Amateur Photographer & Cinematographer (1934)

November 7th, 1934 ih( amateur PHOTOORAPHER tD 6 CINEMATOGRAPHER a coming out the change to daylight is a gradual one. At home this may well be imitated by drawing the curtain across the window nearest the dark-room, especially if there is strong sunlight. Within the dark¬ room, also, this precaution should be carried out. An immediate change from ruby to ordinary arti¬ ficial light should be avoided. A reader of “The A.P.” who has considered the matter has perma¬ nently fitted up orange and yellow lights for bromide and gaslight printing respectively, and by switch¬ ing on the orange after the ruby, and then the yellow, he finds the strain on the eyes is minimised. “ Next Slide, Please.” The other evening we attended a lantern lecture given to a large audience in the West End of London, when some quite excellent slides were projected, but the mistake was made throughout of keeping them in the lantern far too long. The lantemist, perched in a distant gallery, never heard the lecturer’s suggestion that some of the slides might be passed through quickly, and he rigidly adhered to the pre¬ arranged plan of giving every slide exactly sixty seconds on the screen. Sixty seconds can be an appalling time in such circumstances. No¬ body knows who has not seen a succession of slides changed at oneminute intervals, what a boring pro¬ cess it was. To alleviate the general tedium, however, the lantemist kindly placed in front of his lantern certain coloured glass which made the slides go red and, like the audience, blue. The time to keep a slide on the screen must vary, of course, with the interest of the subject, but usually fifteen or twenty seconds is quite long enough. It must be remembered that everybody nowadays is accustomed to the cinematograph, and can assess the necessary detail in a large projection much more rapidly than could the audiences of years ago. “Pictures I Have Missed.” An American journal is publishing a series of articles on “ Pictures I have missed.” They are fuU of poignant revelation and regret. It is invariably the best pictures of all that have been missed. But it occurs to us that a good caption for the series would be Robbie Burns’s “ Wife we never had.” The A mateiir Photographer” EXPOSURE 'Y ABLE — November 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/ii is used. For f/i6 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 7 to 8 a.m. or from 4 to 5 p.m., treble them. Subject. Ordinary. Medium. Rapid. Extra Rapid. Ultra Rapid. Open seascapes and cloud studies . . 1/20 sec. 1/30 sec. 1/60 sec. 1/80 sec. 1/100 sec. Open landscapes with no very heavy shadows in foreground, shipping studies or seascapes with rocks, beach scenes . . 1/10 1/15 11 1/30 11 1/40 „ 1/50 11 Ordinary landscapes with not too much foliage, open river scenery, figure studies in the open, light buildings, wet street scenes 1/4 1/6 11 1/12 1 1 1/15 „ 1/20 11 Landscapes in fog or mist, or with strong foreground, well-lighted street scenes 1/3 11 1/4 11 1/10 11 1/12 „ 1/15 11 Buildings ortrees occupying greater portion 3/4 1/2 1/4 1/5 „ 1/6 of pictures . . 11 11 1 1 11 Portraits or groups taken out of doors, not too much shut in by buildings 2 secs. 1| 1 1 1 11 1/2 „ •1/3. 11 Portraits in well-lighted room, light sur li roundings, big window, white reflector . . 6 11 0 secs. 6 secs. 2 secs. 11 As a further guide we append a list of some oj the best known makes of plates and films on the market. They have been divided into groups, which approximately indicate the speeds referred to above. The hypersensitive panchromatic plates and films require 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. Eastman, Par Speed Cut Film. „ S.S. Cut Film. „ S.S Pan. Film. Gbvaert, Super Sensima. „ Sensima Fast. ,, Sensima Ortho. „ Super Chromosa. „ Roll Films and Packs. 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. Imperial, Eclipse Pan. Soft. Kodak, Verichrorae Film. Marion, Record. I Sc Record Selo, Selochrome Roll Film and Film Pack. Selo. Pan. Roll Film. Standard, Film. Wellington, Anti-screen. „ X Press. Zeiss Ikon, Pemox Roll Film and Parks. Extra Rapid. Agfa, Chromo. „ Isolar. Extra Rapid. Isolar. Iso Rapid. ,, ., Chromo. Roll Film. Barnet, S.R. Pan. „ Studio Ortho. Ensign, Roll Film. Gevaert, Filtered Ortho. ,, Chromosa. „ S.R. „ Regular Cut Film. 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. Pa the, Roll Film. Selo, Roll Film. Zeiss Ikon, Roll Film and Film Pack. Rapid. Barnet, S.R. ,, Self-screen Orth®. Ilford, Screened Chromatic, „ S.R. „ Commercial Ortho Film. Imperul, Non-Filter. S R ,, S.R. Ortho. Kodak, Cut Film. Medium. Ilford, Empress. „ Chromatic. Ordinary. Barnet, Ordinary. Gevaert, Ordinary. Ilford, Ordinary. ,, Rapid Process Pan. Imperial, Ordinarv. „ Pan. Process. 418 6