The international photographer (Jan-Dec 1934)

November, 1934 The N T E R N A T I 0 N A L I" II () T OGRAPHER Twenty one series of small tears, which is the result of running too close to one side of the spool. "Here is a point that is important. When a strip of film is put on the black paper only the end of the film that is wound on the spool first is attached to the paper. If this is not done (if one edge of the film is attached to the paper at a time as described above instead of both at the same time. Ed.) it will be found that the film will buckle and the end will have to be loosened and re-glued. "Another method I have tried is to fill up both sides of a couple of spools with either strips of paper tape, or blocks of wood. (The width of the regular No. 127 roll-film spool, which fits into the Foth-Derby, is 1% inches. It is necessary to place paper tape strips, or blocks of wood, etc., of equal size on either end of the spool so that the width of the space left for the film is 35mm. Ed.) Then a length of cine film is wound on the spool (without the black paper). To determine how far to wind the film for each exposure, a small piece of piano wire is attached at the bottom of the spool with a drop of sealing wax. This is bent so that it will hit the perforations on the film and click each time one passes. On the Foth-Derby it takes seven clicks to advance an unexposed section of film. "In your article you mentioned putting marking lines on both the winding knob and on the body of the camera, for use in winding the film when the black paper is not used. It is obvious that as the spool fills up the circumference becomes greater, therefore fewer turns would be necessary to advance a new portion of film into position. Consequently the system of marks will not work. "Another thing. If anything but the thinnest sheet of metal is used for a mask on the camera opening, it will put the film farther away from the lens, resulting in each picture being out of focus." The hints in the above two letters will no doubt be of great help to many miniature camera workers. Any further advice on this subject which readers have to offer will be warmly welcomed. Good News. An interesting bit of news for the small camera enthusiast is the fact that the RolleiHex and Rolleicord cameras have been reduced in price. These line cameras can now be at the disposal of many photographers who have always cherished the idea of possessing one of them, but whose finances have kept them from purchasing either. The Rolleicord, because of its slower lens and cheaper price, should not be belittled. It is equipped with a Zeiss Triotar f:4.5 lens, a speed which is sufficient for most amateur work, and extremely sharp results are produced. The construction is of the same high quality as the Rolleiflex, with the exception that such conveniences as the automatic film transport, the window showing the lens and shutter speeds from above, etc., are omitted. Good Negative for Enlarging. The title for this discussion is a bit misleading. It should rather be "Good Negatives," for the miniature negative in practically all cases is made with the thought that it is to be subsequently enlarged. A suitable negative for general enlarging has density in the shadows, detail is discernible, whereas even the strongest highlights do not contain very heavy densities, which appear almost opaque. Such negatives are made by giving an exposure on the full side, and then slightly underdeveloping. This also results in a finer grain. The longer the film remains in the developer the coarser is the grain produced. No doubt you have noticed in the past that very dense negatives have the tendency to exhibit grain when enlarged, whereas thinner negatives can stand greater enlarging without incurring this detriment. Many successful miniature camera workers recommend this procedure— giving a full exposure and then slightly underdeveloping. Leica Photography: This interesting little magazine is published by E. Leitz, Inc., and is offered free to all owners of the Leica camera. Though a comparatively recent addition to the ranks of the photographic periodicals, it owes its prominence chiefly to the fact that it deals solely with miniature photography. Thousands of (Turn to Page 28) Fred Westerberg, author of that most helpful little book, "The Cinematographer's Book of Tables", announces that in December he will continue the new series of tables to run indefinitely in The International Photographer. The title of the table for November is "CAMERA SPEEDS," and the table is so printed in the magazine as to be easily removed for filing in your little red book, "The Cinematographer's Book of Tables" — if you have one. If you have not a copy you'd better call on your dealer right away so that you may not fail to have one in your pocket when you need it. IT COSTS ONLY $1.00 A COPY. 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