The international photographer (Jan-Dec 1935)

April,1935 T h INTERNATIONAL PHOTOGRAPHER Fifteen projector, the miniature outfit which has become so popular since its introduction only about a half year ago, is ideal for the purpose because of its compactness, economy, and practical applications. And now a few words of caution with regard to photographing color. In general, all black and white photography rules should for the moment be forgotten. Take for example, the problems of lighting arrangements. In black and white work, contrast is secured by having the light come from the side, or even well towards the rear, of the object being photographed. When using natural color film, the lighting must be flat. No tricklightings will be half as satisfactory, for in color photography the color provides the contrast. This is the first rule to observe. Re-learn the old rule that is taught to all beginners in photography who for the first time in their lives take a box Brownie in their hands — have the light come from the rear of the photographer. In other words, the light should be full upon the object or scene being photographed. Seems all wrong to those of us who through the years have made our pictures with fancy lightings. However, a few test shots will soon point out the right way. The average black and white photographer is "colorblind," so to speak. That is to say, he is not impressed by color when making pictures because his mind has been trained to see objects in black and white, as they will appear in the finished photograph. With color film in the camera, however, great care must be exercised in the selection of subject material, for now the important thing is the color. There certainly is no use in photographing drab, somber, colorless subjects, even though they would make excellent material for the ordinary black and white picture. Seek color. Be sure there is plenty of it in the scene before making the exposure. If color is absent, the color film is wasted. The results are disappointing. Just as well use a black and white film and let it go at that. For this reason, the resorts and beaches are the favorite hunting grounds of color photographers, for their riot of color — multi-colored bathing suits, yellow sand, green water, blue sky — are real "meat" for the color film. So be sure the scene has good color in it before exposing a color film on it. Another most important point to keep in mind when photographing with color film is to try to confine the majority of scenes to relatively near objects. In other words, the most successful color photographs are those depicting objects which are not too distant from the camera. The reason for this will at once be apparent when we consider that the color in many processes is created by infinitely small dots of color. When a distant scene, such as a landscape in which there is little or no foreground, is photographed, the objects become so small on the film that details become mixed with the color dots and compete in tininess with them. Result: Mushy and oft-times mixed or wrong color selection. The beginner may wonder what is wrong with his picture. There will not be anything definite he can account for in this result, but he will recognize that there is something wrong and displeasing in it. Where close 35mm. Eastman or Dupont Fresh Qray Backed Negative Price 2!/2C per Foot for AMATEURS or PROFESSIONALS KINEMA KRAFTS KOMPANY 6510 Selma Ave. Hollywood, Calif. GLadstone 0276 objects are photographed, details can easily be picked up and carefully colored by the tiny color dots, hence, we get what is considered a satisfactory color photograph. If this is doubted, make the experiment sometime. Shoot a landscape, or better still, a distant object, such as a house, which is hardly recognizable in the view finder. Then get a pretty girl to pose for a close-up If possible, get her to wear bright colors. On processing the two exposures, it will be noticed that the close-up produces by far the better color effect of the two exposures— and not only because the girl is pretty. The colors will be rich and definite, whereas in the distant shot, things will be a little vague and indistinct, especially with regard to color. There is yet another factor to be considered when photographing distant objects. The atmosphere carries with it, as everyone knows, a certain amount of moisture, commonly termed "haze" in photography. As the distance increases the camera and the object, more haze is introduced. It is natural, then, that this haze will appreciably dim the colors of the object. This is not to be considered a fault of the color process, for we recognize the same thing when we look at a distant object. Such objects appear "hazy" as we say, and the colors are weak and faded in appearance. What our eyes perceive, we certainly cannot expect a color film to alter or improve upon. So if some of your distant shots look fuzzy, just consider the natural conditions before condemning the film. With these few preliminary remarks about the exposure of color film, we next turn our attention to the processing of it. As has previously been mentioned, the DuFayColor process is of the reversal type, and hence the film requires a different developing routine from black and white film. The proper equipment must of necessity be used. Considering the advantage of being able to watch the image as it develops up, some means other than the usual tank method is indicated. For this reason, the Leitz developing drum outfit is highly recommended. This apparatus consists of a glass drum around which the film is wound. The drum is supported by means of a metal cradle or support in such a manner that only the lower section lies in the developing solution in the tray. A crank is attached to the shaft of the drum by means of which the latter is revolved, carrying the windings of film uniformly through the solution in the tray. Developing tanks such as the Correx and Reelo are not especially useful for processing color film as they do not permit visual inspection. On the other hand, the glass drum arrangement requires a darkroom in which to work. However, as every serious color worker is equipped with a darkroom, this is no serious disadvantage. For those who are unable or disinclined to process their color film, there exists a chain of laboratories which specializes in such work at a nominal charge. These will be found in all large cities on inquiry. Cleanliness is of paramount importance in color photograph). The processing of the film requires care, for scratches, chips, and markings on the delicate emulsion are sure to result in bad scars on the emulsion, revealing the structure of the color mosaic underneath in brilliant hues, thus marring the picture. This imposes no hardship upon the worker, however, for there is no excuse these days for "sloppy" darkroom work. Success will reward the careful worker every time, whether he uses ordinary black and white or color film. For the benefit of those who are interested in doing their own processing, these tested formulae are published. (Turn to Page IS) Please mention The International Photographer when corresponding with advertisers.