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4 E. R. F. JOHNSON [j. s. M. P. E.
Recently the tendency of producers to show what happens under water as a part of their stories has grown vastly, to say nothing of pictures having the principal parts of their plots based on action allegedly taking place there. Indeed pictures of champion divers or swimmers are no longer considered complete without a view of their graceful evolutions after penetrating the surface. Some real ocean water scenes were used in the excellent story Submarine DI and underwater scenes can be used to add to the romantic touch of a picture, as was done in Jungle Love. The work of naval and commercial divers has as yet hardly been touched upon and their heroic exploits offer material for a host of future thrillers. People in everincreasing numbers are becoming cognizant of the real underwater conditions. For instance, Miami University has a class in marine zoology where the students, using diving helmets, go below the surface. At the Marine Studios in Florida and at the Bermuda Aquarium tourists put on diving helmets, or observe the underwater world through ports. In France, Paul Painleve's underwater club is educating another section of the public. This increasing familiarity is making audiences more critical, and the technic and equipment for actual underwater photography as contrasted to shots through glass port-holes in tanks are of both present and growing importance to entertainment pictures, as well as to the scientist and educator.
PHOTOGRAPHIC CONDITIONS UNDER WATER
The author's vigorous attack on the problems involved in underwater photography was brought about by a stinging defeat in 1928. We read one of Beebe's glorious descriptions of the beauties of undersea gardens and the complete ease with which they could be visited and photographed. An Eyemo camera was enclosed in a simple case with a box of calcium chloride to keep the condensation off the lens and window. The result of several weeks' work was very mediocre, however, for we found out that if one can see forty feet that does not mean that he can take good pictures at more than ten, or always even up to ten. We found that natural light is strong enough for photography under water only between 10 : 30 A.M. and 3 : 30 P.M. in the summer and even less in winter ; that the pellucid tropic seas are more often than not full of white sand, green algae, gray-green marl, or other detritus; and that if the undersea photographer hoped to get anything in a natural set he had to be lightning fast to grasp his opportunity.