Amateur Photographer & Cinematographer (1936)

September 2nd, 1936 iHi AMATEUR PHOTOGRAPHER Ts 6 CIMEMATOGRAPHER o casual— or perhaps one should say, especially the most casual. You feel rather like the hen that has hatched out a duck's egg. Appar¬ ently even in the world of the painter such things are also pos¬ sible, to judge from a story which Mr. E. V. Lucas, in one of his latest books, tells against himself. He describes how he was sitting for a portrait by Sir William Fiothenstein in the latter’s studio. There he sat through three afternoons while Rothenstein measured, recorded and talked. The talk was e.xcellent, and the picture, when finished, was a perfect likeness of Beerbohm Tree ! Dare we hint that photographers have similar surprises ? A Photographic Department de Luxe. The new Anatomy Building of St. Bartholomew’s Hospital in Char¬ terhouse Square has a photographic department calculated to excite envy even among those least ad¬ dicted to that vice. It is really one of the finest departments we have ever seen, and, to use a hackneyed phrase, no expense has been spared in its furnishing and equipment. There was a time when it was thought, especially in colleges and such places, that because photo¬ graphic operations had in part to be carried out in darkness, therefore subterranean quarters, cramped sur¬ roundings, and primitive conditions generally would serve the photo¬ grapher. In this new department the photographer has an oppor¬ tunity to breathe, and he has everything to his hand. The en¬ larger alone, we believe, has cost some £120, and the photo¬ micrographic apparatus about £300. Another feature of the Anatomy Department is the museum, which is divided into bays, each bay devoted to a special subject in medicine, and in addition to the specimens on the shelves, there are on the walls of each bay photographs, photomicro¬ graphs, and X-ray films further illustrating the subject — an idea which might be more pursued in museums in general. "The A mateur Photographer” EXPOSURE T ABLE— September 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 3 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 a 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 ^ 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 . . 1/25 sec. 1/40 sec. 1/75 sec. 1/100 sec. 1/120 sec. Open landscapes with no very heavy shadows in foreground, shipping studies or seascapes with rocks, beach scenes . . 1/15 1/25 9 9 1/45 99 1/60 99 1/75 99 Ordinary landscapes with not too much fohage, open river scenery, figure studies in the open, light buildings, wet street scenes 1/8 1/12 99 1/25 9 9 1/30 99 1/40 99 Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/5 1/10 9 9 1/20 99 1/25 9 9 1/30 99 Buildings or trees occupying greater portion of pictures, river scenes with heavy foliage 1/3 1/4 9 9 1/8 9 9 1/12 99 1/15 » 9 Portraits or groups taken out of doors, not too much shut in by buildings . . n 1 9 9 2/3 99 1/3 99 1/4 99 Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 5 secs. 4 secs. 2 secs. H 99 1 9 9 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. „ Su^r-speed Film. „ Isochrom Film. „ Ultra Special. Basnet, 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. Gbvabrt, 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. Imperial, S.S.S. Press Ortho. ,, Eclipse. „ Eclipse Ortho Soft. „ Eclipse Soft. „ Eclipse Ortho. „ Eclipse 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. 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. luFERiAL, 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. 225 I