CAMERA NOTES.

Manawatu Herald, Volume XXXIV, Issue 1030, 23 November 1912, Page 4

CAMERA NOTES.

[Bv “Focus.”]

The alert photographer is ever on the watch tor anything that suggests itself as a subject for a picture, not only when he is on picture-making bent, but at any time during his leisure hours, and finds a certain 'pleasure in contriving to compose in his mind’s eye an '‘effectual rview i /,of some familiar, or unfamiliar, spot that suggests itself as worthy of the expenditure of a plate.

- THR CTNRMATOGRAPH

>■ Jbf : afford, a great amount of food for meuttil reflection as regards comipoMtion and tvartous . necessary .details in the genefat mage-tip of ia picture, and prove of high value to amateur photo-!graplferS-Who exercise ' tire' necessary ipdtv.e'rs of observation and ;discrimingti6h. From Cineipato Igrdptt films .rnueh may he learned ■ : .whfccs will prove-;, invaluable ip 'ordinary camera work, inasmuch as k rfiotion picture, film-is - only a Icofitinuous -series .of . takeruiatv espositres Ivatfyiig iu length from 1-30U1 sec. Ito t-ipoth sec,, and is therefore |utije& to the same conditions ‘governing success or failure as an ordinary photo. It will often be observed that many cinematograph dramas owe a great deal of their attractiveness to the beautiful settings which they are given, and in many instances the exquisite nature of the surrouudiugs detracts the attention entirely from the deeds of the hero or the villain. Also, the beautiful scenic films which are too infrequently screened offer many suggestions to the observant one.

THE ALL-IMPORTANT ELEMENT. When we observe with a critical eye the reproduction of some of these outdoor subjects, we may frequently see the ill effects of mistakes in that first and most important element of successful photography exposure. Mistakes in this respect are not infrequent, and although they may pass unnoticed by the less observant, it adds an additional interest to an evening’s amusement for the initiated to inwardly note errors in this, and other directions. Of course, we must make due allowance for the circumstances under which the kinematogiapher labours, there being a narrow limit to the duration of the shutter speeds, which can only be partly overcome by the judicious use of the lens diaphragm. In pictorial films we oiten have brought under ohr notice the necessity of considerably varying the exposure to suit the variations in, colour, distance and general nature of the subject, and it is through neglect to provide for these variations that the irregularities occur. No doubt a careful calculation is made as to the light value, position and subject appertaining at the commencement of these exposures. but should the nature of the subject change entirely and the exposure remain the same —vyhich is often apparent —the effect is obvious. The result of under-ex-posure is self-evident; the shadow detail is entirely absent, and the high lights—should the film be forced in development —present a chalky and displeasing spectacle. VAGARIES OK THE LENS. In view of the fact that many film-producing firms to-day select beautiful settings for their drama pictures, it is reasonable to assume that all care is taken to obtain the greatest depth oi field possible, in order to give full expression thereto. This leads to the assumption that a lens of as short focal length as possible will be employed, in order to obtain the necessary depth of field while using a sufficiently large aperture to allow of a full exposure. It would seem that to obtain an important result in one direction, an evil is introduced in another. Here we see perspective sacrificed for depth of field ; as the figures approach the camera they lose their natural proportions, and in this it will be seen that we cannot have a combination of true perspective in near figures and a great depth of field without the necessity of stopping down. These are a few of the object lessons that moving picture entertainments afford us. CHROMATIC KII.MS. Writing of cinematography calls to mind an excellent example of chromatic photography which was evidenced in a film, “On the Shores of the Bosphorus,” projected at the local municipal entertainment a few nights ago. This film depicted most beautiful cloud effects—a subject hard enough under special conditions, and certainly surprising where probably no special care had been taken for their inclusion. This sets one wondering whether cinema, films are sensitised for ortho, work during the process of manufacture, like most makes of camera roll films, but when it is remembered that to gaiu the effect of ortho, sensitiveness a ray filtermust.be used, the question becomes more mystifying. It is possible that anti-screen emulsions are attached to cinema, films in precisely the same way as nonfilter plates are treated, and thus while the actual emulsion speed is not reduced the effect is equal to that of a three-times filter.

The question of orthochromatics is intensely interesting, and is an item that will be dealt with at some length at Thursday night’s Camera Club meeting, when it is hoped that actual photos, will be submitted to illustrate the superiority and superlative excellence of colour-sensitive plates over those ol the colour-blind variety.