Amateur Photographer & Cinematographer (1936)

May 6th, 1936 Ihi amateur photographer P 6 CINEMATOGRAPHER a Kodachrome, though Kodachrome has its own advantages too. Certainly the predominant red of the Jubilee streets was well rendered in the him. Mr. Nathan had also synchronised the him with gramophone music — a series of marching tunes, which went well with the colour record. In the Papers. A friend of ours, by purely fortuitous circumstances, found him¬ self recently very much “ in the papers.” He happened to be, as a spectator, a central hgure in a scene which was reproduced every¬ where. Although one of the least important persons there, the acci¬ dent of the camera, as often happens, gave him dimensions and centrality which he did not deserve. Very pleased with himself, he faced the world that morning feeling that everybody would recognise him. It was something of a disappoint¬ ment when his barber made no mention of it. Equally when his office associates appeared to have overlooked it. But the biggest blow came when his wife, studying the picture, asked who was the “ old johnny ” in the middle. The cam¬ era has much to 'answer for. “ Photogenically Perfect.” Unfortunately, it does not fall to the lot of everyone to have a face “ photogenically perfect,” a much-to-be-desired qualification for film work. A scribe who, in the daily Press, tells of doings in the film studios laments the fact that so many aspirants come out so badly in film tests, “ so very few being photogenically perfect.” A correspondent who draws attention to the above statement says that we have the cinema world to thank — or blame — for the invention of many new words, or for the adapta¬ tion or revival of many old ones. While “ photogeny ” (the same as “ photography ”) is by no means a new word, few modern writers use it. It seems to have become obso¬ lete very soon after Mr. G. T. Fisher published his “ Photogenic Manipulation,” a photographic hand¬ book which was so popular in the late forties of last century. The A mateur P hotographer ” E XPO S U RE T ABLE — May 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/11 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 6 to 8 a.m. or from 4 to 6 p.m. treble them. 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, will 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 . . 1/30 sec. 1/45 sec. 1/90 sec. 1/120 sec. 1/150 sec. Open landscapes with no very heavy shadows in foreground, shipping studies or seascapes with rocks, beach scenes . . 1/18 1 y 1/30 y y 1/50 y y 1/70 y y 1/90 y y Ordinary landscapes with not too much foli¬ age, open river scenery, figure studies in the open, light buildings, wet street scenes 1/10 yy 1/15 y y 1/30 y y 1/40 y y 1/50 y y Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/8 y y 1/12 y y 1/25 y y 1/30 y y 1/40 y y Buildings or trees occupying greater portion of picture 1/4 y y 1/6 yy 1/10 y y 1/15 y y 1/20 y y Portraits or groups taken out of doors, not too much shut in by buildings . . 1 y y 2/3 y y 1/3 y y 1/4 yy 1/5 yy Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 4 secs. 3 secs. 11 y y 1 y y 3/4 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 1 * 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 Film. ,, S.S. Pan. Film. Gevaert, Super Sensima. „ Sensima Fast. „ Sensima Ortho. „ Super Chromosa. ,, Roll Films and Packs. Ilford, Golden Iso-Zenith. Ilford, Iso-Zenith. Kodak, Verichrome Film. Agfa, Iso Rapid Chromo. „ Hypersensitive Pan. „ Super Sensitive Pan. „ Roll Film. Barnet, S.R. Pan. Plates and Films. Film. „ Portrait Film (Ortho „ Panatomic. Marion, Record. „ Studio Ortho. Fast). Ensign, Roll Film. „ Monarch. „ Iso Record. Gevaert, Filtered Ortho. „ Press. Selo, Selochrome Roll Film and „ Chromosa. „ S.S. Ex. Sens. Film Pack. S.R. „ Zenith Ex. Sens. „ Selo. Pan. Roll Film. „ Regular Cut Film. „ S.G. Pan. Voigtlander, Illustra Film. Wellington, Anti-screen. Ilford, Auto. Filter. „ S.R. Pan. Illingworth, Fleet. „ X Press. „ Pan. Film. „ Super Fleet. ,, Super Fleet Ortho. „ Pan. Fleet. Zeiss Ikon, Pemox Roll Film „ Rapid Chromatic. and Packs. Imperial, Non-filter (new series). „ Eclipse Pan. B. Imperial, S S.S. Press Ortho. Extra Rapid. „ S.S. Ortho „ Eclipse. Agfa, Chromo. Kodak, Roll Film and Film Pack. „ Eclipse Ortho Soft. „ „ Isolar. Pathe, Roll Film. „ Eclipse Soft. „ Extra Rapid. Selo, Roll Film. „ Eclipse Ortho. „ Isolar. Zeiss Ikon, Roll Film and Film „ Eclipse Pan. Soft. „ Jso Rapid. 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, s 403 1 0