The international photographer (Jan-Dec 1935)

Twenty-four The INTERNATIONAL PHOTOGRAPHER February, 1935 STAGE PHOTOGRAPHY By Karl A. Barleben, Jr., F.R.P.S. HE publication of a number of actual stage photographs in various magazines during the past few years has had its effect upon numerous amateur photographers. How can I make cannot be done, and then it becomes merely a matter of taking your chance as a member of the audience. This will bring up a question which often confronts the beginner— has he a right to make such pictures if refused such pictures?" "I've tried such pictures but had no permission? He has every right to photograph a public luck," and similar exclamations are often heard. Certainly it is an interesting phase of photography, and one which is easy enough, providing suitable equipment is available. What is suitable equipment? Well, there is no doubt that the small miniature camera makes the most practical outfit for this work. One might go so far as to say that it is the only type of camera for use, for the clumsiness of a larger camera in the theatre can well be imagined. Aside from size, the small cameras are usually equipped with fast lenses, a most important adjunct in stage photography. So let us say that a miniature camera equipped with as fast a lens as can be secured — either owned or borrowed — should be considered standard equipment. While lenses with a speed of f:3.5 can be used, it is obviously advantageous to use a faster lens if one is available. For example, most stage photographers use lenses with speed of f:2, f:1.9, and f:1.5. The next consideration is the him. Here again speed is demanded. Only the supersensitive types of panchromatic film should be considered. Indeed, some workers use hypersensitized film — film which has been subjected to special treatment which considerably increases its initial speed. Such film is ordered from the various film manufacturers direct. It is plainly a specialist's film, for it must be used within a short time of manufacture, and is best kept in the refrigerator until used. The photographer has no choice in the matter. Panchromatic film is definitely indicated for stage work because the illumination is mainly of the tungsten variety. Sometimes white-flame carbon arcs are used, as in strong spotlights, but the "foots" and proscenium strips are always composed of Mazda lamps. Panchromatic film is of course far more sensitive to the tungsten light than orthochromatic, hence, it is the only logical choice. While on the subject of film, it might be well to dwell for a moment on the illumination. The photographer must naturally depend a great deal upon judgment, for exposure meter readings are hardly possible during a performance. The rule is, then, to give all there is to give in the way of exposure. Of course circumstances will vary, but in general this rule will not be far from wrong. Colored lights are to be avoided, for they are nothing but light sources which have been filtered by sheets of colored gelatine. A stage illuminated, for example, by amber or blue light makes a poor bet for photography, for the light has been filtered so utterly that even a trace of an exposure on the negative is hardly to be expected. Here again, however, conditions will differ, and where the light is sufficiently intense, an exposure can of course be obtained. The most ideal conditions, however, are those where the illumination is white light. By far the best way to secure stage pictures is to ask permission from the management. Sometimes this exhibition or presentation either with or without permission. That is to say, no legal action can be taken against him for making such pictures, the subject, in this case a stage presentation, being available to the public, and therefore as free as the wind as far as photographs are concerned. However, it is always the fair thing to get permission to make pictures and thus eliminate any unpleasantness — which certainly can be created. With permission, it is possible to go back-stage and secure intimate pictures, both on and off stage. Pictures made from these vantage points are often superior in interest to those made from the audience. Then, too, good pictures can often be sold to the management, making it well worth while to go to the trouble involved. When rehearsals are in order, it becomes very easy to arrange the lighting to best advantage. But when forced to shoot an actual presentation during a performance, all thought of individual adjustment must be banished. Working in the audience often presents unique problems. For instance, there will usually be someone directly in front of you. How to dodge the head? There will be people in back of you. How to refrain from annoying them by holding the camera to your eyes, necessitating holding the arms slightly outward and thus obstructing their view? How to release the shutter without making a noise loud enough to disturb ? These and similar problems present themselves. One active amateur solved these problems easily and satisfactorily. He merely holds the camera upside-down, the view finder close to his eye, the back of the camera resting securely against his forehead. This is a most practical arrangement, for it not only enables the camera lens to clear the heads in front, but also assures perfect steadiness for the camera — and you must know that steadiness plays a mighty important part in stage photography, because slow shutter speeds are the rule rather than the exception. The silencing of the camera may offer the most vexing difficulties. Compur shutters are quite silent at slow speeds, although their buzz-z-z-z may distract, particularly during a silence. Focal plane shutters usually snap with a little click on the opening and closing. A special leather casing, lined with cork and felt, was once made for a well-known make of miniature camera, but owing to its bulk, was never thought well of and hence, never shown on the market. It was tried out in the motion picture studios in Hollywood, but failed to make the grade as a "blimp" before the critical and sharp-eared microphone. A thin covering of some sort will help materially in deadening the shutter mechanism, and some workers have resorted to wrapping their camera in handkerchiefs as temporary make-shifts. Others, with the idea of greater permanency, have had their wives sew together small felt bags into which the camera is slipped Please mention The International Photographer when corresponding with advertisers.