The international photographer (Jan-Dec 1935)

Fourteen The INTERNATIONAL PHOTOGRAPHER October, 1935 The Fisherman. Photo by John Caldwell. Taken with a Dolly Camera and Xenon f:2 lens. | ORE on Dufaycolor: Despite the fact that quite some space was devoted to Dufaycolor last month, the opportunities it offers, for indoor color pictures, make it deserve more space, in view of the longer evenings we are having at this time of the year. Making Dufaycolor pictures is an ideal method of spending these evenings. There are many small objects at home which will make splendid subjects. Colored vases, artificial flowers, decorative figures, etc., can be grouped against a suitable background to make good color composition. Portraiture with Dufaycolor is another joy of miniature camera photography. In this work the use of colored gelatines should not be overlooked, the gelatines being employed in the manner of a spotlight. When a sheet of colored gelatin is used in this manner it might be well to take some color pictures without the use of the blue Wratten 78A filter. The colored light produced by the gelatines may obviate its use. The ideal procedure would be to take two "shots" of each pose, one with the use of the blue Wratten 78A filter, and the other without it. We would suggest that the photographer experiment somewhat when exposing Dufaycolor film indoors for the first time. A few usual subjects can be selected, such as one or two colored objects in the home, a portrait, and about two or three varying exposures given on each subject. When the film is processed the photographer will be able to determine the correct exposure for the Dufaycolor Film with the use of Photoflood illumination. Teitel's Scratch-Proof Method: In the August issue of INTERNATIONAL PHOTOGRAPHER a typographical error appeared in a description of the above product, which may have been misleading to some readers. The sentence in question read as follows: "It is known as the 'Teitel's Scratch-Proof Method,' and has not been made available to the miniature camera photographer." The word "not" should have been "now" for this product is now obtainable at most all photographic dealers. Controlling Print Contrast: The usual method of controlling the contrast of the print known to the amateur, is through the choice of the printing paper. The harder the grade of the paper the more contrasty is the resulting print. The choice of the type of printing paper to be used is however normally dictated by the contrast of the negative. Weak flat negatives require a hard paper, normal negatives a medium paper, whereas a dense contrasty paper will necessitate the use of a soft grade of paper. A method of exercising control over the contrast of the print, which has been recommended in this department in the past, is through the adjustment of the exposure time of the paper and its developing time. Exposing the paper for a shorter lime and giving it a relatively long, full development, will result in a print with more brilliance and snap, than if the paper were to receive a longer exposure with a consequential shorter developing time. There are limits to this procedure. The paper MINIATURE CAMERA PHOTOGRAPHY cannot be left for too long a time (over about two minutes) in the developer for it will fog. It is quite a simple procedure, but it works. The constituents of the developing solution are also a factor in determining the contrast of the print. In the usual M-0 developing formulas it is the relation between the quantities of metcl and hydroquinone which control the print contrast. Metol produces soft results, and hydroquinone a hard contrasty effect; thereby, by increasing the amount of hydroquinone the contrast in the prints is also augmented. Metol will produce opposite effects. If the amount of bromide is increased there will also be a rise in print contrast. In this case potassium iodide will produce an opposite effect. When added to a developer the latter will yield softer results. These two chemicals can therefore also be employed to control the contrast of prints. Single Condensing Lens in an Enlarger: Many photographers may have noticed in examining some makes of enlarqers on the market, that their condensing systems consist of but a single lens with its plane surface towards the film. The usual double lens condenser gathers more light, but it also readily shows the defects in the negative. A single lens condenser with its plane surface towards the film, emits parallel rays, -which reduce the effects of grain, and also minimize scratches and other surface defects in the negative. In some enlargers as the Leica enlargers, such condensers also act as pressure plates, thereby eliminating the use of glass negative carriers, which means less surfaces to become dirty or to gather dust. Tone in the Print: Many photographers have noticed that in some cases their prints have a warm black tone, whereas at other times the black of the print is "cold." We are continually speaking of fine grain in miniature camera work, and here again it is a factor. The finer the grain of the paper, the more towards yellow-brown does the color progress. This is no doubt the case with the slower papers, such as chloride and chloro-bromide papers which are inherently -warmer toned than the fast bromides, most likely, because of the finer grain possessed by slower emulsions. The developer is also a factor. Developers weak in alkali produce finer grain, and consequently warmer toned prints. The miniature negative is not the only factor in which fine grain is of importance. The Negative Question: There is no doubt that the ownership of a miniature camera means the making of a considerable number of pictures. The small camera is so easy to carry about, so quick to operate, that few opportunities are missed. To make pictures may not be a difficult matter. Developing is a procedure consuming about an hour or less; but printing, that is an entirely different matter. The roll of miniature negatives may contain any number up to about 36 negatives, and to make 36 good prints does require quite a bit of time. Many of us have our time limited, and the result is that the number of negatives to be printed keeps mounting continually, until we find that our printing schedule is perhaps one or even two years behind. This happens in many cases. What is the remedy? A close inspection of the negatives on hand will usually reveal that many are the same subject taken from different angles, and then again there are some which are not needed immediately, but may be of use at some future 35mm. Eastman or Dupont Fresh Qray Backed Negative Price 2V2C per Foot for AMATEURS or PROFESSIONALS KINEMA KRAFTS KOMPANY 6510 Selma Ave. Hollywood, Calif. GLadstone 0276 Please mention The International Photographer when corresponding with advertisers.