Home Movies (Feb-Dec 1939)

A uthored by Jack Irwin Don’t Junk Your Under nr OverExposed Shots! It was a happy day for me when I learned I could, with very little effort on my part, “normalize” my under or overexposed films. I believed that once my film went through the processing laboratory, it must be accepted for what it was — that nothing under the sun could be done with an under or overexposed shot but to clip and toss it into the wastebasket. But now, with the aid of simple reducer and intensifier formulas, I am able to doctor my off-exposure shots, greatly improving the over-all quality of my films — not to mention the film I save ! This “normalizing” or corrective method is not limited to the use of those increasing number of amateurs who process their own films. Any amateur can do it who cares to purchase the formulas and put in half an hour’s time with his films some evening. You may have shots or com • On this page are reproductions of 16mm films which illustrate results of intensifying and reducing. Underexposed film, No. 1, was corrected as shown in photo No. 2, by subjecting it to reducing bath. Photos 3 and 4 illustrate result of intensifying to correct overexposure. Note how detail has been brought out in foreground and in the scene outside of window. plete rolls of film that were over or underexposed two or three years ago. These may be intensified or reduced with the same good results as that roll of film returned from the processors only yesterday. Age of your over or under-exposed film makes no difference — a fact which I am sure will amaze and please you as it did me. The intensification process acts upon the emulsion of the film with the tendency to increase density. The reducing process, on the other hand, does just the opposite — it reduces the density of the image. The degree of intensification or reduction is dependent upon the length of time the film is subjected to the treatment. With either process you can watch the action of the chemicals on your film and control the action of normalization to the desired degree, as the work can be carried on under normal illumination. There are no dark-room hazards to contend with as in developing or processing film. The equipment you will need for this work consists of a rack on which to wind the film, and of course, this should be of such size as will fit the trays or receptacles that will hold the solutions. The flat type rack, often illustrated or described in HOME MOVIES, is preferable as most of your reducing or intensification will be with single scenes or short lengths of film. A simple wooden frame constructed from four pieces of light wood will serve the purpose. The film may be held in place with a thumb tack at either end — one of which has attached to it a rubber band with some sort of a hook or device for gripping the end of the film. The rubber band serves to take up the slack in the film as it stretches during the process. For trays or receptacles for holding the solutions, these may be any good enameled tray purchasable at the five and ten. It should be deep enough of course to hold sufficient solution and to accommodate the film rack so • Continued on Page 464 PAGE 446 HOME MOVIES FOR NOVEMBER