Amateur Photographer & Cinematographer (1933)

Methods and Ideals of well-known Pictorial Workers. From information communicated to our Special Representative. BEDFORD Thi amateur photographer November ist, SINCE 1888, when I started to use a camera, there have been great improvements introduced, particularly in the speed and variety of plates and films, and in the increased working aperture of lenses, such as were not even dreamed of years ago. " At first, instantaneous work attracted me, and the fastest shutters obtainable were used in an endeavour to photograph express trains, athletes, etc. ; but soon this kind of work began to pall, and then I took up landscape work with animals. Being a keen nature student, I started on birds and nests ; but finding this branch full of workers, I decided to take up en¬ tomology and botany as offering a less explored field of work, hor some years I specialised on the British orchids, and have exposed over 4,000 negatives on this familiy of plants aloneL 1 now devote myself principally to wild flowers generally. Since starting I have used various kinds of cameras and lenses, but still depend upon a half-plate stand camera for record and architectural work. My favourite camera for nature work is a postcard hand and stand, arranged for stereoscopic work, and nearly all my natural history subjects are taken stereoscopically. I also use X2 j camera with f/4.5 lens and Compur shutter for nature work when an outfit is required as light as possible, and sometimes use a V.P. 6 x4V cm. camera for the same work. The f/4.5 lens on this, with its short focus, gives exceedingly good depth of field, and I can obtain a good enlargement up to 2 4 X20 in. from the negative at f/4.5 aperture. “ I also have a postcard Soho reflex fitted for stereo work. This is an ideal instrument for moving subjects and rapid work, but I seldom use it in the field owing to size and weight. I prefer to put a camera on a stand whenever possible, and use the focussing screen, and give a generous exposure. I use the Soft-Gradation panchromatic plate, but find the Auto-Filter and Iso Zenith also very useful, with a colour rendering almost as good — and for some subjects quite as good — as the pan. plate. “ 1 have always developed by inspection, and now desensitise, keeping the dish covered in the early stages. Nearly all my successful subjects are made into lantern slides, which 'I use in my lectures. I have a collection of over 4,000 of these, a large majority being natural history subjects, and for some time past I have hand-tinted these in their natural colours. “ 1 use Azol as a developer for negatives, and often also for slides and prints. “ My enlargements are made by daylight, and I find chloro-bromide paper gives me a good print with nice rich tones in the shadows. The new Ilford bromide paper is also excellent. “ The only exhibition to which I regularly contribute is that of the Royal Photographic Society. Having acted as one of the judges of the nature section for some years I feel I ought to show what I can do myself. My aim, like that of all conscientious nature workers, is to produce as perfect a record as possible, with nothing added or left out, and so after-treatment is confined to spotting out small defects if they occur. “ To be a successful nature photographer one must be a bit of a naturalist, but the charm of it is that subjects abound throughout the year, and it takes one out into the open air and under the dome of heaven.” A Robin. By E. J. Bedford. 1 6 405