Amateur Photographer & Cinematographer (1937)

T« AMATEUR PHOTOGRAPHER o 6 CINEMATOGRAPHER o a whipping, as many a cottage home has been condemned after he has photographed it. The Badge of Fellowship. Photography is an individual but not a solitary hobby. From its very beginnings amateurs have clubbed together and gone about in com¬ panies. Here and there may be found one who prefers to take his camera on lonely excursions, and finds the presence of his fellowworkers cramps his style. But far more generally the photographer likes someone who will be a foil to him, and believes in the old proverb that a companion on a journey is as good as a carriage, or rather, in these days, a car. For¬ merly when one came across a man with a camera prowling around the country one was fairly safe in taking him for a fellow amateur, but now that press and commercial photography covers every square inch of space you never know whether the person you strike up against is a true amateur or not. One un¬ failing sign of the fellowship would be the possession of a copy of The Amateur Photographer and Cine¬ matographer. Only an hour before these words were penned the writer of them met in an unlikely teashop a young man who was reading his journal with avidity, and from that it was easy to strike up a conversa¬ tion and an interesting exchange of experiences resulted. Take your “A.P.” with you when you go about. It is not much to carry, March 3rd, 1937 and it will introduce and select your acquaintance. Surgical Film in Colour. What was said to be (but that is open to contradiction) the first cinematograph film in colour of a surgical operation was shown at the Royal Society of Medicine recently by Mr. St. George Wilson, of Liverpool Royal Infirmary. The process was apparently Kodachrome though that was not stated. It was a film showing a gynaecological operation, and the projection took a quarter of an hour or more. It was generally agreed that colour made it much more realistic, though Mr. Wilson himself seemed to think that really good still photographs would be better. The A mateur Photographer” E XPOSLJRE ABLE — March 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 9 to 10 a.m. or from 2 to 3 p.m. double these exposures. From 7 to 9 a.m. or from 3 to 5 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 . . 1/12 * y 1/18 y y 1/35 y y 1/50 y y 1/60 yy Ordinary landscapes and landscapes with snow, open river scenery, figure studies in the open, light buildings, wet street scenes 1/5 y y 1/8 y y 1/15 y y 1/20 y y 1/25 yy Landscapes in fog or mist, or with strong foreground, well-lighted street scenes . . 1/4 y y 1/6 yy 1/12 y y 1/15 y y 1/20 y y Buildings or trees occupying greater portion of picture . . . . . . . . • . . 1/2 y y 1/4 y y 1/5 yy 1/6 yy 1/8 yy Portraits or groups taken out of doors, not too much shut in by buildings . . n yy 1 y y 1/2 y y 1/3 yy 1/4 yy Portraits in well-lighted room, light sur¬ roundings, big window, white reflector . . 5 secs. 4 secs. 2 secs. 1| yy 1 yy 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 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. 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 FUm. 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. „ 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. 203 8