Amateur Photographer & Cinematographer (1936)

|Tm amateur photographer ■a 6 CINEMATOGRAPHER o Composite Film-making. We were invited one day last week to see a very interesting produc¬ tion in the way of amateur filmmaking. Last autumn members of the British Medical Association went for a tour round the world by way of Melbourne. Many of them took cine cameras and made records on the voyage. From these records, differing as they must have done presumably in quality and in their degree of originality, Kodak, Ltd., constructed a composite film. Its first showing was at the British Medical Association House last week, and the film was voted a great success. It can hardly be called a co-operative effort, because each in¬ dividual cinematographer was work¬ ing independently of the rest, with no idea that his work would be combined with that of others. But there is here the germ of an idea which might be followed up on various occasions, such as cruises and summer holidays. But, of course, the services of a capable editor would be indispensable. Loving the Instrument. We were shown round a new chemical factory at Greenford re¬ cently, and approached one fascina¬ ting instrument for filling and sealing ampoules of various solutions. The mechanism seemed perfect, and the maiden in attendance on it almost superfluous. A touch to start it, a touch to stop it, and that was all. Yet the head of the department assured us that the temperament of February 5th, 1936 the factory girl made a considerable difference. “You get a girl who loves the instrument, and it works as sweetly as the world swinging on its axis, and you get another girl who does not care about it, and although she' does everything that she should do, and when she should do, and as she should do, yet the instrument is a wee bit deflected, not enough to interfere with the product, but enough to make the disturbance of its mechanism appa¬ rent to those who look on.” Is not that more or less the case with every instrument with which the hand has to deal ? It responds to the fingers that love it. It is certainly true of the camera, which is almost humanly sensitive to the feelings which its user has towards it. The A mateur Photographer” EXPOSURE TABLE — February 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 11 in the morning and 1 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/11 is used. For f/16 give four times the exposure. For f/5.6 give half. From 9 to 11 a.m. or from 1 to 3 p.m., double these exposures. From 8 to 9 a.m. or from 3 to 4 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, snow scenes with no heavy foreground . . 1/10 * y 1/15 ? y 1/30 y y 1/40 y y 1/50 y y Ordinary landscapes and landscapes with snow, open river scenery, figure studies in the open, light buildings, wet street scenes 1/4 * y 1/6 y 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 y y 1/4 y y 1/10 y y 1/12 y y 1/15 yy Buildings or trees occupying greater portion of picture . . 3/4 y y 1/3 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. 11 y y 3/4 y y 1/2 y y 1/3 y y Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 6 1 y 4 secs. 2 secs. 11 y y 1 y y 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. „ Isopan ISS 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 P'ilm. „ S.S. Pan. Film. Gevaert, Super Sensima. „ Sensima Fast. „ Sensima Ortho. ,, Super Chromosa. ,, Roll Films and Packs. Ilford, Golden Iso-Zenith. Ilford, 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. Kodak, Verichrome Film. „ Super Sensitive Pan. Film. ,, Panatomic. 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, Pernox Roll Film and Packs. Imperial, S.S.S. Press Ortho. „ Eclipse. „ Eclipse Ortho Soft. „ Eclipse Soft. ,, Eclipse Ortho. „ Eclipse Pan. Soft. Extra Rapid. Agfa, Chromo. „ „ Isolar. „ Extra Rapid. „ Isolar. „ Iso Rapid. 'Agfa 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. fc IIO