We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Twenty-eight
T h
INTERNATIONAL PHOTOGRAPHER
August, 1935
in order to kill any strong shadows. Light coming through the windows in the dining room, of course, helped out.
In the afternoon, a bridge party of my mother's and the play of two of my little cousins occupied us. The ladies were flattered by our attentions. We gave them half a second at f:3.5 and recorded one of the decisive moments of the game.
With Patty and Tim, it was different. They romped, and they ran, and they would not remain still for a picture. I was thankful to have my little Leica so as to be able to run after them. Finally Tim and I engaged in a bit of warfare. Just as he shot me, I "shot" him (one two-hundredth of a second at f :6.3). Patty and Poncho, the big pointer dog, had been chasing each other in a strenuous game of tag. I found them pausing to rest under the shade of a big oak tree. One-sixtieth of a second at f :4.5 was the exposure.
Patty, Tim and the ladies went home, and it was dinner time. As usual my father got our diminutive parrot, Big Boy, out of his cage so that he might eat his dinner with the family. Hurriedly, I placed a couple of Photofloods in the fixture on the side of the room behind the camera. With a fifth of a second exposure at f:3.5, we snapped Mr. Big Boy on my father's shoulder.
Washing the dinner dishes fell to my lot that evening ; therefore, I determined to make it a pleasant process and proof of my dishwashing ability. In the middle of the ceremony, I climbed up into the window and shot down at the dishes, using f:4.5 at one thirtieth of a second.
There were two Photofloods in reflectors, one above and one at the side.
After the dishes were finished, I discovered father in the living room, deeply engrossed in the evening paper. I placed the camera on a table, because I did not wish to disturb his pose by setting up a tripod and lights. The exposure was f :3.5 at two seconds, and he did not become conscious of it !
That evening, my sister and her boy friend were going out to a dance. I asked them if they had a minute or two in which they could pretend they were movie stars attending a preview. "Of course," they chimed, because they really felt well-dressed. "All right," I said. "When I tell you that I am ready, go out this side door and walk around and come in the front-door, but don't look in the hall while I'm getting ready for you." They assented and I set to work. My two bright Photofloods, I put in reflectors close to the door and set the Leica for a sixtieth of a second exposure at f :4.5, guessing at the approximate distance. Then I called, "ready." In a moment, Margot and Douglas opened the door. Notice how surprised yet pleased they look!
It was drawing near bedtime, but my father was becoming interested in what I had been doing. So I coaxed him to pose at his bar, whiskers and all for the last picture of the day. With one Photoflood, the exposure was half a second at f:3.5. Then off I went to bed with my Leica under the pillow. In case of a nightmare trip, I
(Turn to Page 31)
TIME CONVERTED TO FEET OF FILM
35 mm. FILM
FOR CAMERA SPEEDS BELOW NORMAL
Is
2 s
CAMERA SPEED IN PICTURES PER SECOND
24
20 16
12 8
6
4 3
FEET OF FILM EXPOSED
i
1.5
1.25
1
.75
.5
.38
.25
.19
3
4.5
3.75
3
2.25
1.5
1.12
.75
.56
6
9.0
7.50
6
4.50
3.0
2.25
1.50
1.12
9
13.5
11.25
9
6.75
4.5
3.37
2.25
1.68
12
18.0
15.00
12
9.00
6.0
4.50
3.00
2.25
15
22.5
18.75
15
11.25
7.5
5.62
3.75
2.81
18
27.0
22.50
18
13.50
9.0
6.75
4.50
3.35
21
31.5
26.25
21
15.75
10.5
7.88
5 25
3.91
24
36.0
30.00
24
18.00
12.0
9.00
6.00
4.50
27
40.5
33.75
27
20.25
13.5
10.12
6.75
5.06
30
45.0
37.50
30
22.50
15.0
11.25
7.50
5.62
33
49.5
41.25
33
24.75
16.5
12.38
8.25
6.18
36
54.0
45.00
36
27.00
18.0
13.50
9.00
6.70
39
58.5
48.75
39
29.25
19.5
14.62
9.75
7.26
42
63.0
52.50
42
31.50
21.0
15.75
10.50
7.82
45
67.5
56.25
45
33.75
22.5
16.88
11.25 1 8.38
48
72.0
60.00
48
37.00
24.0
18.00
12.00
9.00
51
76.5
63.75
51
39.25
25.5
19.12
12.75
9.56
54
81.0
67.50
54
41.50
27.0
20.24
13.50
10.12
57
85.5
71.25
57
43.75
28.5
21.37
14.25
10.68
1—00
90
75
60
45
30
22.5
15
11.25
2—00
180
150
120
90
60
45.0
30
22.50
3—00
270
225
180
135
90
67.5
45
33.75
4—00
360
300
240
180
120
90.0
60
45.00
5—00
450
375
300
225
150
112.5
75
56.25
6—00
540
450
360
270
180
135.0
90
67.50
7—00
630
525
<»20
315
210
157.5
105
78.75
8—00
720
600
480
360
240
180.0
120
90.00
9—00
810
675
540
405
270
202.5
135
101.2
10—00
900
750
600
450
300
225.0
150
112.5
CHECKING THE CAMERA SPEED
35 mm. FILM FOR CAMERA SPEEDS ABOVE NORMAL
No. 3 Please mention The International Photographer
No. 4 when corresponding with advertisers.