * A reliable developer for bromide prints intended for pigmenting is the following : Sodium sulphite (crys.) . . . . . . . . £ oz. Potassium bromide (10 per cent) . . . . . . 10 min. Amidol . . . . . . . . . . 25 grs. Water . . . . . . . . . . . . 10 oz. This should be used fresh. The developing factor may be anything from 8 to 16, according to circumstances and per¬ sonal preference. * * * An ordinary M.Q. developer is also suitable for the process, such as : Metol . . . . . . . . . . . . . . 30 grs. Sodium sulphite (anhy.) . . . . . . . . 385 grs. Hydroquinone . . . . . . . . 60 grs. Sodium carbonate (anhy.) . . . . . . . . 290 grs. Potassium bromide (10 per cent) . . . . 50 min. Water to . . . . . . . . . . 20 oz. * * * A plain hypo bath, about 3 oz. to the pint of water, is generally recommended for bromoil. Other workers, however, use a bath acidified with potassium metabisulphite, and even claim advantages for it. Whatever fixing bath is used, subse¬ quent washing must be very thorough, as traces of hypo will cause trouble. * * * There is a great variety of bleaching solutions used in bromoil work, and most of them suit particular papers better than others. A two-solution bleacher is : A. Copper chloride . . Sodium chloride Hydrochloric acid Water B. Potassium bichromate Water 160 grs. 290 grs. 3 min. 10 oz. 55 grs10 oz. The working bath is A 1 oz., B 1 oz., water 2 oz., and bleaching is complete in from 3 to 5 minutes. The print is well washed, placed in a bath of 5 per cent hypo, and again washed. A bleacher that can be prepared solutions is made up in the following quantity required : Copper sulphate (10 per cent) Potassium bromide (10 per cent) . . Chromic acid (1 per cent) Water to quickly from stock proportions to any . . 170 min. . . 130 min. 4S min. . . 3i oz. Another bleaching method is to bleach fully in : Copper sulphate (10 per cent) . . . . 95 parts Potassium bromide (10 per cent) . . . . . . 5 parts Transfer the print direct to : Potassium bromide (to per cent) . . . . . . 4 oz. Potassium bichromate (1 per cent) . . . . 2 oz. Water to . . . . . . . . . . . . 20 oz. Wash for five minutes, fix for two minutes in 10 per cent hypo, wash thoroughly, and dry. 6 327