Home Movies (Jan-Dec 1941)

PAGE 486 HOME MOVIES FOR OCTOBER NO ADHESIVES • NO PINS Quixet Letters are made of plastic and are equipped with powerful "Alnico" magnets that are guaranteed to retain their magnetic properties for ten years. WORKS LIKE MAGIC Quixet Letters will hold firmly to any iron or steel surface through paint, lacquer, enamel. Letters have sufficient power to "pull" through paper, cloth, photoprints. For Black & White and Kodachrome Titles REGULAR s/g" SETS 91 White Letters, 10x14 Black Panel $9.50 91 Red Letters, 9x12 Blue/Green Panel 12.00 DE LUXE 5/g" SETS 150 White Letters and Numerals, Black Panel $15.00 150 Red Letters and Numerals, Blue/ Green Panel 18.00 Also available in I" and II/2" slio letters Ac Your Dealer, or Order Direct from HAMILTON DWIGHT COMPANY 155 E. 44th Street New York City The IDEAL Photographic GIFT The recogmized authority on “wliat to do in the dark* MenAf completely'revised TWO-VOLUME Edition PHOTO LAB INDEX By Henry M. Lester 94 pages of authentic CINE DATA Nov/ ready — in Supplement No. 7 A condensed manual of approved CINEpractice, with authentic REVERSAL procedures and practical data on all 8. 16. and 35mm films and cameras. Formulas, title-making, projection data, ASA standards and SMPE practices, etc. room.” 195 of the famous “TIME GAMMA TEMPERATURE” development charts— (more in supplements) — plot the performance of currently available films with every recommended developer. 2057 authentic filter-factors, 400 photo chemical terms, plus exhaustive data on films, formulas, flash and flood lighting-, etc.— for both still and CINE work. Two volumes. 452 pages, $5.00. QUARTERLY SUPPLEMENTS at $2.00 per year, available ONLY to registered owners, keep your Index up-to-theminute. At good camera and book stores, or postpaid, from the publishers. MORGAN & LESTER Publishers 100 EAST 42nd STREET NEW YORK ^^now i^our ^iimdy wLat tlie^ inow • Contniued from Page 470 ing off in density from the top to bottom. Thus the height of any one part of the spectrogram is an indication of its relative color sensitivity to that particular color. The color sensitivity of a film determines several factors of which the first is the monochromatic rendition of colored objects as translated into black and white. If we were taking a picture of a girl wearing a red dress on a film which is not sensitive to red, the dress would appear black in the finished picture. The second characteristic determined by the color sensitivity is the difference in speed between daylight and tungsten light. Tungsten light contains less blue light than daylight. Since the greatest sensitivity of the average film is in the blue region the film will be slower under artificial light. However, one film manufacturer has pi’oduced a film which has its greatest sensitivity in the red or orange region of the spectrum. This film is, therefore, faster under artificial light in which there are more red and orange in its composition. Third characteristic is the ability of a film to respond to use of a filter. A film which is not sensitive to a certain color would not record a picture if we tried to use a filter of this color. A red filter, for example, passes only red light. Thus if we had a film not sensitive to red we would have no other light reaching our film and it would not be exposed, unless an unusually long exposure was given. Likewise a film sensitive to all colors can be used with any filter. There are three main types of film available to the motion picture amateur today. The first is the noncolor or blue sensitive film. This hasj^ blue sensitivity inherent in all photographic emulsions. This film was originally intended for making prints or posit i v e transparencies. In printing there is no color to contend with. Film is much cheaper to make if it is sensitized to one color only. However many enterprising amateurs found that with careful use very nice pictures could be taken with it. This film is known as positive. The next type is orthochromatic such as verichrome, plenachrome, superchrome, etc. This film is sensitive to the blue and green portions of the spectrum but is not sensitive to the red end. The third type, which is generally regarded more or less as an all around =7/ WIIVMEHS of Home Movies’ 1941 Amateur contest, which closed September 30th, will be announced in the November issue of Home Movies. Don’t miss this big special number which will picture the winners and illustrate and describe the best Home Movie films of the year. If you’re contest-minded, make doubly sure you get the November number — guide to making prizewinning movies. film, is the panchromatic. This film is sensitive to all colors of the spectrum. The red, blue, and the green, A picture taken on panchromatic film would have the most natural effect. Almost any filter can be used with this film. The ilustrations for this article were prepared with the object in mind to show just what happens to the various colors on different types of film. A Kodachrome slide was selected which had several pure colors in it. The original kodachrome picture was taken at the New York Worlds Fair and the illustrations were prepared by copying the original on three different negative materials, namely panchromatic, orthochromatic, and positive, the last, of course, requiring an extended exposure. The colors of the various objects in the original picture were. White ; General Electric sign, tall spire in right foreground. Green : Building itself ; reflections in pool. Red: Central portion of spire in center background. Yellow : Circular trim on background spire. F igure one was taken on Panchromatic film. The white sign and spire, the central spire in background and circular effect, the building itself and the reflections in the pool all show up. This is because the panchromatic film is sensitive to all colors. Figure two was taken on the orthochromatic film; the recording is nearly the same as the panchromatic except for the fact that the red spire in the background is not recorded due to the absence of red sensitivity of the orthochromatic film. Figure three is the positive film. This film is sensitive to only the blue light. It records only the white spires and sign which have a considerable amount of blue in them. The other colors, red, green, yellow, are lost completely. With this knowledge accurately catalogued in one’s mind or note-book, it is relatively easy for an amateur to select the type of film that will net the best results in a given filming undertaking. For example, if your subject is out of doors in bright sunlight and with little or no shadow, the much experimented-with positive film will record satisfactorily. Rendition of color tones will not be full scale, as with orthochromatic and panchromatic emulsions, and the result