Amateur Photographer & Cinematographer (1934)

December 5th, 1934 ih! amateur photographer 6 CiriEMATOGRAPHER o week. The change-over to the talk¬ ing film has not been without its tribulations for the projectionist. The projection equipment in the average cinema usually consists of two projectors equipped with sound apparatus, together with, in many instances, an ordinary lantern for slides, and where an organ and stage show are used, one or two “ spot ” lights. Cleanliness is of first importance, dust being the mortal enemy, not only of the film and projector, but of the sound equipment also. Film mutilation, which is the cause of stops during projection, and of scratches in the picture and defective sound trans¬ mission, is due, above all things, to oil and dirt and dust being allowed to get on to the film. Print density is another ticklish subject. What is badly required is a standard printing density and also a standard illumination. Some pictures are over-illuminated, killing all the high¬ lights ; others do not get enough light on the screen. In every case, in order to provide the best possible results on the screen when the film is rimning, the projectionist has to deal with the matter. Hazardous Adventure. The world, as we have often said, does not know all its heroes, and some of them carry, not a sword, nor a pick-a-xe, but a camera. When the editor of the Pathe Pictorial was taUving the other evening about the “ interest ” film we thought at first it was a purple passage in which he described how, in order to get pictures for the public, men would cleave the skies and descend into the bowels of the earth, would brave the hot desert and the cold Arctic, and would stand in the path of motor-cyclists in a speed contest or prowling beasts in a jungle. But he went on to tell of one photo¬ grapher — who had never been down a coal mine before — who went down a Yorkshire mine the other day to photograph a blasting operation. The fuse was laid, and the miners at the signal retreated, but the photo¬ grapher remained, like the boy on the burning deck, standing by his camera whUe it got a record of the explosion at twenty feet. And be¬ cause a lump of coal hit his camera, so that he feared it had upset his picture, he waited for the next blasting, and did it again. That’s the stuff ! The A mateur Photographer” EXPOSURE 'TABLE — December 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 y y 1/30 y y 1/40 „ 1/50 yy Ordinary landscapes with not too much foliage, open river scenery, figure studies in the open, light buildings, wet street scenes 1/4 1 y 1/6 y ♦ 1/12 y y 1/15 „ 1/20 yy Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/3 t y 1/4 y y 1/10 y y 1/12 „ 1/15 yy Buildings or trees occupying greater portion of pictures, river scenes with heavy foliage 3/4 y y 1/2 y y 1/4 t ♦ 1/5 „ 1/6 y y Portraits or groups taken out of doors, not too much shut in by buildings . . 2 secs. 1| y y 1 yy 1/2 „ 1/3 y y Portraits in well-lighted room, light sur 1| roundings, big window, white reflector. . . 6 y y D secs. 6 secs. 2 secs. yy As a further guide we append a list of some of 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. ,, Soper 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. Gevaert, 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, Verichrome Film. Marion, Record. ,, Iso 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 Packs. 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). ,, EcUpse 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. Ilford, Screened Chromatic. „ S.R. ,, Commercial Ortho. Film. Imperial, 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, Ordinary. „ Pan. Process. 6 504