International photographer (Jan-Dec 1935)

August, 1935 T h INTERNATIONAL PHOTOGRAPHER Seventeen HOTOCHAPHY AT NIGH1 K., lights have been turned on. In this case, we have an interesting photograph which gives an excellent impression of night. Detail in the darkened areas is easily seen, and the artificial lights in the office building windows and signs complete the picture very realistically and truthfully. This method obviously has its disadvantages, for it is often impossible to set up a camera for an hour or more in the street with the assurance that it will not be disturbed. Naturally, the camera must occupy the exact same position for the second exposure as for the first, otherwise a double image will result. Pictorial workers can frequently find a lonely street, particularly in the suburbs, where but one street-lamp furnishes all the illumination available in the particular area. Time exposures can be made with great success Oth second. Films used: DuPont Superior, I Peromnia. Developer: MPC. by shielding the light source (street-lamp) behind a tree trunk or similar object which happens to be available. The effect is greatly enhanced if the street is snowcovered. Pictures under such conditions can be made which include a person, or two people talking together. For example, the idea of one man asking another for a light could be worked up into a most interesting night shot. The flare of the match could be used to heighten the effect as the man lights his cigarette or cigar. Of course details have to be worked out beforehand, for it is discouraging to set up, preparatory to making such exposures, only to find that some tiny, obscure detail has been overlooked. The setting up of a tripod on a lonely or little frequented street offers no serious obstacles, whereas in the shopping center of a large city it is impossible. I have several times had to show my police or press pass in order to remain in Times Square long enough to get certain scenes with a motion picture camera (which of course demands a tripod). The equipment required for night photography depends greatly upon the individual and the equipment available. Ordinarily, a lens of f :4.5 can be used, al he Miniature Camera <ng discovered in the Universe though it can be readily understood that a speed lens is a decided asset in this work. Lenses of f:3.5, f :3, f :2.9, f :2.5, f :2, and f : 1.5 are mighty desirable. Unfortunately the extremely fast lenses are to be found, except in rare cases, on small cameras and miniature type cameras. Speed lenses for large cameras come very costly, hence not many amateurs are likely to be equipped with one. Naturally the slower the lens, the longer the exposure must be. The exact exposure depends entirely upon the amount of light available and the speed of the film used. I have photographed snapshot scenes in which the lens had to be stopped down to f :4.5 ! The question of film is quickly and easily settled. Use the fastest panchromatic film available. Panchromatic film is of course recommended for this work because an orthochromatic film is "blind" to most colored lights which usually abound in display signs. The "pan" film does a good job in recording almost all of the colored lights and making the most of them. For miniature cameras using cinema film, Agfa Superpan, DuPont Superior, Eastman Supersensitive Panchromatic, and Perutz Peromnia should be used without exception. For cameras using roll film and film pack, Agfa Superpan and Eastman Supersensitive Panchromatic are indicated. I have recently used the New Ilford Selo Hypersensitive Panchromatic film with excellent results, but owing to the higher cost of this film, it may not be a particularly popular one in America. It has given perfectly-timed negatives in Times Square at f :2 and l/20th second exposure. Beginners in night photography are likely to be disappointed on first seeing their developed negatives. They look so thin and weak, with only the lights of the signs standing out with any density at all. But viewing the negative is not proof of the pudding. When those negatives are placed in an enlarger and prints made, the full possibilities of them will then be seen. A branch of night photography which can also be made to be profitable is that of photographing store windows. This commercial photographers do quite often, but the amateur, too, can experiment along this line. Windows which are brilliantly illuminated permit fully timed negatives to be made with comparatively short exposure speeds. A word of caution, however. Glass windows produce reflections, and in order to overcome them, the photographer must carefully check his position in order to avoid them. It is for this reason that commercial photographs of this type are made at night — the reflection of the traffic and buildings is "killed." The miniature camera, or at least the small sized camera, really makes the most practical companion for night photography. It can be conveniently slipped into the pocket, loaded with a fast film, and all is ready whenever an opportunity presents itself. Incidentally, just because it is night, don't think that the sunshade should be left at home. A sunshade is of the greatest importance in night photography because of the unavoidable lights which are situated in every direction. The shade will be the means of securing flare-free negatives every time. An exposure meter will, in most cases, be superfluous, there rarely being sufficient light to record an accurate reading. Reasonable judgment will be found to be adequate, for at best, night photography is greatly a matter of trial and error. The amateur photographer who has so far neglected this interesting branch of photography is really missing something. Why not plan to go out the next evening you have the chance? Take your pet small camera along, and see what you can do with it. I feel certain that you will ever after take your camera for walks at night in quest of new material of this nature.