International photographer (Jan-Dec 1935)

Twenty-four 7 h e I N T E KNATIONAL P H O T O G R A P HER May, 1935 THE MAN BEHIND THE CAMERA (Continued from Page 7) grain wanted, and if so, to what degree? Is this the main consideration? Extremely fine grain formulas are notorious as film speed reducers. They also are weak in shadow detail. So, if film speed is of first consideration, such formulas are to be avoided. Similarly, if shadow detail is important, they must be passed up. There is of course a happy compromise — a formula which produces fairly fine grain without any important drop in speed and shadow detail. No, I shan't give any formulas, for this would be senseless, besides requiring many pages of this magazine. The formula business is one that is purely an individual problem. I know of workers who swear by a certain formula. I also know another group that cannot get even passable results with it. What's the answer? Everything depends upon the individual — the man behind the camera. He differs considerably from his comrades in equipment, knowledge, working conditions, etc. Therefore, no one can advise for individual cases, no more than a tailor can cut one suit of clothes to fit you, your brother, and me. Naturally beginners cannot know of these details in photography. They, in all probability, consider photography as a cut and dried proposition which can be followed according to certain laws. Up to a certain point this is true. If it were not, what a fix we would all be in without picture-making activities. As for formulas, the best advice to the beginner is to get a copy of a book of formulas, such as, for example, "Photographic Handbook, Hoiv To Make Good Pictures, The Lena Data Book," etc. These, along with other similar works, contain numerous formulas from which the amateur can select a few for test purposes in order to determine which more nearly suits his requirements. Of course, the old rule is to adhere to one formula, once you have found one that works to your entire satisfaction. I suspect that those who worry themselves so much over technicalities are the experimenters who flit from one thing to another. They are not content unless they develop each roll of film in a different solution to see what happens. While such an attitude is an admirable one from the investigator's standpoint, it spells defeat for the hobbyist who wants only to make good pictures. I might further point out that in practically every case the modern camera can be relied upon as being mechanically and optically perfect. Nine out of ten complaints are unjustified. It brings us back to the old story — it's the man behind the camera who makes the picture, not equipment, not involved technicalities. Learn the camera and the fundamentals of photography first. If, after you are able, with your knowledge, to turn out good pictures you want to go deeper into photography, fine and dandy — but above all, don't forget that the picture is the thing. Don't get all tangled up in complications which will blind you to the real purpose of your hobby. Ride your hobby, and study it, but be wise enough to realize the limits beyond which you are certain to flounder. Remember the technicians— many were once excellent photographers, but now, through constant probing and investigating, they have lost both their knack and taste for picture making. In other words, they have gone so far over the border that they can no longer enjoy their hobby. It's the man behind the camera. It's up to you. And "by his questions shall you know him" would make an excellent motto. Keep it in mind. In SAN FRANCISCO STOP at the Hotel Mayfair 626 Polk St., near Civic Center 100 Rooms 100 Baths Single $1.50 Double $2.00 Special Rates for Permanent Guests Operated by a Member of Local 659 DARK ROOM FACILITIES PROVIDED CAMERA AND PROJECTION TECHNIQUE (Continued from Page 14) as a single image on the screen, just as he would normally. Since the component parts of the Crosene lens are immovably positioned when the lens is made, an error in adjusting the unit on the projector is impossible. Because the Crosene print carries four reduced frames within the area of a conventional black and Avhite frame, it might be thought that film shrinkage would be a ruinous factor insofar as perfect registration is concerned. Such, however, is not the case. Film will shrink in two directions, laterally and longitudinal!}. If there is any shrinkage of the Crosene print it will manifest itself as a color fringe on the screen. Now, since the shrinkage must affect the ivhole frame area, it must follow that each of the optical centers of the four Crosene frames will shift only in a proportional amount to the other three. The Crosene optical unit is equipped to reestablish the correct inter-relationship of the optical centers of the four frames to within .0001 of an inch, and thus remove any sacrifice in registration occasioned by shrinkage. This adjustment for possible shrinkage is the only change which the Crosene might require in conventional projection technique. To further protect the projectionist from error, the Crosene print is so marked, that, should breakage occur, reassembly of the small frames in any but their correct sequence is impossible. So it becomes more apparent that the Crosene Process definitely has something to give to the motion picture industry. Here is a process of revolutionary nature offering a rare fidelity of color reproduction on a monochrome basis, with a minimum change in conventional production technique. CAMERA & PROP RENTALS Camera Supply Co. 1515 Cahuenga Blvd. Hollywood, Calif. Ruddy Ceraus, Manager CLadstone 2404 Nite Phone CLadstone 6583 Cable Address — "CAMERAS" Please mention The International Photographer when corresponding with advertisers.