International photographer (Jan-Dec 1935)

Sixteen The INTERNATIONAL PHOTOGRAPHER . I it;/ ust, 193: AMATEUR ADVENTURE If comparatively rare, and those unfamiliar with photography considered anyone nothing short of mentally unbalanced if seen using a camera outdoors after dark, the generally accepted idea being that photography was possible only in bright sunlight. The years have brought radical changes, however, and it is now a common thing to see photographers snapping pictures at night with small cameras held in the hands. No longer is the bothersome and awkward tripod necessary. The tremendous strides that have been made by the manufacturers in lenses and films have made this possible. The miniature camera has really brought night photography on a par with daytime shooting. The making of photographs after dark holds a certain fascination for every amateur. To begin with, it is somewhat novel, and then again, there is a certain thrill provided as one unlimbers a camera in the dark — it seems almost impossible to make pictures under such conditions because so deeply have our subconscious minds been steeped in the idea that photography requires sunlight. The modern generation, however, may not at all be awed or thrilled by this, because night photography will have been a part of their span of existence, hence they will not consider it as anything unusual. Night photography has many possibilities, ranging from pictorial to commercial subjects. Let us begin with the amateur who just wants to try his hand at this type of work for the novelty of it. Certainly he could do a lot worse, for night scenes carefully made, are often prized pictures which draw forth admiration and comment. The city dweller in all probability will head for the shopping and theatre section, where lights are to be found in abundance. It is a good plan to begin the study of night photography in such a place, for it is perhaps the easiest type of work and makes excellent picture material. The Times Square district in New York City is undoubtedly the most photographed spot at night in the world. Hundreds of movie photoplays have used scenes of Times Square at night, showing the multitude of brilliantly illuminated signs, many of them fantastic creations in which figures and words move about. It is a Paradise for the picture maker bent on getting some good shots. It is not today what it used to be, however, yet it still provides ample picture material for the amateur. Several years ago, the streets were very much like daylight owing to the hundreds of thousands of Mazda and Neon lamps which blazed away in the countless signs and shop windows. Several advertising signs were masterpieces, huge affairs which called attention to various products by means of cleverly animated figures and words; all in lights. The theatres cast dazzlingwhite light on the streets and under their marquees. Drug stores and restaurants, too, did their share to illuminate the streets. Now many of the theatres are closed and dark. The huge advertising signs have lost their sparkle and animation owing to a great reduction in the number of lamps and figures used. Still and all, Times Square still has some of the glamour and brilliance which characterized it several years ago. There is a miniature Times Square in every city and town which offers the night photographer some interesting material. All he has to do is to select his proposed scenes and suit bis equipment to them. Even a single incandescent sign can be made to produce a pleasing pattern of light against a jet-black background. It is well worth going after. Street scenes at night are particularly attractive when there is snow on the ground, or after a rain while the pavements and buildings are still wet. With regard to the latter condition, special attention should be paid to reflections, for these can be made most decorative in the photographs. Snow helps the exposure greatly by reflecting a good percentage of the available light. The wet pavement, especially when smooth, glistens in the artificial light and provides all sorts of fantastic duplications of designs. In making street scenes at night, especially of illuminated signs, two courses are open. One is to give as full an exposure as possible, striving to get as much detail in the darker area as can be secured. The second is to give a shorter exposure, striving only for the pattern of the sign or signs, permitting all else to go black. B Leica camera, Summar 50 mm. f:2 lens, shi llford Hypersensitized Panchror Of the two, the second method appears to be better, for the former is but at best a compromise, for it severely over-exposes the lamps or tubes in the signs, and gives only feeble results in the dark areas. The whole scene is likely to go gray in printing, giving a poor impression of night. The over-exposed signs show up hazy and fuzzy, making them anything but pleasing in appearance. When the exposure is aimed for the signs alone, better pictures in general result. The signs stand out clearly and sharply. Details in the dark areas, however, go jet-black. This is not serious, considering that it is but a compromise at best. On the contrary, beautiful patterns can often be secured by shooting signs at an angle. In the print, they will stand out beautifully clear and crisp, owing to the jet-black background. Sometimes a trick is resorted to in night photography. In such cases, details of the street and buildings are wanted. It becomes necessary to set the camera upon a tripod, however, hence is not always convenient, nor practical. An exposure is made at dusk, while daylight is still available but weak. The negative is again exposed later, after night has completely set in, and the It is through the lense that New Worlds at Photogra