Amateur Photographer & Cinematographer (1936)

July ist, 1936 iHi AMATEUR PHOTOGRAPHER p 6 CINEMATOGRAPHER e Thus we find one newspaper iri 1891, when the Shah of Persia was visiting this country, declaring that that potentate was an enthusiastic “ snapshottist.” The vulgarisation comes, not when the act of exposure is referred to as a “ snap,” but when that word is used of the eventual print. The word “ snap ” as a substantive has eighteen different significations, but that cannot be permitted as one of them. Gas-bags (Not the Lecturers). Manchester has a famous history for lantern slides. In his little book on “ Manchester and Photo¬ graphy,” Mr. J. G. Chapman men¬ tions that his firm, which was founded in Deansgate by J. T. Chapman, some time in the seventies, had a very large stock of lantern slides for hiring to lecturers, and the lecture sets aroused great enthu¬ siasm. Hilarity rather than enthu¬ siasm was aroused by the method of illuminating the lantern. The illuminants were multiple wick oillamps or the oxy-hydrogen jet, the oxygen for which was prepared from chlorate of potash and man¬ ganese dioxide heated in a retort. The gas was collected in large rubber waterproof bags, and these were constantly being filled at the Deans¬ gate premises for the use of lecturer customers. It was no uncommon sight to see a lecturer travelling through the streets in a ‘‘ growler ” with one or more of these bags secured on the top. These gas-bags were used between a pair of boards, and the necessary amount of pres¬ sure obtained by weights placed on the top, but often it was a small boy from the audience who supplied the necessary weight by sitting on it, much to his delight and pride, especially if the lecture was duU. Mr. Chapman says that at the height of the popularity of the lantern slide his firm stocked more than half a million. The A mateur P hotographer ’* ^XPOS U RE T ABLE July 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 6 to 8 a.m. or from 4 to 6 p.m., treble them. From 5 to 6 a.m. or 6 to 8 p.m., about four times these exposures will be required. 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 . . 1/40 sec. 1/60 sec. l/120sec. 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 ) 1 1/40 1/75 yy 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 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 1/15 1/30 y y 1/40 ♦ y 1/50 yy Buildings or trees occupying greater portion of pictures, river scenes with heavy foliage 1/2 » 1 1/12 y y 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 1 1 1/3 y y 1/6 y y 1/8 yy 1/10 yy 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 y y .4s a further guide we append a list of some of the best-knovn 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 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. j „ Hypersensitive Pan.j 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. Echpse Pan. Soft. 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, Pemox Roll Film and Packs. I Extra Rapid. .Agfa, Chromo. I „ ,, Isolar. I „ Extra Rapid. „ Isolar. 1 „ 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. j 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. I.MPERiAL, 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. 10 3