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TALLY HO!" may be music to the ears of a fox hunter, but, to the cameraman who is making a movie of a fox hunt in progress, it all too frequently means "You're too late!"
So, at any rate, says A. L. 0. Rasch, ACL, of Philadelphia, Pa., in discussing his picturesque and stirring film. Tally Ho!, from which these frame enlargements were made. All the glamour and excitement of the brisk fall morning, the charm of the pink coats and the thunder of hoofs have been caught by Mr. Rasch on 300 feet of 16mm. Kodachrome. But, in case you have any illusions about fox hunting, or of filming the hunt, listen to what Mr. Rasch says about it —
"If you plan to make a film of a fox hunt, start shooting in the late fall, when you have the whole winter ahead of you to finish your work. The hunters wear their colorful pink coats only on Saturdays and holidays. Opportunities for matching shots are further reduced by bad weather and snow on the ground.
"I followed the chase by automobile — that is to say, I tried to beat it to the places where I thought it would pass. But the red fox is wild, and often the sight of me in his path was enough to turn the hunt in another direction — not to mention the other cars following the horsemen, which frequently caused a traffic tie up !
"A telephoto lens of three or four inches is a necessity for field shots, a two inch lens for closeups and the one inch lens for general views. If your camera has a turret front, keep these three lenses set at infinity while you follow the hunt. Take most of the exposure readings with the meter directed toward the ground at a point approximately where the fox will (may!) pass.
"It is neither the intention nor the desire of the hunters to catch and kill the fox. The sport is solely in the chase — and a rousing sport it is!"
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