The international photographer (Jan-Dec 1935)

Fourti i n r i, INTERNATIONAL PHOTOGRAPHER April, 1935 ^<y\ Notes On Color Photography By Karl A. Barlebex, Jr., F.R.P.S. (Written for the International Photographer and held over from our Issue of March, 1935.) DuFayColor Is Here and With a Bang! OLOR photography has for years captured the ; imagination of all kinds of photographers. For! tunes have been invested and lost in the perfection of various processes. It is safe to say that while all of the many processes, which have been successful in at least appearing on the market if even for only a short time, none has actually proved completely satisfactory from every angle. Either it was too expensive, required special apparatus, limited photographic activities with respect to exposures, or the colors could not be faithfully reproduced as the eye sees them. These and many other difficulties have consistently hounded investors and promoters. In short, then, natural color photography has not been a particularly successful venture, technically or financially. Even today, in spite of tremendous progress having been made in the held, there still exist a few kinks to be ironed out before we can definitely say "here is THE color process." But progress we do. Almost yearly some new process appears on the market to receive the "applause" or "hisses" as the case may be, of the public. At the present time, there exists a most practical and worthy natural color process — The DuFayColor process. It is today at its height and, from all appearances, it seems destined to hold its enviable position indefinitely. It is applicable to both standard 35 mm. and 16 mm. motion picture film. It eliminates, for the most part, the usual objectionable features of other processes. It has speed galore, requires no special adjustments or accessories, and reproduces color in a manner which is nothing short of amazing, considering that it is a one-film process. DuFayColor is here, and with a bang! If you haven't familiarized yourself with it as yet, a few words of description will not be amiss. It is similar to existing mosaic screen processes, that is to say, the color is inherent in the film itself. In this case, the color is produced by a screen of infinitely fine lines of color, or rather, the color itself is contained within the tiny areas created by the lines. The dots of color are so tiny that a microscope is required to see them. This means that when projected at even fairly large proportions on a screen the dots are visible, considering a normal viewing distance between spectator and screen, of course. The lines and color are printed onto the celluloid base of the film by means of exceedingly cleverly designed machines : hence, the emulsion is of the usual panchromatic type. The film in the camera is inserted with the emulsion surface facing the rear, and the celluloid surface facing the lens. An interesting fact in connection with the color rendering is that by altering the lines, the film can be made to respond to various colors with greater or lesser strength. This of course, is done in printing, and is entirely outside the boundaries of the user. The DuFavColor film is used in much the same way as black and white film, that is to say, there are no special requirements to be considered, excepting of course, to load the film in the camera in the reverse manner, as mentioned previously. In bright sunlight, no filter of any kind is needed, the film having been adjusted to compensate fully for the various color intensities under such conditions. When photographing indoor subjects illuminated by tungsten light, however, a filter is required to balance the color sensitiveness of the film. Special filters are likewise indicated for various daylight conditions, but by far the greatest number of daylight pictures can be made without the use of a filter. This one fact alone is a boon which will at once be appreciated by all experienced photographers. Another vital factor is the speed. DuFayColor film is rated at a speed of between 17 to 19 degrees Scheiner — as fast as an ordinary black and white film. This initial speed, plus the absence of a filter, makes it possible to produce color pictures with even a slow lens at snapshot shutter speeds. Then, too, speeding objects are easy game for the cameraman shooting this new color film. No longer is it necessary to confine color photography to still-life and inanimate objects because of the necessity for prolonged exposures. In view of the fact that DuFayColor film is of the reversal process type (that is, the film in the camera is not developed into a negative in the usual manner ; instead, it is reversed into a positive, hence the same film that was exposed in the camera is the one that is finally used as a positive) exposures must be as nearly accurate as possible. A reliable exposure meter should always be consulted when making natural color photographs, and this holds true with DuFayColor as well as with other processes. All too many amateurs overlook this most important point with the result that their pictures are inferior and they claim the process is of no value. Play safe and produce perfect color pictures! Use a good meter for each exposure ! At this writing DuFayColor film has been made available for miniature cameras using standard 35 mm. motion picture film by E. Leitz, Inc. The film is sold only in daylight loading and unloading spools of thirty exposures each. It is not available in bulk (viz., 25, 50, 100, etc., ft. lengths). The possibilities for the miniature camera are unlimited — imagine producing perfect natural color pictures and projecting them upon a screen with the utmost faithfulness and ease. The Leitz Umino Phone CLadstone 4151 HOLLYWOOD STATE BANK The only Bank in the Industrial District of Hollywood under State Supervision Santa Monica Boulevard at Highland Avenue Please mention The International Photographer when corresponding with advertisers.