Amateur Photographer & Cinematographer (1937)

February 3rd, 1937 [Hi AMATEUR PHOTOGRAPHER p 6 CINEMATOGRAPHER o was presented with a gold wristlet watch and a wireless receiving set by his fellow-members, and received many warm tributes to his work in connection with the Association. Mr. Houghton was one of the founders of the B.P.M.A., and has worked with unceasing energy in its interests, and in the interests of the photographic trade as a whole. He is succeeded by Mr. T. Midgley Illingworth, a Director of Ilford Ltd., whose father, like Mr. Hough¬ ton, was one of the original members of the B.P.M.A. Films of the Last Coronation. “ Crowns and Top Hats,” which, we believe, was a 35-mm. film, has been made into a 16-mm. sound film, and, shown the othei evening to a body of amateur cinemato¬ graphers, proved to be unusually interesting. It is a film compiled from the library in Sweden of the Svensk Film Industry, and its purpose is to underline the contrast between the pre-war monarchies of Europe and its present republics and dictatorships. The point of interest is that it includes some of the earliest film shots still in exis¬ tence, and therefore may be said to be animated history. Of special interest was a view of the coronation procession of George V, with the coach just arriving at Westminster Abbey. There were also some pictures of Edward VII, who, if he had not died before film art developed, would have been an excellent figure on the film. Good Old Black-and-White. No, not the whisky, the picture. An artist in our hearing the other night advised an audience of photo¬ graphers to shut their eyes to colour. He said that was what the painter did. He narrowed his eyes and visualised the subject as a range of greys. It was also common practice, he said, to build up a picture in greys before the colour went on, and the view was stoutly maintained that the black-and-white was not an inferior thing, a pale shadow, but was the real picture, satisfying aesthetic rightness. This in black-and-white was the picture, essentially right before the colour was put on, and the colour was merely a detail added to the basic tonal scheme. The A mateur P hotographer ” EXPOS U RE T ABLE — 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 ft 1/15 y y 1/30 „ 1/40 ft 1/50 ft Ordinary landscapes and landscapes with snow, open river scenery, figure studies in the open, light buildings, wet street scenes 1/4 * t 1/6 y y 1/12 „ 1/15 y y 1/20 yy Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/3 * * 1/4 yy 1/10 „ 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 „ 1/5 yy 1/6 yy Portraits or groups taken out of doors, not too much shut in by buildings . . 2 secs. H y y 3/4 „ 1/2 yy 1/3 »t Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 6 y y 4 secs. 2 secs. 11 yy 1 tt 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 Film. „ S.S. Pan. Film. Ensign, Ultrachrome Film. Gevaert, Super Sensima. „ Sensima Fast. „ Sensima Ortho. „ Super Chromosa. „ Roll Films and Packs. Ilford, Golden Is©-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. Nuro Film. Selo, Selochrome Roll Film and Film Pack. ,, Selo. Pan. Roll Film. Voigtlander, lllustra 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. 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. I, S.R. Ortho. Kodak, Cut Film. Medium. Ilford, Empress. „ Chromatic. Ordinary. Barnet, Ordinary. Gevaert, Ordinary. Ilford, Ordinary. „ Rapid Process Pan. Imperial, Ordinary. „ Pan. Process. 104 8