Amateur Photographer & Cinematographer (1936)

October 7th, 1936 ih[ ammeur photographer ^ 6 CINEMATOGRAPHER e and Great Britain, and it was unanimously agreed that, from the date of the meeting, the national organisations of each country repre¬ sented would conform to the i6-mm. standards adopted by the Society of Motion Picture Engineers of America (known as the “ S.M.P.E. Standard ”). There will be no diffi¬ culty so far as this country is con¬ cerned in accepting this decision, as it will be recalled that, in February last, Lord Riverdale arbitrated on the question, and decided that this country should adopt the S.M.P.E. standard. When this decision was announced the hope was expressed that the outcome would be that the S.M.P.E. standard would become the universal standard. It is grati¬ fying, therefore, to be able to report that this result has been achieved so quickly, as it will have far-reach¬ ing effects throughout the section of the film industry associated with the use and development of i6-mm. sound hlms. The Weather was too Good. Usually photography, if it is defeated at aU by the weather, is defeated by bad weather, but one case has just been put on record in which the weather was not bad enough for photography. It is a communication about the last work of the late Dr. Kund Rasmussen, the famous Danish explorer, whose premature death was such a blow to geography. Almost his last piece of work when exploring the south¬ east coast of Greenland was to engage a small group of film photo¬ graphers in the Cape Farewell dis¬ trict to make pictures of the kayak men and hunters who live there. It had been Rasmussen’s wish to show their magnificent skill and absolute fearlessness by a series of film pictures of the kayaks in stormy weather. But the party whom he left behind met with the curious misfortune that they could not get weather bad enough to enable them to complete their task. In spite of the time of year and the fact that Cape Farewell is one of the world’s stormiest corners, the wintry wind simply would not blow, the tempest showed no sign of coming, and, disappointed, the party had to return to Copenhagen without the results they sought. The A mateur Photographer” EXPOSURE T ABLE— October 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 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 . . 1/25 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 » * 1/45 11 1/60 1 1 1/75 1 1 Ordinary landscapes with not too much foliage, open river scenery, figure studies in the open, light buildings, wet street scenes 1/6 1/10 1/20 11 1/25 11 1/30 11 Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/4 1/6 11 1/12 1 1 1/15 11 1/20 11 Buildings or trees occupying greater portion of pictures, river scenes with heavy foliage 1/2 1 » 1/3 11 1/6 11 1/8 11 1/10 11 Portraits or groups taken out of doors, not too much shut in by buildings . . 2 secs. n 1 1 1 11 1/2 11 1/3 11 Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 6 » % 5 secs. 3 secs. 2 secs. n 11 As a further guide we app^xd 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 Film. „ S.S. Pan. Film. Ensign, Ultrachrome 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. Plates and Films. Film. Barnet, S.R. Pan. „ Portrait Film (Ortho ,, Panatomic. ,, Studio Ortho. Ensign, Roll Film. Fast). Marion, Record. „ Monarch. ,, Iso Record. Gevaert, Filtered Ortho. ,, Press. Nuro Film. „ Chromosa. „ S.S. Ex. Sens. Selo, Selochrome Roll Film and „ S.R. ,, Zenith Ex. Sens. Film Pack. „ Regular Cut Film. „ S.G. Pan. ,, Selo. Pan. Roll Film. Voigtlander, lllustra Film. Ilford, Auto. Filter. „ S.R. Pan. Illingworth, Fleet. Wellington, Anti-screen. ,, Pan. Film. „ Super Fleet. „ X Press. „ Rapid Chromatic. „ Super Fleet Ortho. Zeiss Ikon, Pemox Roll Film Imperial, Non-filter (new series). ,, Pan. Fleet. and Packs. „ 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. Selo, Roll Film. „ Eclipse Soft. ,, Extra Rapid. „ Eclipse Ortho. „ Isolar. Zeiss Ikon, Roll Film and Film „ Eclipse Pan. Soft. „ Iso Rapid. Pack. Rapid. Barnet, S.K. ,, 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. 350 8