Amateur Photographer & Cinematographer (1935)

ffw AMATEUR PHOTOGRAPHER | Ip 6 CINEMATOGRAPHER a 1 correct colour rendering in either an additive or subtractive process is obvious to the eye. It is this fact which complicates and makes so difficult the whole question of colour photography. Thrillers. Those who read the modern detective story must have noticed the frequency with which the camera now appears in the detective’s kit. We do not recall any adventures of Sherlock Holmes which involved resort to a photographic method, though there may well have been such, but the modern amateur is hot on to it with the camera every time. When he goes out it is with the malacca with the foot rule marked on it, the innocent monocle which is really a powerful magnifier, the fingerprint powder in his righthand coat pocket, and the camera. The miniature camera ought to be a godsend to future writers, but as yet it seems scarcely to have got into detective fiction. The idea is rather to parade the photographic equipment and to pretend that the detective is someone else, with dark slides in one pocket, a few odd lenses in another, and the inevitable stains on his thumb and forefinger. A most engrossing work of this kind kept us engaged the other day during the whole journey to Scotland, and here the detective’s butler was the photographer, and was shown de¬ veloping plates in the dark-room in which was a telephone extension by which he might learn when it was time to leave these intriguing operations and attend to his master’s November 6th, 1935 dress tie. It was a most ingenious story, and we never discovered the murderer until the last page, but it was not easy to see how the photo¬ graphic business helped the dis¬ covery. Perhaps it was put on only to heighten the mystery. Quieter Colourings. A new recruit to colour photo¬ graphy remarked recently that one of the delights which it had brought him was the discovery of how large an amount of colour there was in landscape which he would ordinarily have taken to be colourless. There is, of course, a tendency for the colour worker to try out his plate or film on violent colours, but it is the subtler colours which reveal the possibilities of the process and his skill in the management of it. The A mateur Photographer” HXPOSURE T 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/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., 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 y 1/15 y y 1/30 y y 1/40 y y 1/50 y y Ordinary landscapes with not too much foliage, open river scenery, figure studies in the open, light buildings, wet street scenes 1/4 * * 1/6 J y 1/12 y y 1/15 y y 1/20 y y Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/3 * * 1/4 * y 1/10 y y 1/12 y y 1/15 y y Buildings or trees occupying greater portion of pictures . . 3/4 * * 1/2 y y 1/4 y y 1/5 y y 1/6 y y Portraits or groups taken out of doors, not too much shut in by buildings . . 2 secs. H y y 1 y y 1/2 y y 1/3 y y Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 6 yy 5 secs. 3 secs. 2 secs. n 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. „ 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. „ S.R. Ortho. Kodak, Cut Film. Medium. Ilford, Empress. „ Chromatic. Ordinary. Barnet, Ordinary. Gevaert, Ordinary. Ilford, Ordinary. „ Rapid Process Pan. Imperial, Ordinary. „ Pan. Process. 6 442