Amateur Photographer & Cinematographer (1935)

June 5th, 1935 Thi amateur photographer q 6 CINEMATOGRAPHER a retarding, stewing and emulsifying, on and on in a continual whirl of science, until it got so jumbled up that I am certain that the principal product must have been green fog.” On the second day they began at eight, at which hour the still silent streets of Derby reverberated to the cheerful notes of the post-horn as the first of three brakes came along loaded to cramming point with photographers. A thunder¬ storm wetted their skins, but could not damp their spirits, and never before had Dovedale been assailed with such a battery of cameras. In the evening, exhausted, pre¬ sumably, by the fatigues of the day, they heard only three papers, a sad come-down. The third and final day was devoted chiefly to photographing one another. In the group taken either by Richard Keene or Tom Scotton, there appear such photographic giants of the past as B. J. Edwards, A. L. Hen¬ derson, John Stuart, F. A. Bridge, Alex. Haddon, J. Traill Taylor and J. B. B. Wellington. The last named, we are glad to say, is still going strong. To See Ourselves. A little strip of film which may become of historic interest was projected the other evening by Mr. A. S. Newman. It was a record of the Fox Talbot centenary cele¬ bration last summer. It included a large number of well-known figures in the photographic world, all, so to speak, in their Sunday best, and making their bow to the lady of the manor of Lacock, who is Fox Talbot’s granddaughter. One stretch was even taken in a nonetoo-light interior, and included closeups of photographers performing the triple feat of drinking tea, maintaining conversation, and exer¬ cising the facial muscles to the best advantage in view of the fact that the cinematograph camera was point¬ ing in their direction. Photographers themselves at least know how to move, but the idea is slow in pene¬ trating the minds of other people, who still imagine that the thing to do when a camera is levelled at them is to stop their heart beating, if that be possible. The A mateur P hotographer ” E XPO S U RE T ABLE -June 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., give double. From 6 to 8 a.m. or from 4 to 7 p.m., give three or four times. 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, ivill be those to be given between 3 and 5 p.m., by the clock, during “ summer time." Subject. Ordinary. Medium. Rapid . Extra Rapid. Ultra Rapid, Open seascapes and cloud studies . . 1/40 sec. 1/60 sec. 1/120 sec. 1/160 sec. 1/200 sec. Open landscapes with no very heavy shadows in foreground, shipping studies or seascapes with rocks, beach scenes . . 1/25 y y 1/40 „ 1/75 y y 1/100 y y 1/125 yy Ordinary landscapes with not too much foliage, open river scenery, figure studies in the open, light buildings, wet street scenes 1/18 y y 1/30 „ 1/50 y y 1/70 y y 1/90 yy Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/10 y y 1/15 „ 1/30 y y 1/40 y y 1/50 y y Buildings or trees occupying greater portion of pictures, river scenes with heavy foliage 1/2 y y 1/12 „ 1/25 y y 1/30 y y 1/40 y y Portraits or groups taken out of doors, not too much shut in by buildings . . 1/2 y y 1/3 „ 1/6 y y 1/8 y y 1/10 y y Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 3 secs. 2 secs. 1 y y 3/4 y y 1/2 yy As a further guide we cippend 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. „ 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. 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. Voigtlander, Illustra 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). ,, 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. Ilford, Screen Chromatic. „ S.R. ,, Commercial Ortho. Film. Imperial, Non-Filter. ” s!r.’ Ortho. Kodak, Cut Film. Medium. Ilford, Empress. ,, Chromatic. Ordinary. Barnet, Ordinary. Gevaert, Ordinary Ilford, Ordinary. ,, Rapid Process Pan. Imperial, Ordinary. ,, Pan. Process. 8 517