ADELAIDE CAMERA CLUB
Founded - Tuesday 19th September 1902
HISTORY 1931 - 1940
Founded as the
MALVERN PHOTOGRAPHIC CLUB
The name was changed to the
ADELAIDE CAMERA CLUB
when meetings were transferred to the city in 1904.
The name was changed to the
ADELAIDE AMATEUR CAMERA CLUB
in January 1905.
Incorporates the
SOUTH AUSTRALIAN PHOTOGRAPHIC SOCIETY
which was founded in 1885.
HONORARY MEMBERS
1912 - 4th September
Mrs IRWIN
HONORARY LIFE MEMBERS
1940 - August
Miss DORIS BARNES
Thursday 27th August 1931
Page 8 - Advertiser and Register (Adelaide South Australia)
PHOTOGRAPHS FOR PUBLIC TO SEE
CAMERA CLUB'S EXHIBITION
The Adelaide Camera Club exhibition, to be opened this evening by Lady Sowden, is an excellent collection on the whole, the majority being very satisfying in respect to subject, composition and printing. It comprises 117 works and the variety of subject greatly increases the interest.
For the Sir William Sowden trophy, for "Still Life" entries have been received from 22 competitors and the work of judging will be difficult. "Fruit Study" and "Anemones", both by A.K. Stevens, are fine studies, the marking on the fruit, in the first, against the high light in the basket, being most effective. "Cacti" (J. McAskill), is excellent in its naturalness. "Roses" (L.G. Page) is a brave attempt, but is a little lacking. "Roses and Reflections" (A.E. Stevens) is a difficult subject, slightly over printed. "The Bridge" by the same artist is taken from an unusual standpoint and is weak in its tone values.
VIEW OF CATHEDRAL
St. Peter's Cathedral (M. Sherrad), in its mixture of trees, lawn and architectural outline, is well defined and makes an attractive picture. "The Porch" (G.L. Page) is simple but most effective and an excellent study in light and shade. "The Old Homestead" (D. Barnes), is another fine portrayal of strong sunlight. "The Brook" (E.A. Elliott), showing water and stepping stones in contrast, with excellent effect of distance, is very appealing. "Adelaide University" (A.E. Stevens), is a fine architectural study, perhaps marred by overprinting. "Waverley Ridge" (C.P. Mountford), is a splendid picture of timber and "The Perch Pool" (C.N. Tomlinson), is excellent in its portrayal of light, foliage and water. "Clearing Scrubland" by the same artist, is perhaps one the best of the animal studies and his "Fireman" also is an excellent piece of work. "City Bridge" (G.L. Page) is a good study in composition, but over printed. "Hillside Dwellers" (K. McAskill) is effective as to subject and composition, but the effect of seemingly horizontal lines on the paper, detracts from the general effect. "Hawthorn Dene" (C.N. Tomlinson) and "Evening Light" (P.H. Williams) are both charming studies of fine timber and especially effective.
SAND RIDGES
"Where Winds Frolicked" (J. McAskill), is clever in the portrayal of light and shade in the sand ridges, which contrast well with a good back ground.
Photography has advanced so much in recent years that the exhibition, which will remain open until 4th September, should attract many visitors. Small collections of photographs have been lent by the Melbourne Camera Club and the Photographic Society of New South Wales and are interesting from the fact that they represent different scenes and subjects.
Thursday 27th August 1931
Page 16 - News (Adelaide South Australia)
ADELAIDE CAMERA CLUB
ANNUAL EXHIBITION 1931
SOCIETY OF ARTS PICTURE GALLERY
INSTITUTE, NORTH-TERRACE (WEST SIDE ENTRANCE)
AUGUST 28th to SEPTEMBER 3rd
Noon to 5pm and 7.30pm to 9.30pm.
PUBLIC CORDIALLY INVITED. ADMISSION FREE
Friday 28th August 1931
Page 18 - Advertiser and Register (Adelaide South Australia)
The annual exhibition of the Adelaide Camera Club was opened last night in the Society of Arts Gallery. Sir William Sowden said the South Australian Art Gallery was the first institution of its kind in the Commonwealth to institute a photographic annexe, the existence of which had helped materially in bringing about a higher standard of work among photographers. The present exhibition compared favorably with those of the past.
The Sir William Sowden trophy in the still life, fruit and flower section, which was judged by Mr. and Mrs J.C. Goodchild, was awarded to A. Edmond Stevens for a fruit study.
Thursday 25th August 1932
Page 12 - The Advertiser (Adelaide South Australia)
LANDSCAPES AND SEASCAPES PREDOMINATE
The standard set by the Adelaide Camera Club has been well maintained in the exhibition of photographs to be opened by Mrs L.L. Hill this evening at the Society of Arts Gallery. This applies particularly to the landscapes and seascapes which constitute about 80 per cent of the work. The portrait section is not large but contains some fine work, notably "Roger" (A.E. Stevens), in which the face and the texture of the woolen coat are artistically reproduced. "Ruth" (Doris Barnes) is also happy in its general effect and "Maid of Honor" by the same artist is a cleverly arranged figure in costume. "Portrait" (Stevens) is one of the best, true and effective and preserving the natural lines of the face, "Jean" (Barnes) is a jolly little figure, "Crystal Brook" (Welford) is a well selected subject, the fine trees running brook and the distant bridge revealing admirable choice of composition. "Storm Clouds" (C.N. Tomlinson) is a fine picture of cloud and rough foaming seas against rugged rocks. There is a touch of humor in "Still Life" (P.H. Williams). "500" (Elliott), one of our Mountain trains, is full of mechanical power. "Glory of Autumn" (Stevens) is full of charm. The best results have been gained with the soft light. It is one of the best exhibits. "Cathedral in the Brick Kilns" (Williams) an unusual subject is full of dignity, in rich warm colors. "Chandlers Hill" (C.N. Tomlinson) is a fine composition showing trees, sheep and distant hills and is rather attractive. "Storm Clouds Over Adelaide (Doris Barnes) is fine in its contrasts. Members of the club have reason to be pleased with their exhibition.
Thursday 25th August 1932
Page 10 - News (Adelaide South Australia)
Mrs L.L. Hill, wife of the Premier, will open the annual exhibition of the Adelaide Camera Club at the Society of Arts Gallery, North terrace, tonight.
Friday 26th August 1932
Page 20 - The Advertiser (Adelaide South Australia)
MRS HILL OPENS CAMERA CLUB EXHIBITION
"Photography is a great hobby, but it has become more than a hobby. It has developed into a means of expressing artistic ideas", said Mrs L.L. Hill, when opening the annual exhibition of the Adelaide Camera Club at the Society of Arts gallery last night.
Mrs Hill said that members of the club were to be congratulated on the high standard of the work achieved and it was pleasing to see that some of the exhibitors had received recognition of their work in other States and abroad. The club, no doubt, regarded it as an honor that the pictures of some of its members ranked with those of the world's leaders in photographic art. It was only in recent years that photography had been recognized as an art. The South Australian Art Gallery had purchased a number of pictures by club members for its black and white room.
Mrs Hill was introduced by the President of the club (Mr. A. Edmond Stevens).
Friday 26th August 1932
Page 10 - News (Adelaide South Australia)
Page 5 - The Advertiser (Adelaide South Australia)
Saturday 27th August 1932
Page 4 - The Mail (Adelaide South Australia)
ADELAIDE CAMERA CLUB
ANNUAL EXHIBITION 1932
SOCIETY OF ARTS GALLERY
INSTITUTE BUILDING, NORTH-TERRACE
AUGUST 26th to SEPTEMBER 1st
Noon to 5pm and 7.30pm to 9.30pm.
PUBLIC CORDIALLY INVITED. ADMISSION FREE
Saturday 27th August 1932
Page 16 - The Advertiser (Adelaide South Australia)
CAMERA PICTURES FOR ART GALLERY
The fine arts committee of the Public Library Board inspected the Adelaide Camera Club exhibition on Thursday afternoon and selected the following for the photographic section of the Art Gallery: "Overlooking Wilpena Pound", by A. Wilkinson; "The Glory of Autumn", by A. Edmond Stevens.
Friday 28th October 1932
Page 17 - The Brisbane Courier (Queensland)
The members of the Queensland Camera Club are to be congratulated for their efforts collectively to bring the club's name and samples of members work before the public of Australia and the Empire. The club recently sent an exhibit to the InterState Exhibition of Pictorial Photography, held in Sydney, under the auspices of the Photographic Society of New South Wales. Collective groups were exhibited also by the Photographic Society of N.S.W., Sydney Camera Club, Adelaide Photographic Society, Adelaide Camera Club, Melbourne Camera Club, Melbourne Pictorial Workers and the Southern Tasmanian Photographic Society. The following is an extract from a critical review of the exhibition by Harold Cazneaux, the well-known Sydney photographer: S.W. Eutrope helps the show and incidentally the collection sent in by the Queensland Camera Club. Both his "Light after rain" and "Afternoon in Autumn" are quality landscapes in bromoil. J.H. Foster shows an excellent outlook in his work. There is good handling in "Construction" and "The Arch" wherein he finds scope for a splendid composition and study in line and masses. The work of this Queenslander is full of merit and promise. Another good worker is J.A. Murray. "The City" is quite a modern arrangement of line and tone — his viewpoint is clever. I like the locomotive in the foreground, with the glimpse of the sunlit city in the background — the execution is also masterly. A selection of the work of members of the Queensland Camera Club is being sent to London this week for entry in the "Amateur Photographer's" Colonial Competition for 1933, which is an annual event and draws entries from the four corners of the Empire.
Saturday 5th November 1932
Page 11 - The Advertiser (Adelaide South Australia)
Thursday 10th November 1932
Page 48 - Chronicle (Adelaide South Australia)
The Hon.Secretary of the Adelaide Camera Club is Mr. B. Sharp, California street, Nailsworth.
Friday 16th March 1934
Page 20 - The Advertiser (Adelaide South Australia)
OBITUARY
Mr. Robert Fraser, for many years a well-known business man at Port Adelaide, died at his home, Hall street, Semaphore, on Sunday. He was born at Port Adelaide on 10th January 1858 and at the age of 16 years started to learn the drapery business from Mr. A. Hunwick at the seaport. In June, 1885, he opened a drapery business in St. Vincent street which has been carried on since his retirement five years ago by his daughter.
For several years Mr. Fraser was President of the Semaphore Photographic Society and acted as judge of displays for that body and the Adelaide Camera Club. He was one of the founders of the Port Adelaide Retail Traders Association and for seven years was President. He was also the first treasurer of the Port Adelaide Citizens Ambulance Committee. Besides his widow, there are five daughters, Mrs E.D. Oldfield (Woodville North), Mrs S. Smith (Woodville) and Miss C.D. Fraser and Miss I. Fraser (Hall street, Semaphore) and one son, Mr. Reginald Fraser, of Colonel Light Gardens.
Monday 26th November 1934
Page 17 - The Advertiser (Adelaide South Australia)
OBITUARY
Mr. Percy Howard Williams, who died suddenly on November 17th, was a son of the late Mr. P.J. Williams, for many years well known in business circles. He had artistic capabilities and took many fine photographic studies. He was an active member of the Adelaide Camera Club and a prize winner in many competitions. He was also associated for a long period with the Loyal Albert Lodge, Manchester Unity, No. 6, Independent Order of Oddfellows, of which he was Hon.Secretary for 16 years. As a member of the Brougham place Congregational Church, the late Mr. Williams made many friends. Miss Bessie Williams a sister, is the last surviving member of the family.
Tuesday 15th June 1935 News (Adelaide South Australia)
PHOTOGRAPHIC SHOW FOR CENTENARY SUGGESTED
An all Australian photographic exhibition in Adelaide during the centenary was suggested by Mr. Harold Cazneaux, a New Zealand photographer, in a talk to the Adelaide Camera Club last night. Mr. Cazneaux said that he was sure that photographers in Melbourne and Sydney, would be willing to support an exhibition and that pictures would be sent from the other States. Members received the suggestion enthusiastically. It was decided to make a definite decision within the next few days.
Monday 26th August 1935
Page 2 - News (Adelaide South Australia)
CAMERA CLUB TO HOLD EXHIBITION
An exhibition of photographs by members of the Adelaide Camera Club will be held in the Society of Arts rooms, North terrace, from Thursday to 5th September. The exhibition will be opened by Mr. Dunks M.P., at 8pm on Thursday. Between 70 and 80 photographs will be on view, as well as a loan collection of about 18 pictures from the Melbourne Camera Club. The judges, Messrs. C.H. Sims and J.C. Goodchild, will begin their work at 10.30am on Thursday. It is also hoped to arrange a loan exhibition from three photographic firms in the city. The exhibition will be open daily from 2pm to 5pm and 7.30pm to 9pm. Arrangements are being made by the Hon.Secretary of the club (Mr. F. Cole).
Wednesday 28th August 1935
Page 5 - News (Adelaide, South Australia)
MISS MURIEL STEER hanging some
of the pictures in the Society
of Arts Gallery, North terrace,
for the Adelaide Camera Club
exhibition, which will be opened
by Mr. Dunks M.P., tomorrow.
Thursday 29th August 1935
Page 20 - News (Adelaide South Australia)
A WINDING LANE in an old Cornish village is the subject of this study,
entered by Mr. F. Coles, Hon.Secretary of the Adelaide Camera Club, in the
club's exhibition of work, which was opened at the Society of Arts Gallery today.
Thursday 29th August 1935
Page 17 - News (Adelaide South Australia)
ADELAIDE CAMERA CLUB
EXHIBITION ORIGINALITY LACKING
An exhibition of photographs by members of the Adelaide Camera Club will be opened tonight by Mr. H.S. Dunks, M.P., at the Society of Arts Gallery, North terrace. The exhibits are mainly the work of local photographers and the subject matter includes portraiture, still-life and landscape.
Although a number of attractive studies are on view, the exhibition as a whole lacks variety and originality. The modern trend in photography is conspicuously absent. Many of the pictures, though sound photographically, fail artistically through lack of form, design and composition.
The character of the Australian bush land has been, convincingly portrayed in a number the of exhibits and, although a vague mistiness has been infused into some of the work, which is hardly typical of our landscape, these subjects seem to be the most satisfying generally. Portraiture and figure work, while offering great possibilities to the photographer, also provide a number of difficulties for the amateur and very little work of outstanding merit is shown.
Hugh Le Messurier's exhibits are exceptions. He is represented by several charming studies of figures posed against backgrounds of sea and sky. Nos. 54 and 59 are two studies by this exhibitor, which are pleasing in subject matter and treatment and show an understanding of line and composition. Strong contrasts in tonal values is a characteristic of J.M. Tomlinson's landscapes. The success of his study of "Lorne" depends greatly upon the contrast between the dark, silhouetted foliage against the white foam of the breakers. #67, a photograph of a modern liner and tug, is another example of satisfactory contrast. "Autumn Skies", by D.H. Le Messurier, is noteworthy for its attractive composition and interesting cloud effect.
In "Sand Dunes at Port Noarlunga", by G.L.C. Page, the local atmosphere and the texture of the varieties of foliage has been admirably rendered. M. Sherrah is showing an excellent study of the Blue Lake, Mount Gambier (#8) and one of the most unusual and sensitive pictures on view is J.N.G. Tomlinson's "Sunlit Seat".
A number of loan photographs are to be seen, including a group from the Melbourne Camera Club. The exhibition will be open until 5th September.
Friday 30th August 1935
Page 25 - The Advertiser (Adelaide South Australia)
CAMERA CLUB EXHIBITION
The exhibition of photographs under the auspices of the Adelaide Camera Club, which was opened by Mr. H.S. Dunks last night, forms a most interesting collection. The work on the whole is of high standard. The weak spots in some are a lack of clarity and in others a desire to crowd in as much as would make two or three good pictures.
In the section which includes buildings:
"The Porch", by Irene Viney, is an excellent portrayal of the University entrance.
"Arches" (H. Cole) is another good work, the details of the carved stone being clear and distinct.
"Adelaide Library" (Doris Barnes), is unusual in its floodlight illumination.
"Pioneers Cottage", is a gem. The contrast of walls and thatched roof form a really artistic effect.
"Devonshire Village" (F. Cole), is soft and soothing.
"Imperial Troop Room" (M. Sherrah), shows a bit of old Adelaide at its best.
"The Rippling Brook" (Barnes), with its clean sharp high lights, makes an attractive picture.
"Well Done", 57, "Jugendlicke" and 59, "Happiness", by Hugh LeMessurier, are some of the best in the exhibition, showing rapid action and clean natural lines.
"Cork Elms" (Sherrah), is an excellent study, beautiful in its light, shade, shadows and warm tones.
As regards cloud effects, perhaps "The Silver Lining" (Smith) and "Autumn Skies" (LeMessurier), are the best, the latter's clouds contrasting well with the trees. "Early Morn" and "A Road in the Forest" (L. Gill), are dignified and artistic. "Swimmers" and "The Eight", both by J. Tomlinson, are full of vim and action. F. Gill is very good in interior views and a view of gently folding hills. He has two colored photographs, very artistically rendered. Another group by N.C. Howard is attractive, especially "Blossom Time" and "The Harbour".
Awards were made yesterday as follows:
ARCHITECTURE: |
LANDSCAPE: |
FIGURE: |
SEASCAPE: |
FLOWERS: |
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CERTIFICATE |
DIPLOMA |
DIPLOMA |
CERTIFICATE |
CERTIFICATE |
CERTIFICATE |
CERTIFICATE |
DIPLOMA |
DIPLOMA |
CERTIFICATE |
CERTIFICATE |
DIPLOMA |
CERTIFICATE |
|
Friday 30th August 1935
Page 3 - News (Adelaide, South Australia)
ADELAIDE CAMERA CLUB
ANNUAL EXHIBITION 1935
SOCIETY OF ARTS GALLERY
INSTITUTE BUILDING, NORTH-TERRACE
AUGUST 29th to SEPTEMBER 5th
Noon to 5pm and 8pm to 10pm Sunday 3pm to 5pm.
ADMISSION FREE. CATALOG 3d.
Friday 30th August 1935
Page 28 - The Advertiser (Adelaide, South Australia)
ARTISTIC PHOTOGRAPHS by members of the
ADELAIDE CAMERA CLUB
are now on exhibition at the Society of Arts Gallery, North terrace.
One of the judges, Mr. Chas H. Sims, with the Hon.Secretary of the club (Mr. F. Cole),
is standing in front of two prize-winning entries.
Saturday 7th September 1935
Page 20 - The Mail (Adelaide South Australia)
WOMEN'S WORK WITH THE CAMERA
Three women members of the Adelaide Camera Club were among exhibitors in the club show held this week. Two of them, Miss Doris Barnes and Miss Irene Viney, won certificates of merit for their work. Few women here make a serious study of photography although it is a field in which many women abroad have won distinction. Dorothy Wilding, whose studies of the Duke and Duchess of Kent at the time of their engagement were used all over the world, is one outstanding example. She began her career, it is said, with one small camera and plenty of initiative and now she is among the foremost photographers of royalty. Another London woman photographer with an interesting job is Pamela Murray, whose enterprising little camera snaps fashionable London women at play for smart magazines. In Germany, women are rivaling men in outdoor photography and studio work.
The South Australian Camera Club has five women members: Miss DORIS C. BARNES, Miss E. IRENE VINEY, Miss KATRINE M. McASKILL (who is also exhibiting in the show), Miss LOUTTIT and Miss CHENNELL — all of whom have turned out most interesting work. It is a most absorbing hobby, they tell you, but an expensive one if only done for amusement.
Miss Doris C. Barnes has won numerous certificates for her work, her most important award being a bronze plaque won in an international amateur photographic exhibition in London. The photograph which carried off the plaque is her favorite of any she has taken, the study of a yacht at Grange, selected as the best from the 12 films she took in one afternoon. Many visitors to the exhibition this week paused before her photograph, of the child and the smug-looking cat. It was taken by chance on a visit to Clarendon when Miss Doris C. Barnes was looking about for attractive subjects for her camera. Suddenly she turned and saw the child coming triumphantly along with the Persian which she had just picked up in a paddock — so neither cat nor child realized they were being snapped.
One of Miss Doris C. Barnes most interesting possessions is a diary which she kept on a motoring journey from Sydney to Port Augusta and which is entirely illustrated with her photographs. She does all her own developing, printing and enlarging and has made some most artistic studies by combining two or three photographs. In one outdoor scene, for instance, she has put a flock of sheep photographed at Mount Barker on to a hilly pass, snapped at Port Pirie and finished the composite with clouds from another of her photographs.
Miss Viney has a little box camera which is often used still, although it first did duty during the war and was used consistently for years afterwards. She has just begun to do her own enlarging work and to experiment with the possibilities of her photographs. A few years ago, on a trip abroad, she traveled with her camera and brought back more than 600 pictures, several of which she enlarged specially for the show. She and Miss Louttit, who was a fellow-traveler, photographed many interesting spots — including several which were supposed to be debarred from the photographer. One "prohibited" photograph shows the beautiful interior of the church of Santa Maria Delle Grazie and another the room where the Locarno pact was signed. Making movies for a private record is one of Miss Viney's hobbies, but one that is decidedly not economical. Each film of 100 ft., she said, which runs for four to five minutes, works out at from 23/6 to 32/6. Among her films are some excellent shots of the Duke's visit and the children's display on the Adelaide Oval.
Thursday 12th September 1935
Page 13 - The Daily News (Adelaide South Australia)
Saturday 14th September 1935
Page 21 - The Australian Women's Weekly
PRIZE-WINNER DEVELOPED FILMS IN THE KITCHEN
IT seems that enthusiasm can achieve anything.
Miss E. Irene Viney, who was one of the few to carry off a certificate from the Adelaide Camera Club Exhibition (held from August 29th to September 5th), not only has not any proper dark-room for developing her films, but she has had her enlarger only since the end of June of this year and she had never used one before.
Her photographs were nevertheless all developed, printed, and enlarged by herself in the kitchen of the cottage which she shares with another woman. She didn't have to worry about a dark-room, as she did her work at night, and just pulled down the blind if there were a bright moon. Some of her equipment Miss Viney kept in the bathroom, which is built away from the house, so she admits there was some rushing about when any of her photographic work was in progress.
Other women whose work figured prominently in the exhibition were Miss Doris C. Barnes and Miss Katrine M. McAskill.
Tuesday 15th October 1935
Page 12 - News (Adelaide South Australia)
PHOTOGRAPHIC SHOW FOR CENTENARY SUGGESTED
An all Australian photographic exhibition in Adelaide during the centenary was suggested by Mr. Harold Cazneaux, a New Zealand photographer, in a talk to the Adelaide Camera Club last night. Mr. Cazneaux said that he was sure that photographers in Melbourne and Sydney would be willing to support an exhibition and that pictures would be sent from the other States. Members received the suggestion enthusiastically. It was decided to make a definite decision within the next few days.
Tuesday 15th October 1935
Page 10 - News (Adelaide South Australia)
PUBLICITY IN PHOTOGRAPHS
ATTRACT INTEREST OVERSEAS
NATIONAL ASSET
"AUSTRALIAN pictorial workers have done much to advertise their country overseas. Strange as it may seem, many of their pictures are seen by more people in salons overseas than by people in Australia", Mr. Harold Cazneaux, the New Zealand artist, told members of the Adelaide Camera Club last night. "Anyone who takes up pictorial photography becomes a national asset, for he is able to give Australia valuable publicity overseas". Mr. Cazneaux, who spent his boyhood in Adelaide, gave a talk on the development of photography, which he described as "a youngster among the arts". The artistic and the most interesting side of photography was purely an individual one, he said, for art in photography, entailed a sympathetic and artistic outlook. Photography did not permit the same scope for creative and imaginative work as did colors, canvas and brush, but a person with a natural flair for photographic technique could overcome those limitation barriers.
STANDARD IMPROVED
Pictorial workers in Australia had striven hard to establish artistic photography. Mr. Cazneaux said and their efforts had met with success. Their work had been exhibited at the leading salons in all countries. The standard had steadily improved and they could confidently look forward to comparison with overseas exhibitors.
"I regret that Australian pictorial works are not as greatly appreciated as they should be", he continued. "Australia, while mildly interested in graphic arts, is not fully interesting herself, as she could do with advantage, to the cultivation of artistic ideals and knowledge".
The Adelaide Hills were among the most beautiful places in Australia they were an artist's paradise and the Flinders Ranges, with their prehistoric effect and mysterious beauty, were the most unusual and striking he had seen in Australia, added Mr. Cazneaux.
Saturday 9th November 1935 Page 21 - The Australian Women's Weekly
HER PHOTOGRAPHY HAS WON RENOWN OVERSEAS
Miss Doris Barnes, of the Adelaide Camera Club, has more than Australian awards to her credit, for her artistic photographs have gained her a bronze plaque and several certificates from the Royal Photographic Society in London during the last few years. Examples of her work have been hung in the Victorian Salon and three are in the Adelaide Art Gallery.
One of the first women members of the Adelaide Camera Club, she also belonged to the now non-existent Adelaide Photographic Society, to which Kauffman added such lustre and she was the club's librarian for many years. Although she prefers portraiture. Miss Doris C. Barnes has taken some beautiful land and sea studies on her holiday tours through Australia and Tasmania.
Saturday 4th April 1936
Page 2 - News (Adelaide South Australia)
TORRENSVILLE MAN'S EXHIBITION WINS
CAMERA SECTION
Mr. John McAskill, of Torrensville, won the only gold medal awarded in the photography section of the competitions conducted by the Centennial Exhibition. He also won cash prizes totaling £15, one of his pictures being described as the best print in the Exhibition. The landscape and seascape section, in which the gold medal was won, attracted 205 entries for one division alone. The judges were Messrs. A. Wilkinson. C.N. Tomlinson. G. Grace and J.C. Goodchild, but Mr. Tomlinson did not act in the four classes in which he was competing.
PRIZE LIST
Photograph of New Centennial Hall, Division 1 - John McAskill (Silver medal and Bronze medal), K.P. Phillips (Certificate of Merit).
Photograph of New Centennial Hall, Division 2 - K.T. Borrow (Certificate of Merit), Royce A. Rees (Certificate of Merit).
Photograph (portrait or figure study), Division 1: Miss A. Soar (Bronze medal), Hermann J. Schmidt (Bronze medal and Certificate of Merit), G.S. Hutton (Certificate of Merit).
Photograph (portrait or figure study), Division 2: Hedley K. Cullen (Certificate of Merit).
Photograph (portrait or figure study), Division 3 - Royce A. Rees (Certificate of Merit).
Photograph (architectural study), Division 1: A.N. Viveash (Silver medal and Bronze medal), S.G. Wardle (Certificate of Merit).
Photograph (architectural study), Division 2: K.T. Borrow (Certificate of Merit).
Photograph (architectural study), Division 3 - Royce A. Rees (Certificate of Merit).
Photograph (landscape or seascape), Division 1: John McAskill (Gold), A.W.C. Ford (Silver medal), Miss Doris C. Barnes (two Bronze medal), S.W. Eutrope (Bronze medal), Miss K.M. McAskill (Bronze medal), W.F. Moore (Certificate of Merit), A.J. Burgess (Certificate of Merit), M.E. Sherrah (two Certificate of Merit), J.N. Tomlinson (Certificate of Merit), Charles Tomlinson (Certificate of Merit), T.H. Stoward (Certificate of Merit), H.E. Keil (Certificate of Merit).
Photograph (landscape or seascape), Division 3 - Royce A. Rees (Certificate of Merit).
Photography (flowers, fruit and still life), Division 1: John McAskill (Silver medal), G.L.C. Page (Bronze medal), Miss Doris C. Barnes (Bronze medal and Certificate of Merit), A.N. Viveash (Certificate of Merit), Arthur J. White (Certificate of Merit).
Photography (flowers, fruit and still life), Division 2. - H.K. Cullen (Certificate of Merit).
Photography (flowers, fruit and still life), Division 3: Royce A. Rees (Certificate of Merit).
Photography (enlargements), Division 1: K.P. Phillips and Miss A.M. Phillips (Bronze medal), Miss A. Soar. (Certificate of Merit), H.S. Golding (Certificate of Merit).
Photography (Inter-club competition): Adelaide Camera Club. No. 4 set (Certificate of Merit).
Photography (Kodak cash prizes): John McAskill, £15; A.N. Viveash, £7/10/; A.W.C. Ford, £2/10/; G.L.C. Page, £2/10/.
Mr. ALFRED WILKINSON
Friday 10th July 1936
Page 27 - The Advertiser (Adelaide, South Australia)
OUT AMONG THE PEOPLE
by Vox
Most of us must, admit that we enjoy the charm of the unusual. Yesterday, for example, I sat in the barber's chair and while Mr. Alfred Wilkinson trimmed my hair, he put on the shelf before me gems of his latest work with the camera.
These were perfect works of art; pictures he had taken during his last trip through the Flinders Range with Mr. Harold Cazneaux, a fellow Sydney artist and Mrs Cazneaux.
Mr. Wilkinson told me how he enjoyed his relaxation with the camera, rising early, or waiting for hours to get ideal light and shade effects. He showed a classic study of a scene at Melrose with the soft light filtering through drizzling rain on to a running stream and red gum tops, with Mount Remarkable faintly outlined in the misty background.
The hairdresser-artist, an ex-President of the Adelaide Camera Club is also an associate of the Royal Photographic Society of Great Britain and his work has been hung on the coveted line at exhibitions of that society and also the London Salon of Photography, amid world-wide competition.
Mr. Wilkinson's partner, Mr. P.H. Lodge, is at present on a holiday visit to England with his wife.
2nd November 1936
Page 552 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB
ANNOUNCES COMING EXHIBITION
The Adelaide Camera Club will hold a Centennial Exhibition from 23rd December 1936 to 2nd January 1937, and entry forms may be obtained from Mr. F. Cole, Hon.Secretary, Olive Street, Glenelg, South Australia.
As Interstate entries close on 16th November, we fully realize that this notice will be rather too late to be of any value to the great majority of our readers.
Once again we would remind Exhibition Secretaries that ample notice is essential for all proposed photographic salons.
Friday 18th December 1936
Page 8 - News (Adelaide South Australia)
EXHIBITION OF PHOTOGRAPHS
CAMERA CLUB DISPLAY
At the Society of Arts Gallery, Institute Buildings, North terrace, on 23rd December, at 8pm, the Lord Mayor will officially open the centennial photographic exhibition.
Arranged by the Adelaide Camera Club, which is affiliated with the Society of Arts and the members of which will contribute the major portion of the exhibits, a wonderful display of photography will be open for all interested in this art.
In addition to local talent, some very fine pictures will be displayed from other States. The exhibits will consist wholly of the work of keen and enthusiastic amateurs and all classes of cameras have been used to produce the exhibits, many of the pictures being enlargements from negatives taken with miniature cameras of the truly pocket size.
The centennial photographic exhibition will be open to the public from 23rd December to 7th January, inclusive, at the following times: Week days, 12 noon to 5.30pm; week nights, 7.30pm to 9.30pm: Sundays, 3pm to 5pm. Christmas Day, Proclamation Day, New Year's Day, closed. Admission will be free.
Saturday 19th December 1936
Page 28 - The Advertiser (Adelaide, South Australia)
WORK OF AMATEUR PHOTOGRAPHERS
CAMERA EXHIBITION OPENS ON WEDNESDAY
The Centennial Photographic Exhibition will be officially opened by the Lord Mayor (Mr. Cain) at the Society of Arts Gallery, Institute Building, North terrace, at 8pm on Wednesday.
Arranged by the Adelaide Camera Club, which is affiliated with the Society of Arts, the collection comprises many noteworthy studies by local and interstate amateur photographers. A large number of the pictures were taken with pocket size cameras and have been enlarged. The exhibition will end on 7th January. It will be open from noon to 5.30pm and from 7.30 to 9.30pm on week days and from 3pm to 5pm on Sundays. It will be closed on Christmas Day, Proclamation Day and New Years Day. Admission will be free.
Saturday 19th December 1936
Page 8 - The Mail (Adelaide South Australia)
CENTENNIAL PHOTO EXHIBITION NEXT WEEK
At the Society of Arts Gallery, Institute Buildings North terrace, on 23rd December, at 8 pm, the Lord Mayor (Mr. Jonathan Robert Cain) will officially open the Centennial Photographic Exhibition, which will continue until 7th January. Arranged by the Adelaide Camera Club, which is affiliated with the Society of Arts and the members of which will contribute the major portion of the exhibits, a fine display of photography will be open for all interested in this art. The exhibits will consist wholly of the work of keen and enthusiastic local and interstate amateurs. All classes of cameras have been used to produce the exhibits, many of the pictures being enlargements from negatives taken with pocket-size cameras. Admission will be free.
Wednesday 23rd December 1936
Page 17 - The Advertiser (Adelaide South Australia)
CAMERA CLUB'S EXHIBITION
WIDE RANGE OF SUBJECTS
The Adelaide Camera Club is to be heartily congratulated on the excellent collection which comprises the exhibition to be opened this evening at the galleries of the Royal South Australian Society of Arts. The even quality of the work, the wide range of subjects and the artistic sense of beauty gained by a knowledge of composition, combine to form an exhibition which has not been equaled previously by the club. One wonders whether chance or choice has given the opportunity in some cases for excellence of subject, for most of the landscape and seascape photographs show an artistic quality above the average and one can imagine how extremely fine they would be in color in the hands of a pictorial artist. With the exception of three, in color, all the work is in black and white.
Portraits, though a comparatively small section, are excellently handled on the whole. "An Australian Girl" (Harold Cazneaux) is an especially good example — clean, well defined, yet delightfully soft and attractive. "The Wisdom of Years" and "The Diplomat" (both by Dr. Julian Smith), though totally different in type and style, are splendid specimens. Dr. Smith himself has been photographed by Peter Lawrance and C. Tompkins. "My daughter" by L.A. Wilde, is a delightful composition of youth and a dainty costume with some floral accessories and "Careen" by C.P. Mountford, is well defined, full of childish expression. "Farm Kiddies" also is an interesting study in expressions and "The Swagman" is a fine character study, strong and natural.
In animals, "Sammy" by L.A. Baillge is vivacious and lively and "Peter", another dog by A.W. Briggs, is sagacious looking. Strong light and shade, well handled, make "Leo", by M.E. Sherrah, a fine study.
ATTRACTIVE SEASCAPES
The seascapes are particularly attractive. "Halycon Day", by S.R. Sinnett shows a marvelous atmosphere and a warm, still sea and "Grey Dawn" by J.A. Jeffrey, is delightful in its very simplicity. Katrine McAskill has a fine piece of work in "Walerday Rock" and C.P. Mountford's "Sunlit Sea" and "The Silvered Sands", the latter an expansive view with softening effect in the distance, are a capital pair. "The Sentinels", by Doris Barnes, is strong and in "Careened" there is a particularly fine cloud effect. "Breakers" (Green Bay) shows fine contrast in the bold cliffs and against the huge waves and "Gladys II", is a picturesque study of sea and yacht.
A remarkable picture is that of Laurence Le Guay, in which the gloss and reflections of china, the clear outline of flowers and stems, with some soft shadows, combine with wonderful effect. "Blanket of Snow" by F. Wade is a unique composition, showing the effect of bold ridges of snow and distorted shadows: whilst the same artist's "Welcoming Doorway" is a clever study of diffusion of light. "Ti-trees" (Knapp) show vigor in the windswept timber and some fine timber is portrayed in "Melrose" (Harold Cazneaux). Light and shade has been well managed in "Midsummer" (Ansell) and "The Hovering Storm" is a clever study of poplars against sky. F. Cole shows "Tropical Study", an interesting composition and R. Packers "Sand Dunes" is attractive.
PICTURESQUE SUBJECTS
One of the most charming compositions is "Old Barn", by M.E. Sherrah, a homely but really picturesque subject and fine work is shown by Katrine McAskill in "Through Carlotta Arch". F. Gill is always good in his choice of landscapes and "High Pastures" and "Gently Folding Hills" are among his best.
Irene Viney's work is very clear and nicely defined; her "Wishing Well" is particularly good and her "Solitude" is attractive. The picture of "Captain Cook's Cottage" is especially interesting at the present time. John McAskill shows good work in "Neptune's Corridor", a study of sea and rock, whilst the same artist's "Evening Quiet" and "Cacti" evidence his versatility. Mr. A. Wilkinson exhibits several fine pictures of timber and among his best are "Monarch of the Glen", "The Old Warrior" and "Twin Gums". "The Graceful Tree", by Roper, is another attractive study and "The Fair City", by Coleman is an artistic portrayal of good grouping and picturesque surroundings.
Thursday 24th December 1936
Page 11 - The Advertiser (Adelaide South Australia)
The advance made in photographic art during recent years was stressed by the Lord Mayor (Mr. Cain) last night, when he opened the Centennial Exhibition of the Adelaide Camera Club at the S.A. Society of Arts Gallery, Institute Building, North terrace.
The President (Mr. J. McAskill) asked the Lord Mayor to open the exhibition. Mr. McAskill said that exhibits had come from many parts of the Commonwealth. The judges: Messrs. John C. Goodchild and Gilbert Mellor, made the following awards:
SPECIAL DIPLOMA: |
SEASCAPE DIPLOMA: |
SEASCAPE CERTIFICATE |
LANDSCAPE DIPLOMA: |
LANDSCAPE CERTIFICATE: |
LANDSCAPE CERTIFICATE: |
LANDSCAPE CERTIFICATE: |
MISCELLANEOUS DIPLOMA: |
MISCELLANEOUS CERTIFICATE: |
MISCELLANEOUS CERTIFICATE: |
MISCELLANEOUS CERTIFICATE: |
MISCELLANEOUS CERTIFICATE: |
Saturday 26th December 1936
Page 6 - News (Adelaide South Australia)
TENDENCY SHOWN TO SENTIMENTALISE
ARTISTIC WORK
The exhibition of photographs by the Adelaide Camera Club at the Society of Arts Gallery, North terrace, is the second interesting collection of photographs which has been shown in Adelaide recently. The excellent work shown in "The News" and "The Mail" exhibition caused unusual interest and set a standard for fine photography, which amateur societies will find hard to equal.
There seems to be a definite yet scarcely definable gulf between the amateur and the professional photographer. The differences are instantly sensed, but are difficult to label.
The attitude that the amateur takes to his work is possibly at fault. It is calculated to produce photographs which are "artistic" and too often results in mere sentimentality.
There is a poverty of subject matter in most of the work, the obviously picturesque country scene attracting the interest of many photographers. Taste, discrimination and selection are necessary qualities in the production of any work of art and a great many photographs are not works of art.
GOOD COLLECTION
Composition and arrangement has been carefully considered in most of the pictures on view, but the feeling for decoration for pattern and design, which distinguishes most modern photography - is lacking. My main criticism is directed against the tendency to sentimentalize the subject matter and the desire to produce what is generally considered to be an "artistic" photograph.
On the whole, this is an unusually good collection of photographs and it is gratifying and surprising to realize the number of people who work in this branch of art.
The vogue for soft, blurred and even "out-of-focus" prints is still with us, a good many photographers evidently considering fog and mist more characteristic of South Australia than the brilliant light and hard outlines which are usually recognized as being distinguishing features of our landscape.
A large number of photographs shown are by interstate exhibitors, the work of Dr. Julian Smith, Harold Cazneaux and Monte Luke being outstanding.
Dr. Julian Smith's study, "A Soldier of Fortune" is a remarkable character study and an excellent photograph. Another print of his is a study of an old man in profile, called "The Wisdom of Years". It has remarkable quality and texture and the soft grays used are reminiscent of old silver point drawings.
BRILLIANT PORTRAIT
Another brilliant portrait is Cazneaux's study of a girl, "An Australian Girl". This is clear, distinctive photography and portraiture at its best. Monte Luke is showing several small photographs of landscape subjects, "Outback Farm" being typical.
It is difficult to select examples from the local section, as there are a number of good studies of a very even standard. I very much liked "Shifting Sands", by M.E. Sherrah. The simple composition in the study is very pleasing and the quality of the photograph itself somewhat suggests a line engraving or an etching.
"Meditation", by F. Day, is a pleasing study of figure and trees silhouetted darkly against sea and sky. "Capt. Cook's Cottage", by Irene Viney, is an attractive photograph of a well-known subject. Mr. Alfred Wilkinson is showing a study of Hans Heysen, the well-known artist, at work in his studio.
Other prominent exhibitors include F. Gill, C.P. Mountford, L.A. Wilde, F.A. White, F. Cole and J. MacAskill.
Mr. ALFRED WILKINSON
1st March 1937
Page 132 - The Australasian Photo-Review
CENTENNIAL EXHIBITION OF THE
ADELAIDE CAMERA CLUB
This exhibition proved a great success, being seen by about a thousand visitors.
Seventy-eight of the exhibits were furnished by South Australian workers, with seventy-one interstate exhibits and eleven pictures on loan, most of which were the work of Mr. A. Wilkinson.
We have pleasure in printing a critique by Mr. L. McCubbin, Director of Art Gallery, Adelaide, as follows:
This year’s exhibition of the Adelaide Camera Club was a splendid one and afforded fine opportunities for studying the wonderful strides made in the art of the camera in recent years. It was also interesting to note that the standard of photography in Australia compares favorably with that of other countries.
To my mind the two outstanding works in the exhibition were the portrait studies "Diplomat” and the "Soldier of Fortune” by Dr. Julian Smith, of Melbourne. Remarkable in characterization, Dr. Julian Smith arranges the lighting of his subjects in such a way as to give full effect to the half tones and the result is a most convincing feeling of modeling, giving his work a sense of power and strength.
Another particularly fine portrait study was "The Anaesthetist” by Harold Cazneaux, strongly lit and convincingly arranged, it makes a dramatic picture. In a portrait, "Evelyn” by A. Knapp, a study of young girl’s head in profile, a remarkable quality of subtle modeling has been given, while "Othello” by H.J. Schmidt, makes a splendid character study and by a clever arrangement of lighting the modeling of the features is strongly revealed.
"The Dentist” by F. Cole, is also a very good effort.
A. Wilkinson, has a good portrait of Hans Heysen, the artist, has been secured, but the arrangement of the picture as a whole lacks conviction.
Included in the Exhibition were many excellent landscape studies, in my opinion the best being No. 16, by C.P. Mountford; a charming woodland subject, beautifully arranged, with the light filtering through the tree, making the right accent and adding sparkle and contrast to the composition.
"Majesty" by F. Cole, is another very attractive bush study and in "The Gently Folding Hills” by F. Gill, the subtle modeling of the hills and sky has been very well conveyed. "Guarding the Cave” by E. Irene Viney, made a delightful picture, and "Hot Work” by L.J. Gill, was distinguished as a dramatically arranged group of figures.
Exquisite modeling of sunlit sea and sky was to be seen in another print by C.P. Mountford, but the heavy black mass of trees in the foreground somewhat mars this composition. F.A, White in "Blossom Time” presents a simple and artistically arranged picture and the quality of an etching characterizes a graceful arrangement of palms by Doris C. Barnes.
The effect of light and the movement of the sea is particularly well given in "The Silvery Sands” by C.P. Mountford. F. Cole was represented by a very interesting study, "Careened”; and "The Old Barn”, by M.E. Sherrah, made a rich and charming arrangement. A fine study of an old man was contributed by C. Stuart Tompkins, "The Swagman” and "Evening Quiet” by John McAskill, was a beautiful composition of trees and water. Another outstanding exhibit was "The Blanket of Snow” by Duncan H. Wade.
Many interesting still life studies were on view and in a number of them the influence of modern abstract art was strongly felt. In this group the work of Laurence LeGuay and Madge R. Morrisby appealed to me most.
Saturday 13th March 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
Topical notes of interest to amateur photographers will be published in "The News" every Saturday.
With the welcome co-operation of "The News" this space will be available every Saturday to provide amateur photographers with camera notes, hints and details of lectures and outings arranged by the Adelaide Camera Club; also other information which should benefit all owners of cameras whether large or small, costly or inexpensive.
The Adelaide Camera Club was founded about 50 years ago and ranks among various artistic bodies operating in South Australia, being affiliated with the Society of Arts. Many of its members are internationally known for their camera work and its centenary photographic exhibition held in the Society of Arts Gallery at the close of 1936, was one of the most successful exhibitions of its kind in Australia.
A new committee has recently been formed with active and enthusiastic organizers, who intend to encourage photography in all its branches. To owners of cameras which are used often or merely occasionally an opportunity to improve their "snap shots" materially presents itself.
Membership of the Adelaide Camera Club is only 10/- a year for men and 5/- for women. All novices and all under 21 years of age will be admitted for 5/- a year. Members are entitled to free attendance at all outings and lectures and novices and juniors will be specially catered for with educational classes dealing with such matters as the correct way to use a camera, developing, printing, enlarging.
Full particulars about membership may be obtained from the Hon.Secretary, Mr. J.C. Mack, c/o Harringtons Ltd., Rundle street.
FREE OUTING
If you would like to be able to take better snapshots, the Adelaide Camera Club invites you to take part in an outing to Port Adelaide on Saturday afternoon, April 3.
Club members will conduct the party round the shipping scenes and advice will be given to all who desire to know more about their camera and how to use it. This outing is open to all camera owners and the only cost will be the fares to and from Port Adelaide.
Application forms to join the party are available at either Messrs. Kodak Ltd, or Harringtons Ltd., Rundle street. The list will close on 31st March.
Wednesday 17th March 1937
Page 5 - News (Adelaide South Australia)
CAMERA CLUB'S OUTING FOR PHOTOGRAPHY LOVERS
Readers who would like to improve their knowledge of photography are invited by the Adelaide Camera Club to take part in an outing on Saturday 3rd April.
Club members will conduct the party round the river at Port Adelaide and advice will be given freely to all who desire to know more about their camera and how to use it. The outing will be open to all camera owners and the only cost will be the fares to and from Port Adelaide.
Full particulars may be obtained from Kodak Ltd., or Harringtons Ltd., Rundle street, Adelaide.
Thursday 18th March 1937
Page 9 - News (Adelaide South Australia)
Readers who own cameras, whether large or small, costly or inexpensive, should take advantage of an invitation issued by the Adelaide Camera Club to join in an outing to photograph river scenes at Port Adelaide on Saturday 3rd April. Experienced club members will conduct the party and their knowledge will be at the disposal of any member of the party. The only cost will be the fare to and from Port Adelaide. Full particulars are obtainable from Kodak Ltd. or Harrington's Ltd., Rundle street.
Camera owners should also read in "The News" every Saturday the photography article, "Seen Through the Lens", which will help all camera owners to take better pictures.
Saturday 20th March 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
Topical notes of interest to amateur photographers will be published in "The News" every Saturday.
Readers are reminded of the invitation to come along with their cameras to the outing at Port Adelaide on Saturday, April 3. Under the guidance of experienced members of the Adelaide Camera Club owners of cameras will have an opportunity to use them under ideal conditions. Learn to take pictures that your friends will admire. Either Kodak Ltd. or Harringtons, Ltd., in Rundle street, will supply particulars of the outing.
CARE OF CAMERA
Whether a camera costs 10/6 or £25, it cannot be expected to give good results if proper care is not taken of it. If your camera is of the type that fits into a carrying case, see that it is kept in the case and that the case is cleaned periodically and kept dust free. If your camera has no carrying case, always keep it in a drawer or cupboard, in a dry, cool part of the house. Before loading the camera see that the inside is free from specks of dust, fluff, etc. A very small piece of fluff may spoil an otherwise good photograph, while dust will tend to scratch the surface of the film when it is being wound from one exposure to the next. Keep the lens free from dirt or dust also. But be careful how you do this. The best method is to use an old, but spotlessly clean cambric handkerchief. Lightly dust the lens with this and you will avoid scratching the finely polished surface.
LOW PRICED CAMERAS
Because you may own an inexpensive camera, do not let this keep you away from the camera outing on 3rd April. Quite good photographs can be taken with any camera if used correctly and within the limitations of the camera. More expensive cameras carry refinements, such as extra large lens apertures and very fast shutters, permitting photographs to be taken of fast moving objects, or snapshots in dull light and even artificial light. The cheaper cameras will not do this sort of work, but will definitely give good results when photographs of views or of friends, or other similar subjects are desired. Take heart you owners of inexpensive cameras in the fact that many pictures exhibited at well known photographic exhibitions have been taken with inexpensive cameras.
ANSWERS TO CORRESPONDENTS
The Adelaide Camera Club will be glad to answer through these columns any question of general interest on photography sent in by readers. Address your queries to the Hon.Secretary, Adelaide Camera Club, care of Harringtons Ltd., Rundle street.
Saturday 27th March 1937
Page 5 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
AS already announced in "The News" on the afternoon of Saturday 3rd April, the Adelaide Camera Club will hold a photographic outing among the shipping scenes at Port Adelaide. Readers who own cameras of any description are cordially invited to join in this outing, which is being conducted by experienced members of the Adelaide Camera Club. These camera enthusiasts are giving up their time and offering their services solely to encourage the growth of amateur photography and to improve the standard of work by those who wish to get the most out of their cameras.
Just call personally or phone Harringtons Ltd., or Kodaks Ltd., for particulars. No charge is made for this outing and those participating are under no obligation to the organizers.
Before you can expect to take good snapshots you certainly must know all about your camera. If your camera is of the simple box type or is the inexpensive type of folding camera with a fixed focus and single shutter speed, then all that is necessary is to learn how to load it and wind on the film after each exposure. If, however. you own a camera which is fitted with adjustable lens apertures, commonly called "stops" and two or more controlled shutter speeds and perhaps a variable focus, then unless you know why these are provided it will only be by good luck that you occasionally get a first-class snapshot.
It is impossible in the space at my disposal to tell you all about lens apertures, shutter speeds and focusing in one article and although it will be my endeavor to explain these important features bit by bit every Saturday in "The News", I would strongly recommend those camera owners who would like to develop their hobby to join the Adelaide Camera Club.
Beginners and all under 21 years, can join up for the very small subscription of 5/- a year. Now is the time to become a member, as a series of practical photographic educational lectures for the beginner and novice will shortly begin. These lectures will be announced in this column as soon as the syllabus has been completed.
PRIZES FOR SNAPSHOTS
The Adelaide Camera Club is pleased to announce that prizes will be offered for the three best snapshots taken by beginners or novices at the Port Adelaide outing.
Club members will not be eligible for this competition, which is solely for learners. The prizes will be as follows: First 10/; Second 7/6; Third 5/.
The winning snapshots will be published in "The News". Try your skill.
ANSWER TO CORRESPONDENT
"Snapshotter" has asked what causes a number of fine scratches across many of his negatives and is inclined to blame the camera for this serious defect. However, the trouble is not due to the camera, but to "Snapshotter's" incorrect method of winding on the film after each exposure. The camera in question is of the folding type and when closed the "bellows" are pressed close to the emulsion side of the film. If after taking a photograph the camera is closed and the film then wound on to the next exposure, it will probably come in contact with the compressed bellows, which causes these scratches. THEREFORE ALWAYS WIND ON YOUR FILM BEFORE CLOSING THE CAMERA.
Friday 2nd April 1937
Page 5 - News (Adelaide South Australia)
Applications to take part in the Adelaide Camera Club outing tomorrow afternoon should be made immediately to the Hon.Secretary, c/o Harringtons, Ltd., Rundle street. All amateur photographers are invited and experienced club members will place their knowledge and experience at the disposal of anyone desiring help or information. Prizes of 10/-, 7/6 and 5/- will be given for the best snapshots taken by non-members during the outing and the winning prints will be published in "The News".
Saturday 3rd April 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
Topical notes of interest to amateur photographers will be published in "The News" every Saturday.
Today the Adelaide Camera Club are holding an outing at Port Adelaide. to which all camera owners who wish to improve their knowledge of photography have been invited. Let us hope that suitable weather and plenty of good subjects present themselves, so that this event will be a great success.
Next week a full report of this outing will be given and it is hoped to be able to make some criticism of the snapshots taken and announce the prizewinners. This, of course will depend on how quickly the prints are submitted to the committee of the club for judging. Novices and beginners taking part in today's outing are therefore reminded to send in their snapshots as soon as possible.
KNOW YOUR CAMERA
Last week I referred to the necessity of camera owners knowing the "why and the wherefore" of the different parts of their cameras and mentioned that I would explain in future editions of "The News", the reasons for varying the lens apertures or "stops", the correct application of shutter speeds and the finer points of focusing. Now these three camera adjustments are so closely associated with one another that the adjustment of one invariably necessitates the adjustment of the other two. It is the correct use of aperture, speed and focus that produces good negatives, as distinct from good photographs. A good negative will produce a good print, but a good photograph must also comprise good subject matter and good composition - but we will leave composition to some later date.
First it is necessary to learn some thing about your camera lens and the various "stops" that control its use; then the "why and wherefore" of shutter speeds: and thirdly, the reason why most cameras require focusing: and how to focus to get the best pictures.
It is important to remember that, in taking photographs, very often the camera user must decide first of all the aperture to be used, while in other instances the speed required governs the situation. This is not so difficult to understand, as will be seen in our succeeding issues.
Next week I will start off with our first subject - the lens and the "stops" which control its use.
KEEP ARTICLES
I would invite camera owners who are interested in these articles to cut them out, so that they can refresh their memories, as these subjects progress week by week, because, as previously pointed out, it is impossible with the space at our disposal to deal fully with any one subject each week. Pasted in a cuttings book, these hints and tips will, I hope, prove a constant source of information and valuable reference to camera enthusiasts.
Next week I will continue our subject by dealing with the first of the problems mentioned.
Meanwhile do not forget that questions addressed to the Hon.Secretary, the Adelaide Camera Club. c/o Harringtons Ltd., Rundle street, will receive prompt attention.
Answer to Correspondent - "Miniature Owner", The "fuzzy" print is evidently due to camera shake. You must practice holding your camera steady. If you attend our outing today we will be glad to help you.
Saturday 10th April 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
The club outing at Port Adelaide was held last Saturday in ideal weather. Nearly 50 camera enthusiasts turned up and I was pleased to note that both sexes were well represented. Photography as a hobby should not be regarded as an exclusive male affair; it is, in fact, a pastime which should strongly appeal to women. This first outing for 1937 was undoubtedly a great success and augurs well for the future plans of the club committee, which include not only further outings but some educational lectures and demonstrations. The results of the photographic competition held on Saturday will be announced in this column next week. Entrants are reminded that prints and negatives must be handed in or sent to the Hon.Secretary not later than Monday. A glance at some of the entries already sent in indicates that generally correct exposure was given, no doubt because of the advice and assistance given by club members conducting the party. At least one important lesson seems to have been learned.
WORK OF LENS
Continuing our talk from last week, we now have reached the stage where we can discuss the most important part of the camera - the lens and the "stops" which control the aperture. Upon the lens itself depends the sharpness and quality of the picture. Lenses vary in quality and generally speaking, the more you pay for your camera the better quality lens you obtain. This does not mean that an expensive camera is necessary to secure good pictures, but we can certainly accept the fact that more can be accomplished with a high-class lens, more particularly when making big enlargements from small negatives. (This phase of photography will be dealt with at a later date.) Imagine your camera is a room with one window (the lens) in it, the window being fitted with a blind (the "stops") and outside the window a shutter (as on a camera). This will make it easy for you to understand the use of the lens and its various "stops". If the room has a large window and the blind is up and the shutter open, much more light will enter than would be the case if the room had a small window. Mathematically, let us say that a window half the size would let in only half the amount of light and quarter the size a quarter of the amount of light. In the same way, if we pull our window blind half-way down we will get just half the amount of light and three quarters of the way down will allow only a quarter of the amount of light to enter. Thus the "stops" on our camera adjust the amount of light that enters the camera IN A GIVEN TIME. We can now see that the larger the lens of a camera the greater the amount of light will enter, but whether the lens be large or only of medium size it is, still left to us to control the amount of light that enters the camera in a given time by using the various stops that are provided. Thus a wide aperture lens of, say, f3.5, if "stopped" down to f11, will be equal in aperture to an f8 lens stopped down to f11. And now we must leave the subject until next week, when we will explain the meaning of stop numbers such as f3.5, f8 and so on.
Saturday 17th April 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
Winning photographs in the beginners competition held at Port Adelaide on April 3 are reproduced in the back page (and below) of "The News" today. Congratulations to prizewinners for a good first effort. Those who were unsuccessful should not despair, because many of the prints entered showed definite promise of better pictures to come. Here are the prizewinning photographs: 1st (10/) - "Tugs" by Mr. O.K. Tretheway. 2nd (7/6) - "Ship's Dinghy" by Mr. B. Watson. 3rd (5/) - "The Wheelhouse" by Mr. W.A. Blake. Mr. Tretheway's effort was excellent, but shows the necessity for using a filter. A white sky always detracts attention from the main subject. Mr. Watson, who is a junior in age as well as experience, shows great promise, but he must learn to make correct exposures. His winning print would have been greatly improved in quality but for this defect. Mr. Blake gained third prize because he worked along the right lines and tried to maintain simplicity. However, if you trim about one-third of the print from the left you will notice a decided improvement. Further criticism will be made at the club's general meeting on May 3, when the prizes will be presented. It will be a special night for beginners.
LENS APERTURES
Last week I explained how the size of the lens affected the amount of light that entered the camera and how the various stops controlled the lens. I also promised that this week I would try to make clear the meaning of stop numbers. To return to our imaginary room with one window, which represents the camera and lens - now, if the wall opposite the window were 10 ft. away, the amount of light reflected in it from the window would be greater than if the wall were, say, 15 ft. from the window. Therefore, in estimating the amount of light that enters the camera through the lens we have not only to consider the size of the lens but the distance from the lens to the plate or film. This distance is known as the focal length, while the ability of the lens to admit more or less light in a given time is referred to as its luminosity. This luminosity is the largest f/ number of the stops on your camera and is arrived at in the following manner: The focal length is divided by the diameter of the lens at its largest aperture. Thus, if the diameter of the lens is 3/4 in. and the focal length is 3 in., we get this formula: 3 x 3/4 equals the luminosity or f/ number, which gives us an f/ number for the largest aperture on the camera of four. Therefore, we would refer to the lens on that particular camera as f/4. Remember, however, that with the aid of stops which, of course, reduce the diameter of the lens, we can vary the luminosity. Thus, we get on some cameras a range of stops, numbered something like this:- f/3.5, f/4.5; f/5.6, f/8. f/16, f/22. These numbers slightly differ on some cameras, but we should remember one important point - the difference in f/ numbers does not matter - and that is, that each higher f/ number halves the amount of light that enters the camera in a given time. Taking the above set of figures, f/4.5 would admit half the amount of light as f/3.5; f/5.6 would admit half the amount of light as f/4.5. or one-quarter the amount admitted with the lens wide open at f/3.5: and so on. Therefore if we use smaller apertures we must increase the exposure time to get the same amount of light into the camera. This leads us to exposure times or shutter control, which will be dealt with next week.
Saturday 17th April 1937
Page 8 - News (Adelaide South Australia)
"TUGS" by Mr. O.K. Tretheway. This picture won the first prize of 10/ in the
Adelaide Camera Club competition for beginners at their outing held recently.
A filter would have improved this picture by giving some tone to the sky, in the opinion of the judge.
Saturday 17th April 1937
Page 8 - News (Adelaide South Australia)
"SHIP'S DINGHY" by Mr. B Watson. This picture won the second prize of 7/6 in the
Adelaide Camera Club competition for beginners at their outing held recently.
Simplicity secured this award, although the negative was slightly under exposed.
Saturday 17th April 1937
Page 8 - News (Adelaide South Australia)
"THE WHEELHOUSE" by Mr. W.A. Blake. This picture won the third prize of 5/ in the
Adelaide Camera Club competition for beginners at their outing held recently.
A good attempt to illustrate a point of interest.
Saturday 24th April 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
At the regular monthly club meeting, of the Adelaide Camera Club is to be held on the night of Monday, May 3, a special session will be devoted to new members. This will take the form of a lecture on "The Camera and Its Components". The object will be to prepare the way for another outing. The success of our first outing has brought in many requests for a repetition, but it is felt that if beginners desire to improve their photography, then it is essential that they should know more about their cameras first. In this way, the next outing, which will probably take place in the middle of May, will prove even more enjoyable than the last and more productive of good pictures. That is what we are striving for. New members are, therefore, reminded not to forget to attend this meeting on Monday at 8pm sharp. Bring along any prospective members. They will be welcome.
THE SHUTTER
In my previous article, last Saturday, I explained the meaning of f/numbers and pointed out that if we reduce the aperture of the lens we must increase exposure, so that the same amount of light will enter the camera in a given time. This is one of the reasons that cameras are provided with shutters, the speed of which can be varied. Supposing your camera is fitted with a shutter giving speeds of one-hundredth, one-fiftieth, one-twenty-fifth of a second, also "Brief" (B) and "Time" (T); also let us imagine the lens apertures or stops on your camera are numbered f/6.3, f/8, f/16 and f/32. If the correct exposure for a subject is one-hundredth of a second at f/6.3, it is a simple matter to find the correct exposure for the remaining stops. All that is necessary is to bear in mind the fact, as pointed out last week, that for each higher stop number we must double the exposure. We would therefore get a table of exposures as follows: Aperture (stop number), f/6.3, f/8, f/16, f/32. Exposure (shutter speed), 1-100 second, 1-50 second, 1-25 second, 1-10 second. The only difficulty that you would face in this instance would be if you wished to use stop f/32. You would have to set your shutter to "Brief" and guess 1-10th second. The speed latitude of modern films would in most instances allow for any error in your guess, but mostly you probably would prefer to ignore f/32 and work on f/16 at 1-25th second.
FOCUS AND EXPOSURE
The next question that naturally arises in your mind is, why should a camera have several apertures? And why not always use the largest stop and therefore be able to use the fastest speed that the subject and the available light will permit? This leads us to the all important point the skillful use of the lens apertures in relation to correct focus and exposure and we must leave this over for next week.
Answer to Correspondent
Miss K.M.: The nice cloud effects in photographs are obtained by the use of a yellow filter which is fixed to the front of the camera lens. One of the correct size for your camera is no doubt obtainable. You must bear in mind, however, that according to the density of the filter you use, you will have to double, treble, or quadruple the normal exposure.
Saturday 8th May 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE AMATEUR CAMERA CLUB
To those who are not yet members of the Adelaide Camera Club but who own cameras or intend buying cameras and are interested in photography, an opportunity now offers to acquire a good, sound working knowledge of photography.
Beginning on Monday night, May 17th at the lecture room, University of Adelaide, the Adelaide Camera Club will conduct a serious of educational lectures, including practical demonstrations. All branches of photography will be covered and here are the titles of some of the lectures to be given:- Simple development, printing by contact, enlarging, composition and pictorialism, dry mounting of prints.
The membership subscription to the club is 5/ for the first year for all beginners, thereafter 10/ a year, except members under 21 years, who will continue to pay 5/ only. Membership covers all lectures free and in addition outings are held at which senior members give advice and club meetings are held every month. I advise all interested to apply immediately to the Hon.Secretary, in order to take advantage of the complete series of lectures. His address is c/o Harringtons Ltd., Rundle street.
USE A FILTER
How many snapshotters when, seeing a good photo taken by someone else, has said. "I wish I could get clouds in my pictures"! Well, all that is necessary is to use a yellow filter over the front of the lens. But filters have an additional use besides rendering good cloud effects. They have an effect on the color sensitivity of the film in use. For example, an ordinary film will reproduce blue as white (that is why you do not get those clouds) and yellow as a dark grey, so if, for example, you photographed some blue and yellow flowers the print would show blue ones as white and the yellow as dark flowers. Red also would come out black.
An orthochromatic film partly corrects the rendering of all colors except red and panchromatic films all colors, including red. However, insufficient correction is given with either of these emulsions to give the best rendering of blue, green and yellow. This particularly applies to the subject of white clouds in a blue sky.
A yellow filter actually holds back the "blue" during the exposure, so that when the negative is developed the white clouds show as black or dark grey and the blue sky as a light grey, which, of course, when printed on paper, give the white clouds on a blue sky.
Without the yellow filter the white clouds would still print white, but so would the blue sky, so that is why you do not see them. Use a filter where cloud effects are wanted and when photographing blues, green and yellows. Remember, however, that a filter requires double, triple, or quadruple normal exposure, according to its density, or you will find your negatives horribly under-exposed.
ANSWER TO CORRESPONDENT
"H.W". inquires whether developing films in daylight tanks is guess work? No. The utmost accuracy can be obtained by this method. Assuming reasonably correct exposures have been given the use of what is called the time and temperature system ensures accurate development. Full particulars on this subject will be dealt with at an early club lecture.
Saturday 15th May 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by F.M.D. for the
ADELAIDE CAMERA CLUB
Members of the Adelaide Camera Club are reminded that a demonstration of developing films will be given at 8pm on Monday at the University small physics room, instead of the clubroom. The committee invites any member to bring along a film for developing, but it must be orthochromatic, not panchromatic, as the latter emulsion must be developed in total darkness, which would be useless for demonstrating. Visitors are welcomed.
Now that bright sunny days have more or less disappeared, many will consider that photographic activities will be considerably curtailed, but such is not the case. Winter sunlight is "soft" and gives the photographer some of his best pictorial effects. Another aspect of winter photography is the distant haze which forms an ideal background, in many cases bringing out the theme of your picture in bold relief and giving the picture atmosphere. If you use a filter, do not apply it when taking foggy or misty scenes. You may know of a very pleasing picture, in which the composition is marred by some unsightly object in the background, but the presence of mists or clouds may hide this objection. if you happen to be there just as the sun bursts through and floods your cherished picture with glorious light and you make your exposure, you may go home happy, having made perhaps only one exposure all day, but that exposure is a "picture", even if it is the only one from a couple of dozen exposures.
Then there are still life subjects, portraiture, table-top photography and many other indoor subjects. For this class of work you will need a good firm tripod. You can, of course, make use of furniture, but a tripod that is steady and free from vibration is the ideal thing. You will, of course, make your exposures by time. If you have not an exposure meter, you will have many disappointments as the result of guess work, but by practice and patience you will become expert. Keep to one speed and make of film and thoroughly master that, choosing one of fine grain, using, if you develop your own films, a fine grain developer. I advise this, even if you have not an enlarging camera at present. It is possible that some of your early efforts may be hung on the walls of an exhibition in a place of honor and with increasing knowledge and technique many very ordinary prints (in the eyes of the beginner) of contact size, can he worked up to something worthwhile. If you have an enlarging camera, the winter evenings and spare time can be well spent in making pictures, using one or more negatives and this calls for skill, obtained only by practice, but if you have the inclination towards picture making, go to it and even if you waste a fair amount of material in the process, the results will quite justify your efforts.
Saturday 22nd May 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by F.M.D. for the
ADELAIDE CAMERA CLUB
A very successful demonstration on developing films was given at the Adelaide Camera Club this week at the University. This is the first of a series of practical lectures for the benefit of all interested in photography. Next Saturday the club will conduct an outing to Brownhill Creek. Members are requested to meet at the Mitcham tram terminus at 2.30pm.
FILM EMULSIONS
Doubtless many camera workers have been puzzled about the various long-named films available. In what way do these emulsions differ from one another and what difference do they make to snap shots? The following are the popular films used today:
ORTHOCHROMATIC
This film is commonly known as the regular or ordinary variety and while it produces excellent results it does not render the colors in their correct monochrome values or tones. Red reproduces black, as the emulsion is not sensitive to this color, while yellow, orange and green are also not truly recorded owing to the film's poor sensitivity to these particular shades. Blue, however, is over sensitive to this emulsion and exposes very rapidly, giving white skies, for example, to your finished print.
CHROME GRADES
Of film are similar to the ortho emulsion, but are faster and have slightly better sensitivity to yellow and green. These films are also double coated with emulsion, resulting in greater latitude or margin for error in exposures.
PANCHROMATIC
This emulsion is a great improvement on the ortho film, as it is sensitive to all colors of the visible spectrum, giving monochrome renderings very nearly approaching the relative tones as seen by the human eye. Owing to its sensitivity to red this film must be developed in darkness or in very dim green light. Panchromatic films are still over-sensitive to blue, but not, however, to the same degree as the ortho emulsion. Most pan films are of particularly fine grain and therefore produce excellent enlargements, while wonderful latitude is another feature.
SUPER-SENSITIVE PANCHROMATIC
This emulsion is similar to panchromatic, but possesses increased speed and is therefore extremely useful for photography under artificial light or action pictures where short exposures are necessary. The grain on fast films however, is not so extremely fine as on the slower types.
HYPER-SENSITIVE PANCHROMATIC
This is the most recently marketed film and is extremely fast, being mostly used by pressmen and commercial photographers who require extreme speed for pictures under difficult conditions. To overcome the sensitivity of blue to film emulsions, color filters are used to curb the exposure on this color. The use of color filters and the effects will be explained next week.
Saturday 29th May 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by F.M.D. for the
ADELAIDE CAMERA CLUB
Entries for the pictorial contests are due next month - 7th June for seniors and 21st June for beginners. All particulars are obtainable from the Hon.Secretary at Harringtons Ltd. In response to inquiries received since the last article some weeks ago for more information on filters, we are giving more details. Color filters are used in photography for two main purposes and a number of subsidiary ones. The average photographer, however, is concerned only with the use of filters for color correction and color distortion. As explained last week, film emulsions are over sensitive to blue and to overcome this and to give truer tone renderings of all colors, various filters are used. With every filter some increase in exposure is necessary, the increase varying according to the depth of the dyed gelatine from which it is made. Here are the types of filters in general use and their effects:
CORRECTING FILTERS
LIGHT YELLOW gives a little correction and removes the ultra violet. Factor about two times normal exposure. DEEP YELLOW gives good correction and removes the ultra violet. Factor about three times normal exposure. YELLOW-GREEN gives full correction. Factor about four times normal exposure. The exposure factors given are for panchromatic film in daylight. When good color correction is designed it is advisable to use this film as the ortho variety cannot give satisfactory color rendering even with the aid of the filter, although the blues are corrected to some extent, resulting in good sky rendering and cloud effects.
CONTRAST FILTERS
These filters are used for effects and give an incorrect rendering of some colors. ORANGE removes the blues and most of the greens. Factor about four times. Red and yellow photograph almost white on the print. DEEP RED allows only red and some yellows to pass. Factor about six times. Red and yellow photograph light and blue very dark. DEEP GREEN allows only green and a little yellow and blue to pass. Factor about eight times. Gives light greens and dark reds on the print. DEEP BLUE allows only blue and a little green to pass. Factor about seven times. Prints red and yellow darkly and blue and green a light shade. Remember the use of a filter not only gives you prints of improved gradation but also helps to penetrate mist or distance (blue) haze, resulting in clearer outlines.
Saturday 5th June 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The second outing this year of the Adelaide Camera Club was held last Saturday. Again we were favored with ideal weather and the large number of members who turned up were able to enjoy good photographic practice at Brownhill Creek.
The monthly club meeting on Monday night promises to be a most interesting one. A professional model will be available and senior members will arrange special lighting and take photographs. All beginners should attend as there will be an opportunity to learn something about studio portraiture.
CHOOSING THE RIGHT TIME
I recently returned from a holiday at Port Elliot. Undoubtedly holiday time is the time for photography, particularly if one is staying in a place which has the photographic possibilities that exist at Port Elliot. The reason is that when a good subject has been found one can afford to wait for the right conditions and the best time of day to complete the photographic picture.
Many will say that practically every inch of Port Elliot has been photographed scores and even hundreds of times and even if one does take some photos, there is nothing new in them. Well, I dispute that and to back up, my claim that new pictures can always be found anywhere, "The News" has been kind enough to produce two of the many I took while at Port Elliot.
These pictures, which will be found on the back page, cannot, of course, give all the beautiful tones of the actual prints, as newspaper surface requires rather coarse screen blocks for printing. However, I hope you will get some idea of what the originals are like.
Both these pictures were selected to illustrate my heading "Choosing the Right Time". The subject "Towards Sundown-Port Elliot" caused me quite a lot of anxiety. I had waited for some days for a good sky and a clear sunset and this day, after waiting for nearly an hour for the right moment, I was nearly beaten by a cloud which passed over the sun. Luckily it moved away and was gone before the sun went down. Have you seen a similar picture to this one taken at Port Elliot?
WAITED FOR DAYS
The other photograph, entitled "Arabesque", kept me waiting for some days for the right weather conditions. I wanted a bright day, but with light clouds crossing the sun to give me a soft studio type of lighting. Eventually the day came along and I was ready.
Naturally the picture (and several more) had been planned beforehand, but my reason for illustrating this particular one is to point out the many possibilities in picture making that exist if keen camera owners will train their minds in the art of picture making.
Saturday 12th June 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the monthly meeting of the Adelaide Camera Club this week at the clubrooms, Institute Building, North terrace, a special feature was the attendance of a professional model, who formed the subject for "portraiture by artificial studio lighting". Entries were received for the print competitions and results will be announced in this column next week. The beginners section is reminded that the next lecture will be held on Monday 21st June, at the physics lecture room, Adelaide University. The subject will be "Contact Printing" and the lecturer Mr. J.N. Tomlinson. The committee is arranging for the issue of club badges. All members of the club desiring to purchase badges should hand in their applications to the Hon.Secretary at an early date, to ensure that sufficient will be ordered to cover requirements.
HOME PORTRAITURE
Most camera owners are called upon frequently to take photos of their relatives and friends, but rarely are the results gratifying. The faults, as a general rule, are due to a lack of knowledge of correct lighting. It is common to see amateur portraits with the face brilliantly lighted by the sun on one side, while the other side is almost black. Another mistake is to have a full face to the sun, with the result that the subject is unable to assume a normal expression and delicate contour shading is lost. When taking portraits out of doors choose a spot that is shady but not too dark. Place the subject so that the best possible light is on the face. If one side appears too dark arrange a reflector a few feet away. A large sheet of white cardboard or even a white tablecloth will do. This will throw the light back on to the shaded side of the face. See also that the background is plain and therefore unlikely to compete with the subject. Use the widest aperture and focus accurately. Indoor portraiture, as a rule, produces the better results. Suitable backgrounds can be arranged and with the aid of special photo flood lamps which give really powerful lighting under the constant control of the photographer these lamps by the way, can be obtained quite cheaply it is possible for the amateur to turn out excellent portraits. I would recommend fast panchromatic films for this sort of work, as they are not only the most suitable for this type of lighting, but because their speed enables the minimum amount of exposure to be given, thus avoiding any slight movement of the subject being recorded. With these films and two or three photo flood lamps, portraits can be taken indoors at exposures of as little as 1-25th second at aperture F6.3.
Thursday 12th June 1937 The Advertiser (Adelaide South Australia)
The 1937 Australasian Photographic Exhibition, under the auspices of the Adelaide Camera Club will be opened at the Society of Arts Gallery, Institute Building, North terrace, by Professor Kerr Grant, at 8pm on Wednesday. The exhibition will remain open daily, with the exception of Sunday, from noon to 5.30pm and from 7.30pm to 9.30pm, until 26th August and no admission charge will be made.
Saturday 19th June 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Members of the Adelaide Camera Club are reminded that the monthly lecture will be held on Monday night in the physics lecture room at the University. Beginners, who may bring friends interested in photography, should make a point of being present, as the subject, Contact Printing, is of vital importance to their progress. The ability to make a first-class contact print helps one considerably to understand the technique of enlarging, which will be the subject of the lecture in August. A committee meeting will be held at Grenfell street at 7.30pm on Wednesday. This meeting is to arrange details for the club's next exhibition. Results of the June print competition are: 1st, Hilltop by Mr. F. White; 2nd, Summer-time by Mr. F. Cole.
THE DARK ROOM
To many beginners the dark room and its equipment is a mysterious establishment, only intended for those scientifically minded. A number, too, are reluctant to start their own developing and printing because they have an idea that it is an expensive under taking. In actual fact simple developing and printing can be undertaken by anyone, reasonable care only being necessary to ensure good results. Extreme cleanliness of all materials employed and correct temperature of developers are the principal points to watch. In the way of material, if cost is the first consideration, all that is required is as follows:
Red lamp. Three enamel or xylonite dishes (pie dishes will do). Eight ounces measuring glass and stirring rod. Two stainless spring clips to hold film. Thermometer. One packet each of developer, hypo and printing paper. One printing frame.
The total cost of this outfit should not exceed £1. Of course, more money can be spent if the hobby appeals and refinements such as a daylight developing tank, a squeegee and glazing sheet, scales for making up own developers, a print trimmer and even an enlarging apparatus can be installed. My advice to those wishing to do their own work entirely is to purchase a good book on photography for beginners. It will also be found that the stores handling photographic material are willing to give advice and guidance. There is a great deal of satisfaction in doing all your own photographic work and moreover, it provides an excellent hobby for winter nights and wet week-ends.
Saturday 26th June 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Thirty-eight Adelaide Camera Club members, mainly those of the beginners section, attended the lecture given by Mr. J.N. Tomlinson on Monday night. The subject, contact printing, was dealt with in a very lucid manner and should prove of great assistance to those who are just beginning to do their own work. The committee hope to announce at an early date another outing which will be rather novel in character. In all probability details will be published next week. Adelaide Camera Club members are reminded that print criticism is available to them, both at the monthly meeting and on lecture nights. Please bring along any photographs taken, as criticism will help greatly in the making of better pictures.
CONTACT PRINTING
The lecture on contact printing gave several hints which may be of help to camera owners generally. There are two main classes of contact printing daylight printing and artificial light printing. The latter is more commonly known as gaslight printing. Beginners are strongly advised to begin with daylight printing, as the process is not only simple, but produces excellent prints of lasting quality in good sepia tones. Self-toning printing paper can be obtained for this purpose and needs fixing for only five minutes in a solution of 4 oz. hypo. to 20 oz. water, followed by washing in plain water for half an hour. In printing by artificial light the paper must be loaded into the printing frame either by the light of an orange or red lamp in a darkened room, or in a dark corner of a not too brightly lighted room. With this process it is, essential to choose a printing paper suitable to the negative and the following directions should be helpful:
(1) If the negative lacks contrast, that is, if the subject consists of greyish tones all over, use a hard (or contrasty) paper.
(2) If the negative is contrasty the subject contains extremes of black and white tones - use a soft paper.
(3) For normal negatives, those with no extremes of tones, but not lacking in contrast, use a medium paper.
SIMPLE PROCESS
All gaslight printing papers are sold in these grades and the correct use of them ensures the best possible prints. Unlike daylight printing, the picture does not show on the printing paper during the printing process, which, by the way, is more rapid than daylight printing. The paper must be developed in a suitable developer, just as films are developed and then fixed in an acid-hypo solution, which can be purchased ready for mixing with water, or can be made up by dissolving in 20 oz. of water 4 oz. of hypo and 1/2 oz. of potassium metabisulphite. The whole procedure of making gaslight prints is quite simple and produces excellent black and white toned photos, which can afterward be toned, if required, to sepia or even colors such as red, blue and green. Results of junior section quarterly competition:
JUNIOR SECTION QUARTERLY COMPETITION: |
FIRST "City Bridge" Mr. H. Archer |
SECOND "Beach Scene" Miss L. Pyatt |
SPECIALLY COMMENDED Miss Hersey |
SPECIALLY COMMENDED Mr. C. Thompson |
|
Saturday 3rd July 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club will hold an Australasian photographic exhibition from 18th to 26th August. As its title implies, entries will be received from any State of the Commonwealth and New Zealand.
Entry forms are obtainable from the Hon.Secretary, c/o Harringtons Ltd., Rundle street, or from Kodaks. These forms give full particulars and regulations for the guidance of club members desiring to submit prints to the selection committee.
The beginners section of the club will be pleased to hear that a special section of the exhibition will be devoted to their efforts. They should try to obtain a few photos worthy of the occasion immediately.
CHLORO-BROMIDE PAPER
For enlargements particularly where a certain amount of control work is necessary, chloro-bromide paper is suitable as it is slower than ordinary bromide papers. With this paper, also one can obtain a variety of colors, ranging from warm black to brick red, simply by adjusting the exposure time and the developer to suit. Chloro-bromide, however, is obtain able in only one grade of contrast, so that negatives for use with it should be of good printing quality. with a long scale of tones. With a normal developer and correct exposure the color of the print is warm black. For warmer colors the print must be over-exposed and developed in diluted developer or for a shorter time in normal developer, or by varying the character of the developer.
For general warm black tones the following M.Q. developer is suitable:
Metol - 10 gr. 0.8 gram.
Sodium sulphite (crys.) - 1/2 oz. 25 gram.
Hydroquinone - 30 gr. 3 gram.
Sodium carbonate (crys.) - 1/2 oz. 25 gram.
Potassium bromide - 30 gr. 3 gram.
Water up to - 20 oz. 1,000 c.c.
Development time, one and a half to two minutes at 65 deg. F. For colors ranging from warm brown to brick red, the following developer is recommended:
CHLORQUINOL DEVELOPER
Solium sulphite (crys.) - 1 oz. 50 gram.
Sodium carbonate (crys.) - 1 oz. 50 gram.
Potassium bromide - 16 gr. 1.8 gram.
Chlorquinol - 60 gr. 7 gram.
Water - 20 oz. 1,000 c.c.
Time of development, two to three minutes at 65 deg. For warmer tones dilute with an equal bulk of water, add more bromide and increase exposure two to four times. Time of development will also be increased. Both M.Q. and chlorquinol developers can be obtained ready mixed, requiring only dilution with water. The ready prepared form is convenient for workers using only small quantities. Some club members will take time exposures of city lights after the meeting on Monday night. Any other members interested are invited to bring their cameras and join the party.
Saturday 10th July 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the monthly general meeting of the Adelaide Camera Club held at the clubroom, Institute Building, North terrace, five new members were admitted.
The prints submitted for the beginners competition were criticized by Mr. J.N. Tomlinson, who remarked on the general improvement in photographic technique achieved by the junior section during the past few months.
Entry fees for the beginners section of the Australasian Photographic Exhibition, to be held from August 18th to 26th at the Society of Arts Gallery, will be a minimum of 1/- covering two prints, plus 6d a print extra up to a total of five prints.
Club badges will shortly be available. These are of very fine design and quality and are priced at 2/6 each. Will members please order their badges from the Hon.Secretary. Committee members are advised that a meeting to make final arrangements for the forthcoming exhibition will be held on Wednesday at 7.30pm in the T.G. Building.
COUNTRY INQUIRIES
One of the most pleasing results of the publication of these weekly articles is the number of letters received from camera owners living in the country. It is gratifying to know that the hints and tips, which are written in as non technical a manner as possible, are proving helpful to amateur photographers who, because of their vocation, live in districts where expert advice is not easily obtained.
Any reader interested in photography is invited to write for information on the subject. Please, however, enclose a stamped addressed envelope to facilitate reply and address the letter L.A.W. Adelaide Camera Club, Institute Building, North terrace, Adelaide. This will save time and ensure a quick reply.
BEWARE OF HARD WATER
In certain districts hard water is supplied through the mains and photographers may have experienced trouble through using such water to mix developers.
Some photographic materials may be seriously affected by hard water, particularly the alkalis used in developing solutions, as these are counteracted by the lime in the water. If the water is very hard, it may cause developing solutions to remain inert.
The remedy is to first boil the water and let it stand for a while before using. Better still, use clean rainwater, but the ideal for developing solutions is distilled water.
When we look at a landscape or seascape our eyes are free to wander until they have selected the best view and we says, "What a fine picture that would make". It is this sense of selection we must use in taking a photographs.
In taking a photo the main point to remember is that the picture must contain everything that goes to satisfy the human eye. The composition must be such that the eye is led into the picture and not out of it, otherwise the picture loses its interest immediately.
Simplicity is the keynote of a successful picture - choose one main point of interest, place it correctly in the framework of the picture and avoid all distracting elements that would cause the eye to wonder from the main subject.
Saturday 17th July 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
One of the important and progressive features of the forthcoming Australasian Photographic Exhibition to be held in August at the Society of Arts Gallery is the subdivision of entries into five classifications: Landscapes and seascapes. Portraiture. Still life. Architecture. Other subjects and color prints. The last mentioned classification will include such subjects as figure studies (as distinct from portraits), action photographs, photomicrography and in fact any subject which cannot properly be classified under the other divisions. Color prints, by the way, refer very definitely to prints colored by photographic processes and not to hand colored photographs. The great advantage of classifying entries into groups is that recognition can be given to high-class prints in each section, thus facilitating the work of the selection committee and the judges.
TO BE HUNG IN SECTIONS
It is an almost impossible task for a judge to decide which is the better of, say a portrait and a landscape, when both prints are first class technically. As the various sections will be maintained not only for judging and awarding of diplomas and certificates of merit, but in the actual hanging on the walls, visitors to the exhibition will have an easier task of making their own comparisons. All interested in art as well as photography should make a note of the dates of this exhibition - August 18th to 26th - as some of the best work of Australian photographers will be shown.
PHOTOGRAPHING THE CORONATION
In a recent number of the London publication the Amateur Photographer, the well-known miniature camera expert Lancelot Vining gives some interesting details of the cameras used to take the official press photographs of the coronation. In Westminster Abbey very few of the distinguished guests had any idea that they were surrounded by expert photographers, as the 16 cameramen selected for the job were concealed in six camouflaged "hides". One of these "hides" was in the actual coronation theatre, within 25 ft, of the coronation throne. In this particular "hide" were four operators two with cinematograph cameras and two with a battery of still cameras, ranging from quarter-plate size with 10 in. and 6 in. lenses, to the modern fast miniature 35 mm. cameras fitted with F1.5 and F2 lenses. The miniature cameras, with their extraordinarily fast lenses, were found necessary at a preliminary test to photograph those parts of the ceremony where movement called for exposures of not less than one-fiftieth or one twenty-fifth second, such a short exposure being impossible with the slower lenses of the larger cameras.
60 IN. LENS USED
For the outside scenes, such as the Royal group on the balcony at Buckingham Palace, cameras with huge telephoto lenses were employed. The camera operated by Henry How of the "Daily Mirror", had a 60-in. lens operated at F8, while another camera was fitted with a new Zeiss 48-in. lens; operating at F4.5 - this lens alone cost £140, a little beyond the pocket of most amateur photographers. Even the cinematographers were not to be outdone, Messrs. Pathe using a 52-in. lens, which made their cine camera look very much like a small machine gun. Such are the wonders of modern day photography, an interesting hobby to study as well as to practise. Members are reminded that a lecture on Enlarging will be given at the physics lecture room, University, on Monday. It has fallen to my lot to take this lecture.
Saturday 24th July 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The third of the series of camera lectures arranged for beginners was held at the physics lecture room, University, this week, when a talk was given on enlarging, in conjunction with a practical demonstration on a modern vertical condenser enlarger. A point of interest that arose during the lecture was that before any camera owner decided to undertake enlarging work, he should learn - To put individuality into his photographs, or, in other words, not to mimic the efforts of other photographers, although good lessons could be learned from analyzing successful pictures. To get thoroughly acquainted with his camera and to know its capabilities and limitations. Only when these points had been mastered would he be able to produce negatives worthy of enlarging and mounting. A first-class picture and a first-class negative should be the essential aims of all seeking to produce enlargements worthy of public exhibition.
SPOTS ON PRINTS
Black spots that appear occasionally on prints very often spoil what would otherwise be a nice picture. In cases where enlargements are made, the size of these spots increase in proportion to the size of the enlargement, so that while a contact print may not show these defects to a serious extent, an enlargement will be effected to a degree that steps must be taken to remove the blemishes. In many cases black spots can be avoided by keeping the interior of the camera spotlessly clean, thus preventing dust settling on the film or plate. A small speck of dust on the film at the moment of exposure prevents the light reflected from the subject reaching the emulsion, thus causing a clear speck on the negative. In cleaning your camera do not be content just to wipe round it with a clean handkerchief, but use a camel hair brush and get well into all corners, at the same time carefully blowing the specks of dust away. In spite of the utmost care, however, clear specks or pinholes will appear on negatives; these are due to either tiny flaws in the emulsion or to air bubbles forming on the film in the developing tank during processing. When negatives are large enough to retouch, these pinholes can be eliminated by "spotting" with special water color or retouching medium before printing. In the case of miniature negatives, however, these pinholes are often so small as not to be seen; even if just visible, retouching is practically impossible. Therefore an enlargement must be made and the spotting done on the print.
IODINE PROCESS
Get a match and sharpen it to a fine point, dip it in iodine and touch each black spot, being careful to see that the iodine does not reach other parts of the print. If some spots are very black, do this two or three times. Prepare a weak solution of ordinary hypo and place the print in this for a few minutes, as a result of which the black spots will go white; wash the print in the usual manner. It is then a fairly easy matter to prepare a watercolor of the correct shade of grey to match the color round. the spot. Use a very fine sable brush worked to a fine point and just a slight touch of the watercolor and apply very carefully. It is as well to practise on an old or spoiled print first. Black spots can also be removed with a trimming pen or retouching knife. This method calls for a fair amount of skill and practice, but is useful when speedy working is essential.
Saturday 31st July 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The August meeting of the Adelaide Camera Club will be held on Monday night in the clubroom, Institute Building, North terrace. This is the last meeting before the Australasian Photographic Exhibition, organized by the club, which opens on Wednesday 18th August.
A feature of the monthly meeting will be a talk by Mr. D. Darian Smith on Aerial Photography.
Intending exhibitors at the Australasian Photographic Exhibition are reminded that entries close at noon on Saturday 14th August. All photos must be mounted on either 20 x 16 or 16 x 12 mounts and any serious departure from these sizes will automatically bar their acceptance.
This ruling does not apply, however, to the beginners section, in which entrants must submit their prints of approximately whole plate size on 12 x 10 mounts.
The selection committee will meet at the clubroom at 2.30pm on Saturday, August 14th, to make the necessary selection of prints for hanging in the exhibition and the hanging committee will meet at the Society of Arts Gallery at 7pm sharp on Monday 16th August, to prepare the walls, hang the pictures and number and catalog them. Will those members who can give up this night to the club kindly advise the Hon.Secretary, who will let them know if their services will be required.
COMPOSITION
In addition to the technique required to produce a good quality print, the success or failure of a picture to gain and maintain interest depends on good composition. From time immemorial the world's greatest artists have followed recognized rules in the composition of their paintings or drawings. The photographer who desires to produce photographs which can be claimed as works of art will find that he, too, must adhere to these rules which ensure balance and a proper distribution of light and shade and which places the principal subject matter in the correct position on the print.
There are several forms of composition, the commonest and simplest being that known as diagonal composition.
As space will not permit illustrating this article with diagrams, I would suggest that you get a piece of paper and rule up a rectangle to represent the borders of a picture. Now draw a diagonal line from the top left-hand corner to the bottom right-hand corner and you will then have the basis of diagonal composition.
This form of composition is used mostly in landscape work, but can apply equally well to other subjects. Suppose we are photographing a landscape, we should endeavor to place the main portion of the subject matter, consisting of the middle tones and shadow, inside the bottom triangle formed by the diagonal line and the lighter tones, in this case the sky, inside the top triangle.
CORRECT BALANCING
However, if we adhere too rigidly to the diagonal line, our picture will be badly balanced, so to even up matters we must see that some of the darker tones are placed in the top triangle and some of the lighter tones in the bottom triangle.
To illustrate this get your pencil and draw a tree against the left-hand margin with the branches extending over the diagonal line into the top triangle. Now draw a sky line across the rectangle one-third up from the base and fill in the portion under the sky line with any landscape subject - grass and cows, or a man with a dog.
Now we have a simple form of diagonal composition, the main subject is in the bottom triangle, but the branches of the tree extend into the top triangle, while the sky occupies the main portion of the top triangle, but extends into the bottom triangle.
It is important to note, however, that the bulk of the bottom triangle contains the darker tones, while the greater portion of the top triangle contains the lighter tones. Next week we will deal with another form of composition.
1st August 1937
Page 394 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB
The program of lectures and demonstrations for the beginners section is supplied by advanced workers and the club is enjoying an active and profitable existence, the membership having been built up in the past five months from approximately ten to fifty financial members.
The senior section of the club is composed of members who have attained a good technical standard and who are almost entirely interested in pictorial work. As members of the beginners section reach a certain technical standard they are transferred to the senior section and are then allowed to submit prints for exhibition.
Saturday 7th August 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the monthly general meeting of the club last Monday in the clubroom, Institute Building, North terrace. Aerial Photography, a talk by Mr. D. Darian Smith was the chief subject of the evening. Mr. Darian Smith explained the great advance and improvements in aerial photography since the early days when the first aerial photos were taken by means of a box kite equipped with a wooden box-shaped camera fitted with a 7-in. lens. Aerial photography today was of the utmost importance to the army and navy and for Government survey and exploration uses. It was also used extensively in large forestry areas for the location of special kinds of trees, such as mahogany and had even proved useful for deciding causes of congestion in large railway yards and on wharves. Business concerns also employed the aerial photographer. At the lecture to be held at the physics lecture room, University, on Monday 16th August, Mr. W. Stolting will speak, on Sensitivity and Exposure Meters. Committee members will meet at the clubroom on Wednesday at 7.30pm.
MORE ABOUT COMPOSITION
Last week I emphasized the necessity of adhering to the established rules of composition, if the photographer desires to produce pictures worthy of public display. The commonest and simplest form of composition - the diagonal - was also explained. Another form of composition is the pyramid, which is frequently used in portraiture and figure studies and for architectural subjects and occasionally in landscape pictures. The pyramid (or triangle) is formed within the borders of the picture with the base parallel to the base line of the picture and the apex reaching towards the center of the top line border of the picture. The main subject or group is so placed that its outer conformation is mainly but not strictly confined to the lines forming the pyramid. Here again, as in the diagonal form of composition, too strict an adherence to the outline will promote a feeling of unreality, therefore small portions of the main subject must be so placed as to extend into that section of the picture outside the pyramid, which, after all, is but an imaginary one.
EXAMPLE GIVEN
As an example of the pyramid form of composition, which readers will easily be able to visualize, let us take a group of, say, three people. If we stand or sit these three people in a row, what an uninteresting group we would get. If, however, we seat two of them and have one standing behind, the photograph immediately gains interest because the subject fills a more nicely balanced space within the four borders of the picture. In other words, we avoid the formation of a blank or uninteresting horizontal space, above the group, which would certainly be there if we seated them all in a row. I would strongly advise readers who are really interested in taking good photographs to visit the Australasian photographic exhibition, which opens on 18th August at 8pm at the Society of Arts Gallery and is available for free public inspection until and including 26th August. Go along and study the pictures in a critical manner and determine for yourself the form of composition employed in each instance.
Tuesday 10th August 1937
Page 4 - News (Adelaide South Australia)
PHOTOGRAPH SHOW NEXT WEEK
DIPLOMAS TO BE GIVEN
An excellent collection of photographs is anticipated and many leading photographers will be represented at the Adelaide Camera Club's 1937 exhibition, to be held at the Society of Arts gallery. Institute Building, North terrace, from 18th to 26th August. It will be opened by Professor Kerr Grant at 8pm. A diploma and two certificates of merit will be at the disposal of the judge for awards in each section. There will also be a section devoted to beginners of the Adelaide Camera Club.
Thursday 12th August 1937
Page 18 - The Advertiser (Adelaide South Australia)
PHOTOGRAPH EXHIBITION
The 1937 Australasian photographic exhibition, under the auspices of the Adelaide Camera Club will be opened at the Society of Arts Gallery. Institute Building, North terrace, by Professor Kerr Grant, at 8pm on Wednesday. The exhibition will remain open daily, with the exception of Sunday, from noon to 5.30pm and from 7.30 to 9.30pm, until 26th August and no admission charge will be made.
Thursday 12th August 1937
Page 17 - News (Adelaide South Australia)
FREE EXHIBITION OF PHOTOGRAPHS
The Adelaide Camera Club 1937 photographic exhibition will be held at the Society of Arts Gallery, Institute Building, North terrace, from 18th to 26th August. The exhibition is open to the public free of charge daily from noon to 5.30pm and from 7.30pm to 9.30pm. The Adelaide Camera Club is affiliated with the Society of Arts and has been in existence for about 50 years. Its aim is to further the progress of photography in all its branches and to encourage the production of pictures of artistic value.
Saturday 14th August 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Australasian Photographic Exhibition will be opened by Professor Kerr Grant, on Wednesday night at 8pm. The Adelaide Camera Club cordially invites readers of "The News" to visit this exhibition, which will remain open until August 26th.
Admittance is free and the hours are noon to 5.30pm and 7.30 to 9.30pm.
Business people in the city will find it well worth while devoting part of their lunch hour at the Society of Arts Gallery, Institute Building, North terrace, while the exhibition is being held.
The charm of a photographic exhibition is its appeal to the majority of people, even to those who take but little interest in art. The reason probably is that most of us either possess a camera and take photographs regularly or occasionally, or have at least used a camera at some time or other.
It would be interesting to take a census of cameras in South Australia. I am sure it would reveal that very few homes do not have a camera of some sort. Most are used, of course, for taking occasional snapshots of the family or holiday events and the owners get the films developed and printed for them and do not go beyond this stage.
PRODUCING GOOD PICTURES
It is, however, within the power and ability of most people to produce really good pictures, even up to the standard of those that will be seen at the Australasian Photographic Exhibition.
Essential qualifications to produce such photographs are: A keenness to progress with photography as a serious hobby. An ability to give a certain amount of time to study and processing work. An expensive camera is not essential and expenditure can be regulated to meet one's pocket. The Adelaide Camera Club offers a first-class opportunity to beginners who wish to take up photography as a hobby. Lectures are given at regular intervals and the help and advice of advanced members are always at the disposal of those who desire to learn.
MORE ABOUT COMPOSITION
I have already explained two forms of composition: (1) The diagonal, (2) The pyramid. Another form of composition, not used to such an extent, is in the shape of a diamond. This hypothetical formation is obtained by confining the main subject within boundaries, formed by the borders of the diamond, which is of similar shape to those shown on playing cards.
This form was often used in the past by Dutch painters and today is frequently employed in modern "new angle" photography. It is however, not so popular as the diagonal or pyramid forms of composition.
The final form is the circle and is best exemplified by that well-known painting The Cherubs, by Sir Joshua Reynolds. The Japanese also use the circle composition to a large extent in their art and it also is found useful by photographers in certain landscape subjects.
In composing a picture before making an exposure in your camera, always endeavor to follow one of these forms of composition. You will find the result is a much more pleasing picture.
Tuesday 17th August 1937
Page 8 - News (Adelaide South Australia)
UNUSUALLY INTERESTING SHOW BY CAMERA CLUB
PICTURES AN ADVANCE ON LAST EXHIBITION
At the Royal Society of Arts Gallery, North terrace, tomorrow night, Professor Kerr Grant will open an unusually interesting exhibition of photographs by members of the Adelaide Camera Club.
The work in this exhibition is undoubtedly in advance of that shown at the club's last show and it is obvious that the exhibitors are concentrating more on the essential photographic and artistic elements in their work and less on the more obviously sentimental and pictorial qualities.
The Camera Club is composed of an energetic group of artist-photographers whose sincere and painstaking efforts result in the production of work which, though often experimental and incomplete, is full of interest and promises further development in the future.
Fog and mist, which have enjoyed such a lengthy reign of popularity, have at last been banned by most exhibitors and sentimental and over-picturesque subjects and titles are gradually becoming eliminated.
OLD IDEAS DIE HARD
Work which is strong in design and composition and truthful in texture, while retaining the technical qualities of good photography, seems to be the aim of photographers.
Old ideas die hard, however and there is still a poverty of originality in the selection of subject matter. The influence of modern photography abroad is gradually making itself felt and local photographers are realizing the possibilities of simple, everyday subjects as suitable material for artistic camera studies.
The portrait section in the exhibition is regrettably small and the figure studies are, with few exceptions, lacking in originality and interest, but many excellent photographs are shown in the landscape and seascape sections.
Several interstate photographers are exhibiting, including Le Guay and Cazneaux, the last named being responsible for several of the most outstanding exhibits. His study of Dr. Julian Smith is technically a superior photograph and has all the necessary qualities of sound portraiture.
A Giant Gum of the Flinders (#38) by the same photographer is a brilliant study, full of the strange atmosphere of the far northern landscape. Another study of bare rolling hillsides, called Landscape (#76), is restful in its simplicity and rhythm of line and has remarkable texture and quality.
ORIGINAL DESIGN
The best work by Le Guay is a study of narcissus in a round glass bowl. The design is original and arresting and the texture of the flowers admirably shown. A figure study by the same photographer called Pirate (No. 11) is interesting for the dramatic use of lighting and the strong pose of the subject. Doris Barnes is showing a charming portrait of a child, which is an excellent example of photographic portraiture and is a sympathetic and artistic study. It is called Beneath the Sun Hat (No. 94). Concentration (No. 96) is an attractive study of a young man's head simply treated and in a most natural pose. Also (No. 55), by F. Cole, shows the texture of the subject matter and is a pleasing composition through the use of repeated vertical lines. T.C. Mack's Evening Sport (No 36) is an original subject introducing the modern element and is sound in composition. In Line (No. 29) by F.A. White, is a pleasing study of two swans on the rippled surface of gently moving water.
TURBANED FIGURE
J.N. Tomlinson is showing a study of a turbaned figure gazing seawards from the deck of an ocean liner. It is entitled Thoughts of Home (No. 10). The lighting of the head is strong and interesting, but is somehow out of tone with the sea and sky background.
Other prominent exhibitors include L.A. Wilde. Frank M. Day, H. Kiel and E. Irene Viney.
The exhibition will remain open to the public until August 26.
SIR KERR GRANT
Born 26th June 1878 Bacchus Marsh, Victoria, Australia
Died 13th October 1967
SOUTH AUSTRALIAN INSTITUTE OF TECHNOLOGY
PRESIDENT
1942-58
Wednesday 18th August 1937
Page 19 - The Advertiser (Adelaide South Australia)
PHOTOGRAPHY AS AN ART
CAMERA CLUB ANNUAL EXHIBITION
The annual exhibition of the Adelaide Camera Club, at the Society of Arts Gallery, which will be opened this evening by Professor Kerr Grant, is more than usually attractive, most of the work being of excellent quality, besides being varied in choice of subjects. The landscape section is by far the largest and contains many well selected subjects, much care having been taken with a view to artistic composition. A special prize has been awarded to "Summer Morning Idyll", by Frank Day, a fine effect of leafy trees and cows, with a particularly good distance and fine clouds.
"Sunlit Glade", by J. Mack, shows nice contrast of light and shade and the foreground is well defined. In "Sentinels of the River" L. Wilde shows himself a lover of dark prints, but he chooses good subjects; the same remark applies to his "Winding River". "Hilltop" by F. White, shows clean timber against a soft sky and "The Ford" by F. Day, has a fine effect of light and shade, with good reflection in the shallow water.
F. Gill has two attractive pictures in "Pines" and "Panel", very picturesque subjects. F. Cole, in "Aloes", shows well defined and clear work. D. Barnes's "Autumn Morning" is an expansive view, with touches of light peeping through heavy foliage. H. Keil in "Guardians of the Scrub" and "Gums of the North" introduces a misty effect and there is charm in the soft lines he obtains. "Mustering Sheep", by H. Cazneaux. is a clever choice, some of the animals being in deep shade and the hill forms a fine background. In another picture a fine effect is obtained of light on rocky cliffs.
The portrait selection is disappointingly small, comprising only five exhibits. Of these two stand out; "Head of a Girl" and "Dr. Julian Smith". Both are fine efforts by H. Cazneaux. "Old Tuckamara" is a natural and expressive portrait of an old aborigine.
ATTRACTIVE SEASCAPE SECTION
The seascape section is most attractive. "Outward Bound", by F. Day, is a striking picture, with dense dark sky and the strong light across the water. Irene Viney shows artistic appreciation in the effect she has secured in "Placid Waters" with a beautiful cloud, in "The Lawhill", a ship in full sail, showing fine lines and in "Breaking Wave", which is full of movement.
In "Towards Sundown" and "Winter Skies" L. Wilde has been successful with his tendency for dark prints. F. Gill in "The Big Crane" has an expansive, but well defined view of a seaport and "The Arch" by J. Tomlinson has a strong contrast of shade and distance. "Pilot Boat", by J. Mack, shows a big expanse, but rather lacks contrast.
In the figure subject section, there are several rather clever effects. "Leban Tanz" and "Diana", by J. Tomlinson, are clear and picturesque figures and the "Light", a bending figure in a crystal sphere and "Persephone Returned", a nude figure, well defined, are fine pictures by G. Powell. L. Wilde is good in "Poise" and "Arabesque" and L. Creed has two excellent works, in which the expression and effects of light have been most successfully obtained.
There are only four architectural works. "St. David's, Hobart", by F. Robinson, is a fine interior. F. Gill has artistry in the light and shade in "The Cellar Steps". "Bridge Pylons", by F. White, is also good work. Among the miscellaneous pictures. "Flight" is a fine study of seagulls, by J. Finney. A capital one of a dog is "Wistful", by Talbot. In "Winter Fishing", by N. Howard, the reflections have been beautifully portrayed and "In Line", a study of swans, by F. White, is very artistic, as is "Come For a Drink", a fine picture of a horse, by F. Day.
A novelty is the beginners section, in which some capital work is shown. As these photographers become more efficient, they are dratted into the senior section. Among the best are "Winding Road" and "Pan", by J.N. Hersey and "Landscape" and "Poplars" by F. Lake. Another beautiful picture is a turret in the Bonython Hall, behind some fine trees.
Thursday 19th August 1937
Page 2 - News (Adelaide South Australia)
PHOTOGRAPHIC STUDIES ATTRACT INTEREST
Much interest is being shown in the Australasian Photographic Exhibition, which opened last night in the Society of Arts Gallery, North terrace. The exhibition has been arranged by the Adelaide Camera Club, which is affiliated with the Society of Arts and has been in existence for about 50 years. Its aim is to further the progress of photography in all its branches and particularly to encourage the production of pictures of artistic value and of exhibition standard. This last aim has certainly been realized in this year's exhibition, which includes many pictures of great artistic merit.
Thursday 19th August 1937
Page 21 - The Advertiser (Adelaide South Australia)
FREE EXHIBITION OF PHOTOGRAPHS
The Adelaide Camera Club's 1937 photographic exhibition will be held at the Society of Arts Gallery, Institute Building, North terrace, from 18th to 26th August. The exhibition is open to the public free of charge daily from noon to 5.30 and from 7.30 to 9.30pm. The Adelaide Camera Club is affiliated with the Society of Arts and has been in existence for about 50 years. Its aim is to further the progress of photography in all its branches and to encourage the production of pictures of artistic value.
Thursday 19th August 1937
Page 21 - The Advertiser (Adelaide South Australia)
CAMERA CLUB DISPLAY OPENED
Opening the 1937 Australasian photographic exhibition at the Institute Building, North terrace, last night, Professor Kerr Grant said that, although he could not be accused of ever having taken a photograph which was artistic, he was intensely interested in the use of photography in science.
Photography is continually in use in our laboratories and it is used in every laboratory in the world, said the professor. It is an indispensable adjunct to science. Astronomers rely more on photography than on their own eyes. It has been proved time and again that the camera can pick up objects invisible to the naked eye.
Professor Kerr Grant said that there had been wonderful progress in photography. He was glad to learn of the successful work of the members of the Adelaide Camera Club, particularly the beginners. He believed that the works displayed at the exhibition were well worthy of display in the Royal Photographic Society's Salon in London, where he once saw a big exhibition. The standard of photography and the artistic value of the exhibits were very high.
The awards are:
LANDSCAPES: |
SEASCAPE: |
ARCHITECTURE: |
PORTRAITURE: |
||||||
DIPLOMA |
CERTIFICATE |
CERTIFICATE |
DIPLOMA |
CERTIFICATE |
CERTIFICATE |
DIPLOMA |
CERTIFICATE |
DIPLOMA |
CERTIFICATE |
PORTRAITURE: |
FIGURES: |
STILL LIFE: |
OTHER SUBJECTS: |
||||||
CERTIFICATE |
DIPLOMA |
CERTIFICATE |
DIPLOMA |
CERTIFICATE |
DIPLOMA |
DIPLOMA |
CERTIFICATE |
CERTIFICATE |
|
Saturday 21st August 1937 Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Australasian Photographic Exhibition, which was successfully launched last Wednesday night, will remain open to the public until next Thursday Exhibitions, such as the present one, are of great value and assistance to photographers, besides giving the public an opportunity to see the latest pictorial work by South Australian and interstate camera enthusiasts.
Keen amateurs are able to compare their own work and progress with prints from the hands of some of our leading Australian photographers. The results of such comparisons invariably betray our own weaknesses and assist in dispelling any thoughts we may have had that our work is perfect.
GENERAL IMPROVEMENT
The present exhibition, however, does not leave us despondent, for it reveals a definite improvement in general workmanship by all club members. The variety and choice of subjects indicate a careful study and selection, while composition and technique are of high standard and definitely prove the ad vantages gained by the exchange of knowledge and ideas by club members.
We can therefore look forward to future exhibitions with every confidence and when the present one closes its doors for 1937, our work will recommence in an endeavor to produce those "perfect" pictures which, even to those with great photographic experience, are somewhat like will-o-the wisps.
INTERNATIONAL SALON
While it is a little early to give definite assurances, I can at least say that the Adelaide Camera Club hopes to be able to organize an international salon for 1938. This means that South Australians will probably have an opportunity of seeing photographs by some of the leading British and European experts alongside prints by South Australian and interstate photographers.
INTERSTATE EXHIBITS
There are some excellent prints from all over Australia on the walls of the present exhibition and if you have not yet visited this photographic display I would strongly recommend that you do so. The Society of Arts Gallery, Institute Buildings, is open from noon until 5.30pm and from 7.30pm until 9.30pm each day until and including August 26, except tomorrow. Some of the photographs exhibited have been displayed in England and Europe and have thus been seen by the people of many countries.
AWARDS:
The following awards were made by the judges:
LANDSCAPES - Diploma - Landscape, Harold Cazneaux (NSW);
LANDSCAPES - Certificates of Merit - Be It Ever so Humble by C.R. Hartmann (VIC); A Summer's Morning Idyll by Frank M Day (South Australia).
SEASCAPES - Diploma - Breaking Wave by E. Irene Viney (South Australia);
SEASCAPES - Certificates of Merit - The Anchorage by F.A. White (South Australia); On the Turn by E. Irene Viney (South Australia).
ARCHITECTURE - Diploma - Bridge Pylon by F.A. White (South Australia);
ARCHITECTURE - Certificate of Merit - The Cellar Steps by F. Gill (South Australia).
PORTRAITURE - Diploma - Dr Julian Smith by Harold Cazneaux (NSW);
PORTRAITURE - Certificates of Merit - Portrait of a Young Girl by Harold Cazneaux (NSW); Old Tuckamara by C.P. Mountford (South Australia).
FIGURE STUDIES - Diploma - Sunset on Life by Laurence Le Guay (NSW);
FIGURE STUDIES - Certificate of Merit - The Young Scout by J.N. Tomlinson (NSW)
STILL LIFE - Diploma - Flower Study by Laurence Le Guay (NSW);
STILL LIFE - Certificate of Merit - The Kitchen Corner by Frank M. Day (South Australia).
OTHER SUBJECTS - Diplomas - Wistful by W.S. Talbot (South Australia); Majestic Bows by J.N. Tomlinson (South Australia);
OTHER SUBJECTS - Certificates of Merit - Flight by John P. Finney (WA): The Dinghy by F. Cole (South Australia); Down for a Drink by Frank M. Day (South Australia); Winter Fishing by N.C. Howard (South Australia).
BEGINNERS SECTION (S.A.) - Certificate of Merit - Winter's Landscape by H. Nimon.
Saturday 28th August 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The next general meeting of the Adelaide Camera Club will be held at the club rooms, Institute Building, North terrace, on Monday, 6th September, at 7.30pm. All who made inquiries about the club during the Australasian Photographic Exhibition and any other camera owners interested, are invited to be present.
In a lecture this month at the University lecture room, Mr. W. Stolting spoke on Sensitivity and Exposure Meters, but as time would not permit the subject to be covered completely arrangements have been made for the speaker to continue his lecture at the meeting on Monday, September 20th, at the same place.
Senior members are invited to attend, as well as beginners, for whom these lectures are primarily intended.
Club badges are available at 2/6 each and can be obtained from the Hon.Secretary. This badge is one of the neatest I have seen and every member should wear one and thus foster the club spirit.
AT THE EXHIBITION
Final attendance figures for the Australasian Photographic Exhibition were not available at the time of writing, but indications are that all records for an exhibition of this type will be broken. This is a happy state of affairs, as it proves that not only is the Adelaide Camera Club now recognized as a responsible and authoritative body regarding photographic art, but that people are beginning to take a greater interest in photography.
The club membership is growing rapidly and if applications continue to come in at the rate they have been during the year we will be faced with the problem of accommodation for club meetings.
Many visitors to the exhibition took more than a casual interest in the pictures and showed their appreciation by making complimentary remarks to the attendant in charge. Several well known in art circles have sent their congratulations to the club on its display.
On the humorous side, we had, as could be expected, several visitors who took over the self-appointed offices of judge and critic. Our judges (to whom by the way I would like to express the thanks of the club for their careful and unenviable task in making the awards) and the official critics (whose remarks in the press were most fair and whose hints, I can assure them, members will not ignore) would have had an entertaining time if they had taken over the duties at the exhibition desk.
Saturday 4th September 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the general meeting of the Adelaide Camera Club on Monday night, a review and general criticism of the exhibition prints will be held. All members are requested to attend, if possible. Exhibitors at the recent exhibition who have not yet collected their prints are requested to do so as soon as possible. These are obtainable from the Hon.Secretary.
SPRINGTIME PHOTOGRAPH
With the coming of spring many camera owners, who consider winter no fit time for photography, bring out their cameras and start to visit places. A word of warning to all such at this period may, therefore, be the means of saving spoiled films and money. Before loading your camera, make sure that it is not only perfectly clean inside as well as outside, but also that it is mechanically sound. To clean your camera, use a camel hair brush to dust the lens and to reach the otherwise inaccessible corners of the camera's interior. After this operation gently polish the lens with a clean, soft cambric hankerchief or, if preferred, special lens cleaning tissue can be purchased. Remember that the lens is the most expensive part of the camera and the highly polished surfaces are easily scratched. Therefore, it pays handsomely to treat them with every care and respect.
TEST FOR DEFECTS
After the cleaning operation test your camera for any mechanical or other defects. First open the back and hold the camera so that you can see through the lens when the shutter is open. Then, if your shutter operates at various speeds, try them all in turn so that you are assured that no defect exists. A shutter that fails to open or shut, or opens and refuses to shut, is very annoying. If your shutter fails to respond to your test do not endeavor to repair it yourself. In no circumstances whatever apply oil to it. It is definitely a repair job that can only be done satisfactorily by an expert. After you are satisfied with the shutter, if your camera is of the folding type, test the bellows for pinholes or splits. Even a small pin hole in the bellows can spoil every negative in a roll of film. Go into a darkroom, open the back of the camera, fully extend the bellows and shine an electric light or torch inside the bellows. Move the light round and inspect every side of the bellows. Pinholes or other defects will quickly be seen. If there is only one, or even two small pinholes, these can be repaired with black adhesive plaster. But if the bellows show signs of general deterioration, it will pay to get a replacement immediately. Spring is undoubtedly a good time for photography. The sun is bright but still gentle and the soft shadows in the late afternoons lend themselves to fine pictorial effects. Very fine clouds also abound during September and October and full advantage of these should be taken by using a filter over the lens. White rolling cumulus clouds on a blue sky make all the difference to a photograph. No picture can possibly be a success with a pure white sky to detract attention from the landscape or seascape. Therefore, use your filter and, if you do not possess one, the investment of a few shillings in one will add considerably to your joy in the results obtained. Remember, however, to give the longer exposure required when using a filter. A light yellow filter generally calls for twice normal exposure, while a medium yellow will require four times normal exposure. These are the two filters most generally used and either will give definite improvement in the recording of the sky.
Saturday 11th September 1937
Page 5 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the general club meeting of the Adelaide Camera Club last Monday, Mr. M.J. MacNally gave an instructive lecture on Australian artists, followed by a talk on composition and the modern trend of art and photography. The club members were congratulated on their achievements at the recent exhibition and particularly on their careful composition and nicely balanced pictures. Mr. MacNally was unanimously elected a member of the club and we are looking forward in the near future to seeing some interesting pictures from his camera.
THE ROYAL SHOW
Amateur photographers should make a point of taking their cameras when visiting the show. An endless variety of subjects is to be found there and, if carefully selected and equally carefully photographed, the pictures should make an interesting album. Here are four dont's which will help you to avoid taking disappointing snapshots:
1 - Don't go too close to photograph animals, particularly head-on or three-quarter view. If you do you will get the animal's head too large and all out of proportion to the body.
2 - Don't attempt to take close-up photos of horses in action unless you have a really good camera with a wide aperture lens and a fast shutter speed.
3 - Don't forget to wind on your film immediately you have taken a snapshot and if your camera is of the folding type, wind on before closing the camera.
4 - Don't unload or load films in broad sunlight, otherwise the edges of the film will have black patches where the light has penetrated.
A FILM DRYING BOX
To those who do their own developing, one of the greatest problems is the drying of films without dust settling on the emulsion. To avoid this nuisance a film-drying box can easily, quickly and cheaply be made. First, make a rectangular chimney, 6 by 4 inch, of 3-ply and about 6 inches longer than the length of the roll film. As an example, the popular-size 3¼/ x 2¼ film needs a chimney 40 inch long. Fill in the bottom of this chimney with 3 ply, in which a hole approximately 1½ inch in diameter is bored in the center. For the top make a lid of fine dust-proof gauze and make two small holes about 1/8 in. diameter, one in each of the 4 in. sides of the chimney, about 1 in. from the top. Make a box 8 x 6 inch and 6 inch high, with fine wire gauze sides and the best part of the top cut out, but leaving sufficient room to stand the chimney on top. To prevent the chimney falling, fit round the top of the box a framework of beading, into which the chimney will fit comfortably. In the side of the box fit a lamp socket with flex and plug. The lamp should be about 25 watts and should so fit in the box that it comes right under the hole in the bottom of the chimney. After washing the film, wipe the surplus water off with a viscose sponge or chamois and lower through top of chimney, leaving film clips attached. Push a piece of wire through one of the small holes near the top of the chimney, then through the holes in the film clip and finally through the hole in the opposite side of the chimney. Switch on the light, put gauze lid on top of the chimney and leave the film until dry.
Saturday 18th September 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Committee members of the Adelaide Camera Club are reminded that a meeting will be held at the clubrooms at 7.30am on Thursday 23rd September, to consider the report of the President on his investigations, during his recent visit to the eastern States, on the possibilities and costs of an international photographic salon for South Australia during 1938. Other club business of importance will be dealt with at this meeting. All members are asked to reserve Monday night, 4th October, to ensure a full attendance for the annual general meeting of the club. In addition to a general and financial report for the year, the election of officers and committee for the ensuing 12 months will take place. As every member has a vote and should have a live interest in the successful running of the club, it is his or her duty to make a special effort to be present at this meeting. With the approach of fine weather members will no doubt be looking forward to the renewal of club outings. The committee hopes to announce the arrangements for the first outing of the season within the next week or so. Watch this column for details. Interested readers who are not yet members of the club will be invited to join us in this social event.
PHOTOGRAPHING CHILDREN
I think it is safe to say that a large percentage of cameras is used by doting parents and relatives for the purpose of recording the life history of little Willy and Angeline, from the cradle until they reach the age when they can flatly refuse to pose for the family album. And this leads me to the point I wish to emphasize - it is the posing that results in unnatural pictures that do not illustrate the child as he really is. The finest photographs of children are without question those that are taken at a moment when the youngsters are not camera-conscious and preferably when they are occupied in some childhood pastime. It is wasting good film to say, "Willy, stand just here in front of my camera and look for the little bird that will appear when I click the shutter". The result will be either a glassy stare or a scene of Willy pulling a face to indicate his disbelief in the "little bird". By all means let the child see the camera, but pretend that you are not interested in him, that you want, to photograph one of the toys he is playing with or the dog or cat. Wait patiently until he loses interest in your movements and gets on with his playing. Then is the time to click the shutter and to obtain that natural picture, so preferable to the old-fashioned posed photograph.
PATIENCE AND SUBTLETY
Patience and a little subtlety are all that is required to achieve these results, but be careful on the technical side. You must see that the lighting is correct, whether you be photographing inside or outside the house; also that your camera, if of the variable focusing type, is correctly focused; that a suitable background is chosen; and that a proper exposure is given. These points have been emphasized and explained in this column previously, but for new readers I will deal with them next week as applying particularly to the photographing of children.
Saturday 25th September 1937
Page 6 - News (Adelaide, South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Photographic Society of New South Wales, in association with the Sydney Camera Circle and the Professional Photographers Association of New South Wales, is organizing the Australian Commemorative Salon of Photography; to be held in Sydney from March 23rd to April 10th, 1938. This Salon is part of the official program of events to be held in connection with the 150th anniversary celebrations.
There will be six sections, as follows:
(1) Pictorial prints; any process except hand colorings.
(2) Historical prints, Australian historical buildings, events and sites.
(3) Scientific and technical photography.
(4) Professional portraiture, open only to those earning their livelihood by photography.
(5) Commercial, advertising and press photography, open only to those earning their livelihood by photography.
(6) Color transparencies.
AWARDS
In each of the six sections three silver medals will be placed at the disposal of the judge, together with one silver medal in each class for Australian entrants only (class 2 excepted). The entry fee is 5/-, which covers a maximum of four prints, with the exception of sections 2 and 6, in which eight entries may be submitted.
The last day for receiving entries is February 25. Entry forms are obtainable in Adelaide from the Hon.Secretary of the Adelaide Camera Club, or from Kodak Pty. Ltd., or Harringons Ltd. There is certain to be a large number of prints submitted for this salon and the early issue of entry forms and conditions is therefore very welcome, as serious workers will have ample time and opportunity of preparing some really good photographs to represent South Australia.
It would be appreciated if all those who intend to enter prints will advise the club's Hon.Secretary, as it may be possible to arrange for all entries to be sent to Sydney in one consignment.
PHOTOGRAPHING CHILDREN
Last week when dealing with the subject of photographing children I promised to give a few words of advice on the technical side. First, let us consider lighting. To photograph children we must use a shutter speed of not less than 1-25th second and preferably 1-50th second. This means that we need quality in the lighting to get a full exposure at these speeds. Therefore, choose a sunny day for out side work and for inside the house use at least two photo-flood lamps in reflectors.
In either case - outside or inside - do not have the light source in the child's eyes. Choose side lighting, the sun or the lamps to the left or right. Avoid the necessity of the child wearing a broad-brimmed hat, otherwise the top half of the face will be in shadow. The best time for outside work is a day when white fleecy clouds obscure the sun without depreciating the light value to any extent.
AVOID UGLY BACKGROUNDS
Nothing looks worse in a photograph of a child than an ugly background. Choose, is possible, a site with a plain and unobtrusive background and if this is a hedge or bush make sure it is thick enough to prevent spots of light shining through, otherwise the picture will be most distracting.
Whatever background you choose, try to keep the child as far away from it as possible. Use the widest lens aperture your camera has, focus accurately on the distance (all this technique can be worked out in advance) employ a shutter speed of 1-50th second or more, if the aperture or child's movements demand it, but certainly do not use a slower speed than 1-25th second, and as advised last week, be patient and use a little subtlety.
You may get a good snap in two or three minutes, or it may take an hour and you may even have complete failure at the first attempt, but keep trying, as a good picture will be ample reward for the trouble.
Saturday 2nd October 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
There was an excellent attendance by members of the beginners section of the Adelaide Camera Club at the September monthly lecture in the physics lecture room at the University. Mr. W. Stolting dealt with his subject. Sensitivity of Photographic Emulsions, in a very able manner, illustrating his talk with the aid of a movie projector and epidiascope. This lecture, which was a continuation of the one given by the same lecturer in August, covered that most important feature - light and its properties as applying particularly to photography. The colors of the spectrum were explained and illustrated, especially in regard to the effect of various colored filters on the different types of negative emulsions. While these lectures are primarily intended for beginners, they are so excellent that I am sure senior members would benefit by making a point of attending each month. Members are again reminded that the annual general meeting of the club will be held in the clubroom on Monday night. In addition to the financial report and the election of officers, many other items of importance to members will be dealt with. Particulars regarding a club outing on October 16 will be announced and the approval and support of all members will be sought to ensure its success.
MARINE PHOTOGRAPHY
The arrival of sunny warm weather will revive those enjoyable week-end visits to the seaside. Some camera owners will find their way to the various beaches, others will go yachting or motor boating. Wherever you go, take your camera with you, or you will miss many fine opportunities of obtaining good pictures. There is a variety of different subjects from which to choose. Seascapes make excellent pictures. So do photographs of yachts, while children playing and bathing on the beaches provide very interesting records, in some cases of real pictorial value. A few words of advice may assist those who are not experienced photographers. The first point to remember is that the actinic light value on the sea and beaches is much higher than it is inland. This is due to the reflection of light from the water and the open surroundings. This increase in light value very often deceives the amateur. The result is over exposure of negatives, resulting in very weak prints. The best method of judging correct exposures is to use an exposure meter, or even an exposure guide, such as are published in photographic diaries. Failing this, on a bright, sunny day try exposures of 1-100 second at f11 or 1-50 second at f16 for open seascapes and open the lens up to f8 for 1-100 sec or f11 for 1-50 second if taking photographs of people on the beach or jetty. Now, just a word of warning - do not get sand into your camera. Not only will a grain of sand scratch the film badly, but if it gets into the shutter it will interfere with the smooth working of the camera. Keep your camera in its case when not in use and do not lay it on the beach or use it when fine sand is blowing about. It is quite safe to take your camera on these excursions, but a little care and thought is necessary to protect it and the film it contains.
EPIDIASCOPE
Saturday 9th October 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The annual general meeting of the Adelaide Camera Club was held last Monday night. Officers elected were: Messrs. L.A. Wilde (President), F. Cole (vice-President), J. Mack (Hon.Secretary), J.N. Tomlinson (treasurer), W.J. Crowhurst (librarian), Frank Day, F. White and Miss E. Irene Viney (committee). A selection committee was also appointed to deal with exhibitions and competitions. A sub-committee under the chairmanship of Mr. W. Stolting was elected to look after the interests of the beginners section. Mr. N.C. Howard will act as Hon.Secretary of this sub-committee.
NEXT OUTING
It was decided to hold an outing at Hawthorndene on Saturday 16th October. Members and friends, also others interested, will meet in Victoria square outside the Motor Vehicles Department at 2.15pm. The bus fare will cost between 1/ and 1/6 a person, according to the number traveling. To enable the club Hon.Secretary to arrange transport, those members who have already intimated that they will be present are asked to advise the Hon.Secretary if they are bringing friends. Those members not present at last Monday's meeting should advise the Hon.Secretary immediately if they intend to participate and if they are bringing friends. Members of the beginners section are invited to enter prints for the Strathalbyn Show Photographic Competition to be held on Labor Day, October 13th. Prints, which must be of half-plate size or over and mounted, should be handed to the club Hon.Secretary any time before this date. The entry fee is 1/- a print. This competition offers an excellent opportunity for beginners to test their skill. There are two sections - pictorial and portraiture. Members are reminded that their annual subscriptions are now due. Those who have joined the club since 1st March 1937, may pay one-half the annual subscription, which will entitle them to membership until October, 1938. Other members will pay a full year's subscription.
THE MINIATURE CAMERA
The time when amateurs employed large cameras of whole-plate and half plate size is past. Today it is rare to come across an amateur who relies solely on a quarter-plate camera; such photographers usually have a miniature camera as well and probably use it to a greater extent than the larger size. The popular sizes today range from 35 mm. (approx. 1 1/4 in. x 1 in.) to 3 1/2, x 2 1/2.
The principal advantages of the miniature camera can be summed up as follows:
PORTABILITY
Many miniatures are small enough to slip into the pocket, while the remainder are light in weight and are little trouble to carry about.
INCONSPICUOUS
The miniature has made the candid-camera snap a success, a feature that is popular in newspapers and magazines the world over. Before the advent of the miniature, its bulky brother was so conspicuous that the "victim" nearly always sighted it and assumed an expression that was far from being candid.
SPEED
The modern miniature camera with its wide aperture lenses makes photography in poor and artificial lights a comparatively easy job. With apertures of fl.5 and f2, snapshots, with the camera held in the hand, are possible under conditions that would call for a flashlight when using a quarter-plate camera.
DEPTH OF FOCUS
Because of its short focal length the miniature camera has such a good depth of focus that it is quite easy to get everything sharp in the picture, under conditions that would make such a feat impossible with the larger cameras.
COST OF OPERATION
Used carefully and taking care to avoid wasting films with incorrect or unnecessary exposures, the miniature camera reduces operating costs to a large extent.
PRICE RANGE
Summed up, miniature cameras have increased the popularity of photography to an enormous extent. In price they range from a few shillings to about £75 without accessories. Naturally the more one pays the more one gets, but this does not mean that the cheaper miniatures are no good. The cheapest miniature today will turn out quite a good photograph. The miniature has come to stay. It cannot entirely displace the larger camera, but it has done so to an extent that has confounded the prophecies of the large camera advocate.
Saturday 23rd October 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Although the weather was not particularly favorable last Saturday for the Adelaide Camera Club's first outing of the season at Hawthorndene, a number of enthusiasts refused to allow a few rain clouds to stop the outing and consequently nearly a full bus load left Adelaide at the stipulated time. While the number of photographs taken was not large, those who participated in the event had an enjoyable hike and noted likely spots for future occasions. The monthly lecture was held at the Physics Lecture Room, University, last Monday when Mr. W. Stolting continued his thorough explanation, assisted by illustrations, regarding sensitivity as applying to photographic emulsions. The lectures this year have undoubtedly given members of the beginners section of the club a wonderful grounding on photography and the results are already being reflected in the improvement shown by this section in practical work. A new series of lectures will begin early next year and intending members are invited to join the club now and so participate in this most instructive course. The membership fee for beginners (first year), men and women, is only 5/, which covers all club privileges as well as the course of lectures. For particulars and membership form apply to Mr. J. Mack, Hon.Secretary, c/o Harrington's, Rundle street.
SHARPNESS IN NEGATIVES
Everyone who sees a fuzzy photograph knows that it is due to the lens not being correctly focused. Two operations are necessary to ensure sharpness to the extent required in a photograph. The first is to focus on the principal point in the picture and the second is to use the lens stop, which will maintain sharp definition for the distance in front of and behind the point focused on that is necessary to ensure a satisfactory picture. If a camera is focused on infinity there is a point at which sharpness merges into fuzziness and it is therefore important to remember that the smaller the stop used, the nearer to the camera will you get sharpness instead of fuzziness. Similarly, if a camera is focused on some near object there is a definite region before and behind that object in which everything will be sharp and outside that region details will be out of focus. This region is properly termed depth of field, but is most generally referred to as depth of focus. The smaller the aperture of the lens, or in other words, the smaller the stop used, the greater will this depth of field become, so that the use of a very small stop ensures sharpness of objects up to within a few feet of the camera. Therefore, if we require sharpness right through the picture we use a small stop, but if we require to put the background out of focus, as, for instance, in taking a portrait, we use the largest lens aperture. It is quite easy to calculate the various depths of field for each stop of any particular camera (these calculations vary according to the focal length of the lens so that they are not the same for all cameras) by first finding the hyperfocal distance of the lens. In next week's article I will explain this hyperfocal distance, its use and how to make the calculations, which, once obtained, can be recorded and used for constant reference.
Saturday 30th October 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The next general meeting of the Adelaide Camera Club will be held on Monday, November 1st, at the clubroom. Items of interest for discussion will be: (1) A club dinner or picnic; (2) the next outing; and (3) a two-day camping trip on the Murray. Regarding the last item it is suggested that advantage be taken of the Foundation Day holiday towards the end of January to enable members to get in two full days of enjoyment and practical photography combined. Several members have already offered to place their cars at the disposal of the club so that as many as possible can be conveyed to the camping site, which will probably be at Mannum. Tents and other camping necessities will be hired and the shared cost should be slight. As conveyance space will be limited, those members who first give definite assurance of participation will naturally receive preference. Members are requested to attend the meeting on Monday night in order to get full details. Arrangements are also being made for an interesting talk to be given at this meeting. The picture criticism competition closing date has been extended, as many members could not complete their task in the time allotted. Will as many as possible please bring their entries with them to Monday night's meeting?
HYPERFOCAL DISTANCE
In discussing sharpness in negatives last week I promised to explain the meaning of hyperfocal distance and how to work out those distances for your own particular make of camera. Every lens has a constant, known as the hyperfocal distance and the method of ascertaining this for your own camera is quite easy. First, find the focal length of your lens - this is generally marked on the front of the lens. If given in the metric system convert it to inches. For example a 3 1/4 x 2 1/4 camera lens may be marked F - 7.5 c.m., which equals F-3 inches. Multiply this figure by itself and by 20 and divide by the f number of the stop in use. For example; Focal length 3 in. Aperture (stop) f8. 3 x 3 x 20 equals 180, 180 divided 8 equals 22 1/2 ft. (hyperfocal distance). This calculation is based on a degree of sharpness which will permit enlargements up to about four diameters. If still greater enlargements are required, multiply the square of the focal length by 25 or 30 instead of 20. When the hyperfocal has been determined for each stop it can be used as follows: 1. If the camera is focused on the H.D. everything will be sharp from half that distance to infinity. 2. If you desire everything beyond a certain distance to be in focus it shows you the stop to use. 3. When you focus on a near subject the exact depth of focus can be determined by the following calculations: Nearest point in focus. Hyperfocal distance x distance focused on divided hyperfocal distance plus distance focused on Farthest point in focus: Hyperfocal distance x distance focused on divided by hyperfocal distance - distance focused on. It is in the proper use of the hyperfocal distance that serious camera workers obtain results which are far superior to the ordinary haphazard snapshot. The subject is worth careful study.
November 1937
Page 550 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB
There were thirty-eight members present at the meeting on 4th October. The President announced that the membership had multiplied over three times during the year and now stood at about sixty-five. Other points of interest in the annual report were the founding of a Beginners Section, really an elementary school of photography, which has proved a huge success.
The following officers were elected: President, L. Wilde; Vice-President, F. Cole; Hon.Secretary, J. Mack; Hon. Treasurer, J. Tomlinson; Librarian, E. Crowhurst; Committee, Messrs. F. Day, F. White and Miss I. Viney.
Saturday 6th November 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the general meeting of the Adelaide Camera Club last Monday night, the subject Color Transparencies and Lantern Slides was the principal feature. Mr. L.J. Gill explained the processing of Dufaycolor films and Mr. J.N. Tomlinson dealt with the construction or make-up of this type of color film. Mr. W. Stolting gave an instructive talk on the Kodachrome and Agfacolor films and processes. All the talks were illustrated with excellent color lantern slides. The subject finished with a showing of the Kodachrome movie film The Queen Mary Arrives at New York, which was lent by Kodak (Aust.) Pty. Ltd. Members intending to participate in the two days camping trip in January are asked to communicate with the Hon.Secretary as early as possible. A Saturday afternoon or Sunday picnic is also contemplated between now and early December. Members wishing to take part are asked to give their names and the number of friends who will accompany them to the Hon.Secretary, as soon as possible. Watch this column for further information.
HINTS FOR BEGINNER
The following hints are intended for those who use their cameras only occasionally and possess practically no knowledge of the technique of photography. Many people have recently renewed activities with their cameras, now that summer is here and a lot of these have forgotten (judging by the number who have brought their cameras to me) all the simple rules which ensure successful snapshots. So, although these hints have appeared in this column before in one form or another. I feel that this is an opportune time to present them again in a summarized form: Setting the Camera - Except in the case of the cheapest cameras, possessing only one lens aperture and one shutter speed, two operations in some cases and three in others are necessary before "clicking" the shutter. These are (a) setting the lens at the correct aperture. (b) setting the shutter at the correct speed and in the case of cameras which require focusing. (c) focusing the camera to the correct distance to ensure that the principal subject will be sharp and not fuzzy. Let us discuss item (a) first. How can you choose the correct aperture? Your lens carrier will have a series of stop numbers, such as 6.3, 8, 11, 16, 32. The smallest number is the largest aperture and therefore lets in the greatest amount of reflected light in a given time. Each succeeding smaller stop lets in approximately half the amount of light of its predecessor, therefore stop 8 will require twice as long an exposure as stop 6.3 for the same subject under the same lighting conditions. Likewise, stop 11 will require twice the exposure necessary for stop 8 and so on. For general snapshot purposes in bright sunshine use stops 8 or 11. If the light is poor use stop 6.3 or larger if your camera has a bigger lens. Now for item (b). The correct shutter speed, as will be seen from above, depends to a large extent on the stop used, although in some cases, as when taking fast-moving objects requiring a fast shutter speed, the stop must be adjusted to suit that speed. The following can be taken as a general guide for stops and shutter speeds for ordinary snapshots in bright, sunny weather (summer months). Open Beach Scenes - Stop 11, shutter 1/50th second. Portraits on Beach - Stop 8, shutter 1/50th second. Open Inland Scenes - Stop 11, shutter 1/25th second, or stop 8, shutter 1/50 second.
FOR OUTDOOR WORK
PORTRAITS OUTDOORS
Stop 8, shutter 1/25th second., or larger stop if possible, doubling the speed for each successive larger aperture. Finally, do not forget to focus the camera if the main subject is closer to the lens than infinity. The focusing arrangement on the camera will show certain distances in yards or meters, such as 2, 5, 10, 15, 20, infinity. This setting called infinity takes care of all distances beyond the maximum focusing range. If, for example, you are photographing a house 40 yards away, set the focusing scale at infinity, but if snapping your best friend five yards away, focus your camera at that distance. A little care and practice will soon overcome any difficulties you may experience in focusing and will repay you with bright, sharp prints.
DUFAYCOLOR
Saturday 13th November 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
On Monday night a lecture for the beginners section of the Adelaide Camera Club will be given at the physics lecture room at the University. The lecturer will be Mr. F. Cole and the subject Mounting Prints. Members are again reminded that the honorary Hon.Secretary is waiting to hear from them in connection with the proposed picnic for early December and the two days camping trip towards the end of January. As a large amount of organization is necessary to ensure the success of either event, the utmost co-operation of members is essential. Therefore, advise the Hon.Secretary of your intentions regarding both outings without delay. The club library is growing slowly, several books having recently been donated by members. More are wanted to ensure a satisfactory circulation and the librarian will be pleased to accept further gifts of books and magazines of a photographic nature at the next monthly meeting.
TANK DEVELOPMENT
Although the development of plates and films in tanks, by the time and temperature method, was for years regarded by old hands as unsatisfactory, there is now no doubt whatsoever that this method (if carried out strictly in accordance with the instructions laid down by the makers of the plates or films and the developers used) is absolutely reliable and ensures satisfactory negatives of correct contrast and printing ability. Tank development allows the worker to do practically the whole job in daylight, speeds up the process and ensures cleanliness and negatives free from fogging and/or scratches. The following hints for those just starting tank development may prove useful and perhaps save a spoiled film or two:
1. Except with daylight-loading tanks, load the tank in a perfectly dark room. With chrome films a recognized red safe light may be used, but with pan chromatic films, this work must be done in complete darkness. In the latter case it is advisable to practice first with an old film or else use two or three chrome films first so as to get thoroughly used to the method of loading.
2. Have your developer at the temperature recommended - generally 65 deg. F. Also the acid-hypo and washing water should be at the same temperature or within a degree or two of the developer.
3. It is wise to use distilled water, or, failing that, boiled rainwater, to mix the developer and the solution should be filtered before use. This ensures freedom from foreign substances and undissolved particles of the developer, which would probably cause marks on the film.
4. Before pouring in the developer, fill tank with water (of correct temperature); shake the tank to ensure complete circulation over the whole film and allow film to soak for 10 to 15 minutes. This considerably aids the developer, when poured in, to spread rapidly and evenly over the entire film surface.
5. When pouring in developer, do so as quickly as possible and agitate tank. There is no need to carry on the agitation during the whole development time, but the tank should be agitated once every minute.
6. Commence to empty the developer from the tank at a period before the developing time is up, so that the tank will be empty at the stipulated time. If, for example, your tank takes one minute to empty and the developing time is seven minutes at 65 deg. F., start pouring out the developer after six minutes have expired.
7. Without opening the tank, give the film three quick changes of water (at the correct temperature) and then fill with acid-hypo. Again agitate the tank and allow film to soak for 15 minutes, with an occasional shake or stir. Empty hypo out and remove top of tank and then wash the film, still in the tank, either by placing it under a tap for one hour, so that a steady flow of water enters the center of the tank, or by at least six changes of water, giving five minutes between changes. Not until this washing is finished should the film be unrolled from tank spool and examined.
8. Wipe film with a viscous sponge or clean, damp chamois and hang up to dry in a spot free from dust.
Saturday 20th November 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The final lecture to the beginners section of the Adelaide Camera Club of the 1937 series was given by Mr. F. Cole on Monday night at the physics lecture room, Adelaide University. The subject, Mounting Prints, was ably dealt with and many present saw the process of dry mounting demonstrated for the first time. At the conclusion the President of the club (Mr. Wilde) reviewed the year's work and spoke of the fine progress that the club was making. Members who have not yet been in touch with the Hon.Secretary regarding the annual picnic to be held on Saturday, December 18 (note alteration in date), are asked to do so as quickly as possible. Final details will be announced at the general meeting to be held on the first Monday in December.
EXPOSURES FOR MOVING OBJECTS
With the arrival of summer many outdoor sporting events take place. These include cycle and motor cycle races, running, swimming and diving events, yachting and motor boat contests, while horse racing is always with us. Summer is a good time for photographing fast-moving objects, as the actinic value of sunlight is greater, thus allowing a faster exposure than could be given during winter months. Today many amateur photographers will be taking their cameras to the opening of the Royal Yacht Squadron season at Outer Harbor. To ensure good results I would remind everyone to take two accessories. The first is a light yellow filter and the second a lens shade. If, as it is hoped, the day is bright and sunny both these accessories should be used - the filter to give tone to the sky and the lens shade to protect the lens from the upward glare from the water.
OUTDOOR SNAPS
The lens stop and the shutter speed to use for photographing yacht races is contained in the table given below, which also covers most of the sporting events. The figures given in this table are an average for a bright day, a fast film and for objects moving parallel to the lens at about 25 yards away.
| EVENTS | SHUTTER SPEED |
LENS STOP |
| Yacht Races | 1/100th | f 11 |
| Motor Boat Races | 1/300th | f 5.6 |
| Cycle Races | 1/300th | f 4 |
| Motor Cycle Races | 1/500th | f 4 |
| Horse Races | 1/300th | f 4 |
| Swimming Events | 1/100th | f 11 |
| High Diving Events | 1/500th | f 4 |
| Running Events | 1/300th | f 4 |
NOTE: The further away from the camera the moving object is, the slower the shutter speed necessary to ensure sharp results. For example, at twice the distances given above only half the shutter speed need be used, but in that case it is necessary to use one lens stop smaller to compensate for the slower speed. Owners of cameras with a maximum speed of 1/100th of a second must therefore adjust the limitations of their camera by standing further away. In the same way, slower speeds may be given for moving objects photographed when approaching the lens at an oblique angle or head-on. For photos at an oblique angle, multiply the speeds given in the above table by two-thirds and for head-on snaps by one-third, adjusting the lens stops to compensate for the slower speed.
Saturday 27th November 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
A meeting of the committee of the Adelaide Camera Club last week decided that the forthcoming picnic shall be held at Gilbertson's Beach, not far from Port Noarlunga. Besides being an excellent picnic site it also has photographic possibilities: therefore club members should take their cameras. The date is Saturday, December 18th. Those attending the picnic will meet in Victoria square at 1.30pm.
In the last paragraph of my article last week on Exposures for Moving Objects, I gave instructions that when taking moving objects at an oblique angle to multiply the speeds given in the table by two-thirds and for head-on snaps by one-third, adjusting the lens stops to compensate for the "slower" speed. The word "slower" should have read "faster", as most readers would no doubt quickly have found. To those who were misled, I apologize for the slip.
SHUTTER SPEEDS AND APERTURES
I had an opportunity of verifying some of the shutter speeds and lens apertures, given in the table last week for various sporting events, on the day they were published. I was fortunate in being able to cruise round in a motor boat at the opening of the Royal Yacht Squadron season and using 1-100th at f11 for yachts and 1-300th at f5.6 for motor boats as a basis (these speeds were, of course, verified by my photo-electric meter) I obtained excellent negatives. Adjustments to stops or shutter speeds were made according to the filter in use, otherwise during the whole afternoon no variation was found necessary. By the way, I tried out a red filter on a few snaps, but the results were not too good. This was expected, more or less, as the sky was devoid of white clouds: the result being that the total blue sky was over-emphasized and this, while showing up the white yachts to perfection, looked unnatural. With plenty of white clouds about, a red filter can give some very fine cloud effects in a photograph, but it is not advisable, except for experimental reasons, to use one on a cloudless day. The best filter for seascapes, yachting and the like is of a pale yellow or yellow green color and for the majority of my snaps last Saturday, I used this type of filter.
Saturday 4th December 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
All members of the committee of the Adelaide Camera Club are requested to attend a meeting at the clubroom, Institute Building, at 7.45pm on Wednesday. A full attendance is requested, as this meeting has been called to discuss a matter of extreme importance and from a photographic point of interest, unique in the history of the club and of South Australia. To all other members of the club, I hope to be able to make an announcement through this column, at an early date, giving details of the outcome of this committee meeting. The last general meeting of the club for 1937 will be held on Monday night, when the special feature will be a lecture by Mr. J.C. Goodchild on Elementary Composition. A large attendance of members is urged, as such a lecturer is worthy of a good audience. Besides, members cannot afford to miss the lessons that will be taught. Members may bring friends who are interested. The picnic to be held at Gilbertson's Beach on December 18th, promises to be an unqualified success, judging by the number of people who have announced their intention of participating. Those who have not yet notified the Hon.Secretary are requested to do so as soon as possible, so that transport accommodation can be organized.
ACHIEVING EFFICIENCY
Many new camera owners and quite a number who have been "snapshotting" for years, wonder at the quiet but speedy and efficient manner in which skilled camera men take photo after photo with complete assurance. Anyone who cares to try may do just as well, but it needs systematic methods in handling the camera and a certain amount of practice. As every camera owner knows, certain adjustments to the camera are necessary before the shutter can safely be released. The order in which these adjustments are made should be determined and once adopted should be strictly adhered to. This means that a method is established which leads to efficiency and speed. Personally, I vary my methods according to the class of photography I am undertaking, but I do not vary my method for one particular class.
NEVER GET EXCITED
For example, if I am photographing moving objects, say, for example, at a sports meeting, my first adjustment is to decide on and fix the shutter speed to suit the subject, whether it be running, jumping, or walking. This necessitates the second adjustment that of the lens stop, which must be set to suit the shutter speed and depends upon the actinic value of the light, as determined by the exposure meter. I then focus on the correct distance, set the shutter, release shutter, wind on wind and start all over again. In taking landscapes or seascapes, the shutter speed is of secondary importance, so I first decide on the most suitable lens stop and adjust the shutter speed to suit and follow on as above. Never get excited and worked up. If you do, you are almost certain to make a mistake. Go calmly ahead, making your systematic adjustments and you will never be guilty of taking double exposures on one film, or hopelessly under or over-exposing on a subject. Remember it is far better to "miss" a shot than to "mess" a shot.
Saturday 11th December 1937
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the last meeting of the Adelaide Camera Club at the clubroom, Institute Building, North terrace, on Monday, six new members enrolled, bringing the total membership to nearly 80. Next year it is hoped that the membership will easily exceed 100. A big membership means not only a strong club socially, but enables better facilities to be provided for educational work, such as lectures and practical demonstrations. Mr. J.C. Goodchild gave an interesting and highly instructive lecture on composition to members, all of whom were naturally seeking the easy ways and means of making that very elusive perfect picture. By the time the lecture was finished, however, it was realized that except in the case of lucky shots, a great deal depended on one's own personal and artistic senses in the selection of the picture and the balance of light and shade. All members attending the picnic at Gilbertson's Beach next Saturday must be outside the Motor Vehicles Department, Victoria Square, at 1.30pm sharp. Bring lunch and tea, as the return to Adelaide will not be until sunset.
USE A LENS-HOOD
"Why should a lens-hood be used when one is not taking photographs against the light and therefore there is no chance of direct sunshine on the lens? This question is raised because most expert photographers, both amateur and professional, use a lens-hood on all occasions". A lens-hood serves two main purposes, apart from keeping direct rays of sunshine off the front lens. Firstly, it must be realized that there is in practice no such thing as a perfectly clean lens, there will always be a trace of dust, however minute. The less light that falls on that dust the brighter and clearer will be the image, hence the use of the hood to keep off all side light. Secondly, it must be noted that the lens throws a bigger image inside the camera than is needed to fill the negative area; some of it falls on the sides of the camera and if these sides are not absolutely black all over some of this stray light will hit any bright spots and bounce off on to negative where it certainly is not wanted. The hood tends to limit this spreading image to some extent.
HOME-MADE HOOD
With a clean lens and a camera in perfect condition, internally the improvement given by a lens-hood when used on subjects, not against the light, may be but slight, yet it is a precaution that experienced workers prefer to take as a matter of course. If you do not desire to go to the expense of purchasing a lens-hood to fit your camera it is comparatively easy to make one out of cardboard or tin. Sometimes a container that has held a stick of shaving soap will be found to be of the correct diameter. Two precautions are necessary in making a lens-hood. First, do not make it so long that it will cut off the light from the edges of the negative and second, the inside of the hood must be painted a matt black. Like most home-made gadgets, a little experimenting is necessary before a completely satisfactory article is obtained. Anyway it pays to use a lens-hood.
Saturday 18th December 1937
Page 8 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Just a last-minute reminder to all members and their friends to meet in Victoria square today at 1.30pm outside the Motor Vehicles Department. And no not forget to bring your lunches and teas, as well as your cameras. I promised last week to make an announcement, as soon as it was possible, in regard to an event of unique interest in the photographic history of the State. Well, here are preliminary particulars: Arrangements are being made, but not yet finalized, to bring to South Australia the complete pictorial section of the 1937 exhibition held by the Royal Photographic Society, London. As all good photographers know, the RPS, as it is familiarly called, has the same standing in the photographic world as the Royal Academy has to artists of the brush and canvas. I believe that the collection of pictures which the Adelaide Camera Club committee hopes to exhibit to the public next March, numbers more than 200 and comprises works by most of the leading photographers throughout the world. As and when more details are available these will be published, as this exhibition will be an event that no one interested in pictures, whether photographic or otherwise, should miss.
SEASONAL HINT
The New Camera - Whether you treat yourself to a new and better camera or it comes to you as a Christmas present, nothing could be more useful and more welcome. But and this is important, do not rush to put a film in and start "snapping", unless you are either familiar with the new type of camera, or are fairly expert with any camera. First of all get the instruction book that invariably accompanies a new camera and study it carefully. Learn all that the maker of the camera considers you should know before you begin to take pictures with it. As you study the instructions given, examine the various points on the camera referred to and put each through its paces, as it were. Then imagine you have the camera loaded and try yourself at taking a few pictures, taking particular care to find out the best method of gripping the camera so that it is held perfectly steady when releasing the shutter. Only after you have made yourself perfectly familiar with the method of operation and feel confident of success should you put in the film and start taking pictures. The number of "first films" (from new cameras) that are not up to standard is large and more often than not the camera, the film, or the manufacturers of both or either are blamed, whereas the trouble all the time rests with the owner, who was too excited to read in the instruction book thoroughly. Well, a happy Christmas to all readers and here's to some good photographs over the holidays.
Saturday 1st January 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
A glorious afternoon, temperature just right, rolling white cumulus clouds, a sparkling sea, in fact everything to give joy to the photographer's heart, was the lot of those who took part in the club's picnic outing at Gilbertson's Beach, near Port Noarlunga. On the outward journey and near to our destination a halt was made to invade a hayfield, where a large battery of cameras was turned on to a wagon being loaded with hay and drawn by two fine horses. The farmers soon realized the situation and after asking if we were the Adelaide Camera Club, gave us every assistance. Needless to say members promised to send them some prints. I mention this incident to show how the activities of the club are being followed not only in the metropolitan area, but throughout the State. People are interested in our work and it is of distinct advantage to be able to claim membership of the club.
COUNTRY MEMBERS
We have a number of country members from many parts of the State and even Broken Hill. Any country camera enthusiast who is interested is invited to apply for particulars of membership - there is a special reduced fee for country members to the Hon.Secretary, Mr. J. Mack, c/o Harringtons Pty. Ltd., Rundle street.
Here are some questions and answers:
Q. - I have an oil-burning darkroom lamp which I wish to convert to electric. What type of bulb should I put in it?
A. - First of all it is doubtful whether the safe light glass in your lamp would remain "safe" with even a lamp of very low wattage. The light given, by an oil lamp is weak and the glass has to be made to suit the lamp. However, try one of the small 10 or 15 watt pilot lamps that can now be purchased. If "fogging" occurs you will have to obtain a denser safe light glass.
WHEN PRINTS CURL
Q. - My prints curl right up when they dry. How can I prevent this happening, as it is most difficult to flatten them out?
A. - When removing your prints from the washing water wipe them gently with a viscose sponge to remove surplus water from the emulsion side. Alternatively use a good quality white blotting paper. Then lay the prints face down on a piece of clean muslin. You will find that your prints will then dry with so little curl that a brief pressing will flatten them.
Q. - My enameled developing dishes have acquired a rough textured surface that makes them difficult to clean. Does this mean that the original glossy surface of the enamel has been eaten away?
A. - Try a moderately concentrated solution of one of the "strong" acids - sulphuric, nitric, or hydrochloric. Most probably you will find that the roughness will dissolve off the surface, revealing the original gloss unharmed beneath.
Saturday 8th January 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
AS there will be neither Adelaide Camera Club meetings nor lectures for the beginners section this month, members will not meet until the first Monday in February. In the meantime those who intend entering prints for the Australian Commemorative Salon of Photography, Sydney, to be held next March. are advised to get busy. Entry forms are obtainable from Kodak Ltd., Harrington's Ltd., or the Hon.Secretary of the club. These-forms when completed should be handed to the club Hon.Secretary as arrangements will be made for members entering prints in this exhibition to attend a preview of all club entries before they are sent to Sydney. This will be held early in February. We have received entry form for the second Netherlands-Indian Exhibition of Photography organized by the Preanger Amateur Photographer Association in co-operation with the Bandoeng Art Club and under the auspices of the Confederation of the Netherlands-Indian Art Clubs. This exhibition will be held from July 25th to August 2nd. Up to five pictures may be submitted, the minimum size being 18cm x 24cm. Full conditions about this exhibition are contained in the entry forms which are obtainable from the Hon.Secretary of the Adelaide Camera Club.
MISTAKES IN EXPOSURE
A week or two ago I issued a special warning in this column to those who had new cameras. This was to read thoroughly the maker's instructions and to go over each "gadget" on the camera and thus become thoroughly familiar with it before loading the first film. In spite of this warning, I met a reader who had replaced his box camera, which had a lens aperture of f11 and a shutter speed of about 1-30th second, for a folding camera with a f4.5 lens and shutter speeds ranging from 1 second to 1-300th second and who was full of complaints about the results he was getting with the much more expensive camera. Investigation soon proved that this camera owner knew next to nothing about the application of shutter speeds to lens apertures and consequently in many cases he was over-exposing by using the largest aperture for all occasions, whether in bright sunshine or shadow and regulating his speed only to control movement of the subject. He was not aware of the fact that a lens aperture of f4.5 was eight times faster than his box camera lens of f11 and therefore a snapshot at 1-25th second at f4.5 was giving his film eight times as much exposure as he obtained with his box camera. I advised him to stick to 1-25th second at f11 or 1-50th at f8, for the first few films, with perhaps one or two "experimental" shots at different apertures and speeds until he learned to appreciate the proper uses of lens, apertures and shutter speeds For new camera owners who are having similar troubles I will next week give further advice on this subject. In the meantime, do not blame your new camera.
Saturday 15th January 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club committee is preparing a syllabus of lectures. talks and demonstrations for both senior and beginners sections of the club. An interesting and instructive year is promised. Copies of the syllabus will be issued at the February meeting. Last week I promised to clarify as much as possible the relationship between lens and shutter. The correct application of shutter to lens and vice versa is so necessary to good work that unless it is understood only lucky "shots" will give the results desired. I will tackle this subject from a new angle. We will assume that the owner of a new camera with adjustable lens stops and a selection of various shutter speeds, has previously been able to take fairly good snaps with a cheaper type of camera with a fixed lens aperture and only one shutter speed. Such cameras as a rule have an aperture of f11 and a shutter speed of about 1-25th second, so we will take this lens and shutter speed as the basis of further adjustments.
TABLE OF EXPOSURES
Using an ordinary (or regular) film and no filter and in bright weather 1-25th second at f11 will give, as a rule, a satisfactory exposure. Therefore, under the same conditions and ignoring for the time being the question of "depth of field" or as it is often called "depth of focus" we get a table of exposures for different lens apertures as under. This table is based on the fact that each smaller stop or aperture requires twice the exposure of the previous stop and that shutter speeds are so fixed that starting with the longest instantaneous speed each succeeding shutter speed is approximately twice as fast as the previous setting.
| LENS APERTURE |
SHUTTER SPEED |
| f 4.5 | 200 th |
| f 5.6 | 100 th |
| f 8 | 1-50 th |
| f 11 | 1-25 th |
| f 16 | 1-10 th |
| f 22 | 1-5 th |
To make matters quite clear the camera owner must remember that f8 lets twice the amount of light into the camera in a given time as f11 and f5.6 twice as much as f8 and four times as much as f11 and so on. Working the other way, f16 lets in only half as much light in a given time as f8 and f22 half that of f16 and one-quarter that of f11.
OTHER FACTORS
Therefore, to give an equivalent exposure to our standard 1-25th second at f11 when using, say, stop f5.6, we must only open the shutter for one-quarter of the time because, as pointed out, f5.6 lets in four times as much light in a given period. We therefore must set the shutter to 1-100th second. Now this article does not cover the whole practice of correct exposure, it only shows the relationship of shutter speeds to lens apertures. Other factors affect exposure times, such as type of subject, weather conditions, time of day, natural or artificial light, class of emulsion used (i.e. type of film) and the use of filters on the lens. However, these few notes should enable readers to avoid making big mistakes and the rest will come by degrees, according to the intensity in which the subject of photography is studied. As in practically all hobbies and sports, it takes practice and experience to obtain the best results.
Saturday 22nd January 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
All Adelaide Camera Club members who intend entering prints for the Commemorative Salon of Photography in Sydney are requested to bring their selection to the next general meeting on Monday night, 7th February. This will give all club members an opportunity of seeing the entries from this State before they are despatched and in addition, it is expected that one or two expert artists and critics will be present to inspect our photographic efforts and to give us their candid opinion of them. Arrangements are in hand to show in Adelaide the entire pictorial section of the Royal Photographic Society 1937 exhibition. It is hoped to be able to throw open this collection of photographs to the general public on March 8th, at the Society of Arts Gallery, North terrace. In all, there are 232 prints, consisting of 119 British, 61 Continental, 41 United States of America and 11 sundry. Practically all the leading photographers in the world are represented.
FIRST SHOWING HERE
This is the first occasion on which the Royal Photographic Society's Exhibition has been sent as a whole to Australia and it may be a long time before such another exhibit is sent to us. I have before me the 1937-8 issue of the Royal Photographic Society publication, The Year's Photography, in which are reproduced a selection of prints from this exhibition. There are some excellent portraits, figure studies, groups in landscape, landscapes and still life. Looking down the list of contributors, I see names which are household among the photographic fraternity - W.G. Briggs, R.N. Haile, Alexander Keighley and John Ahern and many others. Later advice regarding this exhibition will be given in this column and elsewhere in "The News".
EXPOSURE FACTORS
I hope that readers are not taking the table of exposures published last week too literally. I was careful to point out that it was only a set of "relative" exposures based on the standard snapshot exposure of 1/25th at f11 in bright weather and using an ordinary film. This table does not mean that any of the stops shown will give good results at the exposure time given, as so many other factors affect exposure time. These I enumerated last week, but it is my intention to enlarge on this subject, which is really all important to the photographer, during future articles in this column. In the meantime, please remember that occasions arise when it is necessary to give several minutes exposure with the largest lens aperture, while on other occasions the intensity of light requires quite a fast shutter speed at a small aperture. My advice to all camera owners is to get an exposure meter or guide of some sort. It will save many a negative and will pay for itself in a very little time.
Saturday 29th January 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
There will be a committee meeting at the room of the Adelaide Camera Club on Monday, February 7th, at 7pm, to discuss details and make arrangements for the forthcoming exhibition of the Royal Photographic Society 1937 pictorial group of prints. The usual club meeting will follow, beginning at 8pm. Lectures for the beginners section will start in February. Advanced workers, who are able and willing to assist by taking over one or more of these lectures, are requested to get in touch with the honorary Hon.Secretary as soon as possible. Those specializing in certain branches of photography, such as lantern slides and table-top work, are particularly needed. Every assistance will be given such lecturers in arranging the practical demonstration side of these educational talks. Interested camera owners are reminded that this is an opportune time to join the club so as to enjoy the full course of lectures and outings arranged for the year.
CORRECT EXPOSURE
Continuing my notes on this subject, let us, this week, look into the various reasons why we cannot always set the shutter and lens aperture at the normal "snapshot" speed of 1-25th at f11, or 1-50th at f8. The best way of doing this is to take one factor, affecting exposure, at a time. We will start with - (1) Time of day. While the average type of person realizes that the light is brighter in the middle of the day than at early dawn or towards evening, that is about as far as they ever notice it. Yet it is an important fact to photographers to understand that the actinic value of daylight gradually increases from sunrise until the sun reaches its meridian and then decreases until sunset. Burroughs Wellcome Ltd., in their annual diary, divide the day into four sections, as follows: 9am to 3pm; 8am and 4pm; 7am and 5pm and 6.30am and 5.30pm.
TIME DIVISIONS
These divisions of time have been proved to all intents and purposes sufficient for the requirements of present day photographic emulsions, that is, of course, when dealing with any one particular day and one particular condition of weather. To ensure accurate calculations this diary also applies the time of day to the month of year and again divides weather conditions into four sections. Taking a bright, sunny day at this time of the year, reference to this diary reveals an increase in shutter speed of six times between early morning or late afternoon and the period 9am to 3pm, when taking normal subjects. It is important, therefore, to understand that the time of day and I refer to daylight period only, must be taken into consideration. This is only one factor, for we have yet to consider time of year and weather conditions before we even take into account such factors as speed of emulsion, filters, artificial light and type of subject.
Saturday 5th February 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club members are reminded that the first meeting of the year will be held on Monday night at the clubroom. Intending members are cordially invited to attend and for their benefit I would point out that the club's address is Institute Building, North terrace, use the Kintore avenue entrance and go upstairs, the room is next to the Society of Arts Gallery. The general meeting begins sharp at 8pm. An inspection and criticism of the prints which senior members have prepared for the Commemorative Salon of Photography Sydney, will take place and an interesting evening is promised.
"THE NEWS" COMPETITION
Club members and in fact all readers of this column, should enter for this competition. Anyone with a camera has an opportunity to win a prize, but read the rules carefully. Senior members of the club should note that "The News" claims reproduction rights of the three prize winning pictures. Therefore this point should be well considered before submitting prints of pictures that it is also intended to exhibit either in this State or elsewhere, as many exhibition organizers make it a condition of entry that print may be reproduced if the organizers desire to do so. A print winning a prize in "The News" competition would therefore become ineligible for such exhibitions.
CORRECT EXPOSURE
Last week we dealt with the first factor affecting shutter speed and lens aperture. This was "the time of day", but this factor alone does not help us to definitely decide the exposure required. We must also consider (2) "The month of year", because although a sunny day in winter may appear to be as bright as a summer day, yet the light value is not so strong. In Australia in the summer the sun comes south bringing with it not only greater heat, but a stronger actinic light. After midsummer, the sun again starts northwards until it reaches its farthest north, when we, get midwinter. The light value is then much less than it is during the midsummer period. We photographers therefore are very much interested in the month of the year, when it comes to setting shutter speeds and lens apertures.
WEATHER CONDITIONS
The third factor to be considered is that of the weather. While a bright, sunny day in summer has a greater light value than a similar day in winter, it only needs a change of weather conditions to level up matters. A heavily overcast day in midsummer would probably require a longer exposure or wider lens aperture than a bright winter day. The first three factors (1) time of day. (2) month of year. (3) weather conditions seem to and in fact, actually do complicate the problem of determining the correct exposure. Expert photographers can from past experience, gauge an exposure for normal subjects which is sufficiently close to give good results, but there are many subjects which have such a wide range of tones that good results are only obtained by "lucky" guesses. Particular care must be exercised in determining the correct exposure when taking photos early or late in the day and with artificial light. It is under these conditions that an exposure guide or meter proves so helpful by saving time, temper and spoiled pictures.
Tuesday 8th February 1938
Page 10 - News (Adelaide South Australia)
CAMERA WORK FOR SYDNEY
IMPRESSIVE ADELAIDE COLLECTION
Mr. Ivor Hele who won the sesqui-centenary prize in Sydney for the best historical picture against all comers, is not to be alone in his quest for artistic honors at the celebrations in New South Wales.
The Adelaide Camera Club have entered an exhibit for the international photographic competition and last night, at the institute buildings, displayed their offering to club members and visitors. It was an exceedingly interesting exhibition with Mr. L.A. Wilde the President, as producer and lecturer. Mr. Frank Day, one of the most enthusiastic members, showed some of his latest work. which included experiments in atmospheric effects rarely attempted in photography on this side of the globe. Black shadows, with a velvety surface, resembling the finest mezzotint plates were features of his remarkable display.
SUPERB CACTUS STUDY
A cactus study by Mr. F. Cole was superb in its depiction of the fluffy petals of the flowers and was beautifully composed. The tea tree which takes a delightfully decorative form at times, was taken at its best in Windswept by Mr. White, while Mr. Hugo Keil turned his studies of the old and modern masters in painting to good effect.
It was astonishing to see a well-known part of the State photographed and made to look exactly like a painting by Richard Wilson R.A. and another like a D.Y. Cameron etching of a Scottish landscape.
A lovely silver point by Mr. Wilde, showing a child with the wonder of the world in its eyes, was a most effective contribution to a display that will be hard to beat.
Saturday 12th February 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The first club meeting of the year was held on Monday night, when an interesting time was spent examining the pints prepared by senior members for the commemorative salon of photography, which will open next month. As this is an international event and as I understand, the number of prints that can be hung will be about one tenth of the number submitted, it will be a real honor to anyone whose name appears in the catalog.
COMING EVENTS
"It never rains but it pours" is an old saying and it has come true as regards photographic exhibitions, at any event. I have already announced in this column that during March the Adelaide Camera Club will hold a display of the pictorial section of the Royal Photographic Society 1937 London exhibition. On top of this the Adelaide Camera Club is now making the necessary arrangements to show at the same time the Kodak Twelfth International Salon, which comprises about 345 prints from countries all over the world.
Adelaide has been sighing for an international exhibition for years and now we shall have two together. In all about 600 prints will be exhibited and I would remind readers that they should on no account miss such a treat, which may not come our way again for years.
"THE NEWS" CONTEST
This photographic competition will do much to encourage a hobby that is not only interesting but educational to the latent art instinct which most of us possess, but are unconscious of its influence. I have had the opportunity to examine some of the prints submitted and as a result would tender a few hints to those intending to compete. First of all I am glad to note that the majority of prints are well above the average of even two or three years ago, as regards quality of negative.
That is, thought has evidently been given to exposure and care has been taken to keep the lighting to one side. However, the composition, in most cases, is inclined to be weak. The subject has been seen but not made full use of to produce the desired result.
SOME HINTS
For example, a photo may be taken of a cat and a dog. If both these animals are looking one way and apparently not interested in each other, then the picture becomes merely a "record" of interest only to the owner of the animal. If however, the dog is making friendly overtures to the cat, or, shall we say if the cat is slapping the dog on the face, then you have an action picture which will interest and amuse readers of "The News".
Remember that when taking a head only of an animal, such as a dog, if it is to be successful the photograph must portray something in the nature of intelligence, virility and sagacity, as well as good looks.
Saturday 19th February 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
An outing of the Adelaide Camera Club will be held on Saturday next. Members will meet at the City Bridge at 2pm and will take their photographic subjects along the River Torrens and in the Botanic Garden. The first lecture of the new series for the beginners' section of the club will be held on Monday night at the Physics Lecture Room, University, when the subject will be Developing a Miniature Film. with particular reference to the technique necessary to secure negatives suitable for big grainless enlargements. The lecturer will be Mr. George Scarratt, whose wide experience and knowledge of this work should be most interesting to hear.
DO'S AND DONT'S
Here are the promised hints and tips for those amateur photographers who want to make a successful bid for one of the prizes offered in "The News" Photographic Competition. Do not expect the judges to become enthusiastic over a print of postage stamp size, they will not waste time trying to see what is in it and can you blame them when there are so many entries to examine? If you think you have a good picture, it is surely worth a quarter-plate or even a half plate size enlargement to show up the details. Make your subject a simple one. A photo crammed full of items tends to make the eye wander around and interest is soon lost. A good photo tells a story that is easily understood and appreciated by everybody. A candid portrait of a child is far superior to a posed one. The first is natural while the second is usually very stiff and formal. Remember sunshine helps to make a picture, but it takes shadows to emphasize the sunshine.
SHADOW HINTS
And talking of shadows don't under expose so that shadows are just black masses. There should be some, if only a little, detail in the shadows - that helps to make the picture look natural, just as the eye would see the original subject. Action pictures are good, but if the shutter of your camera is not fast enough, don't risk them. Try something else. An expensive camera is not essential to win one of "The New's" prizes. Many a prize winning picture has been taken with a simple and cheap camera. Carry your camera around with you and avoid the disappointment of finding a good subject and having nothing to take it with. Load and unload your camera in the shade to avoid "fogging" the film and unless you are fairly expert, do not point your camera towards the sun. Keep this useful lighting unit to one side. Watch your backgrounds. Mabel may be a pretty girl and that rose tree a perfect specimen, but a photo of Mabel with the rose tree apparently growing out of the top of her head makes a poor picture of both.
STRAIGHT CAMERA
Avoid slanting horizons and leaning verticals. In other words, hold your camera straight. The sky is not white, but blue, yet camera owners go on turning out pictures with white skies, thereby spoiling the whole print. It is worth a few shillings to buy a light yellow filter for use when taking pictures which include the sky. Do not divide your picture into exact halves - half sky, half landscape it is bad composition, because it equally divides interest in the picture. If the landscape is the most important, give it two-thirds of the picture space, but if the sky is the main subject, then give the sky two-thirds and the landscape one-third. Follow these hints, take a little more care than usual and don't be frightened to send in some entries, there are sure to be many not so good as yours.
Friday 25th February 1938
Page 10 - Port Lincoln Times (South Australia)
Mr. L.A. Wilde, advertising manager in South Australia for the Vacuum Oil Company Pty. Ltd., visited Port Lincoln on Friday, during a business tour of Eyre Peninsula. Mr. Wilde is also President of the Adelaide Camera Club.
Saturday 26th February 1938
Page 9 - The Advertiser (Adelaide South Australia)
PHOTOGRAPHIC ART EXHIBITION
INTERNATIONAL DISPLAY OPENS NEXT MONTH
More than 550 pictures by some of the world's leading photographic artists will be seen in Adelaide next month, when an exhibition of pictures from the Pictorial Section of the Royal Photographic Society's 1937 exhibition in London, together with others which comprised the twelfth Kodak International Salon of Photography, will be on view at the Society or Arts Gallery.
The exhibition, which will be under the organization and management of the Adelaide Camera Club, will be opened by the Lord Mayor (Mr. Barrett) at 8pm on 9th March. It will remain open until 24th March.
It is the first international exhibition of photography to be held in Adelaide and practically every country in the world will be represented in it.
There are altogether 232 prints on loan from the Royal Photographic Society, 119 being of British and Empire origin, 41 from the United States, 61 from Continental countries and 11 sundry. The Royal Photographic Society is the world's senior photographic society and caters not only for pictorial photography but for all branches of industrial and scientific photography. Each year it holds an exhibition which attracts the world's best in every field of photography. The present series of exhibitions has been arranged by Kodak (Australia).
Saturday 26th February 1938
Page 23 - The Mail (Adelaide South Australia)
BEST PHOTOS IN THE WORLD - ADELAIDE SHOW
The world's finest collection of photographs will arrive in Adelaide next week and will be exhibited at the South Australian Society of Arts Gallery, North terrace, from March 9th to 24th. Of the 577 photographs to be shown under the auspices of the Adelaide Camera Club, 232 prints have been obtained from the Royal Photographic Society, London and the balance from the twelfth Kodak International Salon of Photography.
The London prints comprise the whole of the pictorial section of the 1937 exhibition and reproductions of some of them which have already reached Adelaide show a tremendous diversity of subjects, nearly every country in the world being represented. Of the six principal awards in the Kodak Salon, two went to England and one each to India, Germany, Egypt and the United States. The international character of this exhibition is further emphasized by the fact that among the other countries to which silver and bronze medals went are South Africa, Japan, Hawaii, France, Czechoslovakia and Australia.
The exhibition, which will be opened by the Lord Mayor (Mr. Arthur Barrett), will remain open each afternoon and evening, except Sundays. Admission will be free.
Saturday 26th February 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The committee of the Adelaide Camera Club has made progress in organizing the two photographic exhibitions to be held next month. The pictorial section of the 1937 Royal Photographic Society will be displayed in the Society of Arts Gallery, North terrace (entrance off Kintore avenue), while the Kodak Twelfth International Salon will be displayed in the same building and on the same floor, but in the Public Libraries lecture room. Both exhibitions will be opened on Tuesday 9th March, at 8pm, by the Lord Mayor (Mr. Arthur Barrett). There is one special appeal that the club would like to make to all who visit the displays and that is, "Please do not touch the prints". They are valuable and have been entrusted to our safe-keeping and we certainly do want further exhibitions of this nature, to be sent to us. Let us therefore return the pictures in due course unmarked and in as good a condition as received. Only advanced photographic workers realize the amount of time, skill and labor necessary to turn out an exhibition print. It is not just a matter of putting a negative and piece of printing paper in a frame and exposing it to the light. Many of the photographs that will be seen have been put through processes that have taken hours, days and even weeks, before the print was ready for mounting.
TRIM PRINTS
Most of the prints sent in for "The News" photographic competition show a great improvement, compared with the snapshots taken a few years back, but one very common fault exists. That is the general desire shown to send prints of the whole negative. Now it is very seldom even, that experts can take a photograph which just includes all that is necessary to make a picture and no more. In fact most advanced photographers allow a small margin round the picture they have in mind, so that they can make sure of getting just what they want by trimming. It is better, to get a little more than just too little. Then again the sky or foreground frequently could be trimmed to make a better balanced picture. I have also seen quite good snaps spoiled through the main subject being placed right on the center vertical line of the print. The result is that the eye rests for a moment on the main subject, then immediately wanders to the left or right and back again to the opposite side. Attention is divided, the mind of the viewer becomes restless and the picture fails to appeal.
HOW TO DO IT
This could all have been avoided by trimming a small amount from one side of the print. The side that should be trimmed is generally obvious, but as a guide the trimming should be carried out so that the eye is led into the picture to the main subject and allowed to rest there without further desire to wander. The way to test for trimming is to cut two pieces of cardboard to the shape of the letter L. Place these over the print as a frame which can be enlarged or reduced and moved about to cover up any portion of the picture desired. You will, soon notice that most of your prints would look better with some of the details removed.
Friday 4th March 1938
Page 4 - News (Adelaide South Australia)
THREE JUDGES APPOINTED
BEST PHOTOGRAPH CONTEST
Three judges were appointed today to select the prizewinners in "The News" Best Photograph Competition. They are Messrs. M.J. MacNally, the well known artist, L.A. Wilde, President of the Adelaide Camera Club and the Editor-in-Chief of "The News" and "The Mail" (Mr. E.G. Bonney).
As it is expected that at least 1,000 entries will be received by the closing date, Wednesday, March 16th, the task of judges will not be easy, for every entry will be examined individually.
Amateur photographers who have not already submitted pictures for the contest still have time to do so. The week-end will afford them the opportunity to go out of doors and put their ideas into execution. Originality will gain them many points. A half-page of pictures sent in by competitors will be reproduced tomorrow. A fee of 5/ is being paid for every photograph used before the contest closes. Conditions and the entry form were published in "The News" yesterday and will appear again tomorrow.
Saturday 5th March 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The pictorial section of the 1937 exhibition of the Royal Photographic Society, London and the Twelfth Kodak International Salon will be opened simultaneously by the Lord Mayor (Mr. Barrett) at 8pm on Wednesday. Members of the Adelaide Camera Club should make every endeavor to be present at this function. A good attendance is required, so bring your friends along also. Readers of "The News" and particularly those who follow this weekly column, are cordially invited. In view of this exhibition there will be no general meeting of the club on Monday 7th March. The committee will be busy hanging the pictures and if any club member can assist, please get in touch with one of the committee members at once. The beginners outing arranged for today must be postponed, as senior members will be unable to attend, for the reasons given above.
PHOTOGRAPHIC PROBLEMS
I have received an interesting letter from a country reader, which I have answered direct, but as it contains three queries of a character which other readers may have experienced, I will deal with them this week so that all may benefit. The first problem submitted by the correspondent was a negative which he sent me and which he considered was fogged in some mysterious manner. The sky was blotchy and very dark in places, although from appearances no filter was used. The trouble here was not fog, but under development. With some developers the developing rate is not always even all over the film, but it developed for the recommended time and at the right temperature, the lagging portions of the negative catch up and even development is accomplished. Always used a well-known developer and follow the instructions implicitly. In this particular case the result did not matter, as the lighting of the subject was so poor that a good picture would not have been made in any case. Always watch the lighting on your subject. Faces in deep shadow with sunshine overhead will not produce a good picture.
ACID-HYPO BATH
The second question, "How long could an acid-hypo fixing bath be used?" Well, hypo is cheap and therefore, why risk spoiling expensive printing paper? Ten oz. of acid-hypo solution should not be used for more than 600-700 sq. in., or, in other words, about 12 whole plate prints, or the equivalent in smaller sizes. The third query was the use of tap or well water for washing prints and whether it was safe or otherwise. The answer to that, of course, is based on the purity of the water in question. If rain water is scarce then well or tap water must be used and usually this is quite all right. However, if the water is slightly impure or very hard, I would suggest that, after the usual wash, the prints be soaked in rain water for 15 to 30 minutes. Experience will teach and results obtained depend purely on local conditions.
Monday 7th March 1938
Page 9 - News (Adelaide South Australia)
PHOTOGRAPHIC ART EXHIBITION
INTERNATIONAL DISPLAY OPENS NEXT MONTH
More than 550 pictures by some of the world's leading photographic artists will be seen in Adelaide next month, when an exhibition of pictures from the Pictorial Section of the Royal Photographic Society's 1937 exhibition in London, together with others which comprised the twelfth Kodak International Salon of Photography, will be on view at the Society or Arts Gallery.
The exhibition, which will be under the organization and management of the Adelaide Camera Club, will be opened by the Lord Mayor (Mr. Arthur Barrett) at 8pm on 9th March. It will remain open until 24th March. It is the first international exhibition of photography to be held in Adelaide and practically every country in the world will be represented in it.
There are altogether 232 prints on loan from the Royal Photographic Society, 119 being of British and Empire origin, 41 from the United States, 61 from Continental countries and 11 sundry. The Royal Photographic Society is the world's senior photographic society and caters not only for pictorial photography but for all branches of industrial and scientific photography. Each year it holds an exhibition which attracts the world's best in every field of photography. The present series of exhibitions has been arranged by Kodak (Australia) Pty. Ltd.
Monday 7th March 1938
Page 9 - News (Adelaide South Australia)
BEST PHOTOS IN THE WORLD
ADELAIDE SHOW
The world's finest collection of photographs will arrive in Adelaide next week and will be exhibited at the South Australian Society of Arts Gallery, North terrace, from March 9th to 24th.
Of the 577 photographs to be shown under the auspices of the Adelaide Camera Club, 232 prints have been obtained from the Royal Photographic Society, London and the balance from the twelfth Kodak International Salon of Photography.
The London prints comprise the whole of the pictorial section of the 1937 exhibition and reproductions of some of them which have already reached Adelaide show a tremendous diversity of subjects, nearly every country in the world being represented.
Of the six principal awards in the Kodak Salon, two went to England and one each to India, Germany, Egypt and the United States. The international character of this exhibition is further emphasized by the fact that among the other countries to which silver and bronze medals went are South Africa, Japan, Hawaii, France, Czechoslovakia and Australia.
The exhibition, which will be opened by the Lord Mayor (Mr. Arthur Barrett), will remain open each afternoon and evening, except Sundays. Admission will be free.
Monday 7th March 1938
Page 9 - News (Adelaide South Australia)
ENTRIES PASS 1,000 MARK IN BEST PHOTOGRAPH CONTEST
Many fine landscapes and seascapes are among the latest entries received for "The News" Best Photograph Competition, which is attracting the best work of camera enthusiasts throughout South Australia. Today the entries passed the 1,000 mark.
The competition has now only a few days to run, the closing date being Wednesday, March 16. The three judges appointed to select the winners, who will share 10 guineas in prizes, are Mr. M.J. MacNally, the well-known artist. the President of the Adelaide Camera Club (Mr. Wilde) and the Editor-in-Chief of "The News" and "The Mail" (Mr. Bonney).
Pictures are still being received with out an entry form attached. Intending competitors should remember that all pictures received without entry forms are automatically disqualified. Conditions and the entry form were published in "The News". on Saturday and will appear again tomorrow.
Tuesday 8th March 1938
Page 2 - News (Adelaide South Australia)
NEW JUDGE APPOINTED FOR BEST PHOTOGRAPH CONTEST
Mr. C.A. Sims, manager of Kodak (Aust.) Pty. Ltd. in South Australia, today consented to act as judge in "The News" Best Photograph Competition. The other two judges are Mr. M.J. MacNally, the well-known artist and the President of the Adelaide Camera Club (Mr. Wilde). The Editor of "The News" who intended to act as a judge, withdrew in favor of Mr. Sims, whose wide technical experience makes him a valuable acquisition to the judging committee.
Tuesday 8th March 1938
Page 27 - The Advertiser (Adelaide South Australia)
PHOTOGRAPHS AS WORKS OF ART
PICTORIAL EXHIBITION REVIEWED
It may be stated without fear of contradiction that never has Adelaide housed such an excellent collection of photographs as will be opened at the Society of Arts Gallery tomorrow evening. These works of art which number 577, formed part of England's contribution to the attractions of the sesquicentenary celebrations in Sydney and the Adelaide Camera Club is to be heartily congratulated on being able to obtain, with the co-operation of Messrs. Kodak Ltd., the exhibition under review
The collection in the eastern gallery comprises the pictorial section of the Royal Photographic Society 1937 exhibition, this being the first occasion on which such a section has come to Australia and New Zealand. As this society is universally admitted to be the world's senior photographic society, the real value of the exhibition may be realized.
From such a feast of really good things, it is manifestly difficult to differentiate and the variety of subjects, all so well chosen, adds to one's difficulty and diffidence. An outstanding picture, which draws attention by its unusual quality is "Cain and Abel", in which the impressive, but sorrowful, Saviour gazes upon the bent nude form of Cain, the first murderer. There is outstanding merit in, "The Sentinels", an artistic study taken evidently by moonlight, a marvelous effect being obtained by the light of motor lamps. This is printed upon 'Gevaluxe' paper, which gives a most delightful texture. The portraiture forms a most fascinating section. "Lunch", represents a perfectly happy, jolly infant and "Uriah", is an excellent character study. "Mrs Ward and Daughter", is a delightful study, happy in pose and expression and "Bachelor of Science", brings out all the character and strength of the young student. "T.A. Kerr, Esq"., is natural, with a lot of humor, whilst "A Tearful Pace", has caught the tears and sad expression splendidly. "Bergmahler Meng", portrays some wonderful reflections and high lights and "African Cook", is capital in the contrast of the black face against the pure white of cap and coat. The array of scenic photographs is varied and attractive, each in its own way. "Santa Maria" and "An Ancient Seaport", are charming studies, soft and dainty as pencil drawings. In "Promise of Rain", there is a very fine cloud effect and "Aerial Combat", shows strong contrast in the dense foliage of trees against an unusual formation of clouds.
In "Winter Morning", the effect of sunlight dimly shining on a quiet sea through heavy clouds is peculiar; "Sussex Landscape", is fine in the contrast of trees against sky. "Ondata", is an excellent study of clouds and ice and a most delightful picture is "Mist from the River Inn", in which the icicles and trees combine to give a fairy like appearance; the clouds, too, in "Fairy Fantasy", are remarkably good. Many of the studies taken from life are intensely interesting. "A Quiet Evening Game", with fine long shadows from bowls and players; "Stallion", a mottled animal and group of men and boys; "Peter", a remarkably fine picture of a dog's head; "Taxes", especially good in composition. "Grace of the Ballet", is especially fine and one would like to see this reproduced in color and "Repose", an exquisitely dainty little sketch in sepia tones. "It's in the News", a group of onlookers, well defined, with high lights and shadows: "Lilies of the Valley", is absolutely unique in the wonderful portrayal of cellophane, surrounding the flowers: and "Rhythm", is uncommon and fascinating in design and composition. The architectural pictures, both interior and external, are intensely interesting and well chosen, notably "St. Cuthbert's Screen", in which the clear details of carving are a delight; and "An Edinburgh Close", a fine piece of photography. "In Memoriam", shows excellent architectural detail in the high light on a memorial tablet. In "Figure Skating", the floodlight of the figures is cleverly manipulated and "Magic City", is a charming picture of skyscrapers reflected in water. There is a fine effect of quiet shadow in "Storied Stone" and an extremely soft effect in "Torcello". "Crypt Chapel", is excellent in its lights and shades. Some of the flower pieces are very clear and at the same time delicate in texture. "Hollyhocks", is well defined in both flower and leaf.
HOMELY SCENES
Some artists make pictures of the most homely scenes and "Decorations", is an attractive study of the weekly wash. Other scenic studies deserving notice are "Devil's Cataract", a distant waterfall seen through cleft rocks and "Red Woods", delightful with soft light penetrating the trees; "Civilized Man", clear outline of gas masks, now becoming too common and "Fishing Fleet", particularly soft and alluring. The western gallery contains a large group of competitive studies, selected from 1,000 or more entries from 19 countries, for silver and bronze medals awarded by Kodak's.
Here again, the subjects are varied and intensely interesting, but excellent as the work is, even the veriest layman will see that the quality is not the same as in the other gallery. Notice must be given to "Gulls", for which J.J. Jones, of Adelaide, received a medal. This excellent study was obtained on the M.S. Moonta. "Gossiping", is a clear study with high lights on intensely white swans and "The Church Pillars", shows a soft effect and fine shadows on cut stone. "At Rest", has beautifully clean and soft lines and there are wonderful sky effects in "Sky Pillows"; also splendid foliage and figure work in "Adventuring". Good expression has been caught in the face, "Day Dreams". Capital portrayal of ice may be noticed in "Mormon Temple" and "Winter's Covering", a delightful fairy fantasy and another of the same type is "King Winter's Braid", a mass of ice, very cleverly executed. "Ronny", is a fine child study and a fine architectural feature is "Stained Glass", also "The Venice of Prague"; "Interest", an excellent costume study of curiosity, quite reminiscent of Miss Hook of Holland and a marvelous cloud effect has been secured in "When Day is Done". An excellent study is "Guildhall-Tornes", with its shingle roof and small stones and others to be noted are "Who Said Cats", a fine study of two dogs and "The Crafts man", well defined and with fine lighting effect. Two very artistic studies are "The Hill Top" and "A Byway in the Cotswolds". The exhibition will remain open until 26th March. and visitors will find pleasure and instruction in its inspection.
Wednesday 9th March 1938
Page 6 - News (Adelaide South Australia)
Page 15 - The Advertiser (Adelaide South Australia)
INTERNATIONAL PHOTOGRAPHIC EXHIBITION
9th to 24th MARCH (INCLUSIVE)
SOCIETY OF ARTS GALLERY, NORTH TERRACE
THE PICTORIAL SECTION OF THE ROYAL PHOTOGRAPHIC SOCIETY
1937 EXHIBITION FROM LONDON AND THE TWELFTH KODAK INTERNATIONAL SALON.
OFFICIAL OPENING BY THE LORD MAYOR TONIGHT AT 8pm
ON VIEW DAILY (EXCEPT SUNDAYS) Noon to 5.30pm and 7pm to 9.30pm. ADMISSION FREE.
ORGANIZERS: ADELAIDE CAMERA CLUB IN ASSOCIATION WITH KODAK (AUSTRALASIA) PTY. LTD.
Thursday 10th March 1938
Page 10 - The Advertiser (Adelaide South Australia)
CREAM OF WORLD'S BEST PICTURES
LORD MAYOR OPENS EXHIBITION
Outstanding examples of photographic art gathered from all parts of the world are shown in the loan exhibition of the pictorial section of the Royal Photographic Society's 1937 display and the 12th Kodak international salon of photography, which were opened by the Lord Mayor (Mr. Barrett) in the Society of Arts gallery last night. The pictures in both sections of the exhibition, which already have been shown in Sydney, were brought to Australia in connection with the 150th anniversary celebrations. This is the first occasion on which such collections have been shown here. The exhibition was arranged by the Adelaide Camera Club, in conjunction with Kodak Ltd.
The President of the club (Mr. L.A. Wilde) said that it would not have been possible to bring the exhibition to Adelaide but for the co-operation of Kodak Ltd. The pictures in the Royal Photographic Society's section alone were valued so highly that the club could not have accepted full responsibility for their safety and paid the customs duty and other necessary expenses. The exhibition consisted of the cream of the world's best pictures, for the Royal Photographic Society was to the photographic art what the Royal Academy was to painting. A high standard was set by the selection committee, for of the 1,200 pictures submitted for this exhibition, only 232 were accepted.
Mr. Barrett said that the artistry with which some of the simplest subjects had been treated surprised him. The exhibition gave an indication of the extent to which the art of photography could be carried. The Kodak salon, which is held in a different country each year to stimulate interest among members of the Kodak organization, consists entirely of work executed by employees. Of the 1,000 prints entered for this year's display, only 345 were accepted. The exhibition will remain open until 24th March, from 10am to 5pm and 7pm to 9.30pm each day.
Saturday 12th March 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Have you visited the Society of Arts Gallery, North terrace, City, to view the fine set of photographs now being exhibited? If not, I would strongly advise all readers to make a point of doing so before the exhibition closes on 24th March. It is an opportunity that may not again occur for some time and many lessons are to be learnt from a close study of the numerous pictures that comprise the 1937 pictorial section of the Royal Photographic Society, London and the Twelfth Kodak International Salon. Every picture is good and of course the reason for this is that the collection represents a selection by competent judges from more than 1,000 prints sent in by some hundreds of the best photographers of today.
WHAT TO LOOK FOR
In studying the various prints camera owners who are anxious to improve their own work should pay particular attention to the excellent use made of both sunshine and artificial light. Sunshine in the pictures looks like sunshine and the shadows are genuine shadows, not just masses of indefinite black. In the portraits the lighting has been skillfully used to give that elusive third dimension depth, while the tonal qualities of the skin texture are excellent. Note also the first-class composition of each picture. There is a sense of balance that cannot be upset. The eyes land immediately on the principal point of interest and have no inclination to wander as is the case with bad composition. This you will note is achieved by the balance of tones in each print and the simplicity of each subject.
PICTURES COMPLETE
Each picture is complete within its own borders and there is no evidence that the subject matter should be extended upwards, downwards, or to either side. There are no disconcerting second, third, or even fourth items which might rob the principal point of interest of its just rights. All this, of course, is composition - just composition - or in other words planning your subject so that it makes a complete and correctly lighted picture and not just a record snapshot. One thing I am glad to note, after having made a good examination of the various prints and that is there are several members of the Adelaide Camera Club whose technique is equal to that of many of those whose prints have been accepted by the Royal Photographic Society. That being so, I think I can promise South Australia quite a good show of local pictures when we hold our own exhibition next August. We can look forward to the future with every confidence in our own ability to turn out photographs well worth looking at.
Tuesday 22nd March 1938
Page 12 - News (Adelaide South Australia)
THE FINAL JUDGING OF ENTRIES in "The News" Best Photograph Competition began
today and will be completed tomorrow. The results and prizewinning pictures
will appear in "The News" on Thursday. Here are the three judges at work.
From Left: Messrs. M.J. MacNally, the well-known artist,
L.A. Wilde, President of the ADELAIDE CAMERA CLUB and
Chas. H. Sims, South Australian manager of KODAK (AUST.) PTY. LTD.
Saturday 26th March 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
THE monthly lecture to beginners given by the Adelaide Camera Club was held on Monday. The subject, The Making of a Photographic Contact Print, was most ably dealt with by Mr J.J. Jones, whose print Gulls was awarded a bronze medal in the Twelfth Kodak International Salon. The attendance, unfortunately, was not so good as had been expected, and club beginners are reminded that unless they put in a regular appearance at lectures, not only will they lose the personal benefit of expert advice and demonstration, but the lecturers, who give up their time voluntarily, will be discouraged from offering their services on future occasions. All those club members who have not filled in and returned the questionnaire sent to them early this month are again reminded that it is their duty as well as their right as members to record their opinion on important club matters.
THE NEWS" CONTEST
The photograph competition conducted by "The News" was a great success, judging by the number of prints sent in. The total was 1,484. As one of the three judges I have seen more photographs in the past few days than I have in the past four or five years. Photos that were good, fair and indifferent were among the huge piles of prints we had to examine. Each one was individually inspected and judged, but my fellow judges and I are quite prepared to be told by many of the entrants that we do not know a good photo when we see one. Of course, there will be at least four competitors who will consider us the best judges in the world, so that is some consolation.
If it had been possible for all the competitors to have seen the actual judging they would have realized not only what a tremendous task was placed on the judges shoulders, but the difficulty experienced in selecting the final four from such a huge variety of subjects. If it is any consolation to readers, I would like them to know that there were many good prints among those which did not quite reach the prize list, and after all, there were only four prizes, so there you are, and better luck next time. Many entrants, however, received payment when their pictures were reproduced in "The News".
Monday 28th March 1938
Page 12 - News (Adelaide South Australia)
ADELAIDE PHOTOGRAPHERS SUCCEED IN SYDNEY
In competition with photographers, from almost every country in the world, members of the Adelaide Camera Club have had seven prints hung at the important International Commemorative Salon of Photography, opened last Wednesday in Sydney as part of the 150th anniversary, celebrations. The following are the successful prints and entrants:
SECTION 1: |
Gums of the North |
Majestic Bows |
Grace and Beauty |
In Line |
Solo Flight |
SECTION 3: |
Cactus |
||||
Mr. ALFRED WILKINSON
April 1938
Page 186 - The Australasian Photo-Review
THE "ROYAL” IN ADELAIDE
The showing in Adelaide of the Royal Photographic Society 1937 Pictorial Section and of the Twelfth Kodak International Salon of Photography opened as scheduled on the evening of 9th March.
The opening was conducted by the Lord Mayor in the presence of many leading citizens and altogether over 700 attended the official opening. Moreover, by Friday night 1,800 visitors had seen the exhibition.
This is a wonderful tribute to the interest in photography that has been always shown by this progressive city and sets a standard for other centres to emulate.
The Adelaide Camera Club deserves full congratulation for their share in making the evening a success.
Saturday 2nd April 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly general meeting of the Adelaide Camera Club will be held on Monday at 8pm in the club room, Institute Building; North terrace, next to the Society of Arts Gallery, where the recent international photographic exhibition was held.
The attendance at this exhibition, by the way, was 5,763, an average of more than 400 a day during the 14 days it was open. This indicates the growing popularity of photography as a pictorial art. As a result of this successful venture the club hopes to be able to arrange further exhibitions in the near future. In fact, negotiations are now proceeding to bring here the Commemorative Salon of Photography at present running in Sydney.
SUCCESS IN SYDNEY
The Adelaide Camera Club did well in Section I. (pictorial) of the Commemorative Salon. Out of 140 Australian prints six were South Australian, the following prints being accepted: H. Keil, Gums of the North and Flinders Landscape; J.N. Tomlinson. Majestic Bows; F.A. White, In Line; A. Wilkinson FRPS, Grace and Beauty; L.A. Wilde, Solo Flight. In Section III. (natural history) F. Cole's picture Cactus was accepted.
An advance notice in a Sydney newspaper states that in this exhibition Australian photographers more than hold their own against the international entrants and that there is a notable absence of the ultra-artistic brush printing. Many exceedingly beautiful effects have been obtained, but purely by pictorial means.
As I am leaving Adelaide next week for my annual vacation, members are asked to keep in touch with committee members and to remember that the practical lecture which should be held on Monday evening, April 18th. will be postponed, as this day is Easter Monday. It will probably be given in May.
DEVELOPER WARNING
Camera owners, who do their own developing and who have progressed through the chrome film stage to that of using panchromatic films, are warned that pan films (as they are called for short) must be developed in complete darkness, unless first desensitized, when a weak yellow light may be used.
By complete darkness I mean complete and not just dark. This applies to those who also use developing tanks insofar as loading the tank is concerned. Remember, pan films are sensitive to all colors, including red and are generally so fast that the slightest amount of light of any color will cause fog.
I recommend all pan film users to employ a tank and develop by time and temperature. Practice loading the tank in daylight with an old film and you will soon become accustomed to doing the same job in complete darkness.
Saturday 9th April 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Easter will soon be on us. Wherever you go for the holidays, take your camera for certain, as this is an excellent time of the year for photography. Be prepared, however, before the holidays arrive. See that your camera is clean inside as well as outside. Lay in a stock of the type of films you usually employ and do not chance to luck that you may buy them on the road. If visiting Oakbank and making an attempt to photograph the horses in the steeplechase, remember you need a faster shutter speed unless you are expert at "panning", as is done with movie cameras. If you have not previously tried "panning" your camera, do not leave the trial until the race. Start practising now. You can find suitable subjects to practise on anywhere, even at your front gate. A motor car coming down the road, a bicycle, or a boy running are all good to practise on. There is no need to waste film unless you care to test the results, which is, of course, a good idea. However, an empty camera will do to start with. Get your view-finder - the eye-level one if you possess such a gadget - fixed on the approaching object and then steadily follow it along, keeping the subject inside the view finder boundaries without any jerking motion and then with the camera still moving release the shutter when the picture is just as close as you desire it. Do not wait, however, until it is broadside on unless you have a shutter of at least 1/400th or 1/500th second. Press the trigger when the moving object is at an oblique angle and you will get a better and sharper picture. At the actual races, remember to take up a position where the sun is facing the approaching horses, but not shining into the camera lens.
Saturday 16th April 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Many camera owners who are just beginning to enjoy their hobby are puzzled about the use of color filters and as it is some time since this subject has been dealt with, a few notes on the matter may be of timely assistance to these newcomers. White light (daylight) is actually made up of various colored light rays. Most readers know the colors of the rainbow and have reproduced these colors by looking through a glass prism. The order in which the colors appear is violet, indigo, blue, green, yellow, orange and red. At each end there are also invisible rays, namely, ultra-violet and infra-red. For ordinary photography infra-red rays may be ignored, because they have no effect on ordinary (even panchromatic) films. Violet rays, however, have a marked effect on all films. Different types of film are affected by various of these light rays. For example, the ordinary or regular film, as it is known, is affected by those rays of the spectrum from ultra-violet to the middle of green. The chrome type of film is affected by all color rays from ultra-violet to yellow, while panchromatic films are affected by all the light rays from ultra-violet to red.
USE OF FILTERS
All these films, however, have their greatest sensitivity in the blue, violet and ultra-violet regions. This accounts for the fact that in a photograph, taken without a suitable filter, a blue sky prints white. The film, as stated, is so sensitive to blue that the sky portion becomes over-exposed and comes out black on the negative, thus printing white, as the density is too opaque to permit light to penetrate to the sensitized printing paper. The object of the filter in this case is therefore to hold back the blue rays while allowing other light rays to penetrate the lens to the film without hindrance. A yellow filter is therefore generally used because it absorbs blue and the darker the yellow the more blue it absorbs. A light yellow filter for general use, one necessitating about double the usual exposure, is recommended for beginners and this will, given a satisfactory sky, tone and allow white clouds to print out. Green filters absorb both blue and red light rays and as only panchromatic films are red sensitive a filter of this color should only be used with this type of film. Red filters absorb green and blue rays. but this type of filter so completely absorbs these colors that for example, a blue sky will print almost black. Such a filter is useful for certain purposes, but should be left alone by beginners in photography.
Saturday 23rd April 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The miniature camera has become so popular that there are more users of this type today, including commercial and press photographers, than there are of the larger cameras employing plates, film packs and cut film. Miniature cameras are generally regarded as those taking a negative of a size less than six square inches, but for the purpose of this article we can regard any film of 3 1/4 in. x 2 1/4 in. or less as of miniature size. The greatest difficulty experienced by miniature camera users is to obtain a clean and almost spotless negative, which is essential when enlargements or from seven to 20 diameters are often required. The following hints will help photographers to reach the highest possible standard in obtaining ultra-clean negatives. A perfectly clean developing tank is necessary. Wash both tank and apron in warm soapy water, rinse in fresh water and wipe dry with a chamois and not a cloth that will leave particles of fluff adhering. When not in use keep tank in a box or dust-proof cupboard. Filter the developer before use. You will be surprised even with freshly mixed solutions, at the amount of foreign material left on the filter paper. If filter papers are not available, wet a piece of clean cotton-wool, squeeze out water and spread inside funnel. Filter the acid-hypo in like manner. Carry out the whole process of initial wash, developing, interim wash, fixing and final wash without removing film from apron or tank. If you have developed according to the time and temperature recommended for your developer and film you can do no good by an early inspection and may possibly damage the film surface by finger marks or scratches.
USING DRYING CABINET
After the final wash the film may be soaked in an anti-scratch solution and then rewashed for five minutes. This process helps to prevent damage to the negatives during and after drying. Wipe surplus moisture off film with a damp chamois or viscose sponge and hang in a dust-proof place to dry. A specially made drying cabinet, heated by an electric globe at the bottom is recommended. A description of such a cabinet was given in this column some time ago, but readers may write to me if they wish to know more about it. Remember a film should be dried as quickly as possible, but not with too great a heat. A steady, warm current of air, free from dust is the ideal way.
Saturday 30th April 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The next general meeting of the Adelaide Camera Club will be held at the Club Room, Institute Building, North terrace, at 8pm on Monday. The attention of members is drawn to the fact that there is a club letter box in the institute building where they may place notes or suggestions regarding outings, lectures and practical demonstrations. The committee welcomes inquiries and suggestions at all times and all members should avail themselves of the opportunity of putting their ideas forward. As pointed out many times, the successful and smooth running of the club depends very greatly on the members themselves. Here are some common defects in bromide and gaslight prints and their probable causes:
YELLOW STAINS - Exhausted developer; too long or too short rinsing between development and fixing; prolonged development in an attempt to remedy under-exposure.
BROWN AND PURPLE STAINS - Prints floating partly above the surface of the fixing bath, or partly sticking together during fixing.
FOGGY HIGH-LIGHTS AND MARGINS - Stale or improperly stored paper; developer too strong or too warm; unsafe dark-room light.
UNEVEN IMAGE - Development shortened to counteract over-exposure; developer kept stagnant instead of gently moving.
POOR BLACKS - Unsuitable developer, frequently too much or too little bromide; over or under exposure; poor quality paper.
CONTRASTS TOO STRONG OR TOO WEAK - Grade of paper not suited to negative. If negative is contrasty use a soft paper, if flat use a contrast or extra contrast paper.
CLEANING PRINTS
Matt prints and mounts often get dusty and dirty. To clean lay the mounted print on a pad of newspapers and break over it some breadcrumbs. Rub this with the palm of the hand all over the surface with a circular motion. This will clean prints and mounts better than any kind of rubber.
QUICK DRYING
Film negatives must not be dried by the methylated spirit bath process. Such method is suited only to glass negatives. For films a formalin bath is recommended but should only be used when urgency demands quick drying, as any subsequent modification of the image by reducing or intensifying is somewhat troublesome owing to the hardened surface. METHOD - Wash film after fixing and place in a 1 to 20 formalin bath for five minutes. This hardens the gelatine, which can then be dried in hot air, preferably directed by an electric fan.
CLEANING LENSES
The surface of a camera lens is highly polished and therefore easily scratched. When necessary to clean, blow off surface dust, then gently use a clean, soft camel-hair brush to remove dust, from round the lens mount and finally breathe gently on lens and wipe lightly with a clean, soft cambric handkerchief or special lens-cleaning tissue.
May 1938
Page 248 - The Australasian Photo-Review
ROYAL PHOTOGRAPHIC SOCIETY AND TWELFTH KODAK SALON AT ADELAIDE
With an initial attendance of 500 people, this dual Exhibition of International Photographs was declared open by the Lord Mayor of Adelaide (Mr. A. G. Barrett) at the Society of Arts Gallery on Wednesday 9th March. In introducing the Lord Mayor to those present, the President of the Adelaide Camera Club (Mr. L.A. Wilde) stated that it was only through the valuable help and co-operation of Kodak (A/sia) Pty. Ltd. that such a unique collection of pictorial photographs had been made available for inspection by the people of South Australia.
The Adelaide display of these pictures was most tastefully arranged and was highly commended by the Editor of the A.P.-R. (Mr. Walter Burke), who was passing through Adelaide on a voyage to England. The attendance throughout the exhibition was exceptionally good, 5,763 people visiting the Art Gallery during the fourteen days it was open, an average of well over 400 per day, which is a record for an exhibition of this nature.
We understand that the success of the Exhibition was due in no small measure to the Adelaide Camera Club energetic President, Mr. L.A. Wilde. Mr. Wilde has been successful in building up the Adelaide Camera Club’s membership to nearly one hundred and has every hope of seeing the club one of the strongest in Australia.
Saturday 7th May 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly general meeting of the Adelaide Camera Club was held at the clubrooms, last Monday night.
Mr. H.L. Austin was appointed honorary Hon.Secretary to the club in place of Mr. J. Mack, who had resigned for business reasons. The club subscriptions were also amended to 5/ a quarter for seniors and 2/6 a quarter for women and first-year members.
Mr. J. McAskill gave an interesting talk on Composition. It is good to see some of the older generation of members giving others the benefit of their knowledge and experience.
On Monday 16th May, at the physics lecture room, University, Mr. Fred White will give a demonstration and talk on Enlarging.
A committee meeting will be held at the clubrooms on Tuesday at 7.45pm.
FILM OR PLATE?
Among the correspondence awaiting me on my return to Adelaide from my holiday trip was an inquiry from an Adelaide camera owner on the question of exchanging his postcard size film camera for one in which he can use plates.
The argument put forward for the plate camera was that only one exposure need be made at a time, thus enabling immediate development to be given as against waiting until the six exposure film is completed. The post card folding camera cost £5/10/-, but it is very doubtful if it will bring 20/- today. This is the difficulty that is encountered when endeavoring to dispose of cameras taking negatives of a larger size than 3 1/4 in. x 2 1/4 in.
As pointed out in previous articles, the miniature camera is all popular and has revolutionized amateur as well as professional photography. At the same time plate-cameras of quarter-plate size or over are not in great demand, so that if our friend with the postcard camera is prepared to let his property go cheaply he will be compensated to some extent by also being able to buy a plate camera (if he is content with a secondhand one) at a price far below its original cost.
WHY NOT A MINIATURE?
One point, however, should be considered before he makes a deal along these lines and that is cost of operation. Both post-card film and quarter plate cameras are expensive to operate compared with the smaller cameras and as my inquirer confesses that he is far from wealthy I suggest that he investigate the possibilities of a miniature, taking films of a size not larger than 3 1/4 in. x 2 1/4 in.
There are some excellent cheap cameras of this type on the market today and except for the very smallest type the contact prints are large and sharp enough for the album, while outstanding negatives can be enlarged to quarter-plate size or larger at a very reasonable cost.
The low cost of operation enables two or three exposures of one subject to be made when doubt exists, thus generally assuring at least one first class negative, while the cost of failure per exposure is almost negligible.
As my inquirer confesses to many a spoiled negative through faulty exposures, this advantage should strongly appeal to him. At the same time I would suggest that he invest a few shillings in a simple exposure meter or guide, as not only will he save waste films or plates, but annoyance at having failed to obtain his picture.
Saturday 14th May 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club members are reminded that on Monday night at the physics lecture room, University, Mr. Fred White will give a talk and demonstration on enlarging. In connection with this fascinating side of photography I hope to be able to make an announcement shortly of much interest to those members who at present are not equipped to make their own enlargements. Will all such members please make a special point of attending the above lecture?
CLUB SUPPORT
With the appointment of a new Hon.Secretary (Mr. H.L. Austin), who I know is a sincere and energetic worker for the club, we can expect renewed club activities. The time, therefore, is opportune to point out to those members who have let their interest in club matters wane and to those amateur photographers who have not yet joined the Adelaide Camera Club, the advantages of retaining or applying for membership, as the case may be and of taking a keen interest and actively supporting the club by attending all meetings.
The lone worker often considers that he can get along very well without paying the small club subscription, but he fails to realize that by so doing he is retarding his own progress by missing the sincere and helpful criticism and advice of those members who are more experienced in some directions than he. No matter how good he may imagine he is, it is very rare indeed to find an amateur who is able to avoid all the faults that are likely to crop up in the course of his hobby and more so, indeed, to be able to hit upon the causes and best means of overcoming them. This is where membership of a club is of great value. There is sure to be a member available who can offer the necessary advice and assistance and in many cases timely help of this nature can save a member much more than his annual subscription by the saving of wasted material, such as developers and printing papers. Apart from technical progress, active members cannot fail to improve their composition and thus turn out presentable pictures of exhibition standard.
BOOKS AND APPARATUS
On top of all the above advantages of club membership, it is the committee's immediate aim to build up the club's library of photographic books and magazines and to provide on loan apparatus for members not yet advanced to the stage when they can confidently buy and install their own. This will also help members who, while they have advanced sufficiently, have not the facilities for permanent installations in their own homes. This will be a good step forward in club progress and, provided sufficient and enthusiastic support is forthcoming, there is no reason why still further facilities should not be made available. "Rome was not built in a day", is an old and true saying, but it was built and there may be a day when we can walk into our own building but it will take a solid and loyal membership to achieve such an object. My hope is that all present and future members will look just a little further ahead and remember that the older members are working for the benefit of the new and inexperienced members, who in turn must help build for the future. What we owe to the past we must pay to the future - that is our recipe for progress.
Saturday 21st May 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
An enlightening talk and demonstration on enlarging was given by Mr. Fred White at the physics lecture room, University, to members of the Adelaide Camera Club. Those who braved the elements, undoubtedly learned some useful hints in enlarging both on bromide and chloro-bromide papers. Most amateur photographers who do their own processing take infinite care to ensure that they obtain negatives free of scratches and pinholes. Having got this far, they run off one or two prints or enlargements and then, strange to say, with the exception of a few wise heads, they cram the whole of the negatives from one film together into an envelope or box, in which perhaps there is already a number of negatives accumulated over a period. A day comes sooner or later when another print is wanted or even an exhibition enlargement. The negatives are all tipped out and fingered over until the correct one is found and a print is made which shows several scratch marks, necessitating very careful retouching to eradicate. If these photographers would only realize that very often negatives of certain subjects might prove of extreme value, either from a monetary or sentimental point of view in a few months or years time, they would take more care in their storage. There are several ways of filing and recording negatives from the rather expensive filing boxes and albums to the home-made system which costs practically nothing.
INEXPENSIVE FILING
Here is a system that ensures every single negative being filed separately in its own envelope and recorded, so that it can be found almost at once - and the cost is but a few pence. It is based on the photographic print album which practically ever amateur keeps. The first step is to provide envelopes of a size that will just take comfortably the negative. My negatives are 2 1/4 in. x 2 1/4 in. and on experimenting I found that those small envelopes known as "pay envelopes", with the flap stuck down and then cut in half, make two negative holders. Thus 50 pay envelopes provide me with a separate container for each of 100 negatives. These are numbered from 1 upwards and placed in an oblong box. Index cards cut to rise above the tops of the envelope are placed behind every tenth envelope and numbered 10, 20, 30 and so on. As soon as my negatives are dry, they are filed in the box and on the lid an entry is made, such as: 1-10, holidays 1938; 11-20, the Zoo; 21-30, Camera Club outing to Port Adelaide. This is only intended for quick reference to a "set" of negatives. To find individual negatives, all that is necessary is to print in small the negative number under the print that is put in the album. With the negative number I make a practice of putting the year also, because it enables me to start from No 1 on January 1 each year. The procedure therefore is first to turn up the print in the album, read the negative number and year and take out that numbered envelope from the filing box and there is the negative in as good a condition as when filed.
Saturday 28th May 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The annual photographic exhibition of the Adelaide Camera Club will be held in the latter half of August. The opening date and details concerning entry forms, competitive sections and awards will be published shortly. All members who intend to compete in this exhibition should get busy right away. In the past too many have put off until the last moment the preparation of exhibition prints and in consequence have had to make a rush job of it. Full justice cannot be done to a good pictorial subject by hasty printing. Enlargements should be carefully made, worked upon if necessary and trimmed to correct proportions. After this examine and criticize the print every day for at least a week. If at the end of this period you are still happy about it, then it should at least be a reasonably good subject for entry.
SEEK CRITICISM
If in doubt get one or two club exhibitionists to criticize it for you and should they reveal faults, have another try or go out after another subject. Should you find, for example, that you have difficulty in getting a good landscape, turn your attention to one or two other sections, such as still life, natural history, portraiture, or figure studies.
One of the greatest thrills in photography is received when the first print or prints are submitted to judges. Success may not be achieved with the first prints submitted, but by persistent endeavor a keen photographer will eventually find his name in the catalog and that will mean a step up. The Adelaide Camera Club's annual exhibition is intended, quite naturally, to display primarily the work of South Australians, although for competitive and comparative reasons other States participate.
ACTINIC LIGHT
Photographic articles in various magazines and books often refer to actinic light. For example, it may be stated that the actinic value of light is greater at a certain period than another. For those who have been puzzled by this term I would explain that "actinic" applies to that portion of the light that produces a chemical change in a substance, as distinct from those portions which furnish heat and light. The actinic portion of the spectrum is generally considered to include the ultra violet, violet, blue and green rather than that portion which appears most powerful - yellow. The division is of course arbitrary, as all depends upon the substance which is being exposed.
Saturday 4th June 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club will hold its June general meeting at the clubroom, Institute Building, North terrace, on Monday. The feature for the evening will be a talk by Mr. J.N. Tomlinson on Modern Photographic Apparatus and Progress. An interesting evening is promised and as many members as possible are requested to attend. On Monday, June 20, at the physics lecture room, University, members are invited to participate in a friendly competition on table-top photography. Suitable lighting reflectors and back grounds will be provided as well as the set subject. Members should bring their own cameras and load them preferably with fast panchromatic or chrome films or plates. The recent competition on the Bonython Hall was won by Mr. Talbot, with Miss Kentish second. The last mentioned has been a member for only two months. Congratulations!
ALWAYS SOMETHING NEW
However clever we may think we are at photography, however much success we may have achieved in practical work to prove our skill, there is always something new and better that we do not know. The advanced amateur and even the professional photographer who thinks he has reached the ultimate in perfection will, unless he keeps abreast of the rapid progress that is being made in the photographic world, one day find that he is hopelessly out of date. The beginner who decides that photography is a wonderful hobby and worthy of more attention than "pressing the button" and having someone else develop and print for him, is often completely staggered and robbed of his enthusiasm by the too scientific and technical knowledge that is thrown at him by his more experienced friends, who love to display their superiority by a flow of photographic terms and verbiage that probably they themselves know too little about. The best way for the novice and the experienced photographer to improve their methods is to study the advice of men and women of proved experience, who can convey their knowledge in simple and easily understood terms, expressions and explanations. There are weekly and monthly photographic magazines which are of good educative value, but a few good books on the subject form a means of study and constant reference and assist greatly in improving knowledge and technique.
BOOKS RECOMMENDED
To those interested I can recommend the following books - Photography by C.E.K. Mees D.Sc., Hon.FRPS. Dr. Mees is director of research at the Kodak Laboratory, Rochester USA and has had a lifetime of photographic experience. His book deals with the history and scientific side of photography, but all technicalities are reduced to a simple language that anyone can readily understand. If we learn why and how things happen we are all the better equipped to handle photographic equipment and materials. This is a book that should be in every amateur's library. Brighter Photography, by David Charles FRPS. An excellent book on general photographic practice, covering the taking of photographs and the subsequent processing. Every method and every process is well illustrated. How To Make Good Pictures. An Australian publication by Kodak Pty. Ltd., at the very cheap price of 1/6 a copy. This book is almost a dictionary of photography and every beginner and novice should have a copy. It is full of illustrations and supplies an answer to practically every problem that confronts the amateur. All three books can be obtained at any of the well-known photographic houses.
Saturday 11th June 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the monthly general meeting of the Adelaide Camera Club it was pleasing to note the large attendance, particularly as a most interesting talk was given by Mr. J.N. Tomlinson on modern photographic equipment and processes. Negotiations for the purchase of an up-to-date vertical enlarger are in hand and the committee hopes to complete this purchase shortly and place the enlarger at the disposal of members.
Members and intending members are asked to note the address of the Hon.Secretary, Mr. H.L. Austin, 17 Tudor street, Dulwich, phone F3610, in case they desire to communicate with him on club matters.
ENLARGING POPULAR
A few years ago, when quarter-plate, post-card size. and half-plate cameras were the recognized equipment of most amateur photographers, little attention was given to enlarging, except by a few enthusiastic pictorial workers. Contact prints on gaslight or printing-out paper were not only of suitable album size, but were considered large enough for most purposes.
Today the miniature camera has introduced a very great need for enlargements. Contact prints from diminutive negatives are far too small to portray all the detail in the pictures. Enlargements of all worthwhile negatives are often made without troubling first to make contact prints. In many instances, these enlargements are made no larger than the old standard quarter-plate, postcard, or half-plate sizes, which were formerly made by contact printing. But the possession of an enlarger mostly fires the enthusiasm of its owner and by degrees the enlargements get bigger and bigger and ultimately 12 x 10, 15 x 12 and even larger prints are produced from tiny negatives.
As the Adelaide Camera Club intends to provide a modern vertical enlarger for use by members who do not possess one of these useful appliances, the time is opportune to give some useful hints and guidance on the subject of enlarging.
It must be remembered that when a negative is enlarged to several times its own diameter, everything in that negative, is enlarged to the same proportions. A small spot on a contact print that is hardly noticed, becomes a veritable blot on a 12 x 10 enlargement.
Similarly, a small black area on a contact print resulting from under exposure of shadows may spoil an enlargement of the subject that does not look at all bad on the smaller print. Our first lesson, therefore, is to produce negatives suitable for enlarging and until we learn to produce such negatives we cannot possibly expect to get the best out of the enlarger.
Next week I intend to explain what is a suitable negative for enlarging and how to ensure obtaining such negatives on all occasions whatever type of subject may be photographed. By this means readers will be able to compile, if they cut out these articles, a set of notes on the subject which will take them right through the process, even to the retouching and working-up stage, after the enlargements are produced.
Saturday 18th June 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club members are reminded that on Monday evening a meeting will be held in the Physics Building, University. Instead of a lecture, members are invited to bring their cameras and to take part in table top photography. Suitable lighting and backgrounds will be provided and experienced members will assist and advise. As many exhibition prints are made by table-top photography, an opportunity will thus be presented to inexperienced members to learn correct composition lighting and focusing for this class of photography.
ENLARGING
Resuming from last week's article on the subject of enlarging, it will be remembered that we began by emphasizing the necessity to obtain the ideal negative for enlarging. Such a negative should possess the following qualifications: 1. It must be correctly exposed. It should not be too contrasty. It must be as free as possible from blemishes, such as scratches and pinholes. The subject and its composition should be good enough to warrant the cost of the printing paper and developer. Let us take each of these points in the order given and see how we can arrange our technique so that with few exceptions we can always rely on obtaining the type of negative we desire.
CORRECT EXPOSURE
In a small contact print, slight under exposure and a fair amount of overexposure can be corrected by the use of suitable printing papers. To a certain extent this method of correction can be applied to enlargements. But it must be remembered that the object in enlarging is to portray small details that are hardly perceptible in contact prints. Consequently while an under-exposed negative may give a fairly satisfactory contact print, on enlarging it will be found that certain areas of shadow which should have shown detail, have printed to a large, solid black mass. Also, while an over-exposed negative is preferable to one that is under-exposed. it will handicap the operator by the length of time it will take to give a satisfactory print from the enlarger. Often much control will need to be exercised to print highlights, such as skies.
CARE NECESSARY
Care must therefore be used when taking the actual photograph, to give as near correct exposure as possible. Guesswork is a haphazard method and costly in the long run, besides causing much annoyance when unsatisfactory negatives of good pictorial subjects are obtained. My advice to all who intend to enlarge is to buy an exposure meter or guide. Even an inexpensive one is better than guessing and it will not take long to learn how to use it in order to obtain good exposures. Always err on the side of a generous exposure rather than under-exposure. With under-exposure the negative will not record shadow details and no amount of intensifying will produce details that are not recorded. Next week we will continue the subject of suitable negatives for enlarging.
Saturday 25th June 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Hon.Secretary of the Adelaide Camera Club is compiling a syllabus of club events, lectures and outings for the next financial year, beginning in October. It is hoped to be able to print this syllabus in an attractive booklet which will contain photographic information, hints and club rules. Members are invited to assist in the compilation of this syllabus by sending to the Hon.Secretary suggestions on types of lectures, competitions and outings they would like to see included. It may not be possible to adopt, every suggestion sent in, but serious consideration will be given to each one, bearing in mind the trend of choice of the majority. These suggestions should be written out clearly and handed to the Hon.Secretary, at any club meeting in the near future.
ENLARGING
Continuing our series of articles on enlarging, this week we will deal further with the problem of obtaining negatives that will produce first-class enlargements. Correct exposure has been emphasized and readers will no doubt bear in mind my caution to give a generous exposure rather than risk under-exposure. This is important, as it has a bearing on the next problem of avoiding the production of negatives that are too contrasty. The longer a plate or film is developed the more contrast there will be. On the other hand shortened development reduces contrast. There is a limit, of course, to development time on the short side, but no one need hesitate to shorten development to two-thirds or four-fifths of the standard time recommended for the formula in use, provided always that a generous exposure is given particularly in the case of subjects which have a wide contrast range. This shortened development hint applies to those instances where an enlarger is fitted with a condenser. Where an enlarger is operated with only a flashed opal diffuser then a negative with more contrast will be required. In either case it is up to the photographer to experiment and note the results obtained. Unless he does so he cannot expect to progress. Suppose, for example, the photographer desires to take a subject that is full of contrast, light tones and deep shadows. In the first place he will test with his exposure meter for correct exposure time, taking care to expose for the shadows.
TWO EXPOSURES
To complete his experiment regarding developing time, I suggest that he take two exposures of the subject, the first at the exposure he considers his meter recommends and for the second double the exposure time. When developing he can cut down his standard time to say four-fifths. Subsequent inspection of the negatives will give him two worth-while answers to his photographic problems. The first will show him whether his meter calculation was correct or underestimated, because if number one exposure gives the better negative he is calculating rightly, but if number two exposure gives a better negative than number one he is underestimating and can adjust his meter readings accordingly. The second answer to his problems will show whether his reduced development time has sufficiently cared for the contrast in subject or otherwise. If both negatives provide too much contrast he will make a note to try two-thirds development time on the next occasion. Thus it is we learn and improve our technique; there is no shorter cut to good photography. In this column next week we will continue with the subject of enlarging.
Thursday 30th June 1938
Page 7 - The Mercury (Hobart, Tasmania)
The fortnightly meeting of the Southern Tasmanian Photographic Society, was held at Hobart on Tuesday. The President (Mr. J. Ross) was in the chair. Films of scenic and industrial subjects were projected by Mr. W.J. Arnel. They included an excellent film in color of Tasmania's apple Industry photographed by Mr. N.C. Howard, a member of the Adelaide Camera Club. Trophies won in recent competitions were presented to Mr. V. Oxenford. The excellent technique of the film shown was praised by Dr J.H.B. Walch.
Saturday 2nd July 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The next general meeting of the Adelaide Camera Club will be held on Monday night at the clubroom, Institute Building, North terrace. Those members who attended the "table-top" evening recently are invited to bring along their results, so that further guidance can be given on this interesting feature. In our last article we dealt with the method of obtaining negatives of normal contrast, which type of negative is most suitable for enlarging. Summing up the matter, we arrive at the following conclusion: 1. A generous (but not overdone) exposure will record details in the shadows which, with shortened development, will be printable. 2. That shortened development (within reason) will assist in obtaining normal contrast and in addition will prevent the highlights from clogging up. There is also another advantage in adopting the above procedure, particularly where miniature negatives are concerned and that is the keeping of the grain to a minimum. The longer a film or plate is developed, the larger the grain and of course, if big enlargements are desired, granularity must be avoided as much as possible. Readers must remember when studying the foregoing instructions that when a subject lacks contrast, normal or even over-development may be necessary.
WORK ON NEGATIVE
After the negatives are dry a contact print or small enlargement should be made so that a thorough inspection can be given to decide whether the negative requires retouching. With very small negatives, it is almost impossible to spot out pinholes. This work must subsequently be done on the enlarged print, of which more anon. However, the contact print or small enlargement will often reveal the necessity of holding back certain portions of the negative in printing, so that portion will print lighter. For example, in photographing a tree, the trunk may be in shadow and although an exposure has been made for the shadows, this portion has been under-exposed, so that when printed, it shows just a black mass which not only looks bad, but takes the depth or roundness out of the tree. Now bromide and chloro-bromide papers are not sensitive to red, that is why we can use a red and even an amber light when enlarging, so that if we stain the portion of the negative we desire to print lighter with a red substance, to a certain depth of color, we will achieve our object.
STAINS ON MARKET
There are several red negative stains on the market which can be put on the negative quite safely and can, if necessary, be washed off again. One of the best known of these stains is Neu-coccine, which is in the form of a powder. Just a speck of this powder is dissolved in a little water, making a pink dye. With a fine brush, paint the portion of the negative desired. It will dry in a few minutes. If the color is not deep enough, increase the strength of the dye, but it is better to work up from a light stain than to start off with a strong dye. Keep on repeating the operation until the right depth is obtained. This, at first, can only be decided by taking trial prints, but later, when the user has become familiar with the practice, he will be able to judge the correct depth without any difficulty. This method saves much complicated control work when enlarging, especially if several prints of the one negative are desired.
Saturday 9th July 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the general meeting of The Adelaide Camera Club, this week, an interesting talk was given by Mr. L.H. Whittington, on Photography in the South Sea Islands. It was illustrated by some excellent moving pictures, taken by the lecturer. Entry forms for the club's annual exhibition of pictorial photography are now available. Entries close on Friday, August 5 and it is hoped that as many members as possible will submit prints to the selection committee. They may be sent or handed to either Kodak (Australasia), or Harringtons Pty. Ltd., but should be addressed for the attention of the Hon.Secretary of the Adelaide Camera Club. Photographs not smaller than 8 1/2 in. x. 6 1/2, in. and processed by other than the entrant, will be considered by the selection committee for the intermediate section. These prints will not be in competition with the work of advanced members.
THE ENLARGER
In the past four weeks we have dealt in this column with the problem of obtaining suitable negatives for enlarging. We now come to the enlarger itself. Before we put good negatives through their paces, it is just as well to know how the enlarger works. We will deal with a modern vertical enlarger. But if any reader possesses a horizontal model, he will understand that the methods of working are, with a few minor differences almost identical. A vertical enlarger consists of a lamp house, condenser (removable), flashed opal diffuser (removable), negative carrier, lens in focusing mount and red glass cover for lens. All these pieces are assembled in one complete unit and connected to a vertical rod, up and down which the enlarger can slide, movement being controlled by a lever, or hand-screw, so that the enlarger can be held perfectly still and rigid at any position on the rod.
HOW IT WORKS
The rod is connected at its base to the enlarging board or easel, which lies in a perfect plane to the lens of the enlarger. This board carries the sensitized paper used for enlarging. When the enlarger is moved to the top of the rod the maximum size of picture is obtained. This is generally from five to seven times the diagonal measurement of the negative. If larger pictures are required, many vertical enlargers can be turned round so as to throw a picture on the floor. A better method is to disconnect the enlarger and rod from the baseboard and mount it on supports fixed to a wall at such a height that, by using a table which is adjustable to various heights, the user can obtain enlargements of a size from portions of a negative that would be impossible with the enlarger on its original baseboard. The function of an enlarger is similar to that of a camera, but the operation is just the reverse. Instead of a sensitized negative recording a picture projected into the camera from outside, the enlarger projects from a small negative inside, a large picture outside. How this is accomplished and why condensers and diffusing glasses are used will be explained next week.
Tuesday 12th July 1938
Page 2 - News (Adelaide South Australia)
EXHIBITION OF PICTURES NEXT MONTH
Last day for the reception of entries and prints for the Adelaide Camera Club's exhibition of pictorial photography, which will be held at the Society of Arts Gallery, North terrace, from 17th to 26th August, is 5th August.
The exhibition will be divided into seven sections - landscapes, seascapes, portraits, figure studies, natural history, architecture and any other subject. One diploma and two certificates will be awarded in each section and special trophies will be given for the best interstate entry and the best South Australian entry, irrespective of class. Entries must be mounted on white or light-toned mounts to sizes 16" x 12", 20" x 16", or 25" x 20". Any photographic process is allowable, but hand-coloring will not be permitted.
The Hon.Secretary of the Adelaide Camera Club, Mr. H.L. Austin, of 17 Tudor street, Dulwich: Kodak (Australasia) Ltd.: or Harringtons Ltd., will receive entries.
Tuesday 12th July 1938
Page 20 - The Advertiser (Adelaide South Australia)
CAMERA CLUB EXHIBITION
An Australian exhibition of photography will be held at the Society or Arts Gallery, North terrace, city, from 17th to 26th August, under the auspices of the Adelaide Camera Club. The judges will be Messrs. J.C. Goodchild. M.J. McNally and A. Tulla. The club will present trophies for the best interstate and South Australian entries.
Saturday 16th July 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The next meeting of The Adelaide Camera Club will be held at the physics lecture room, University, on Monday night. The subject for the evening will be The Preparation of, Prints for Exhibition Purposes. In view of the forthcoming club exhibition in August, this evening should be helpful to members, particularly to those who are just beginning to produce prints which may be acceptable to the selection committee. Apart from exhibition work, it is useful to be able to "spot" and "work up" a print, as most enlargements are not entirely satisfactory without these finishing touches.
ENLARGING
Continuing our lessons on the enlarger and enlarging, it will be remembered that last week the components of a vertical enlarger were listed. This week we will discuss the use of the condenser and opal diffusing glass. A condenser, as used in an enlarger, may be either of double or single type. A double condenser consists of two lenses each of which has one surface flat and the other surface convex. In other words each lens looks like the magnifying glass in an electric torch or a bull's-eye lantern. Double condensers are mounted in a holder, so that the convex surfaces are inwards and contiguous and the plane surfaces point outwards, one facing the light and the other facing the negative.
SINGLE CONDENSERS
The more popular types of vertical enlargers possess only single condensers, which are quite satisfactory and fulfill entirely their object. When a single condenser is employed, the convex surface faces the light and the plane or flat surface faces the negative. With both the double and single condensers, the placing of them in the enlarger assembly should be as close as possible to the negative. The word condenser describes its objective, that is, to gather together all the light rays in the lamp house and condense them in an even light spread over the whole negative. For this reason the condenser must always have a diameter of slightly greater measure merit than the diagonal of the negative. For example, if the diagonal of the negative is 4/4 in., then the diameter of the condenser must be at least 4 1/2 in., or better still, 5 in.
CONDENSER'S TASK
Readers will do well to appreciate the fact that the condenser is employed to illuminate brightly and evenly the negative to be enlarged. They should test their enlarger before inserting the negative in the carrier by throwing the light from the enlarger through the empty negative carrier on to a piece of white paper placed on the enlarger base-board. If it is found that an uneven light is produced, an adjustment of the position of the lamp is probably required. The lamp bulb may have to be raised or lowered or just centered, if it is not quite positioned vertically. Lamp-bulbs also must be used which do not have the maker's name on the bottom of the bulb, as the light will throw shadows of the name. An opal globe is preferable, as clear-glass globes throw an image of the filament. To a certain extent these troubles can be overcome, by the use of an opal diffuser glass placed between the condenser and the negative. This glass helps considerably to even up the light, but increases the length of exposure necessary and also has a tendency to give a softer print. Where good, strong outlines are required it is wise to work with the condenser only, correcting any light faults by other means than the diffuser glass. Next week we will commence the actual work of enlarging.
Saturday 23rd July 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
A demonstration of the art of finishing prints for exhibition purposes was given to Adelaide Camera Club members by the President (Mr. L.A. Wilde) on Monday. The attendance, considering that the subject was of a specialized character, was very good. In fact, these special lectures and demonstrations are becoming more popular with members than even the successful series of lectures instituted last year. Members are again reminded that entries for the Australian exhibition of pictorial photography will close definitely on Friday, August 5th. Prints conforming to the conditions of entry must be accompanied by the entry fee of 5/ (intermediate 2/6). Members subscriptions, if in arrears, must be paid at the same time, otherwise the entries will not be eligible. Entry forms and conditions are obtainable from all photographic houses and the club Hon.Secretary (Mr. H.L. Austin).
PRACTICAL ENLARGING
After several weeks in this column of theoretical work, a preliminary absolutely necessary if our enlargements are to be successful, we now come to that thrilling moment (and that is no exaggeration) when we enter the dark room, place our really good negative in the enlarger, lay out our dishes of developer, hypo. and water, switch off the white light and under the soft glow of the amber safe-light begin the actual job of producing our first enlargement. Let us first of all check up on our equipment laid out ready so that no hitch will occur in the smooth working of the job in hand. First of all the enlarger. This should be placed well away from our dishes of chemicals and water. Developer, hypo. and water are all right when their turn comes round, but a spot or two of any of these liquids on the bromide paper before they are wanted will spoil a good print and an expensive piece of paper. Of course, we have also already seen that the enlarger is clean - no dust on lens or negative carrier and that the lamp is giving an even spread of light. We will therefore "pass" on the enlarger and turn first to the dishes of the right size for the paper to be used. To the left, water, next to it developer, then the hypo. (acid-hypo. by preference) and on the extreme right another dish of water. If a stop bath is used, place this between the developer and hypo. If you work left handed just reverse the order of the dishes, but the point I want to drive home is that you should establish a set method and maintain it always. By so doing you will never put the print in hypo. before the developer or make some such silly mistake.
METHOD IS ESSENTIAL
The secret of success is method, to know where everything is so that in the dim light of the dark room you can instantly put your hand on it. And before we leave these dishes, have you checked the temperature? The darkroom itself and all the dishes should have a temperature of between 60 deg. F. and 70 deg. F.; 65 deg. F. is ideal for safe working. Now for the remaining accessories. A watch or clock with a seconds hand suitably illuminated is needed so that it can be read when working at the enlarger and when developing. A pair of bone or ebonite forceps for handling the wet print and a few clean rags or an old clean towel for wiping the hands; a paper-holder or printing frame and some push pins, are also required. Last of all secure a pair of scissors or a razor-blade for cutting test strips because before we make a whole enlargement we must first of all find out by test the correct exposure time and we will do this next week.
Saturday 30th July 1938
Page 7 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The next general meeting of the Adelaide Camera Club will be on Monday night at the clubroom, Institute Building, North terrace. Members who took part in the "table-top" competition in June are requested to bring their entries, as August 1st will be the closing date. This week-end will be the last opportunity for most club members to prepare prints for entry in the forthcoming exhibition of pictorial photography, as both prints and entry forms must be handed to the Hon.Secretary (Mr. H.L. Austin) or to Kodak (Australasia.) or Harrington's Pty. Ltd., not later than next Friday 5th August. The club is anticipating excellent support not only from its own members, but from well-known pictorial photographers in other States. It is also expected that the quality of the South Australian exhibit will show a marked advance over previous years. The club would like to see every advanced member represented by at least one print. All intermediate workers should also endeavor to help their section of the exhibition.
THE TEST STRIP
We concluded last week's notes on the subject of enlarging by arriving at the stage when all was ready to make a test strip. Now, a test strip, if taken properly. will, in addition to determining the correct exposure, perform another useful function and that is to indicate if certain control work is necessary during enlargement. For example, if it is found on developing the test strip that the correct exposure time for the half-tones is 20 second, but that the sky at this exposure still prints white, additional exposure will have to be given to the sky portion. Similarly, it may be found that the darker shades in the picture print black, thus losing detail in the shadows. This means, of course, that "shading" will have to be given to those sections during the exposure given to the final print. In some cases, unless the photographer has a large amount of experience, it is wise to take special test strips of the highlights and the shadows to determine the actual amount of extra exposure and shading that must be given to obtain the desired result. Our first step is to cut and place on the enlarging easel, a piece of sensitized paper (bromide or chloro bromide). The size of this strip would vary with the size of the final print, as it is natural that we would require a larger piece to show sufficient details, if printing to say 15 in. x 12 in., than we would if enlarging only to half plate size.
DO NOT STINT PAPER
This strip is placed in position with the enlarger switched on, but the red filter over the enlarger lens. It is assumed that the enlarger has already been focused correctly, for the size of print required. The strip should cover a suitable portion of the negative so that we will get a test strip showing various half-tones and highlights. For this reason do not stint the paper used for tests. Next we switch off the enlarger light, take off or move to one side the red filter, note the position of the seconds hand on the watch and switch on again. In our hand we will have a piece of cardboard sufficiently large to cover the test strip and will proceed to cover up sections of this piece of paper at time intervals until such time as we have given a variety of exposures to the test strip. Then we will switch off the enlarger light and be ready for developing the trial print. Before doing this, however, we will, next week, discuss the question of exposure times for test strips, as many beginners find it hard to determine the various exposure times to be given to their test prints.
Wednesday 3rd August 1938
Page 23 - The Advertiser (Adelaide South Australia)
Professor Sir Stanton Hicks will perform the opening ceremony of the 1938 Australian Exhibition of Pictorial Photography, arranged by the Adelaide Camera Club, in the Society of Arts Gallery, North terrace, Adelaide at 8pm on 17th August. The President is Mr. L.A. Wilde.
SIR CEDRIC STANTON HICKS
Born 2 June 1892 - Mosgiel, Otago, New Zealand
Death 7 February 1976 - Glen Osmond, Adelaide, South Australia
PROFESSOR of HUMAN PHYSIOLOGY and PHARMACOLOGY
University of Adelaide
Friday 5th August 1938
Page 7 - News (Adelaide South Australia)
RECORD INTERSTATE PHOTO ENTRIES
Record interstate entries had been received by the Adelaide Camera Club for its annual exhibition at the Society of Arts Gallery, North terrace, from August 17th to 26th. Entries close today. The Hon.Secretary (Mr. H.L. Austin) said that all States would probably be represented. He hoped that local entries also would be a record. The selection committee would choose pictures for hanging tomorrow afternoon. There were seven sections - landscapes, seascapes, portraits, figure studies, natural history, architecture and any other subject.
Saturday 6th August 1938
Page 2 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Entries for the Australian Exhibition of Pictorial Photography organized by the Adelaide Camera Club and which will be opened by Sir Stanton Hicks at 8pm on Wednesday, August 17th, closed yesterday. Today the selection committee will meet and choose prints from which the final selection will be made.
All interested in pictorial photography are advised to visit the Society of Arts Gallery and inspect a display of paintings by Mr. John Goodchild, who incidentally is one of the judges for the forthcoming photographic exhibition. Mr. Goodchild has on frequent occasions lectured to the club on pictorial composition and his own paintings are proof of his ability to practise what he preaches.
It is in my humble opinion, one of the finest collections of paintings exhibited in this gallery for many a day, good, straight forward landscapes and seascapes as the eye would see them and which we photographers endeavor to produce in monochrome.
THE TEST STRIP
Last week I promised to give some guidance to beginners on the various exposures that they should give to their test strips. Here it is:
Correct exposures depends on several factors, all of which influence the exposure time required to produce a good print. These factors are:- (1) The size of the enlargement, (2) the strength of the light used, (3) the density and color of the negative, (4) the aperture of the enlarger lens and (5) the "speed" of the printing paper employed. It will be seen that all these factors together make it impossible to guess the correct exposure, but, in time, familiarity with the enlarger and papers in use enables the photographer to make an estimate close enough to obtain one section of his test strip correctly exposed.
This result is obtained, however, only if the test strip is exposed in a series of times, each one of which is double that of the preceding exposure. For example, if we take a strip of printing paper, expose the whole of it for five seconds, then cover up a third with a piece of cardboard, expose the remain in two-thirds for 10 seconds, cover up another third and expose the remaining third for 20 seconds we will get a test strip divided into three sections, each differing from the other in exposure time, the ratio being 1, 2, 4.
IN CASE OF DOUBT
Should we be very doubtful about the necessary time to give we can divide our strip into four or even five sections, but the ratio of exposure times must be 1, 2, 4, 8, 16 and so on according to the number of sections on the strip. A normal negative enlarged to four diameters on medium contrast bromide paper may possibly require from 15 to 30 second exposure.
If we divide our test strip into three sections and to the first give 10 seconds, the second 20 seconds and the third 40 seconds, one of these sections should reveal the correct exposure. For example if the 10 second section is slightly on the light side and the 20 second a bit too dark, then 15 second will be correct. We will continue the subject in this column next week.
Thursday 11th August 1938
Page 21 - The Advertiser (Adelaide South Australia)
SHOW OF AUSTRALIAN PHOTOGRAPHY
An Australian exhibition of photography will be held in the Society of Arts Gallery, North terrace, from 17th to 26th August. The official opening ceremony will be performed by Sir Stanton Hicks next Wednesday evening.
The exhibition has been organized by the Adelaide Camera Club, the President of which is Mr. L.A. Wilde and the Hon.Secretary Mr. H.L. Austin. The main section of the display will comprise prints entered by Adelaide and interstate photographers, which have been selected from a wide collection. The pictorial subjects will include landscapes, seascapes, portraits and figure studies. A feature of the exhibition will be a special display of scientific photographs, lent by Professor Kerr Grant, of the Adelaide University.
Thursday 11th August 1938
Page 9 - News (Adelaide South Australia)
The President of the Adelaide Camera Club (Mr. A.A. Wilde) and his committee have issued invitations to an exhibition of pictorial photography while will be opened by Professor Sir Stanton Hicks at the Society of Arts Gallery on 17th August. There are few art exhibitions I look forward to as must as this offering. There are some real artists among these people and to go to one of their meetings and hear the arguments about composition, color and tonal values is a complete education. Would that some of our knights of the brush had the same enthusiasm and understanding. I once saw a study of a small child "with the wonder of the world in its eyes" that left a permanent impression on me and a simple landscape with trees and a shadowed cow in the foreground that for selection and composition was far nearer the co-ordination of brain and hand than anything I have seen for years. A practitioner who lives at Somerton, by means of a filter has produced some cloud effects that have to be seen to be believed. He will doubtless display some of his work in the coming exhibition. Altogether I am grateful to Mr. Wilde and his happy brotherhood for their invitation and will certainly attend (D.V.).
SIR CEDRIC STANTON HICKS
Born 2 June 1892 - Mosgiel, Otago, New Zealand
Death 7 February 1976 - Glen Osmond, Adelaide, South Australia
PROFESSOR of HUMAN PHYSIOLOGY and PHARMACOLOGY
University of Adelaide
Thursday 11th August 1938
Page 2 - News (Adelaide South Australia)
PICTORIAL PHOTOGRAPHS TO BE DISPLAYED SOON
Organized by the Adelaide Camera Club, an exhibition of Australian pictorial photography will be opened at the Society of Arts Gallery, Institute Building, North terrace, by Sir Stanton Hicks, at 8pm on August 17th and will be continued until August 26th.
Of the 70 prints in the main pictorial section of the exhibition 41 will be contributed by members of the Adelaide Camera Club and the remaining 29 will be the work of interstate photographers. The exhibits in the main section will comprise 26 landscapes, 10 seascapes, eight portraits, 11 figure studies, four natural history, four architecture and seven other subjects, which have been selected from a large entry.
In another section 11 fine prints from the "Intermediate" members of the club will be shown. Of special interest will be five photomicrography prints, which have been selected for hanging as a separate section of the exhibition.
There will also be a display of scientific photographs, which have been lent by Professor Kerr Grant, of the Adelaide University. The exhibition will be open from noon until 5pm and from 7pm until 9.30pm. It will be closed on the Saturday evening and Sunday.
SIR CEDRIC STANTON HICKS
Born 2 June 1892 - Mosgiel, Otago, New Zealand
Death 7 February 1976 - Glen Osmond, Adelaide, South Australia
PROFESSOR of HUMAN PHYSIOLOGY and PHARMACOLOGY
University of Adelaide
Saturday 13th August 1938
Page 4 - The Mail (Adelaide South Australia)
ADELAIDE CAMERA CLUB TO HOLD EXHIBITION
A wide range of photographs by members of the Adelaide Camera Club, together with a number from New South Wales and Queensland will be exhibited at the Society of Arts Gallery, North terrace, from Wednesday next to 26th August.
The exhibition will be divided into nine sections and will include landscapes, seascapes, portraits, figure studies, natural histories architecture and photo-micrography. In addition there will be a special display of scientific photographs loaned by Prof. Kerr Grant. The exhibition will be opened by Sir Stanton Hicks.
SIR CEDRIC STANTON HICKS
Born 2 June 1892 Mosgiel, Otago, New Zealand
Death 7 February 1976 Glen Osmond, Adelaide, South Australia
PROFESSOR of HUMAN PHYSIOLOGY and PHARMACOLOGY
University of Adelaide
Saturday 13th August 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Australian Exhibition of Pictorial Photography will be opened on Wednesday, at 8pm, by Sir Stanton Hicks. All readers are cordially invited to be present. This exhibition, as usual with all photographic exhibitions organized by the Adelaide Camera Club, will be held in the Society of Arts Gallery, Institute Building, North terrace. The entrance is opposite the War Memorial, in Kintore avenue. This year the number of pictures in the pictorial section will be less than in previous years, as the selection committee, which examined and chose the prints last Saturday, raised the standard. Quality rather than quantity will be the predominating feature. In addition to the pictorial section there will be a section for intermediate club members and special sections devoted to photomicrography and science, the latter being kindly loaned by Prof. Kerr Grant, of the University of Adelaide.
LECTURE AND SCIENCE
On Monday, August 22nd, at 8pm, in the large Physics Lecture Room, University, Prof. Kerr Grant will give a specially arranged lecture on Photography as Applied to Science, to members of the Adelaide Camera Club and their friends. If any reader would like to hear this most interesting and instructive talk, please accept this as a hearty invitation to come along. The portrait and table-top competition held in June was won by Mr. H. Archer, with Mr. F.A. Wendt second. Congratulations to both these members, not only on the quality of their work. but on the keen interest they are taking in their hobby. Country members in particular are invited to note that the closing date for the tree photography competition has been extended to September 1st. There is therefore still plenty of time to go out and take some good photos.
ENLARGING
In our previous article we dealt with the proper method of making a strip of test exposures to determine the correct exposure time for the enlargement. Having given the series of exposures to the strip of bromide or chloro-bromide paper, which, of course, must be of the same brand and grade and preferably from the same packet as the sheet of paper on which the enlargement is to be made, the next step is to develop it. In carrying out this work, care must be taken to develop to a specified time. With M.Q. developer, which is recommended as a good bromide paper developer, the image should make an appearance not sooner than 20 seconds and not later than 40 seconds, as a general rule. Full development should be reached within two to two and a half minutes. In developing the test strip, adhere to these times and in no circumstances take the strip out of the developer earlier than two minutes because a section of the strip looks fully developed Carry on for the full time and after fixing the strip in acid-hypo, for about two minutes wash quickly under a tap, take off surplus moisture with pure blotting paper and then examine the result in a good, strong light. If all the sections of the strip are too dark you have over-exposed and another test-strip must be taken, giving a series of exposure times shorter than those given to the first strip. If all sections are too light, under-exposure is indicated and a test-strip of longer exposures must be taken. Never be satisfied until one section of the test-strip shows, on full development, a bright print full of detail.
Wednesday 17th August 1938
Page 6 - The Advertiser (Adelaide South Australia)
Pictures have been assembled from five States to create an interesting exhibition has been arranged by the Adelaide Camera Club in the Society of Arts gallery in North terrace. The exhibition comprises more than 90 pictures. It will be officially opened by Professor Sir Stanton Hicks at 8pm today.
Landscape and seascape studies comprise more than a third of the total number of pictures. The degree of skill which is shown in the work in these sections is considerably higher than in portraiture and figure studies, although the best picture in the show, "Tyrolean" by Eric Merton (New South Wales), is an unusually fine portrait of a Tyrolean in a traditional hat and woolen jacket.
In the landscape section, however, Harold Cazneaux (New South Wales) contributes two strong studies of trees "Mighty Gums of the Flinders" and "The Folded Hills". J.N. Tomlinson (South Australia) in "Relic of the Past", could have achieved a more powerful study by cutting two inches from the bottom of the picture. F. Cole (South Australia) has a clean, sharp landscape in "Blinman, Flinders Range" and L.J. Gill shows a study of Adelaide by night from Montefiore Hill, which is an excellent example of design.
Eric Merton also contributes a clever composition with "Power" in which the whirling plane propeller is denoted only by a thin twisting line of light. This photographer excels in high-speed camera work, as another picture shows a skier turning sharply in snow.
"Ripples" by Les. Fisher (South Australia), "Turbulence" by R.V. Benny (New South Wales), "Link with the Empire" by J.C. Nisbett (New South Wales) and "Nearing Harbor" by L.A. Wilde (South Australia) are the best of the seascapes.
Walter Orthman (Queensland) has an excellent portrait in "The Old Boy". Of two interiors, one by C. Thompson (South Australia) shows good treatment, but that by F.A. Wendt is sharp and distinct only in the foreground.
The exhibition contains a remarkable series of photo-micrography by Dr. Bassett (South Australia) and scientific pictures by Professor Kerr Grant. It will be open until August 26th.
Thursday 18th August 1938
Page 6 - The Advertiser (Adelaide South Australia)
Officially opening the Adelaide Camera Club's pictorial exhibition last night Professor Sir Stanton Hicks praised the quality of the pictures and said that they were noteworthy achievement. The President of the club (Mr. L.A. Wilde) said that members had progressed without the aid of schools or photographic institutions. The exhibition is being held in the SA. Society of Arts gallery, North terrace, till August 26th.
Saturday 20th August 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club's Australian exhibition of pictorial photography was opened at the Society of Arts Gallery by Professor Sir Stanton Hicks. It will be open to the public until Friday night, August 26th. There was an excellent attendance at the opening and the quality of the prints was acclaimed by all visitors. I would strongly advise everyone; even those who are only mildly interested in photography, to pay this exhibition a visit, for it teaches a lesson and that is that art, in the shape of real pictures, is within the reach of nearly all of us, even if we are as mere children with paints and brushes. With a camera and even a moderate priced one at that, a little enthusiasm and the encouragement of fellow photographers, such as are to be found in the Adelaide Camera Club, the novitiate in camera art is well on the way to success. Club members and everyone interested are again reminded that at 8pm on Monday, Prof. Kerr Grant will give an interesting lecture on Photography as applied to Science. This lecture will be held in the large Physics Lecture Theatre, University Buildings.
ENLARGING
Last week we reached the stage where we had by trial and error, or in other words, by a test strip, arrived at satisfactory exposure time for our enlargement. We now, therefore, place on the enlarger easel or base-board the full-size sheet of bromide or chloro-bromide paper that we had decided on before taking the test strip. The position of the enlarger and focus of the lens have, of course, remained undisturbed since taking and developing the test strip, so all that is necessary is to fix the paper in the right position by the aid of enlarger light protected by the red glass filter. The positioning of the printing paper can be accomplished by the use of (a) an adjustable paper holder and mask, (b) by using an ordinary printing frame of the right size and (c) by using special photographic push pins. In each of these methods about ¼, in. all round the paper will be taken from the actual picture space. In (a) and (b) there will be a white margin all round the print and in the case of (c) trimming the print to get rid of the pinholes will be necessary. There fore it is always wise when fixing the picture size to allow for margins or trimming.
CONTROL WORK
In taking our test strip prints, we should have found out if the high lights, such as clouds, printed nicely, or if not, the additional exposure required to record them correctly on the finished print. In the same way we should have tested the heavy shadowed portions of the print to see that details therein would be visible and if not visible find approximately the shortened exposure necessary so as not to over expose that portion. Armed with this necessary information we can proceed to making the enlargement with every confidence that a good print will result and which will require little or no work on it afterwards. Let us suppose that we are making a 10 in. x 8. in. enlargement and that our test strip has revealed that we get good half-tones with 40 second exposure. The sky however requires 80 second and a heavy shadow in the foreground needs only 30 second to prevent it losing all detail. There is also another highlight besides the sky, which needs toning down, shall we say, for example, the white wall of a shed in the middle distance and that this like the sky could do with 80 second exposure. Let us then proceed by careful work to convey these different exposure times to the portions of the print concerned. We can do this by working to a prearranged program, which I will deal with fully in next week's article.
Tuesday 23rd August 1938
Page 11 - The Advertiser (Adelaide South Australia)
USE OF PHOTOGRAPHY IN MODERN SCIENCE
With the aid of 27 lantern slides, Professor Kerr Grant last night demonstrated to members of the Adelaide Camera Club at the University the application of photography to modern science.
The slides illustrated its use in astronomy, for the finding of new stars and examining the quality of their light; in engineering for examining stresses and strains with the aid of polarized light; the use of X-rays; in atomic physics, for showing the nature of radiations from atoms and in cosmic ray research, where it revealed that sometimes cosmic rays produced showers of high speed electrons
Thursday 25th August 1938
Page 6 - News (Adelaide South Australia)
Some delightful studies in the photographic exhibition at the Society of Arts Gallery, North terrace, have a background of 12 months searching. The subject sought by the artist can elude him for weeks. Then when he finds it perfectly composed, just as he conceived it, he has to experiment and put up with failures until he produces the picture he wants. There is work behind all the pictures; but luck often favors the photographer. Sometimes he finds a perfect subject without seeking. One of the outstanding exhibits, Mr. L.A. Wilde's Solo Flight, depicting a seagull on the wing, was the outcome of such a piece of luck. It is only a part of the original photograph. With Australia's leading photographers represented, the exhibition was opened last week. Arranged by the Adelaide Camera Club, it will be continued until Friday night. Already more than 1,000 people have seen it. There is a wide variety of subjects and photographic types; but the landscape section is the largest and is proving the most popular. Outstanding in this section is Harold Cazneaux's "Folded Hills" and Hugo Keil's bromoil, "Landscape of the Flinders". Among the figure studies Eric Merton's "Speed" is a fine example of action photography. His "Tyrolean" and Harold Cazneaux's "Angela" are probably the best portraits. There are many good seascapes and subjects of scientific interest.
Saturday 27th August 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
A most interesting lecture was given to members and friends of the Adelaide Camera Club by Prof. Kerr Grant at the University on Monday night. The subject of the lecture was Photography as Applied in Scientific Research and covered various fields of science such as astronomy, the photography of contact stresses by polarized light. X-ray uses, in atomic physics for showing the nature of radiations from atoms, photography of acoustics (such as in an auditorium), spark photography (the photographing of high-speed subjects such as bullets leaving a rifle bore), aeronautical research, ultra sound waves and television. The next general meeting of the club will be held on Monday, September 5th, at the club rooms.
It will be remembered that in last week's article we arrived at the point where it was decided that the print we were about to make required 40 second exposure for the half-tones, the sky and a white wall of a shed in the middle distance 80 second and a foreground shadow 30 second. Here is the way in which to convey these different exposures to the respective portions of the print.
(1) With the paper in position switch on enlarger light.
(2) Swing aside (or remove) red filter from enlarger lens.
(3) With finger on enlarger switch watch the seconds hand of the clock or watch, which should be so placed as to be within comfortable sight during the complete exposure.
(4) Immediately the seconds hand is on 60, switch on. This practice is advisable especially for beginners, as it makes it easy to remember the starting time and to calculate the various exposures.
(5) At the end of 30 second, with a piece of cardboard (large enough to shade the whole picture) held between lens and paper, shade the light from the foreground portion of the print which requires no more than 30 second exposure. Keep card slightly moving.
(6) At the end of 40 second move card to cover up both foreground and balance of picture except the sky. This will give the half-tones the required 40 second exposure. Again remember to keep the card slightly moving, otherwise a sharp edge between the two sections will be printed.
(7) At 80 second switch off enlarger light. We have now given three of the four exposures required and it only remains to give the white shed another 40 second.
(8) In the shading-card pierce a small hole (the size will vary according to the size of area to be exposed). In this case we will presume that 1/8 in. diameter will be suitable. The position of the hole in the card should be approximately the same as the white shed in the picture.
(9) Cover the print by holding the card between lens and paper and switch on enlarger light.
(10) Move card to a position so that the small beam of light piercing the hole in it is transmitted to the shed wall. This is easy to accomplish as the complete picture will be seen on the cardboard itself.
(11) Move card about slightly so as to give even exposure to the whole wall and at the end of 40 second switch off enlarger light.
(12) Remove paper from enlarging board and place in a dish of water at a temperature of approximately 65 deg. Fahrenheit preparatory to development.
September 1938
Page 451 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB AUSTRALIAN EXHIBITION OF PICTORIAL PHOTOGRAPHY
"A picture”, said Li Huang Chang, "is worth a thousand words" and it is not because we doubt the truth of that Chinese proverb that we here descend to mere words, but because of the utter impossibility of the "A.P-R.” to reproduce the Exhibition in these columns in any other way. Nor can we undertake to describe each and every print exhibited to the value of words assessed by our Chinese moralist, for we would need nearly 100,000 to accomplish our task. We must therefore "trim our mount according to the print”.
Following so shortly after the very successful display of the Royal Photographic Society and Kodak Twelfth International, the Adelaide Camera Club was faced with what amounted to a challenge to keep the ball rolling. This was done and the Exhibition was duly opened on the 17th August, by Professor Sir Stanton Hicks, with a successful attendance and a very fine collection of prints. The display was divided into nine different sections, the first seven sections being open to all Australia under the main heading "Pictorial” and separated into Landscapes, Seascapes, Portraits, Figure Studies, Natural History, Architecture and Other Subjects. The two local sections were devoted to (a) The "Intermediate” members of the Adelaide Camera Club; and (b) Groups of Photo-micrographic and Scientific work contributed respectively by Dr. Bassett and Professor Kerr Grant of the Adelaide University.
In the Pictorial Section, seventy prints out of over one hundred submitted were accepted, making an effective single line display around the walls of the Society of Arts Gallery.
In a preliminary review, "Palette” (a well-known artist) said in one of the Adelaide newspapers, "There are few art exhibitions I look forward to as much as this offering. There are some real artists among these people and to go to one of their meetings and hear the arguments about composition, color and tonal values is a complete education. Would that some of our Knights of the Brush had the same enthusiasm and understanding. Altogether I am grateful to Mr. L.A Wilde (President) and his happy brotherhood for their invitation and will certainly attend".
It is this spirit, this rapidly growing goodwill and enthusiasm for good photography in South Australia that ensures success for any Exhibitions organized by its one and only Photographic Club. People here are becoming not only camera conscious, but pictorially minded and it is remarkable the number of people, who whilst remaining what we call snapshotters” are striving to rival the advanced worker by improving their technique, using filters, watching the lighting and avoiding ugly backgrounds.
The awards for the Exhibition were made by three independent judges and are as follows:
LANDSCAPES: |
SEASCAPES: |
PORTRAITS: |
||||||
DIPLOMA AND SPECIAL TROPHY: |
CERTIFICATE of MERIT: |
CERTIFICATE of MERIT: |
DIPLOMA AND SPECIAL TROPHY: |
CERTIFICATE of MERIT: |
CERTIFICATE of MERIT: |
DIPLOMA: |
CERTIFICATE of MERIT: |
CERTIFICATE of MERIT: |
FIGURE STUDIES: |
NATURAL HISTORY: |
ARCHITECTURE: |
OTHER SUBJECTS: |
|||||
DIPLOMA: |
CERTIFICATE of MERIT: |
CERTIFICATE of MERIT: |
DIPLOMA: |
DIPLOMA: |
CERTIFICATE of MERIT: |
DIPLOMA: |
CERTIFICATE of MERIT: |
CERTIFICATE of MERIT: |
SIR CEDRIC STANTON HICKS
Born 2 June 1892 Mosgiel, Otago, New Zealand
Death 7 February 1976 Glen Osmond, Adelaide, South Australia
PROFESSOR of HUMAN PHYSIOLOGY and PHARMACOLOGY
University of Adelaide
Saturday 3rd September 1938
Page 5 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly general meeting of the Adelaide Camera Club and incidentally the last general meeting of the club's financial year, will be held at the club room, institute building, North terrace, on Monday evening. The full address is given for the benefit of intending new members who may care to come along, as quite a large number of membership forms was applied for during the club's recent photographic exhibition. Considering that the fifth Test match and one or two very wet days occurred during the period of the exhibition, there was an excellent attendance, the number of visitors totaling 1,321. Committee members are reminded that a meeting will be held at 7pm before the general meeting on Monday.
DEVELOPING ENLARGEMENTS
At the conclusion of last week's article we had left the enlarged print in a dish of water of a temperature of 65 deg. F. and ready for developing. As a test strip has already been developed, we should have developer and acid hypo all ready for the enlarged print. At this stage, however, it might be of some help to discuss the question of developers and acid hypo. For the beginner in enlarging it is advisable to use bromide paper only and leave chloro-bromide papers alone until some skill and method has been achieved. For bromide papers the best developer to use, for a start anyway, is metol quinol, or, as it is generally termed, "M-Q". There are various formulas for this developer, the constituents mostly being the same, but the proportions varied to suit various manufacturers papers. If possible, it is advisable, although not absolutely necessary, to use the formula prescribed by the maker of the bromide paper being used. Beginners, however, are seldom equipped to make up their own developers and besides, use such a small quantity that it is perhaps better for them to purchase their requirements in packets or bottles already mixed and needing only dilution with water. If it is possible to purchase, ready mixed, the developer recommended by the maker of the paper, then do this, otherwise purchase any other well known brand.
M.Q. FORMULA
For those who would like to make up their own developer for bromide paper the following is recommended: Metol, 30 grains. Hydroquinone, 1/4 oz. Sodium sulphite (anhydrous), 3/4 oz. Sodium carbonate, 3/4 oz. Potassium bromide, 1/8 oz. Water, 40 oz.
METHOD OF MIXING
Dissolve metol thoroughly in 8 oz. water at 130 deg. Fahrenheit. Pour into a large bottle capable of holding at least 40 oz. Then dissolve 3 parts of the sod. sulphite in 12 oz. water at 130 deg. Fahrenheit and pour into the bottle. Next dissolve the hydroquinone and the remaining part of sod. sulphite in 8 oz. water at 130 deg. Fahrenheit and pour into bottle. Follow by dissolving the sod. carb. in 12 oz. of cold water and add to the ingredients already in the bottle. Finally drop the pot. brom. into the bottle, put in the cork tightly and shake well. For use take 5 oz. of this stock solution and mix with 7 1/2 oz. of water. The stock solution will keep well if bottle is kept tightly corked.
ACID FIXING BATH
Acid-hypo fixing can be purchased ready mixed and requiring only dilution with water. For those who desire to make their own, here is the method: Hyposulphite of soda, 4 oz. Water, 20 oz. Potassium metabisulphite. 1/2 oz. Note - Dissolve pot. metabisulphite separately in warm water and when cold, add to hypo. solution.
Saturday 10th September 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club held its monthly meeting at the club room last Monday evening. Details of the recent pictorial photographic exhibition were discussed and applications for membership of the club were dealt with. Members are reminded that the next general meeting, which will be held on the first Monday in October, will begin a new financial year and the election of officers for the next 12 months will take place. It is therefore important that this meeting should be attended by as many members as possible.
ENLARGEMENTS
With everything prepared and the enlarged print ready for development all immediate difficulties should be over. Care, however, must still be exercised to ensure, a perfectly developed and faultless print. The following hints actually summarize the process from the moment the print is taken from its initial bath of water at 65 deg. until it is dry: 1. Immerse print in developer quickly so that the whole surface is covered with developer in as short a space of time as possible. As the paper is already wet from the soaking in water, the spread of the developer should be quick and even. 2. Rock developer dish lightly and all the time keep your eyes on the second hand of the watch to check up that the first appearance of the image coincides as nearly as possible with the time taken during development of the test strip. 3. If there is a big difference in time it will probably be due to the developer either getting colder or hotter, according to the season of the year. This point should be watched and every endeavor made to maintain an even temperature during the whole processing.
WATCH FOR HIGHLIGHTS
4. As soon as the print is fully developed and here it is important to see that all the details in the highlights have been brought out by the developer, remove and replace in first water bath for a few seconds to wash off as much developer as possible. In very hot weather a stop-bath can be used, as development is immediately halted, thus preventing over development before print reaches acid-hypo bath. The stop-bath consists of 2 ozs Acetic Acid (28 per cent. pure) in 32 ozs of water. 5. From the water or stop-bath remove print to the acid-fixing hypo dish, the formula for which was given in last week's article. This bath must be fresh enough to fix the print thoroughly in 10 to 12 minutes. A good plan is to have two acid-fixing hypo dishes transferring the print from the first to the second after about 5 minutes. The first bath eventually gets laden with developer and is thrown away. The original second bath is then used as a first bath and a fresh solution of acid hypo prepared for use as the second bath.
WASH FOR 30 MINUTES
6. Transfer print to dish or basin used for washing. If running water is available, so much the better. Wash print in this running water for at least 30 minutes and longer if possible. If running water is not available, insert print face downwards in a large dish of water, allow to soak for five minutes, pour off water and fill dish with a fresh supply. Repeat this operation every five minutes until 12 changes of water have been made. 7. Take print out of water, lay it face up on some clean, pure white blotting paper and wipe surplus moisture off the surface with a damp viscose sponge. 8. Hang up, by clip or pin on one corner of print, to dry in a safe place as free from dust as possible. 9. When dry, place print between two pieces of heavy card and put a weight; such as heavy books, on top so as to press the print nice and flat ready for the process of "working-up".
Saturday 17th September 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club members are reminded that the usual practical meeting will be held at the University on Monday night and to bring their cameras and tripods. Last week in our series of articles on Enlarging, we reached the stage where the enlarged print had been developed, dried and pressed flat. At this point many beginners come to halt. They have an enlarged reproduction from their negative and that's that! Many realize, however, that the enlargement is not all they hoped it would be. There may be a few (and in some cases many) black spots dotted about the highlights, the result of minute "pin-holes" in the negative, which naturally enlarge up with the rest of the picture. Again, in all probability (and exceptions are rare) there are certain parts of the picture too light or too dark to make a pleasing and well-balanced subject. Although during the enlarging process certain highlights and shadows had been dealt with by retouching the negative and shading during exposure, it is impossible with the small negatives used today to deal with the very small light or dark areas or accurately gauge and control the half tones during the enlarging process. It is therefore necessary, if the enlargement is to look like a real masterpiece, to attend to all these corrections on the print itself.
REMOVING BLACK SPOTS
If the beginner, for a start, decides to remove only the black spots on the print and to leave alone the lightening up of areas that are too dark, there are different methods at his disposal. These I will list and then deal with them individually in next week's article. (1) Gentle and careful scratching out with a retouching knife, a pen print-trimmer, or even the corner of a large blade. (2) Using Farmer's Reducer (ferricyanide of potassium and hypo.). (3) Using tincture of iodine and hypo. (4) Applying the "Etchadine" process. For removing black spots only, one of the first three processes is recommended for the reason that the "Etchadine" outfit is costly in comparison with the other methods, although well worth the expenditure, provided that it is intended to do more than remove black spots, because this reducing agent is ideal for lightening shadow portions of the print that are too dark and for accentuating highlights. However, more about this work will be explained later.
Saturday 24th September 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The annual general meeting of the Adelaide Camera Club will be held on Monday evening, October 3. The committee will hold its usual meeting at the clubroom at 7pm and the general meeting will begin at 8pm, when the reports of the year's work will be given and the election of officers for the ensuing 12 months will take place. Members are requested to make a special effort to attend, as it is their responsibility to appoint the club executives for the year. In last week's article I mentioned four processes that could be used to remove black spots from enlargements. The first and most simple method, although not the most satisfactory, is the use of the retouching knife, pen print trimmer, or any other sharp-edged instrument such as a razor blade. The spot to be removed must be attacked gently and no attempt should be made to dig it out in one or two strokes: this only leaves a nasty hole on the surface of the print which is difficult to hide. In some cases the spots are very obstinate and the black silver deposit is present right through the emulsion, so that when it is removed by the knife the white or cream base is revealed. This necessitates retouching in order to bring the now white or cream spot in line with the surrounding half tones.
PENCIL OR WATERCOLOR
This can best be accomplished by using either pencil or watercolor. In using a pencil it will be necessary to select one from a very hard to a very soft lead. Three or four very finely pointed pencils should be kept handy, using the hard for the light tone areas and the softer leaded varieties for the darker tones. In applying, dab the point of the pencil vertically down on to the spot to be retouched. Do this lightly until the blemish tones with its surroundings, then just lightly rub the spot with the tip of the finger. To fix the pencil retouching on a print hold the print over the steam from a kettle for a few seconds. Care must be taken not to apply the steam for too long a period as it will melt the surface of the print. In using watercolor mix a little black with water, moisten a No. 0 or 00 Sable brush in the mixture and apply brush to a piece of scrap paper until nearly all the paint has left the brush; then lightly apply brush to the spot and repeat this application until the blemish tones with its surrounding grey. The watercolor dries almost immediately and does not require steaming in order to fix it. Most enlargements today, however, are made on matte or semi-matte surfaces and in such cases it is seldom necessary to employ gum. I will deal with one or more of the other methods next week.
Saturday 1st October 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Once again I would remind members that the annual general meeting of the Adelaide Camera Club will be held at 8pm on Monday night at the club room. The committee will meet at 7pm. A successful portraiture evening was held recently. There was a good muster of camera enthusiasts and a first class model considerably aided photographic attempts under different lighting effects.
REMOVING BLACK SPOTS
Last week I outlined the procedure to adopt in removing black spots from enlargements with the aid of a retouching knife or pen print trimmer. However, no matter how carefully this work is done there are always small abrasions left on the surface of the print. It is, therefore, advisable, if time and patience will permit, to remove these black spots by a chemical process. We therefore come to the second method of the four set out in a previous article - that of treating the spots with ferricyanide of potassium and hypo. All that is required for this work is (1) a No. 0 or 00 sable paint brush, obtainable from any artists materials shop for under 1/; (2) a plain hypo solution of a strength of 4 oz. to 20 oz. water; (3) a large crystal of ferricyanide of potassium.
METHOD
Pour a small quantity of the hypo solution into a glazed pottery receptacle such as an egg cup. Then dip the brush in the hypo and draw the point lightly over the crystal of ferricyanide, so that the hairs of the brush come to a fine point. Apply point of brush carefully to the black spots on the enlargement (which must be perfectly dry) and the spots will immediately turn white. Wash the print in running water and dry. The white spots can then be retouched with pencil or watercolor to match the surrounding tones. One word of warning when using this method, is necessary and that is to remember that ferricyanide of potassium is poisonous. Therefore do not suck the brush.
IODINE PROCESS
Tincture of iodine may be used in a very similar way to the above method. The difference is that the iodine is applied to the spots without first dipping the brush in hypo., after which the print is put into the hypo. bath for a few minutes. In this method the spots do not turn white until print is in the hypo. and therefore the success of the operation cannot definitely be ascertained at first attempt. In the case of very black spots, one application of iodine is not always successful, which means that the whole process must be repeated after the print has been washed and dried. When very black spots are present, it is a good idea to apply the iodine two or three times before putting the print in hypo. This gives the iodine a better opportunity of penetrating the solid silver deposit which forms the black spot.
Saturday 8th October 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the annual general meeting of the Adelaide Camera Club at the club room, Institute Building, North terrace, this week, the following executive appointments were made for the ensuing year:
President, Mr. L.A. Wilde (re-elected); vice-President, Mr. F. Cole (re-elected); treasurer, Mr. J.N. Tomlinson (re-elected); Hon.Secretary, Mr. H.L. Austin (re-elected); librarian, Mr. F.A. Wendt; committee members, Mr. Les Fisher (competitions organizer). Messrs. F.A. White, H.O. Irwin and Miss E.I. Viney.
Miss E.I. Viney won the trees competition and Miss C.M. Eardley was second. It is worthy of note that two lady members carried off the prizes with excellent pictures.
The next meeting will be at the University on 17th October, when a demonstration on working up prints will be given by advance members.
ETCHADINE PROCESS
This week we deal with a process that enables the photographer not only to remove black spots, but to lighten black or half-tones to any extent desired. In fact, with this process black can be made white without any abrasions or indication that such work has been done on the print.
Alternatively this process can be used on negatives in the same manner, the result on the print being just the opposite, for by lightening the dark portions of a negative they will naturally print darker.
The etchadine process in achieving this result acts in the same way as the ferricyanide and iodipe processes. That is, it removes all, or part, of the black silver image from either negative or print. The great advantage of etchadine, however, is that the work is under definite control all the time and the action can be closely watched and stopped immediately sufficient of the black silver is removed.
The etchadine outfit consists of: 1. Control medium. 2. Blendoil. 3. Thinners, Nos. 1 and 2. All these are put up in bottles ready for use and items 2 and 3, which are used only in small quantities, have incorporated with the stoppers a means whereby single drops may be extracted and used, thus saving wastage.
Instructions are given with each outfit but briefly the method is as follows:
With a wad of cotton wool control medium is rubbed gently into the surface of the negative or print. A mixture of blendoil and thinner is then prepared to a strength according to the class of work to be done. This is applied with a camel's hair or sable brush to the part to be lightened. From time to time the cotton wool containing control medium is applied. This stops the action of the blendoil.
Finally, when sufficient black silver has been removed from all parts of the negative or print, whichever is being worked on, it is placed for a period ranging from 3 to 10 minutes in a hypo bath made up of 2 oz. hypo to 8 oz. water.
Washing then takes place to remove hypo, the negative or print dried and then, in the case of a print, it is ready for the final (if necessary) operation of darkening those portions which are too light - in other words, the opposite process to that carried out with etchadine.
Saturday 15th October 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the physics lecture room, University, on Monday night the Adelaide Camera Club will hold its first practical meeting for the new financial year. This month the advanced members will give some useful hints and demonstrations on "working up" and finishing prints. This is a subject in which all keen photographers should take an interest, for without the ability to put the essential finishing touches to a photograph, no matter how good the subject may be, the result will not come up to exhibition standard. It is just by chance that the final article on "Enlarging" should this week be on portion of the subject to be demonstrated on Monday night. This will close a series of weekly notes on the subject that have been appearing in this column since June 11. If readers have been cutting out these articles they will now have a complete treatise which should be of some assistance if consulted whenever they are in doubt.
"WORKING-UP" PRINTS
The final task on a print, particularly an enlargement, is the shading in or darkening of those portions which require this attention to give the picture the correct balance of tones. The materials required are (1) a small bottle of pure spirits of turpentine (double refined), (2) a bottle of artists pure linseed oil. (3) a bottle of mastic varnish, (4) a tube of oil lamp black, (5) artist's paint brushes of various sizes, (6) some cotton wool and clean white rags. Make up a "dope" by mixing one part each of turpentine, linseed oil and mastic varnish in a small bottle. If preferred, the mastic varnish need not be used some workers, myself included - prefer to use only linseed oil and turpentine. Lay everything out ready on a table and mount the print on a large piece of cardboard or an old mount. This can be done either by the use of drawing pins or adhesive tape.
PROCEDURE
Make up a pad of cotton wool inside a piece of clean white rag. Moisten this pad with the "dope" and rub evenly over the whole print, working the dope into the surface. With another clean "pad" wipe off surplus dope. Squeeze a small quantity of oil lamp black on to a clean tile or piece of glass and thin down with the dope. Apply mixture to a pad of cotton wool and rub this gently on the larger portions of the print which require darkening. Small white spots and lines which need attention can be treated by using a paint brush, of a suitable size. It is important to see that the application of the oil lamp, black is even and of the right depth of tone. Careful and unhurried work will assist in ensuring success, but nevertheless some practice and experience is generally necessary before first-class results are obtained.
DRYING THE PRINT
When all the "working-up" is finished, the print must be placed in some secluded dust free position where it may remain undisturbed for at least three or four days until, the dope has thoroughly dried. Any handling of the print while it is still tacky will leave finger marks necessitating further treatment. The best way, when the print has been placed in a safe position, is to forget all about it for a week if possible and then you can handle it with impunity. There then remains only one more job to be done and that is to place, the print in an album or mount it suitably.
Saturday 22nd October 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the Physics Lecture Room, University, on Monday night, a demonstration of working on prints was given to members of the Adelaide Camera Club by some of the advanced workers. On Monday, November 7th, at the club room, there will be a talk and general discussion on photographic processes and problems. At this meeting it is anticipated that the club will have the aid and advice of an expert professional photographer. A good attendance is expected and members are invited to bring along their problems.
MOUNTING PRINTS
Many amateur photographers seem to fight shy of mounting prints, particularly large prints. Most of the difficulties encountered are due either to the use of wrong mounting materials or to incorrect procedure. As far as the mounting agent is concerned, on no account should ordinary office paste or home-made paste of the flour and water type be used. There is far too much moisture in them, which causes the print to buckle and in warm weather to become unstuck. Good photographic mounting paste is suitable for small prints, but for first class work with the larger type of prints, particularly as they are mostly of double weight paper, dry mounting tissue is undoubtedly the best. The mounting board also should be of best quality, free from impurities, as these may affect the print after it has been mounted some time. It must also be perfectly dry at the time the print is being affixed to it. In damp weather these mounts absorb a certain amount of moisture, which, if not removed, will cause the print to loosen at various places, giving an uneven appearance. To make sure that the board is perfectly dry, all that is necessary is to iron it, before beginning mounting operations, with a hot household iron. Be careful, however, not to have the iron too hot or the surface will be scorched.
PROCEDURE
On the mounting board carefully mark with a pencil the positions where the four corners of the print should be placed. Then putting the mount on one side, place the print face downwards on a smooth board or table covered with a newspaper or a large piece of cardboard. Place the sheet of dry mounting tissue on the back of the print and with the tip of the iron, which should be just hot enough to sizzle when touched with a wet finger, touch the dry mounting tissue at two or three points (but not the corners), thus making the tissue adhere to the print. Next lay the print in position on the mount and with the iron touch down each corner of the mounting tissue (not the print). The print will now be unmovably in the correct position on the mount. Finally, place a piece of white paper or heavy tissue paper over the face of the print and with the iron, at the heat already indicated, slowly iron over the whole surface of the print. Keep the iron moving or marks will be left on the print surface. If the temperature of the iron is correct, the print will adhere firmly and smoothly all over. If the iron is too cold the tissue will stick to the print but not to the mount. If too hot the tissue will adhere to the mount but not to the print.
Saturday 29th October 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
In an endeavor to find out why comparatively so few people take up photography as a serious hobby, I have discussed the subject with many camera owners and others whom I thought might become enthusiastic enough to join our little coterie of ardent picture makers. One young fellow when he had looked at my camera outfit, inspected my dark room and seen a demonstration of enlarging, shook his head and said, "This is not a hobby; it's a business". Others have remarked, "It is too scientific, for me", or, "I'm told it's a very expensive hobby". I could quote many more excuses, but I am seriously beginning to believe the real reason why so many people in Australia, compared with other countries, are content to "snap" and let someone else do the processing, is that in this wonderful climate there is so much sport available that it lures people away from hobbies which involve patient work at home. When it comes to a choice between an evening in the dark-room or a motor drive through the hills, or, perhaps, a swim at one of the beaches, or if it is winter time, a game of bridge with friends, it is easy to understand why so many camera owners do not rush to join the Adelaide Camera Club. In spite of other attractions, however, there are still a good many people who, if they could convince themselves, or be convinced, that pictorial photography was within their reach, would take up this fascinating and educative pastime. With the idea of converting these, shall we say "Hesitants", as my objective I propose to start a new series in this weekly column, which will deal with photography from the very beginning and so that my quotations and data will be authentic and reliable, I will use certain treatises by men of high standing in the photographic world as the basis of my articles.
HISTORY OF PHOTOGRAPHY
Dr. C.E.K. Mees, Kodak Director of Research, in his book Photography, gives some interesting details of the start of photography. Like many other scientific processes there was no sudden discovery that silver compounds could be coated on glass, exposed in a camera and subsequently developed and printed. The first step towards photography was in 1727, when a German physician named Schultze was experimenting on the treatment of chalk with nitric acid and used some nitric acid in which he had previously dissolved some silver. He noticed that when the sunlight fell on the white mixture it turned black immediately and on investigating found that the effect was due to the silver. He filled a number of bottles with a white mixture of chalk and silver nitrate, round which he put stencils, under the open parts of which the mixture discolored, but when the bottles were shaken the discoloration disappeared. Schultze was interested and recorded his experiments, but he did not invent nor did he even turn his thoughts through these experiments, to the process of photography. More discoveries had yet to be made and many years had to pass before the first photograph was taken. (To be continued next week)
Saturday 5th November 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The general meeting of the Adelaide Camera Club for November will be held next Monday night. A committee meeting will begin at 7pm. New members of the committee are reminded to be present. The event of the evening will be a special talk on photographic matters and problems.
CLUB SYLLABUS
A syllabus covering Adelaide Camera Club events for the next 12 months is in the hands of the printer and members should receive their copy at a very early date. Additional copies will be available on request for distribution to friends and prospective members. A very fine program of events has been arranged for the ensuing year and it is the ambition of the club committee to provide two really first-class evenings each month. This can only be done, however, provided that good support is forthcoming from members.
PHOTOGRAPHIC HISTORY
Continuing from last week's article, which began a new series dealing from the very beginning of how photographs came to be made, we pass on from Dr. Schultze's discovery in 1727, that silver compounds were affected by light, to later experiments approaching closer to practical photography. Some years after Schultze's discovery a Swedish chemist named Scheele exposed paper coated with a layer of silver chloride to the solar spectrum produced by a prism.
He found that the part exposed to the violet end of the spectrum darkened most quickly. These experiments were repeated by Dr. William Lewis, an Englishman, whose note books were subsequently bought by Josiah Wedgwood, the famous English potter, who passed them on to his son, Thomas Wedgwood, who was interested in chemical experiments. By 1802 Wedgwood was making prints on paper coated with silver chloride, from paintings made upon glass. Wedgwood also attempted to make prints from Nature by means of a camera obscura, but did not succeed.
CHIEF DIFFICULTY
Wedgwood and Davy, who was experimenting with him, found that their great difficulty was to prevent their prints being destroyed when exposed to light. In this they were unsuccessful and it was not until 1839 that Sir John Herschel found out that hypo could dissolve away the unaltered chloride of silver and thus fix the pictures. This discovery was really the foundation of photography and in spite of the marvelous advances made in photographic science since that date, nearly 100 years ago, hypo is still used as the fixing agent for plates, films and prints.
As yet the actual taking of photographs still remained to be discovered, although in 1822 a man named Niepce had made a photograph of sorts, using a coating of asphaltum on glass, but the process was unsatisfactory because of the extreme insensitivity of the asphalt. Niepce, however, became acquainted with a French painter named Daguerre, who was trying to record images given by a camera obscura. Niepce died in 1833, but Daguerre carried on his experiments and, due to his discoveries practical photography was born in 1839.
Further interesting details of photographic history from Dr C.E.K. Mees's book Photography will be given next week.
Saturday 12th November 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The November general meeting of the Adelaide Camera Club was held at the club rooms on Monday, when a most instructive demonstration on portraiture lighting was given. As a result of the practical advice and help received, the club is looking forward to seeing some excellent portrait work from members in competitions and exhibitions during the ensuing year. All members of the club should note that as soon as the club syllabus is made available to them, no other advice of club meetings will be sent out. The syllabus will give a complete program for the year. A better realization of the elementary principles of photography is obtained by a study of its history, thus the reason for the present series of articles on this subject from Dr. C.E.K. Mees book Photography. Just as a child must learn its A.B.C. before it can spell, so must all of us get to understand the fundamentals of a scientific hobby before we can achieve any worthwhile success. This week we arrive at what is really the beginning of practical photography. Daguerre, a French painter, in his search for sensitive materials treated silver plates with iodine, thus coating them with a layer of silver iodide. After some years he left one of these plates, which had been exposed, in a cupboard overnight and in the morning found that it had developed a visible image. Investigation proved that this was due to some quicksilver in the cupboard, the vapor of which had condensed on the exposed plate. This discovery made it possible to obtain a photographic image with an exposure of only a few minutes.
MADE NEGATIVE
This process was known as daguerreotype, a name which is still familiar to many of the older folk, who will recollect photos taken by this method. For 15 years this process was used throughout the world and then was relegated when the use of silver salt carried in a coating upon glass displaced the use of silver plates. Fox Talbot, an Englishman, after many experiments, found that it was not necessary to expose sensitive material in a camera until a clear image was obtained, but that a faint or even invisible image could be built up by what we now call "development". Thus long exposures were found to be unnecessary and a picture could be taken in the short time (at that period) of half a minute. Fox Talbot was also the first to make a negative and use it for printing. His negatives were on paper coated with silver iodide and were printed on silver chloride paper: but the use of glass for negatives shortly followed the paper negative. These plates were made by coating the glass with albumen as a carrier for the silver iodide. Potassium iodide was incorporated in the albumen. After drying, the plate was immersed in silver nitrate. Development was first carried out with gallic acid, but later pyrogallol was used instead. These plates were very slow, but gave fine transparent negatives of fine grain quality. This progress in photography takes us to about 1850, only 88 years ago, but still photography was in its infancy. Next week and each following week this column will take the reader step by step until modern day photography is reached and by then we should all understand and appreciate the comparative simplicity with which fine photographic pictures can now be taken.
Saturday 19th November 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
On Monday night, in the physics lecture room at the University, the President of the Adelaide Camera Club (Mr. L.A. Wilde) will give club members and any friends they may care to bring a talkie picture entertainment. While "movies" are not associated with the club's activities, there are many things that may be learned from them, particularly in travelogues which often contain some excellent landscapes and seascapes. The "still" photographer can learn from good cine films much about lighting, perspective and pictorial rendering. As this will be the last meeting at the University this year it is hoped that there will be a good attendance.
PHOTOGRAPHIC HISTORY
Continuing our series of articles on this subject we arrive this week to the year 1851. when Scott Archer replaced albumen (which had been used during a period previous to this date, as a carrier for the silver iodide) with collodion and the wet collodion process remained the standard method of making negatives for the succeeding 25 years. Photographers of today can place a roll film. a film pack, or a dark slide into their cameras in a few seconds. They can also at their own time and convenience develop such sensitive material with ease and assurance in the comfort of their home or studio. Many just slip the films or plates out of their cameras and hand them over to a photographic concern to develop and print for them. Imagine how we would feel if we, with all these modern conveniences. had to go back to the wet collodion period. Then a photographer had to carry with him a folding "dark room" tent, a large camera with tripod, weighing many pounds and a case containing all the necessary chemicals and dishes.
DIFFICULT PROCESS
The reason for this is that with the wet collodion process a piece of glass had to be thoroughly cleaned and then coated with collodion in which chemicals were dissolved and then placed in a bath of nitrate of silver, which formed silver iodide in the collodion and made it sensitive to light. The plate had then to be placed in the camera while it was still wet, the exposure made and developer poured over it immediately after. It was then fixed and dried, placed safely in a carrying box, the various chemicals, dishes, camera and tent packed up and a move made to the next site where a photograph was wanted. These pioneers were without doubt real enthusiasts and if it had not been for their efforts, photography would not be the simple yet enjoyable hobby that it is. The wet collodion process, while giving excellent results, was, as can be seen above, a great handicap and it was well recognized that a dry plate would be very satisfactory and enable the photographer to dispense with his traveling dark room and chemical outfit and allow all processing to be carried out at home. In 1862 the Marseilles Photographic Society offered a prize of 500 francs for a ready-sensitized plate, which could produce a "photograph in full sunlight of a street scene showing action and movement" and many experiments followed, all aiming at producing a satisfactory dry plate.
Saturday 26th November 1938
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
A program covering the activities of the Adelaide Camera Club for the year ending October 2, 1939, has been posted to every member. Additional copies will be available on application for distribution to prospective members and others interested in photography. Members are asked to accept this syllabus as an official notification of all meetings, lectures and outings and to support the program as far as possible. On Monday, night a talkie picture program was given to members. A travelogue featuring scenes in Sumatra and Java provided some excellent examples of pictorial photography, while other supporting films of a humorous nature added to the enjoyment of the program. A meeting on Monday night, December 5th, will be the last for 1938 and members will note by the syllabus that an outing of night photography round the city will be held. This event should be popular and a large gathering is expected. Anyone who possesses a camera but is not a club members will be welcome. The rendezvous will be the clubroom (upstairs), Institute Building, North terrace. Entrance is opposite the War Memorial Kintore avenue.
PHOTOGRAPHIC HISTORY
Those readers who have been following these articles on the history and progress of photography will remember that last week we reached the stage when wet collodion plates were being used as the standard method of obtaining negatives. For many years after, numerous experiments were made to produce a satisfactory dry plate so that development could be undertaken not only at home, but at some considerable time (if necessary) after the plate had been exposed. It was realized that such a plate would enable a photographer to travel long distances without the necessity for carrying a dark-room tent and all the necessary paraphernalia necessary when using wet collodion plates. It was, however, not until 1877 that advertised dry plates. These first dry market. In that year B.J. Edwards and Co. and Wratten & Wainwright advertised dry plates. These first dry plates were about 10 times as sensitive as wet collodion and gave images of great vigor and clarity, although they were less contrasty than the wet plates. Peculiarly, when we consider the call today for speed and more speed, this increased sensitivity was regarded as a disadvantage. Photographers had become used to the speed of wet collodion plates and consequently greatly over-exposed the new dry plates. It was more than five years before the photographic world accepted the dry plate as superior to the wet collodion process.
INCREASING SENSITIVITY
From then (1882) onwards, manufacturers were striving to increase the sensitivity of plates (and this effort continues even today, as advanced photographers well know that the speed of emulsions has been increased considerably during the last year or two). By 1895 plate makers were calling their products by such names as "flash light", "lightning" and "speed". Fast these plates were at that period, but very slow compared with present-day plates and films.
Thursday 1st December 1938
Page 21 - News (Adelaide South Australia)
CAMERA STUDIES EVIDENCE OF MUCH ENTHUSIASTIC WORK
The indefatigable Mr. L.A. Wilde, who is President of the Adelaide Camera Club, has kindly sent me the syllabus of that body for the coming year. If there is a place that gives me unending joy it is the clubrooms of this enterprising and artistic collection of young men and women who are constantly on the look-out for scenes and sights of beauty. It is a great pity that the artist body has not the cohesion and esprit de corps of the Adelaide Camera Club. Their arguments are worth listening to and if at times there is a real Donnybrook fair atmosphere introduced it is only a flash in the photographic pan and is all to the good. I met an elderly member one night and when I expressed admiration of a perfectly composed landscape that he was exhibiting he produced from a side pocket the miniature camera that had done the deed. It was an expensive affair and made me envious. But when he produced from his hip pocket a larger and more expensive camera and told me that he had several more at home, I gasped and wondered at his amazing enthusiasm. Then I saw it was such enthusiasm common to all the members, that made for the unbelievable beauty of their offerings.
Saturday 3rd December 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The last meeting of the Adelaide Camera Club for 1938 will be held at the club room on Monday night. As soon as business has been dealt with members will join in a photographic outing round the city. Prizes will be awarded for the best photographs taken during the outing. Following this meeting the club will go into recess until the first Monday in February.
PHOTOGRAPHIC HISTORY
In our previous article we reached that period in photographic history when dry gelatin plates had been invented, thus replacing the cumbersome method of using wet collodion plates. These dry plates were exposed mostly in field cameras mounted on tripods, now used only for commercial photography. Cheap field cameras with simple shutters were very popular about 1900. Simple box cameras were also made in which the plates were held in sheaths and dropped by the motion of a lever. These box plate-cameras played the part later to be filled by roll-film box cameras and being cheap enabled many people to start photography. In those days there were no developing and printing houses to undertake the processing of amateur's negatives, so the would-be photographer had of necessity to do all his own work.
HOW P.O.P. WAS MADE
The early dry plate negatives were printed on albumenised paper and later on gelatino-silver chloride paper. This paper, known as printing-out paper (P.O.P.) was made by preparing a gelatin emulsion of silver chloride with a free acid, such as citric acid and an excess of silver nitrate. The printing was done by means of sunlight and the prints were toned with a solution of sulpho-cyanide and gold chloride, which deposited gold on the image, after which they were fixed and washed. This paper is used today only for making professional proofs. Other printing processes introduced were bromide, carbon, gum-bichromate, oil, Platinotype and a silver chloride process known even today as "gaslight paper". The first paper of this type was named "Velox", a trade-mark which has been applied to this type of paper from 1894 to the present day.
ROLL FILMS
The first materials, for what is now the popular roll film, were made of paper by the Eastman Dry Plate and Film Co. in 1895. The paper was coated with a gelatin emulsion similar to that used for dry plates. The light-sensitive paper was used in a roll holder which could be attached at the back of the camera in the same position as the plate holder. The material was not entirely satisfactory because the grain of the paper was likely to be reproduced in the print, made from it. It was supplanted, therefore, by what was known as a stripping film, consisting of a temporary paper base coated with soluble gelatin which in turn was coated with gelatin emulsion. After exposure and development the film was laid face down on a sheet of glass and when the gelatin layer had been softened with warm water the paper support was stripped from the film negative. This type of film was employed in the first Kodak which was marketed in 1888.
Saturday 10th December 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club held its last meeting for 1938 on Monday night, when Mr. F.A. White showed some excellent Dufaycolor lantern slides. This demonstration illustrated perfectly the great advances made in color work during the past year or two. Afterwards members visited the City Bridge to take some night photographs for a competition which will close on Monday, February 6th, when the three best prints will be awarded prizes. Members and prospective members requiring information during the recess should communicate with the Hon.Secretary (Mr. H.L. Austin).
PHOTOGRAPHIC HISTORY
Continuing the interesting series of articles on the development of photography from its very beginning, we arrive this week at probably the most important advance ever made in the interests of amateur and professional photography - the introduction of the first transparent films in rolls, which are used today in millions a year. This roll film was first placed on the market in 1889 - just on 50 years ago and was made originally by spreading a solution of nitrocellulose on a glass table 200 ft long by 42 in. wide, made up of 10 glass plates. 20 ft long, joined together at their ends. When dry, the base was coated with a substratum of silicate of soda to make the emulsion adhere to it and then coated with gelatin emulsion. This new nitrocellulose film was transparent and grainless and it could remain as the permanent support for the negative.
DAYLIGHT LOADING
The first roll films had to be loaded into the camera in a darkroom, but in 1891 it was further improved by winding it on a wooden core inside a light tight box and attaching black cloth leaders to the ends of the film. Later it was wound inside a protective sheet of black paper with a sufficient over length of paper so that the camera could be loaded, as it is today, without exposing the sensitive film itself to light.
FIRST POCKET CAMERA
The arrival of daylight loading films naturally led to new camera improvements and in 1895 the first pocket Kodak was designed. In 1898 still further improvements were introduced when cameras were marketed, which were collapsible - a form which is probably still the most popular type of camera today. In 1900 the first Brownie camera intended for young folk was placed on the market. The development of roll film photography and handy sized cameras led to another big change in amateur photography, for before their introduction the amateur had of necessity to do all his own processing work. Now, however, the amateur could load and unload his camera in daylight, so thousands of small concerns such as photographic shops and chemists, added to their business that of developing and printing. It became, with the majority of camera owners, a practice of just pressing the button and letting someone else, for a consideration, do the rest. This type of amateur photographer, who is usually not interested in photography, but only in getting a few small records of a holiday trip or his family and friends, exists today in millions all over the world and the "D.&P". business, as it is known, is quite a thriving one. However, luckily there are a number, certainly a small minority. of amateurs who realize what a splendid hobby photography really is and it is mainly due to their efforts, enthusiasm and demands on the manufacturer that both cameras and photographic material suitable for amateurs continue to be improved.
Saturday 17th December 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Many people will be taking cameras with them on their holidays and with proper care, there is no reason why every snapshot should not turn out a good picture and a real memento of the holiday. The following hints will ensure "no trouble" photography and readers should experience no difficulty in carrying them out: 1. Clean your camera inside and out. Dust is an enemy of photography. Use a camel's hair brush for the inside corners and for removing dust from the lens. Give the lens a final and gentle wipe with a soft cambric handkerchief. 2. Use the film you are used to and load it into the camera in as shady a spot as you can find. 3. If a lens-hood can be fitted to your camera lens, then get one. It will keep sunlight reflections off the lens and thereby save many a negative. A lens-hood is also extremely useful in keeping sea-spray and rain off the front of the lens.
DIFFERENT LIGHT
4. If taking photographs on the seashore or on a boat, a faster exposure than normal should be given or, alternatively, a smaller stop (or lens aperture) employed. The reason for this is that water reflects light and it is therefore much brighter near the sea than in town or country. If you normally employ the stop f11 and speed 1-25th second for your snapshots at home, then at the seaside give 1-50th second at f11 or 1-25th second at f16. 5. If your camera is of the focusing type, remember to focus especially when taking close-up subjects, otherwise the result will be fuzzy. 6. Do not get too close for portraits or the picture will probably suffer from distortion. About 7ft. should be the closest distance for taking unless you are expert and in close-up work, such as portraits, it is absolutely essential that correct focusing be given. 7. In taking snapshots of relations and friends, or, in fact, of anybody, see that you have a suitable back ground. Many photos turn out a failure because the background has been overlooked in the hurry and excitement of the moment. No one likes to have a tree or telegraph pole apparently growing out of their head. A little care and thought in this direction will help considerably in ensuring that every snap is a good one.
UNDUE HASTE
8. Be careful of your choice of a photographic concern for developing and printing. "In at 9am and ready at midday", sounds very attractive when you are anxious to see the results, but, quite frankly, I should fight shy of such offers as the work can only be done at the cost of under-fixing and under-washing. Such haste may be justified for urgent press photos, but there is really no need for it with amateurs films. 9. Keep your camera in a case and do not lay it on the beach where sand can blow on to it. Sand has a nasty habit of finding its away into any small crevice and scratched films and lens may result, besides the chance of the shutter becoming jammed. 10. Always carry two or three extra films with you. You may want them in a hurry and thus save the disappointment of missing some fine photos 11. When taking photos with a blue sky and white clouds, a light yellow filter over the lens will give your picture a fine sky that looks much better than pure white. 12. When photographing in the shade give at least twice as long an exposure as normal.
Saturday 24th December 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club extends to all readers of "The News" best wishes for the festive season and successful holiday photography. Those who are fortunate enough to receive a camera among their Christmas gifts and desire to be able to take really good pictures are reminded that the first Adelaide Camera Club meeting in 1939 will be held at the club room, Institute Building, North terrace, on Monday 6th February, at 8pm, when intending members will be welcomed. In the meantime "Application for Membership" forms may be obtained from the honorary Hon.Secretary, Mr. H.L. Austin, 17 Tudor avenue, Dulwich.
THE NEW CAMERA
Talking of new cameras suggests that a timely word of warning may not be amiss. Whether the reader has possessed a camera previously or not, he or she should not be in too much of a hurry to take snapshots with it. If a film is put in straight away and hurriedly exposed, except in lucky instances, the results are not likely to be particularly successful. With almost every new camera the manufacturer supplies a book of instructions. This book should be read through from beginning to end, not once but two or three times. On the last occasion, the camera, unloaded, should be held and the various adjustments recommended actually tried out so that the reader becomes familiar with such matters as the different lens apertures (or stops as they are often called), the various shutter speeds and focusing arrangement. The method of loading the film is also most important because if the film is not wound on straight it is not only likely to buckle and jam in the camera, but will not lie flat in the correct plane to the lens.
PRACTICE FIRST
When all the various adjustments have been mastered, take the camera to some quiet spot, say, in the back garden and with it still unloaded practice holding it steady while releasing the shutter. Those cameras with the ordinary small view-finder or reflex cameras should be steadied against the chest and the photographer's feet should be placed comfortably apart so that the stance is as steady as possible. With eye-level finders experiment until you discover the most comfortable way of holding the camera in the hand so that the shutter release can be operated without shaking while the camera is steadied against the face. All this may seem a lot of unnecessary work, but those carrying it out will be amply rewarded with sharp and properly exposed negatives.
Saturday 31st December 1938
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
I am going to devote this column today to answering one or two questions which have been put to me on a number of occasions. They are simple little problems to those who have studied photography, but I can quite understand the novice being puzzled. They are: "Why is it necessary to have various stops on the lens: why not always use the largest aperture and vary the shutter speed according to the light?" The answer to these questions is that a good many people do use only the largest stop and as a result only get good results on those occasions when a large stop should be used. It is necessary to vary the aperture of the lens for two or three reasons, the first and most important being that the size of the aperture affects the "depth of field", or, in simple words, has an important bearing on how much in the picture is sharp and how much is fuzzy. The larger the stop used the less depth of sharpness is obtained. This is useful in such cases as portraits out of doors. By using a large stop the subject comes out nice and sharp (if the focusing has been correct), while the background is rendered out of focus, thus throwing the subject into prominence. On the other hand, a fuzzy background would spoil a landscape or seascape, so when taking general views a small stop, consistent with the best shutter speed needed for the occasion, should be used.
SHUTTER V. LENS
Always remember that the shutter and lens are competing one against the other in the matter of correct exposure. For every smaller stop used, the shutter speed must be doubled in length of time. Taking a good average sunshiny day exposure as 1-25th of a second at stop f11, the relation of lens stops to shutter speeds would be as in the following f3.5 at 1/400; f4.5 at 1/200; f6.3 at 1/100; f8 at 1/50; f11 at 1/25; f16 at 1/10; f22 at 1/5: If the above stops do not agree with those marked on your camera, the nearest to them will do for the purpose of estimating exposure times. For example, a camera may have an aperture marked f5.6 and for this stop read as for f6.3. Again, f7.7 is near enough for f8. It will be seen from the above that the second reason for a lens having various stops is that it is sometimes necessary to adjust the stop to suit the speed. On a bright, sunny day a photographer "snapping" a racing motor boat, for example, would use his maximum shutter speed as a matter of course in order to get as sharp a picture as possible by stopping all movement. The brightness of the day may permit this fastest shutter speed to be used with an aperture of, say, f6.3, but if the day were dull he would still have to use his fastest shutter speed, but adjust his lens aperture to a wider stop such as f3.5. The third reason for lens stops is more applicable to cheaper lens than those ranked as first class. With a cheap lens, slight distortion at the edges of the photo often happens when using the widest aperture, but if such lens is stopped down this distortion is avoided, as the best part of the lens, the center, only is used.
Saturday 7th January 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
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ADELAIDE CAMERA CLUB
There is still another month to go by before the first new year meeting of the Adelaide Camera Club. These articles are consequently confined to useful hints and tips for the average type of camera owner, a class by the way which contains the makings of many good photographers. As this is the time of year when cameras are used extensively out of doors, let us discuss briefly and in simple language the subject of landscapes. Now the first essential of a good landscape is its composition or artistic rendering. The great secret of artistic work is simplicity, the avoidance of overcrowding and the employment of the fewest lines and masses in the composition of the picture. Next in importance to simplicity are harmony and balance and without these artistic composition is impossible. One of the faults most often seen in the work of a beginner in photography is the inclusion of too much within the confines of his picture. Frequently sufficient material for two and even more pictures is crowded into one, with the result that the eye wanders confusedly from one point to another, which produces a sense of irritation rather than that of pleasure.
WHERE MANY FAIL
As a general rule the photographer has a reason for every picture taken. This is when the artistic sense of the photographer comes to the fore. The beauty of the scene, its outline, its tone, in fact its composition generally are the forces which impel the camera owner to make an exposure of the subject. It is at this point that the majority fall down on the job and the result is not even 10 per cent. as good as what was seen by the eye: The reason is twofold. First the photographer sees his landscape in all the true colors of nature and secondly he sees it in the third dimension. How can these difficulties be overcome on the print which is a monochrome and has but two dimensions - height and width? Taking first of all the lack of color, this can be overcome to the extent of illustrating the various tones rendered by the colors by the use of films of the chrome variety or better still, those in the panchromatic class. The chrome films are sensitive to all colors except red, while panchromatic films are sensitive to all colors, including red. Naturally with these films a fairly correct exposure must be given to ensure a negative of good tone range.
CORRECT PERSPECTIVE
To create the impression of the third dimension, depth, it is necessary to include in the landscape photograph a correct perspective. This is done by choosing a good foreground leading in a pleasing way to the principal object in the landscape - this may be a tree or house or even a human being and thence to the background or distant view. Arranged carefully in the view finder, the subject should show depth in the picture by the relative sizes of objects in the foreground, middle distance and background For example, in the foreground there may be a tree, in the middle distance a house and the background, say, hills. Now the tree would perhaps nearly fill the picture from top to bottom, using perhaps one third of the width. The house in the middle distance would look comparatively small to the tree, while the hills in the background would by measurement on the print be small even compared with the house in the middle distance. This is perspective which gives depth to the picture. Try arranging your landscapes before pressing the trigger and you will get much better pictures.
Saturday 14th January 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The recent motor cycle and motor car races at Lobethal evidently proved very popular subjects for the amateur photographer, judging by the number of people who have brought along their "snaps" for me to inspect. Those that I did see were, on me whole, very satisfactory. In fact compared with photos shown to me the previous year, they were really excellent. Except in one or two isolated cases, full exposure of the subject was given and even those camera owners who were unable to give faster exposures than 1-100th or 1-150th second had stopped the fast moving cars by carefully "panning" their camera. It all goes to show that practice makes perfect. The main fault to be found in photos inspected was that the main subject, in nearly every case, was too small. Evidently in the excitement of the moment and the fear of losing it altogether, the trigger was pressed, when it would have been better to wait about one second longer. Next time, however, the confidence gained by this year's experience will enable these enthusiasts to snap at just the right moment. That is where the press photographer scores - he has learned by experience and rarely does he "shoot" too soon or too late. Still, it is better to be a little early and get the picture, even if it is small, than to miss it or catch a blur because the subject is too close and broadside on. So, congratulations to all those who were rewarded for their careful work with good results.
DIFFICULT SUBJECTS
It is comparatively easy to take a photograph of an interior and of course, quite an easy job is that of taking an exterior of a building. Many beginners, however, fall down when it comes to taking an exterior showing part of an interior or an interior subject in which a portion comprises exterior, such as, for example, a room with a sunny garden showing through the window. I was faced with the task only recently of photographing the exterior of a premises which had wide double doors leading, to an important section of the interior. It was necessary in this case to show at least some details of the subject inside the doorway. My electric exposure meter gave me a reading for the interior of premises of one second at f8. while the exterior reading was 1/100th second at the same stop. Now if I had given an exposure of one second the exterior part of the subject would have been hopelessly over-exposed, while on the other hand if I had given 1/100th second the interior portion of the subject would not have been recorded on the negative to sufficient extent to print other than just black. I therefore met each reading part way and gave 1/25th second exposure. The result was a slightly over-exposed exterior and a rather more under-exposed interior, but with the detail recorded. When it came to making a print I exposed the printing paper for the correct time to give me a satisfactory recording of the interior and then with a piece of card shaded this portion from the enlarger light and gave an extended exposure to the exterior part of the negative. The result was a satisfactory print. This of course, was rather an extreme sort of photographic subject, but there is a lesson to be learned from it and that is when taking landscapes watch for the shadows and increase your exposure to get at least some detail of the shadow portion of the picture.
Saturday 21st January 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Amateur photographers who do their own developing must have experienced a trying time during the heat wave we have experienced this month, By conveying my developer, fixing bath and a supply of water to the cellar overnight and rising early the next morning I was able to develop a film successfully. This was at the very beginning of the long run of hot days and nights, but since then, although I have exposed a couple of films, which cannot be classed as of an urgent nature, I have just let developing and printing alone. For fine-grain negatives of the small size used today it is risky to process them at a higher temperature than 70 deg. F. Work of an urgent nature and not requiring enlargement of many diameters can be done at slightly higher temperature, but every care must be taken to avoid reticulation.
GELATINE BASE GETS SOFT
It must be remembered, that the gelatine base which carries the sensitive emulsion gets very soft and will easily contrast and expand when in a wet state, such as when immersed in developer, fixing, or washing water. The trouble after several hot days is not so much the cooling of the developer and fixing to a satisfactory temperature, but maintaining them at this temperature during the processing. The water problem is perhaps the hardest of all to solve. The only way is to put several clean bottles of water in an ice chest and use these mixed with the tap water (which is far too warm alone) to the right proportions to bring the mixture to the same temperature as the developer and fixing agent. If in doubt, rather than spoil a film, put your chemicals and water through a time test first and thus find out if a fairly steady temperature can be maintained for the period necessary to put a film through the process of developing and fixing.
SIX CHANGES OF WATER
Washing after fixing is best done during hot weather, when the tap water is much higher than 70 deg. F., by using changes of water cooled to the correct temperature. Six changes of water at five minutes interval should do the trick. If circumstances will not permit the maintenance of a temperature of not more than 70 deg. F., my advice is either to take the film to a professional house for attention, or hold it until the climatic conditions moderate. News from the United States indicates that a new proprietary fine-grain developer, known as "Panthermic 777", has been introduced, which will give very satisfactory fine-grain results when used up to a temperature of 90 deg. F. This developer has not yet reached the Australian market, but it is certainly what we have needed during the last few weeks. Let us hope we will have it or something as good by next summer.
Saturday 28th January 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
General meeting of the Adelaide Camera Club, the first for 1939, will be held on Monday night, February 6th. New members enrolled during the summer recess are particularly requested to attend. Intending members are also cordially invited. After the club business has been dealt with, a talk on "Filters and Their Uses" will be given. Committee members are reminded that they are to meet at the club room at 7pm the same night.
FORMULAE FOR HOT WEATHER
It is not generally known that amidol is one of the best hot-weather developers. The characteristic of amidol (or diamidophenol) is that it will develop without the addition of alkali. It is for this reason that it is particularly suitable for use in hot weather and is not affected by high or low temperatures. In powder form it keeps well, but it does not keep in solution. It should, therefore, be kept dry and the necessary quantity dissolved as required. Sodium sulphite (anhyd) 150 gr; Amidol 25 gr.; Potassium bromide 5 gr; Water to 10 oz. The sodium sulphite must be dissolved first. If the negatives are known to be under-exposed, reduce the quantity of or omit altogether the potassium bromide. Should it be known that over-exposure has been given, increase the quantity of potassium bromide. Do not use a solution of sodium sulphite that has been made up some time. Sodium sulphite deteriorates rapidly in solution, therefore it is best to make up the entire developer fresh, using sodium sulphite in powder form (anhydrous), or if using this chemical in crystal form, weigh out 300 grains instead of 150 grains (anhyd.). Used at full strength, this developer gives fine steady black tones with correct exposure on bromide paper. If diluted clear grey tones are obtained. Warmer tones are obtained by giving longer exposure and the addition of pot. bromide in quantities over and above the amount already in the original developer.
FIXING
An acid-hardener-hypo is advisable for hot weather fixing both for negatives and prints. A: Hyposulphite of soda, 5 oz.; water, 20 oz. B: Sodium sulphite, 2 oz.; glacial acetic acid, 1 1/2 oz.; alum. 1 oz.; water, 10 oz. For use add two parts of B. to 20 parts of A. Acid fixing baths must not be used for printing out papers (P.O.P.) or self-toning papers. When hypo is dissolved in water the temperature of the solution is lowered. A fresh solution is, therefore, helpful in hot weather, but, or course, during winter months water of a temperature higher than is required must be used for mixing. In making up the acid hardener hypo solution first dissolve the alum and sulphite separately in water, add the acid to the sulphite solution and then the alum to the acid-sulphite, the whole of the mixture to the hypo solution. And a final word of warning - be careful not to let the acid-hardener hypo in any way contaminate the developer or stains will be caused.
Saturday 4th February 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Just a final reminder to all members of the Adelaide Camera Club and to intending members that the first meeting of the year will be held on Monday at 8pm in the club's room, Institute Building, North terrace. Reference to the club syllabus will show that the subject for the evening is "Filters: When and How to Use Them". This talk will be given by the President (Mr. Wilde) - D.V., as our old friend "Palette" is fond of quoting. Very few members do not possess one or more filter's, but it is probable that quite a number employ them without knowing the technical reasons for their use or how, when and why they should be used as an aid to better photographs. Beginners and new members should take advantage of the opportunity to hear about this important factor in the art of making good pictures.
LIGHT AND COLOR
Many camera owners, when they come across a beautifully colored scene such as a well-kept garden with a mass of blooms of various colors - light red, dark red, yellows and blues of all shades and green foliage, are immediately tempted to take a snap. The result when they see the print is certainly a garden scene and that is about all that can be said of it. Somehow or other they or their cameras or films have failed to interpret the glory of the flowers and shrubs as seen with the eye. Many of the flowers have somehow almost merged with the foliage, the red ones are black and the blue are white. And the reason? Certainly not the camera, because it took quite a good snap of Auntie Mabel nursing the new baby only the day before yesterday. Could it be the photographer's fault? Well, not directly, but certainly indirectly due to the lack of sufficient photographic knowledge to realize that the photographing of colors, particularly when color is the all-important feature of the subject such as flowers, calls for special treatment which can easily be given, provided that the photographer has some understanding of the principles of light and color.
THE SPECTRUM
White light - that is daylight - consists of wavelengths of various colors. If white light is passed through a prism in a spectrograph, it can be split into visual colors. These are violet, blue, indigo, green, yellow, orange and red. Each color has its wavelength and for simplicity these colors, known as the spectrum, can be tabled in three primary colors, namely, (1) Blue-violet, (2) green, (3) red. The wavelengths are measured in millionths of millimeters (mu), the blue-violet ranging from 400 to 500 mu, the green 500 to 600 mu and the red 600 to 700 mu. At each end of the visible spectrum are invisible rays. At the blue end is ultra-violet and at the red end infra-red. Now, as shown above, the eye is sensitive only to the visible spectrum, that is from 400 to 700 mu. Moreover, the eye is not equally sensitive to each wavelength. In normal light the human eye is most sensitive to yellow-green, while under very low illumination it is more sensitive to blue-green. A theory has been advanced that the retina of the human eye has connected to it three receiving nerves corresponding to the three primary colors, blue violet, green and red - and when it is remembered that some people are colorblind, we can assume that something is wrong with one or more of these nerves. But what has all this to do with photographing color? The answer is that film emulsions do not see colors just as the eye does. Their sensitivity to colors varies according to the type of film and if readers will be patient and wait until our next article, I will explain more about the sensitivity of films to colors.
Saturday 11th February 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the February general meeting of the Adelaide Camera Club the President (Mr. Wilde) gave a talk on "Filters - When and How to Use Them". At 8pm on Monday, February 20, a practical demonstration will be given in the physics lecture room, University, on "Making Lantern Slides". Arrangements are being made for an experienced demonstrator to conduct the meeting. It is, therefore, hoped that as many members as possible will turn up to learn as much as possible about this interesting section of photographic art.
LIGHT AND COLOR
In my article last week I dealt with the spectrum and the sensitivity of the human eye to colors and explained that photographic film emulsions varied considerably in their sensitivity to colors compared with the human eye. It is, of course, for this reason then when an inexperienced camera owner snaps a picture of a mass of varied colors, such as a flower garden, the result is generally unsatisfactory. I have previously explained that the eye is sensitive to that portion of the spectrum covered by the wavelength 400 to 700 mu. Also that the extent of sensitiveness is greater in the green section, that is between 500 and 600 mu, diminishing each side, so that if this fact were to be recorded in the form of a graph it would be represented by a convex curve from 400 to 700 mu. Compared with this range of color sensitiveness the following types of film emulsions show a marked difference: 1. Ordinary Film: From about 370 mu to 550 mu. (Note the sensitivity of the emulsion to the ultra-violet rays which are invisible to the human eye.) 2. Orthochromatic Film: From about 360 mu to 590 mu. 3. Panchromatic Film: Varying according to type from 370 mu to 690 mu.
COLOR SENSITIVENESS
Now, what does this imply when translated to color sensitiveness? Let us take first the ordinary film and compare it with the spectrum. We will find that this type of emulsion is sensitive, only to ultra-violet, blue-violet and just slightly sensitive to green. To all other colors it is completely blind. Therefore, this film will not record green (to a sufficient extent) or yellow, orange and red. It is also over-sensitive to blue. which color therefore becomes over-exposed and prints white. The orthochromatic type of film is better, as it is fully sensitive to green and yellow, as well as blue. Best of all comes the panchromatic emulsion, which is sensitive to all the colors, including red. However, if we were again to resort to a graph to illustrate the sensitiveness of pan film as compared with the human eye, we would not get the pure convex curve. Pan. films vary in their sensitiveness, according to the work they have to do. For example, the high-speed emulsions suitable especially for artificial light photography are more sensitive to the red end of the spectrum than slower types such as process films. Also, it must be remembered that pan. films are still over-sensitive to ultra-violet and blue-violet, although not the same extent as orthochromatic emulsions. Therefore, so that colors can be recorded in monochrome as nearly correct as possible to contrast tones as seen by the human eye, we must do two things - 1. Use panchromatic film. 2. Correct, by the use of filters, the over-sensitiveness of this film to the blue end of the spectrum. We must also, if necessary, alter the color contrast by the use of social filters in order to avoid colors of similar tone contrast merging with one another. About these points we will have more to say next week.
Saturday 18th February 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Members of the Adelaide Camera Club are reminded that a lecture and practical demonstration of "Making Lantern Slides" will be held on Monday evening at 8pm in the physics lecture room, University. An expert will conduct the meeting and members may bring their friends. Lantern slides form one of the most interesting and entertaining sides of photography. On winter evenings nothing is more enjoyable to the photographer and his friends than a screening of lantern slides depicting various features such as "My Last Summer Holidays at Woop Woop" or "Our Motor Tour to the Eastern States". There is nothing difficult in making lantern slides and with the knowledge gained at the practical demonstration on Monday next, the veriest novice should be able to achieve success right from the start.
COLOR PHOTOGRAPHS
In my last week's article I endeavored to explain the sensitivity of various types of films to color and pointed out that with all types of films, whether they be ordinary, orthochromatic, or panchromatic, there was an over-sensitiveness to the ultra-violet and blue end of the spectrum. This, it will be remembered, caused all subjects colored blue to be over-exposed when the remainder of the subject was normally exposed. For example, a blue sky would come out perfectly black on the negative, thus printing pure white, spoiling an otherwise good picture. Now if we bear in mind that the primary colors of white light are blue, green and red and it is desired to subdue or hold back one or more of these colors to prevent over-exposure, then we must use over the lens a filter of a color which will absorb the color or colors it is desired to subdue. The spectograph reveals that white light minus blue gives us a green and red mixture, which makes yellow. Yellow will therefore absorb or hold back blue.
EFFECT OF GREEN
Likewise green will absorb blue and red and red will absorb blue and green. If, therefore, it is desired to absorb blue, such as is reflected by a blue sky, a yellow filter will make the necessary correction. The deeper the yellow the more the blue is absorbed. Therefore, the darker we want the blue sky to print the darker the filter should be to give the desired result. A red filter which also absorbs blue gives over-correction, a blue sky printing almost black. This is suitable only for special effects. Similarly, if we wish to correct the interpretation on panchromatic films, of other colors, we must use suitable filters. As an example let us take a rose bush with red roses among the green leaves. In all probability the brightness tone value of the green and red are about the same so that without a filter our negative will print the roses and leaves approximately the same tone of grey, making the roses almost indistinguishable from the leaves. If, however, we employ a green filter, this will absorb the red and let through the green light and our print will show the red roses much darker than the green leaves.
RED FILTER USE
Supposing that with the same subject we decided to employ a red filter, we would get just the opposite result, our roses would be light in tone while the green leaves would be dark. Summing up the subject we can now list for easy reference by those who desire a quick guide to the use of filters, the following table: Yellow will lighten yellow and darken blue, Green will lighten green and darken blue and red. (Green will not darken blue to, the same extent as yellow or red). Red will lighten red and darken blue and green. (Red will darken blue to a greater extent than yellow). Camera owners must remember however, that green and red filters can only be used with panchromatic films, as only this type of film is sensitive to the red end of the spectrum.
Saturday 25th February 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Last Monday at the physics lecture room, University, an excellent practical demonstration on "Making Lantern Slides" was given by Mr. G. Scarratt. The lecturer showed slides on the screen to illustrate the various points of his lecture and processed several slides, demonstrating the excellent use to which Farmer's Reducer can be employed for reduction and brightening of lantern slides. Toning to various colors was also demonstrated. This lecture has aroused additional interest in lantern slides among members of the Adelaide Camera Club and it is proposed later to have a special competition and showing of lantern slides.
FILM SPEEDS
A timely word of warning, especially to those camera owners who do not follow very closely the progress of photography, would not be amiss at this time of the year, when cameras are in constant use and the actinic value of daylight is high. I refer to the big increase in film speeds and their relation to exposure times. Until a few months ago the fastest films (super or ultra panchromatic) were about 28 deg. Scheiner, whilst fine grain films ranged from 23 to 26 deg. Scheiner. Today, however, the speeds of most brands of film have been stepped up so that we now obtain the ultra fast type with Scheiner numbers round 31 to 32, while some semi-fast fine grain films are in the vicinity of 27 to 28. The unwary, who purchase their usual brand of film without knowing its increase in speed are therefore liable to use the same stops and shutter speeds as of old and in consequence find their negatives well over exposed. It is well to remember that an increase of 3 deg. Scheiner doubles the speed of the film and, in consequence, the exposure time should be halved or alternatively the next smaller stop should be employed.
ADJUSTMENT NEEDED
Photographers who regularly use exposure meters have only to make the necessary adjustment on the meter scale and their difficulties are solved. Such camera owners. however, are generally fully aware of the increased film speeds and do not need this advice. My warning is therefore directed more to the casual type of photographer rather than to the experienced enthusiast. Now let us briefly consider what these increased film speeds mean to us. In very dull daylight or with artificial light, such an increase in speed can be of considerable help. For example, it may permit a snapshot with camera held in the hand instead of having to give an exposure necessitating the use of a tripod. Again, in photographing moving objects we can use faster shutter speeds without losing depth of field, such as would be the case, if a larger aperture were necessary. On the other hand, if the subject is suitable we can gain an increase in the depth of field by using a smaller aperture and employing the old normal shutter speed. Finally these increases in film speed have not been made at the expense of grain. Negatives obtained with these new films possess as fine a grain quality as formerly, while there are available films of slower speed giving finer grain results than ever before.
Saturday 4th March 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly general meeting of the Adelaide Camera Club will be held in the club room, Institute Building, North terrace, on Monday, at 8pm. After the usual business, matters have been dealt with, prints in the self-portrait competition will be judged and then will follow a talk on "Composition". A committee meeting will be held the same evening at 7pm.
The latitude of modern films and the use of efficient exposure meters should enable photographers in the majority of cases to produce negatives correctly exposed and if properly developed no further processing should be necessary. Occasionally, however, under-exposure cannot be avoided. It may be necessary to take a subject in dull or artificial light, using the widest aperture and a snapshot speed. The exposure meter will indicate if under exposure can be avoided under such circumstances.
If the amount of under-exposure is slight, a small increase in development time, provided a soft-working fine grain developer is used, will compensate for this. Considerable over development, however must be avoided, as the longer the negative is in the developer the more "contrasty" it will become, added to which is the possibility of the highlights becoming choked up. On the other hand, if considerable under-exposure is given certain details will not be recorded and all the developing in the world will not bring up such details. In such cases it is better to give the subject a miss and save film, time, money and disappointment.
POPULAR MEDIUM
A reasonable amount of underexposure, however, can be dealt with by intensification. If a whole roll of film is under-exposed this can be handled as a complete strip when intensifying by employing the daylight developing tank in the same way as for developing and fixing. If, however, individual negatives only on the strip are under-exposed, these should be cut off and intensified, using a small glass measure, beaker or tumbler of a size that when the negative is placed in it, it will stand upright in the solutions.
Saturday 11th March 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The March general meeting of the Adelaide Camera Club was held on Monday evening, at the club room. The subject of the evening was "Composition" and illustrations were projected on the screen by means of an episcope. The self-portrait competition was extended to the April meeting. Members are reminded that the British Journal of Photography Annual is now on sale at most photographic houses. This annual is probably the most popular of all photographic reference books and every year the entire edition is rapidly sold out. If you have not yet obtained your copy you are advised to do so as quickly as possible.
INTENSIFYING
Last week I introduced the subject of intensification of negatives, but details concerning the method recommended had to be held over. Chromium intensifier is the most popular medium and as it has little effect on grain is very suitable for miniature negatives. It can be purchased in tabloid form ready for dissolving in water, or can be made up as follows: A Potassium bichromate, 240 gr. Water, 10 oz. B Hydrochloric acid, 1/4 oz. Water, 10 oz. Take one part each of A and B and mix with four parts of water. This makes the bleaching bath, in which the negative should be completely bleached. After this bath the negative must have every trace of bichromate washed out of it. A good method is to give the negative a short rinse in running water and follow with a bath of 10 per cent. potassium metabisulphite solution. This will quickly rid the negative of every trace of bichromate and will ensure an image of a good black color and free from stain. The negative is then redeveloped in any good non-staining developer, washed, wiped with a viscose sponge to remove surplus moisture and pinned up to dry.
REDUCTION
The process of reduction is sometimes necessary and can be employed when over-exposure has been accidentally given, when the negative is "flat" or when through over-development the highlights are too dense for the remainder of the negative. When the negative is over-exposed the best reducing agent to use is Farmer's reducer, as it acts first of all on the shadow detail, leaving the high lights little affected. Farmer's reducer is made up by dissolving 1 oz. of potassium ferricyanide in 10 oz. of water. Add sufficient of this to a non-acid fixing bath to turn it a pale lemon color. As soon as reduction is finished, wash well and hang negative to dry. When over-development has taken place it is advisable to use persulphate reducer which acts first on the over dense highlights. This reducer is made up by dissolving 200 gr. of ammonium persulphate in 10 oz. water. As soon as reduction has gone far enough, the negative is placed in a 5 per cent solution of sodium sulphite to stop further action, after which it is washed and dried.
Saturday 18th March 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
While intensification and reduction assists photographers to obtain a reasonably good print, only a first-class negative will produce a perfect enlargement. Especially is this the case when enlarging to many diameters is necessary. On Monday evening at the physics lecture room, University, there will be a demonstration and talk dealing with the subject of "Fine-grain Developing". Some readers may be inclined to dismiss the subject with the remark, "It is only necessary to use a fine-grain developer". If this is their honest opinion, they should dismiss it at once and come to this meeting, which is being held by the Adelaide Camera Club. While there are excellent fine-grain films available today, careful and methodical processing is necessary, not only to obtain the fine-grain which is inherent in the film, but to produce negatives which are as free as possible from pin-holes, scratches and other defects. Such defects quickly make their appearance when films are handled, even with only a moderate amount of carelessness during the period of processing. This particularly applies to miniature films. The development of these small films is in my opinion the most important photographic operation of all. Once a good negative has been obtained the photographer has really little to worry about. He may spoil one or two prints in his endeavor to get a perfect enlargement, but his picture is still safe and capable of being reproduced many times.
POTASSIUM BROMIDE
Potassium bromide is used in many photographic formulas and amateurs who do their own processing and make up their developers must carry a supply of this important chemical in their darkroom. This salt is purchased in crystal form and when a formula calls for the addition of a few grains, as is mostly the case, it is difficult for those without accurate scales to weigh out the exact quantity. The best method is to dissolve 1 oz. of potassium bromide in about 8 oz. of water and make the total solution up to 9 oz. 1 dr. This gives an approximate 10 per cent. solution, which is often employed in photographic processes. In addition, however, it is only necessary to measure out 10 minims to represent 1 gr., so that if, for example, a developer formula called for the addition of 8 gr. of potassium bromide one would measure out 80 minims. There are 480 minims to 1 oz. and in your stock solution made from 1 oz. of potassium bromide as above you will have 4,380 minims.
Saturday 19th March 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Lecture on Contact Printings will be given for the beginners section of the Adelaide Camera Club on Monday evening, March 21st, at the Physics Lecture Room, University. It is to be hoped that a good muster of members and intending members will turn up, to give the necessary support and encouragement to the lecturer. The next general meeting of the club will take place at the club room on Monday 4th April and I would remind all members that the questionnaire recently sent to them, should be filled in and returned in the envelope provided not later than March 31st, so that the important matters. referred to in it may be dealt with at this meeting. Many replies have already been received, but I will refrain from comment at the moment, as I have no desire to make an attempt to influence the decision of any member. Will any members who have not returned their questionnaires please give the matter their immediate attention?
FINE EXHIBITIONS
A few days only remain to those who wish to see the Royal Photographic Society's fine collection of photographs and those of the Twelfth Kodak International Salon. The latter exhibition will close on Wednesday afternoon, as the room in which it is displayed is required for another purpose, that evening. The Royal Photographic Society Exhibition will close on Thursday evening. All records for attendance at a photographic exhibition in Adelaide were broken within a few days of the opening and by the time the exhibition concludes an attendance figure will be set that will be very hard to beat. This indicates very definitely that photography has a wide appeal and it is therefore all the more difficult to understand why more people do not take up this most interesting hobby in an enthusiastic way. Photography offers to all those who have a love of the artistic, but who are unable to express their ideas with brush and pigment, an opportunity to produce works of art, for it is now acknowledged that advanced photography is definitely an art.
CAMERA ARTIST
The camera, the film or plate and the chemicals employed are but a means to an end just as the artist must use brushes, paint and canvas. The production of a pictorial photograph of exhibition standard cannot be achieved by the purchase of an expensive camera and accessories. There is far more in it than just "mechanics". However, if you possess even a modicum of the certain qualifications you should be able to take up pictorial photography with every confidence and produce pictures of a high standard.
THESE ARE THE QUALIFICATIONS NEEDED:
1. A keen regard for all that is artistic - good pictures, good architecture, flowers and Nature in all its moods.
2. An ability to study and experiment.
3. Enthusiasm that will last.
4. Patience.
5. The temperament not only to accept criticism, but to look for it.
Tuesday 21st March 1939
Page 7 - News (Adelaide South Australia)
ARTISTIC PHOTOGRAPH SHOW
An exhibition of artistic photographs, including landscapes, figure studies, interiors and animal studies, was opened in the print room at the National Gallery today. They are all by Adelaide artists, members of the Adelaide Camera Club and include pictures taken by R.C. Edwards, A. Knapp, M.G. Miller, A.N. Tomlinson, C.P. Mountford and Miss E. Legoe, of such subjects as misty morning scenes in the hills and the launching of fishing boats.
Thursday 23rd March 1939
Page 17 - The Advertiser (Adelaide South Australia)
FINE PHOTOGRAPHS EXHIBITED
DISPLAY AT NATIONAL GALLERY
The increased accommodation given by the Melrose Gallery now enables for the first time an exhibition of photographs purchased over a term of years from local societies. These include very fine specimens. All the photographs now on view at the National Gallery have been the work of members of the Photographic Society and the Adelaide Camera Club. Especially noticeable is a group by F.A. Joyner, comprising "Meadow Hall", in which the figure is clearly defined and the tones are distinct but in no way hard: "The Kilns", a fine effect of light and shade on groups of ordinary drain pipes; and "Petunias", delightful in its strong contrasts. "Louis XIV, Chapel, Versaille", by Esther Legoe, is particularly interesting and her "Figure Study" is a fine conception. "Even Game", by T.H. Stoward, is well grouped, the card players being beautifully lit from a window; there is the fine effect of light and shade in "Look at Your Shadow, Mother?" by P.H. Williams.
Gwendolyn Morris has two fine studies of street lamps on wet pavements and in "Coquette", by Miss D. Barnes, the details of the costume are well defined and give quality to the picture. "Close of Day", by the same artist, is an excellent study of horses standing in moving water. There is a fine combination of beautiful cloud effects, windswept trees and reflections in water in "Passing Showers", by H. Cazneaux and "Haycart", by C.M. Browne, has clean defined line, good shadows and a clear distance. C.P. Mountford's best perhaps is "Callophylum", a group of fruit naturally portrayed. The studies by J. MacAskill stand out prominently. His "Roses" is a charming exposition of delicate white flowers against a dense black background; he also has a fine effort in "Where Winds Frolicked", showing strongly marked ridges of sand, the effect of stormy wind. "Shearing, Poltalloch", by A. Wilkinson, is clear, the features of the shearers showing strength and the highlights on the freshly shorn fleeces, showing up brightly in the expansive wool shed. His "Mystic Morn" is especially attractive, the dim distance a fitting background to the struggling gleams of light. In "Launching the Fishing Boat", by C.N. Tomlinson, there is fine contrast in the tones of the various figures, against an effective sky. "University Porch", by the same artist, has all its beautiful moldings and details well brought out, with some fine shadow effects. The exhibition is well worth a visit by those who appreciate good photography.
Saturday 25th March 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Fine grain developing of miniature films, was the subject for the monthly practical meeting held at the University physics lecture room on Monday evening. The President of the Adelaide Camera Club (Mr. Wilde), who conducted the lecture and demonstration, covered all the various factors affecting the production of fine grain negatives, the type of miniature negatives most suitable for good enlargements and the care necessary during processing.
DARK-ROOMS
I have just moved to another house and incidentally to a new dark-room. As regards the latter, I have gone up in the world, for my present quarters are three times larger than my old dark-room. The increased space is a real blessing for several reasons. First, I get more air - and dark-rooms can become stuffy. Secondly, I have been able to place my equipment in such a manner that photographic work is a real pleasure. My enlarger is now a safe distance from my work bench and my stock chemicals are stored away from my bottles of ready-to-use developers, etc. I have always been a believer in "a place for everything and everything in its place" and the remarkable thing about orderliness is that when every piece of equipment is placed so as to be readily accessible, how little one seems to possess.
PACKING PROBLEM
That was my impression until I came to the packing up before moving and then it seemed as though I would never come to an end of putting this and that in boxes for transport. On top of this it took me three days to arrange my new quarters in such a manner that I was satisfied everything was "just so" and could not be improved upon.
I am telling my readers all this for one good reason only and that is that if you wish to produce the best photographically, you must feel contented with your "work room". Inaccessibility, untidiness, discomfort, all lead to poor results. What ever size or type of dark-room you have, do not be satisfied until you have it in the neatest, cleanest and most accessible order. It will pay you a hundredfold.
A NEW CLUB
A camera club has been formed in Mount Gambler and its title is the Mount Gambier Photographic Society. Mr. M.R. Pocock is President. The members are extremely enthusiastic and competitions will be held at regular intervals.
I have had the pleasure of criticizing some of the members prints and all those I have had through my hands show definite signs of a serious attempt at pictorialism. I am looking forward to the not far distant time when the Mount Gambier Photographic Society will be well represented at our annual exhibition of Australian photography.
If any other country centers desire to form a photographic society, the Adelaide Camera Club will be happy to assist them with practical advice based on long experience.
KODAK FILM DEVELOPING TANK
Saturday 26th March 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly lecture to beginners given by the Adelaide Camera Club was held on Monday. The subject, The Making of a Photographic Contact Print, was most ably dealt with by Mr. J.J. Jones, whose print "Gulls" was awarded a bronze medal in the Twelfth Kodak International Salon. The attendance, unfortunately, was not so good as had been expected and club beginners are reminded that unless they put in a regular appearance at lectures, not only will they lose the personal benefit of expert advice and demonstration, but the lecturers, who give up their time voluntarily, will be discouraged from offering their services on future occasions. All those club members who have not filled in and returned the questionnaire sent to them early this month are again reminded that it is their duty as well as their right as members to record their opinion on important club matters. Please see that your form is sent in before 31st March.
"THE NEWS" CONTEST
The photograph competition conducted by "The News" was a great success, judging by the number of prints sent in. The total was 1,484. As one of the three judges I have seen more photographs in the past few days than I have in the past four or five years. Photos that were good, fair and indifferent were among the huge piles of prints we had to examine. Each one was individually inspected and judged, but my fellow judges and I are quite prepared to be told by many of the entrants that we do not know a good photo when we see one. Of course, there will be at least four competitors who will consider us the best judges in the world, so that is some consolation. If it had been possible for all the competitors to have seen the actual judging they would have realized not only what a tremendous task was placed on the judges shoulders, but the difficulty experienced in selecting the final four from such a huge variety of subjects. If it is any consolation to readers, I would like them to know that there were many good prints among those which did not quite reach the prize list and after all, there were only four prizes, so there you are and better luck next time. Many entrants, however, received payment when their pictures were reproduced in "The News".
GENERAL INTEREST
A point that I would like to emphasize is that it was comparatively easy to separate from the huge number sent in those prints which showed some serious attempt on the part of the competitor to make a picture of general interest and pictorial quality. Those competitors had evidently studied the terms of the competition and in all probability had followed, to the best of their ability, the various hints and tips given in this weekly column, during the period of the competition. I am sure everybody will join me in congratulating "The News" on its enterprise and hope that another Snapshot Contest will come along shortly. If the Editor considers this request in a favorable light. I am going to suggest to him that for a change he selects a set subject that will not only be an easy one for all, but will give the judges a lighter task. There are many subjects that could be given, such as: (l) Animal pets; (2) children; (3) a corner of the garden: (4) a street scene: (5) a Sunday afternoon at home: (6) a happy event. In fact, one could go on selecting titles ad infinitum, but I am sure that a set subject would gain an enthusiastic response.
Saturday 1st April 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
On Monday the Adelaide Camera Club will hold its monthly general meeting at the clubroom, Institute Building, North terrace. The subject for the occasion will be "Landscape Photography". Entries for the self-portrait competition should be submitted and another competition will be announced.
DAYLIGHT DEVELOPING TANKS
Tank developing by time and temperature has superseded the old fashioned see-saw method in open dish. The new method is a scientific and accurate way of obtaining correctly developed negatives free from scratches and other blemishes. For roll-films there are in the main two types of tanks. One that finds favor with a large number of photographers is the tank which employs a reel and a celluloid apron. The film is rolled up in the apron, but is kept from actual contact with it by reason of the margin on each side of the apron, consisting of a series of "bumps" along its whole length. This permits developer, hypo and washing water to circulate freely both sides and along the entire length of film. One word of caution only is necessary to those using this type of tank and that is - "Do not wind up the film and apron on the reel tightly". Otherwise this class of tank is practically foolproof and will give first class results. even to the novice using it for the first time.
SPIRAL TYPE
The other type of tank is similar in construction except that instead of employing an apron in which to wind the film, the reel itself is formed as a spiral and the film is pushed into the spiral, starting at the outside edge and gradually moving towards the center until the whole film is accommodated in the grooves at top and bottom of the reel. These tanks are also very efficient and save the trouble of drying aprons after use. However, trouble can occur if the utmost care is not taken to keep the tanks spotlessly clean and the grooves free from foreign substances.
IF THE FILM STICKS
If, after using the tank several times without trouble, difficulty is experienced in getting the film to run smoothly into the grooves of the spiral, it will probably be found that a thin white or light grey deposit has formed in the grooves. These deposits are caused by insoluble compounds from the developer and care must be exercised in completely removing them. As the spiral reel is made of a composition material, do not attempt to scrape the deposit away, or the grooves will be damaged permanently. If the deposit is of a whitish color fill a small basin with a weak hydrochloric acid solution and soak the reel in this for a few minutes and then wash in running water. Should the deposit be silver-grey in color, mix a solution of plain hypo (41 oz. to one pint of water), then add sufficient potassium ferricyanide to turn solution to a strong yellow color. Soak the reel in this solution for one or two minutes and well wash and dry. It will be found that the deposit has completely disappeared.
KODAK FILM DEVELOPING TANK
Saturday 8th April 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly meeting of the Adelaide Camera Club was held on Monday night. Mr. L.H. Howie dealt very ably with "Landscape Photography", the main theme of which was composition.
The annual photographic exhibition of Australian pictorial photography will be held under the direction of the Adelaide Camera Club from 15th to 26th August inclusive.
Results of the portrait competition will be announced at the May general meeting and a competition for landscape photographs will close on that date.
HOLIDAY PHOTOGRAPHS
With the exception of Christmas time, the most prolific period of the year for amateur photography is Easter. In many ways the present holiday period is better for photography than the mid-summer holiday. The sun is not so fierce and glaring and is not right overhead. This means a softer light and glacing shadows nearly all day.
In mid-summer, early morning and late afternoon are the best times for taking photos out of doors and while soon after sunrise and an hour or two before sunset is good all the year round, at the same time autumn permits good photography nearly all day. Then again, as a general rule, we find that clouds are more abundant at this time of the year and a landscape or seascape, with clouds, greatly improves the photograph.
To get a good rendering of cloud formation on the negative and print, photographers should make a point of taking with them a yellow filter to fit their lens. If using a chrome film, a medium yellow filter X3 or X4 will give excellent results, but remember that the exposure time must be increased by three to four times the normal exposure. For example, if using an X4 filter and the normal exposure is 1-100th second at f8, then give 1-25th second at same aperture, or alternatively, if larger apertures are available, 1-100th second at f4 or 1-50th second at f5.6. Those using panchromatic films, will find that a pale yellow or pale green filter will meet practically all their requirements. These generally call for from 1½ to two times normal exposure.
CARE OF CAMERA
On many occasions in this column I have issued a friendly word of warning in regard to care of the camera. For newcomers in photography and for those who may overlook the matter until too late I will repeat the "rules" that should be followed:
1. If camera has not been used for some time, clean inside and outside thoroughly, using a clean camel's hair brush to get into corners and crevices where dust generally lurks.
2. Wipe lens gently with a soft, clean cambric handkerchief. Do not polish lens vigorously, as the glass is soft and easily scratched. A special lens cleaning tissue can be purchased if desired.
3. Test aperture iris (stop openings) and shutter at all speeds to make sure they are working properly.
4. Keep camera in its case except when it is in actual use. Also take care, if at the beach, to keep it away from sand.
5. If any moving part, such as iris or shutter, is faulty, do not oil it or attempt to repair it. Such work calls for expert attention; therefore take it to a camera shop.
6. Load and unload your films in as shady a spot as possible.
Saturday 15th April 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
On Monday night, at the physics lecture room, University, the Adelaide Camera Club will conduct a practical meeting, the subject being "Enlarging with Bromide and Chloro-bromide Papers". All camera owners are invited to attend. The lecture and demonstration will begin at 8pm. There is no doubt that the miniature camera has come to stay. I am frequently meeting people who have just bought one. In some cases they are photographers of long standing, who have been attracted by the compact convenience and versatility of the miniature and have been converted from the larger type of camera; in other instances the purchaser is a newcomer to photography, who has probably been persuaded to give the hobby a try-out. The miniature represents an entirely new technique, which must be mastered before perfection in results can be obtained. All beginners with the miniature have first to cultivate the art of holding the camera steady during exposure. It is more difficult to do this than with the larger apparatus. As a test of his ability in this respect it is suggested that the photographer should make two identical exposures of the same subject from the same position. The first should be taken holding the camera in the hand and the second with the camera on a tripod or some other firm support. Have a fair-sized enlargement made from each negative and compare results. Care, of course, must be taken when making the exposures that the camera is accurately focused, otherwise both results are likely to be disappointing.
SPEED COMPLEX
Because many miniature cameras are fitted with large lens apertures and high-speed shutters, many new owners of these outfits suffer, at first from speed complex. They buy ultra-speed films and expose them at the highest shutter speed and lens aperture possible, whether the subject calls for such action or not. These speed enthusiasts are reminded that they will not get the best results unless they employ the most suitable type of film, the correct lens aperture and speed that the subject demands. They must remember that: 1. The ultra-fast films are more grainy than the normal fine-grain films, which are generally fast enough and give perfect, grain-free enlargements of many diameters. The ultra-fast films should only be employed when absolutely necessary, such as in poor day light or artificial light. (2) The larger the aperture used, the less "depth of field" will be attained. A small aperture will give a sharp definition of the subject from near the camera to infinity. Using a very large aperture, the depth of field is often only a few inches and it is possible, using such a stop in taking a portrait, to have the nose and chin quite sharp and the ears well out of focus (3) Shutter speeds must be adjusted to suit the aperture employed, except when circumstances necessitate the use of the highest speed, when, of course, the aperture must be adjusted to suit the speed.
Saturday 22nd April 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
Adelaide Camera Club
"Enlarging with Bromide and Chloro-Bromide Papers" was the subject of the practical demonstration evening last Monday at the physics lecture room, University. The lecturer was Mr. Fred White. Members are reminded that at 8pm next Thursday they will meet at the corner of Fullarton and Cross roads, from which point they will be taken to the residence of Mr. Clark, Myrtle Bank, to view and photograph the constellation through his large telescope.
FLAT PRINTS
Occasionally many of us must be disappointed when a print turns out to be on the flat side. The subject may be one which we value and cannot retake. In such cases there is no necessity to throw the print away for it can quite easily be intensified to a satisfactory contrast. The method is quite simple and requires no formula. It does, however, demand that the print shall have been completely fixed in fresh hypo solution and that it should have subsequently been completely washed so that all traces of hypo have been removed. The intensifier consists of a pale solution of bichromate of potash into which a few drops of hydrochloric acid have been well stirred. In this acid bichromate the print should bleach until only a cream-colored image is left. If it does not, addition to the solution of a few more drops of acid will make it work. Be careful, however, as regards the addition of the acid as too much will give less final intensification. When he bleaching is complete the yellow bichromate color must be washed out thoroughly and the print then redeveloped in any ordinary print developer such as M.Q. or Amidol, after which the desired improvement in contrast should be evident and following another wash in running water the print should be pinned up to dry. If, however, one would like to see still further brightening, the whole process may be repeated and the repetition will give a further increase of density. There is no need to fix the print again after redevelopment and it is also interesting to know that a pale or poorly colored sepia-toned bromide print can be satisfactorily intensified. Before undertaking the intensification of any print it is very important that one should be certain that it is free from fog, for any fog in a print will be intensified along with the rest of the silver deposit and the result would be extremely disappointing.
| PRINT DEFECTS: Here are some common defects and their probable causes, in bromide and gaslight prints: |
| YELLOW STAINS: Exhausted developer; too long or too short rinsing between development and fixing; prolonged development in an attempt to remedy under-exposure: |
| BROWN OR PURPLE STAINS: Prints floating partly above the surface of the fixing bath or partially sticking together during fixing: |
| FOGGY HIGHLIGHTS AND MARGINS: Stale or improperly stored paper; developer too strong or too warm; unsafe dark-room light: |
| UNEVEN IMAGE: Development shortened to counteract over-exposure: developer kept stagnant instead of gently moving: |
| POOR BLACKS: Unsuitable developer, frequently too much or too little bromide: over or under exposure; poor quality paper: |
| CONTRAST TOO STRONG OR TOO WEAK: Grade of paper not suited to the negative: |
Saturday 29th April 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly meeting of the Adelaide Camera Club will be held in the Club Room, Institute Building, North terrace, at 8pm on Monday. Committee members will meet at 7pm to conduct the business session. The subject for the evening will be "Making a Good Exhibition Print" and in view of the near approach of annual exhibition all members interested should make a point of attending. The subject will be thrown open to general discussion, so dig up your problems and bring them along.
PHOTOGRAPHIC CRUISE
Camera owners who are fortunate enough to be able to take a whole month's holiday and can afford to expend from £25 to £50 on it, should jump at the opportunity offered by the P. & O. Co. in collaboration with Harrington's Pty. Ltd. This consists of a 26 days cruise from Adelaide in the Strathaird to Port Moresby, via the Great Barrier Reef. Special facilities will be provided during the cruise to enable photographers to take full advantage of their hobby, while expert advice and assistance on photographic and cinematographic matters will be at the disposal of all passengers. The Strathaird will leave Adelaide on 17th June and return on 13th July.
ARTIFICIAL LIGHT EXPOSURES
I have been asked on several occasions questions somewhat along the following lines: "What exposure shall I give when taking a portrait at home using one photo flood lamp and the usual room lights?" This is a question which it is impossible to answer with any degree of certainty unless several established factors are given at the same time. However, I will do my best to give some guidance on the subject, especially as home portraiture, is quite a fascinating hobby and one which can be practised during winter evenings when the fireside tempts many of us to stay at home. Exposure times for portraiture by artificial light depend on four factors. These are:
(1) The emulsion (or film) speed:
(2) the aperture of the lens:
(3) the light value, that is the intensity or candlepower of the principal lamp; and
(4) the distance of the light from the subject.
It should be noted that the distance of the camera from the subject has no bearing on the exposure time required. Of course, the quickest and surest way of deciding the correct exposure is to use an exposure meter or one of the well-known exposure guides.
SUGGESTED PROCEDURE
If neither is available, however, I suggest the following procedure for beginners:
1. Load the camera with a moderate fast panchromatic film of Scheiner speed about 26 degrees, as these films are sensitive to the red end of the spectrum, which is prevalent in artificial light.
2. Use one standard photo flood in reflector about 4 ft. from subject with a reflector such as white cardboard or a sheet or tablecloth the other side of subject so as to illuminate the shadow side. The adjustment of both light and reflector must be left to the operator, who should watch the effect of light and shade on the subject's face, hair, neck and shoulders, as the lamp is moved up or down, left or right.
3. Use the widest lens aperture available consistent with obtaining sufficient depth of focus. This throws the back ground out of focus.
4. Keep camera at least 5 ft. from subject.
5. Try 1/2 second at f8 or corresponding faster exposures for wider apertures.
6. Any adjustments necessary will be revealed after the first film is developed.
However, the above should give fairly good results.
Saturday 6th May 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Several members of the Adelaide Camera Club spent a most instructive and enjoyable evening at the home of Mr. A. Clark, Myrtle Bank, on Thursday, April 27th. By the aid of an observatory type telescope a highly magnified view of the surface of the moon was examined. The numerous extinct volcanic craters and empty seabeds could be seen with astonishing clearness. By means of a special photographic apparatus, photographs of the moon and stars could be taken with a split-second exposure. The demonstration was accompanied by an excellent lantern slide lecture. The May general meeting of the club was held last Monday, when the subject discussed was "Making an Exhibition Print".
LANTERN SLIDES
With winter upon us the urge to stay home at night increases and everyone looks round for some congenial hobby or occupation. This should be an easy matter for the photographic members of the family, for the keen amateur photographer can always find something to do with his hobby. There are probably many prints taken during the summer to be placed in the album and quite likely a good many negatives are still waiting to be printed and enlarged. The advanced amateur will begin enlarging work for exhibition prints, while others will experiment on some process they have not previous tried, such as bromoils. An excellent idea which can be adopted by any camera owner at very small cost is to begin making a set of lantern slides from the best negatives of pictures taken over the past few years. That is the advantage of this particular branch of photography; the material in the shape of pictures is already available, or should be, if the photographer has been thoughtful enough to file his negatives carefully. This is the most important point in lantern slide making, because scratched and otherwise damaged negatives are useless for the purpose, as it must be remembered that these slides are projected and magnified up to 4, 6 and even 8 feet square and consequently scratches and pinholes will be enlarged proportionately.
BEST MEANS OF DISPLAY
The lantern slide method of showing photographs is undoubtedly the best means of display. While a print makes an excellent picture it is seen only by reflected light, whereas a lantern slide is seen by transmitted light; that is, the light shines through the slide and projects it on to the screen. This gives a brilliant and translucent effect and turns what would ordinarily be quite an indifferent picture, as a print, into a scene of real beauty. Many a negative which has been put aside as pictorially unsound would make quite a good lantern slide. I therefore suggest that the first job for the amateur photographer who would like to make lantern slides, this winter is to go through his file of negatives and make a selection of those which are interesting, clean and in good condition. Next week I will give some advice on how to proceed with the actual job of making lantern slides.
Saturday 13th May 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Members of the Adelaide Camera Club will meet at the Physics Building, University, on Monday night for the usual monthly practical demonstration. On this occasion the subject will be "Portraiture by Artificial Lighting". Suitable lighting, background and a good model will be available and club members are reminded to bring along their cameras, which should preferably be loaded with panchromatic film. With extra fast "pan" emulsion it should be possible to take snapshots with the camera in the hands, if fairly large apertures are available. However it would be wise to bring a tripod. Intending members who would like to watch the proceedings are cordially invited to attend.
LANTERN SLIDES
Continuing last week's article on lantern slides, it is now assumed that readers followed the advice given and have now ready a selection of good, clean negatives from which they intend to make slides. The standard size for lantern slides is 3 1/4 in. x 3 1/4 in., therefore only negatives of that size or smaller can be used for contact printing, unless, of course, only a section of larger negatives is required for reproduction. Materials required are: 1. One or more packets of lantern slides. 2. One 3 1/4 x 3 1/4 printing frame. 3. Suitable developer. 4. Acid hypo. 5. Cover glasses. 6. Masking and binding strips:. It is also desirable to have a weak solution of Farmers reducer (pot. ferricyanide and hypo) for reducing slightly over-exposed or over-developed slides and also for clearing highlights, such as skies. Blue and red toners can also be used and help to give a variety to the slides. If the brand of lantern plates selected is sold only in normal contrast grade, make sure that the negatives selected for reproductions are of normal type. The plate must also be carefully developed to the correct contrast, bearing in mind that it is to be seen by transmitted light and therefore over contrasty or very flat slides will throw a poor picture on the screen.
SIZE OF PICTURE
As slides measure 3 1/4 in. x 3 1/4 in. and have to be masked and bound, the portion of the negative to be printed should not exceed 2 1/2 in. square. With 3 1/4 x 2 1/4 negatives, this means cutting off 3/4 in, which can be taken from one or both ends of the negative. However, do not cut the negative, just place a mask of black paper over it in the frame, leaving in the opening that section of the negative to be printed. The popular 2 1/4 in. x 2 1/4 in. format is an ideal size for lantern slides, but even with these it is sometimes advisable to mask off unwanted portions of foreground or sky. If the slides used are of the slow gaslight type, operations can be carried out in a weak light just as for contact printing on gaslight paper. Fast slides should be handled in an amber light. Loading the printing frame is just the same as with gaslight paper - first, the negative with the emulsion side inwards, then the slide with emulsion side to the emulsion side of negative. If a mask is used this should be placed between negative and the clear glass of the printing frame. Next week we will discuss exposure times and the development process.
Saturday 20th May 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
An instructive and enjoyable, evening was spent last Monday by members of the Adelaide Camera Club when "Portraiture" was the subject of the practical meeting, held at the Physics Building, University. Judging by the large attendance it is evident that portraiture is one of the most popular branches of amateur photography. Various methods of lighting were tried out. All photographs taken during the evening may be entered in a competition in which prints must be submitted at the July general meeting of the club.
LANTERN SLIDES
In the process of making lantern slides, which has been the subject discussed over the past two weeks, we arrive now at the stage when the negative and unexposed slide are ready in the printing frame awaiting exposure and subsequent developing and fixing. The first lantern plate should be used as a test for ascertaining exposure time and if economy is the watchword, the plate can be cut with a glass cutter so that two or three test strips can be made with one plate only. Whether the whole plate or part of a plate is used, the procedure is just the same as when making test strips for ordinary contact printing with gas light or bromide papers. It is important that the source of light used should be constant, say a 25-watt bulb and the distance of the printing frame from the light maintained at a standard distance for all exposures, say 2 ft. 3 ft., or 4 ft., whichever is most suitable, remembering that the closer the light, the shorter is the exposure time. Too short a distance will make exposure times so rapid that it may be difficult to calculate exposures. It is better to widen the distance as it is easier to count seconds than split seconds.
THE TEST STRIP
Expose the test strip (if no guidance is given by the manufacturer of the lantern slides) for, say, 5, 10 and 20 seconds. This is done by exposing the whole strip for 5 seconds, then covering up about one-third with a piece of cardboard and exposing the remaining two thirds for another 5 seconds, then covering up another third and exposing the remainder of the slide for 10 seconds. The test strip is now ready for development and if after developing and fixing, one of the three sections indicates a correct exposure, a note should be made of the exposure time, the light power used and the distance the exposure was made from the light source. Thereafter all other negatives of similar density should give good slides at the same exposure time, when used with the same make and grade of lantern slide and the same developer. Two or three tests strips made with negatives of different density should enable standard exposure times to be recorded so that further tests are unnecessary. All the photographer has to do thereafter is to divide his negatives into groups corresponding with the various exposure times ascertained by test.
DEVELOPMENT
It is strongly urged that the developer recommended by the lantern slide manufacturer be used whenever possible. The formula is usually printed, on the plate box or enclosed with the slides. The use of this formula will always produce the best results, as the manufacturer has gone to the trouble of experimenting with various developing agents to ascertain the best formula for his particular emulsion. In many cases the developer can be bought made up in solution or powder form; requiring only dilution with water: For those who like to experiment, other developers can be tried. This will be discussed next week.
Saturday 27th May 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
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ADELAIDE CAMERA CLUB
M.J. MacNally, the well-known artist and critic, will address members of the Adelaide Camera Club at its next general meeting, which will be held at the club room, Institute Building. North terrace, on Monday 5th June, at 8pm. An interesting evening is promised, as the speaker is not only a good artist but is very enthusiastic about pictorial photography. He is also an excellent raconteur.
LANTERN SLIDES
Continuing our series of short articles on lantern slides, the following developers are recommended for those who prefer to try other developers than those recommended by the manufacturers of the slides: BLACK TONES - Hydroquinone, 80 gr; sodium sulphite (anhyd.), 1.2 oz.; potassium hydrate, 80 gr.; potassium bromide, 10 gr.; water to make, 20 oz. WARM TONES (H. W. Bennett's formula) - (a) Pyro, 100 gr.; sod. sulphite (anhyd.), 400 gr.; citric acid, 50 gr.; water to make, 10 oz. (b) Sodium carbonate (cryst.). 800 gr.; water to make 10 oz. (c) Potassium bromide. 100 gr.: water to make. 10 oz. For normal development, take 1 part (a), 1 part (b) and 2 parts water. For still warmer tones take 1 part (a), 1 part (b), 1 part (c), 1 part water.
BRIGHTENING HIGHLIGHTS
After developing and fixing and thoroughly washing, it is an excellent plan to clear the highlights by means of Farmer's reducer. This is made up as follows: A - Hypo (plain), 2 oz.; water, 10 oz. B - Potassium ferricyanide. 1 oz.; water, 10 oz. For use mix 10 parts A with 1 part B and use immediately, as the mixture soon deteriorates. The color of the mixture, should be a pale yellow of about the same density as sherry. The whole lantern slide can be immersed in this solution if general reduction is required or the highlights only can be swabbed, with a piece of pure cotton wool dipped in the producer. It is necessary to work quickly and wash the plate under running water frequently. Also, because of quick deterioration, it is advisable to mix small quantities only and throw away after doing one or two plates. Potassium ferricyanide is poison, so label the bottle of B solution accordingly.
TONING
Blue and red toning may be carried out, after above processing if desired. These toners can be purchased ready for dilution with water or may be made up as follows: RED TONER - 1. Copper sulphate, 60 grs.; potassium citrate (neutral), l oz.; water. 20 oz. 2. - Potassium ferricyanide, 60 grs.; potassium citrate (neutral), 1/2 oz.; water, 20 oz. For use mix equal parts of 1 and 2 and add an equal quantity of water. This mixture will not keep. Wash plate before using and after for 10 minutes only, or color will be affected. BLUE TONES - 1. Potassium ferricyanide, 30 grs.; pure sulphuric acid, 60 min.; water, 20 oz. 2. Ferric ammonia citrate. 30 grs.; pure sulphuric acid, 60 min.; water, 20. oz. Use equal parts of 1 and 2. This mixture will not keep. Wash for short period after toning.
Thursday 1st June 1939
Page 5 - News (Adelaide South Australia)
CAMERA CLUB SHOW PROMISES EXCELLENT VARIETY OF PICTURES
The Adelaide Camera Club, one of the most alive and enterprising groups in any of the States, is holding an exhibition of Australian photography at the Royal Society of Arts Gallery from 15th to 26th August.
Mr. L.A. Wylde, who presides over this bundle of artistic energy, is full of enthusiasm over the project and intends this exhibition to be an epoch making one, as he states there are such marvellous improvements in modern cameras and so many new members who display unexpected gifts in their operation that he is confident that the display will cause quite a sensation. Mr. Wylde has had an extraordinary life of it. When quite a youth he adopted the sea and had adventures in sail round the Horn, in gales in the North Sea and a terrifying experience in mid-Atlantic.
Leaving the sea Mr. Wylde entered business on shore. He has studied painting under good masters, but realizing that it required more time than he was able to spare, he took up photography and with his small camera gets a joy out of life and results from his week-ends that would gladden the heart of any man. The exhibition ought to be worth seeing and I look forward to it with interest.
After spending some hours in contemplation of the work in the Academy of Arts Exhibition now hanging in the National Gallery, I feel constrained to inquire what are the qualifications for membership? I ask this question for the reason that with one exception, not a single South Australian has been invited to membership.
The South Australian offering (by those invited to exhibit) stands out by reason of its bold and skillful workmanship, its choice of subject, its amazing beauty of color and sanity of design. Comparing it with the examples of the "spare bedroom" school from other States who are given pride of place and full membership, one wonders what is the reason for this gratuitous insult to these clever and talented Adelaideans.
This academy is supposed to represent the best in Australian art, but does it? I do not see Sir Arthur Streeton represented, nor a few more very distinguished painters in the eastern States. Yet we have for our edification examples of childish oils, photographic colored pencil drawings and heavily laden amateur efforts that we sincerely hope are not regarded as "the best in Australian art". When one compares them with the work exhibited (by invitation) by George Whinnen, Max Ragless and Gwen Barringer, the reason will be obvious.
That many of the exhibitors such as Lloyd Rees, A.E. Newbury, Elioth Gruner, William and John Rowell, Harold Herbert and Kenneth MacQueen worthily uphold the best traditions of Australian painting it is unnecessary to state. What I want to know is, why these fine South Australian artists are not invited to be members when half baked contortionists from New South Wales and Victoria are given honored places.
It is a fine sight nowadays to see the crowds at the National Gallery viewing the pictures. On one day last week there must have been 500 people in various bays browsing round in a very interested way. I learn that Mr. Koch Emmery's Sunday afternoon lecture there were over 150 interested listeners. This is excellent. I doubt if any other gallery in the Commonwealth can boast such attendances.
Saturday 3rd June 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly general meeting of the Adelaide Camera Club will be held on Monday night at 8pm at the clubroom, Institute Building, North terrace. Mr. M.J. MacNally will give a talk on Art. As pictorial photographers more or less follow the same rules of composition as employed by artists of the brush, much good advice, should emanate from this talk.
LANTERN SLIDES
Those readers who have been following my notes on making lantern slides and who have taken up this interesting branch of photography, will by now have produced a number of excellent transparent positives. I use this term because at this stage they are not actually lantern slides but require further attention before they can be inserted in the carrier of a projector.
The next step is to cover the positive on its emulsion side with glass and to bind the positive plate and cover glass together so that the emulsion side is sandwiched tightly between two pieces of glass, thus protecting it from scratches and other possible damage.
MASKING
The first step is to mask off unwanted portions of the slide. Masking paper can be bought for this purpose. Lay the lantern slide on a smooth table emulsion side up and, using strips of masking paper, mask one side, then the opposite side, after which the remaining two sides can be given attention. Care must be taken to lay the masking strips on evenly, so that the remainder of the picture to be projected is contained in an even rectangle.
The next operation is an important one. This is to clean thoroughly and remove any moisture and fingerprints from one side of the cover glass. When this is done, place cover glass clean side down, over masked plate so that all edges coincide.
With a strip of moistened binding paper in one hand and holding, the sandwich firmly in the other, lay the binding strip along one edge of the combination so that it can be turned down and stuck to both positive and cover glass. Then do the opposite side in a like manner and after this the other two sides.
If binding strips are not the exact length of the slide, protruding ends may be neatly trimmed off with a pair of scissors or a razor blade.
Finally, to mark the correct way in which the finished slide, should be put into the projector, place two white spots on the top of the slide on the side which faces the eyes, when the picture is seen the same way it is intended to be shown on the screen. Binding strips suitably marked can be bought for this purpose.
Saturday 10th June 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The June "Practical Meeting" of the Adelaide Camera Club will be held in the Physics Building, University, on Monday night. The subject will be "Table-top Photography". Members should bring their cameras, tripods, lens hoods and if required, proxar lenses. Panchromatic films or plates are recommended for this class of work. Those who intend to come along are also invited to bring with them suitable subjects. There are many to choose from, such as small statuettes or figurines, toy figures, particularly those with movable legs, arms and heads, glassware, fruit and flowers. Lighting will be provided.
UNIFORM NEGATIVES
One of the greatest troubles met with by the enthusiastic amateur photographer, who has graduated to a modern camera with a fairly wide lens and high speed shutter, is the variety in the type of negatives obtained. Some turn out thin and flat, others contrasty and dense, while the remainder are of the normal type and just what are required for good and easy enlarging. If all were flat or contrasty the problem would be easy to solve; it is the variation that puzzles the operator. Some accept the situation without any attempt to overcome it, but this means that three or four grades, of printing paper of each size used must be kept on hand to deal with the different negatives. This is rather an expensive method and moreover, in the case of flat negatives, while a contrast or extra contrast paper will assist, the final print will not be of such good quality as would be obtained from a normal type of negative on normal or soft grades of paper. Factors affecting the departure from normal contrast, negatives are as follows: 1. Subjects of extreme range of contrast. 2. Subjects of practically no contrast. 3. The lack of knowledge of photographic principles when using exposure meters resulting in under or over exposure. 4. Under or over development. 5. Gross under or over exposure due to guesswork. 6. The use of many brands and types of films, with the result that the photographer, through forgetfulness, uses his meter for an ultra-fast film when a slow type is in the camera, or, alternatively, does not know the real speed of the film in use. 7. The misuse of filters.
CORRECTING FAULTS
Subjects of extreme contrast are best dealt with by giving ample exposure to take care of the dark shadow portion and reducing development time by from one-quarter to one-third. Subjects that are of a flat nature can often be improved by the use of a suitable filter and by increasing development time. In using exposure meters it must be remembered that these record the light reflected from the whole of the subject. Care must be taken to point the meter at the shadows rather than at the highlights. Development times recommended for any particular formula are for normal subjects. For other than normal subjects increase or decrease development time as recommended above. Except for very normal subjects do not guess exposures if good results are wanted. An exposure meter will pay for itself in a very short time by the save in waste of negative material. By the regular use of one, or at the most two, brands of film, the photographer will learn to judge with accuracy the correct film speed for adjustment of his exposure meter, resulting in correct exposures every time. Filters should not be used indiscriminately. A light yellow filter for emphasizing the sky is quite satisfactory, but unless the user has a knowledge of the work done by filters, he should be wary of using the green, orange, or red variety. It is some time now since I have discussed filters to any extent, so I will make this the subject for our next article. In the meantime, those desirous of turning out negatives of a fixed standard, should study these hints.
Saturday 17th June 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Table Top Photography is the subject for the practical meeting of the Adelaide Camera Club on Monday night. This meeting will be held in the physics building. University and club members are given this final reminder to bring their cameras, tripods and proxar lenses.
ANNUAL EXHIBITION
Entry forms are now available for the Australian Exhibition of Pictorial Photography, to be held in the Royal Society of Arts Gallery, Institute Building, North terrace, from 15th to 26th August inclusive. Entry forms and prints must reach the Hon.Secretary not later than 31st July. The judges for this exhibition are Mr. J.C. Goodchild and Mr. M.J. MacNally.
The exhibition is open only to members of the Adelaide Camera Club or affiliated clubs. Any intending exhibitors who are not already members are invited to apply for membership immediately. Full particulars of membership and entry forms, for this exhibition, may be obtained from the Hon.Secretary (Mr. H.L. Austin), 70 Watson avenue, Rose Park, or from Kodak (Australasia), or Harrington's Pty. Ltd., both of Rundle street Adelaide.
SEVEN SECTIONS
The exhibition will consist of seven sections in the main display, namely landscapes, seascapes, portraits, figure studies, architecture, any other subjects and color transparencies. There will also be a section for intermediate workers, in which section only, members may have their prints processed for them. All entries in the main section of the exhibition must be the complete work of the entrant.
One diploma and three certificates of merit will be placed at the disposal of the judges for award in each of the main sections and two certificates of merit for the intermediate section. In addition a special plaque will be awarded to the best interstate entry, also a similar award to the best Adelaide Camera Club entry.
USE OF FILTERS
Last week I promised to give a few words of advice to camera owners who may not have read my previous articles on the subject of "Filters and How to Use Them". Whole books have been written on this subject and I have dealt with the matter on many occasions in this column.
The use of filters for color correction in photography has become considerably popular in the last few years. Be for then only advanced amateurs and professionals employed them. Now the majority of camera owners have learned that a light yellow filter over the camera lens will give tone to the sky in their pictures, thus greatly improving the pictorial appearance of the prints.
KNOWLEDGE NECESSARY
With the growing popularity of panchromatic films many camera owners have gone further than the use of a yellow filter and have purchased green, orange and red to add to their stock of camera gadgets. If these enthusiasts know what these filters will do and what they will not do, then they have done wisely in purchasing them. If, however, they have no knowledge of the subject, then they will meet with many disappointment until such time that they acquire the necessary knowledge.
For this reason I may be forgiven by regular readers for making this almost a perennial subject, because it must be remembered that photography is constantly adding new members to its ranks. With this introduction, I will begin the subject proper, in next week's article. In the meantime go ahead using the yellow filter, or if you have not yet obtained this article, make it your next important photographic item to be purchased.
Saturday 24th June 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Under the guidance of Mr. Les Fisher, who is an expert on the subject, an interesting and instructive evening dealing with table-top photography was held last Monday by the Adelaide Camera Club at the physics lecture room, University. One great advantage of this type of photographic subject is that it forms excellent practice in handling lighting; in fact, without good lighting effects there will be poor results. Table-top photography is not only educational, but is also amusing and a good subject for winter evenings at home.
FILTERS
As promised in last week's article, it is my intention this week to deal with the subject of filters and why and when we should use them. It is no easy matter to condense into a few paragraphs a subject which requires many pages and illustrations to do it justice. It will be necessary, therefore, to present an elementary explanation and the best way I can think of is to put down a few facts as headings and then, if necessary, enlarge on them. Here are the facts having a bearing on the use of filters:
1. Practically every subject that is photographed is colored.
2. These colors are recorded on the negative in black and white tones and half-tones.
3. To obtain as faithful an interpretation of the subject as possible, these tones and half-tones must approximate in contrast to the subject contrast, as seen in color.
4. Different types of films have different sensitivity to colors. They do not see colors as the human eye sees them. For example, when we see a beautiful blue sky and include it as part of a photograph taken on ordinary film, the result comes out pure white. Likewise, if we photograph on ordinary film a bunch of red roses they will come out on the print black.
WHY SKY COMES OUT WHITE
5. The three primary colors which together make white light are blue, green and red. Ordinary films are over-sensitive to the blue rays and are slightly sensitive to green. Chrome films are also over-sensitive to blue and more sensitive to green, while panchromatic films are sensitive to all colors, including red, but even this type of emulsion is inclined to be over sensitive to blue, but not to as large an extent as with ordinary and chrome films.
6. Now we can see why the sky comes out white and red roses black when taken with ordinary or chrome films without filters. The film, being so sensitive to blue, gets over-exposed for the sky portion of the picture, making the sky black on the negative, which prints white on paper. Similarly, ordinary and chrome fiIms, not being sensitive to red, do not record any exposure at all of the red roses. Therefore, all the red portion of the picture remains a transparent blank, which, of course, will print black on paper.
7. Now it has only to be realized that one color will absorb or hold back another and we have at our disposal a means of turning the blue sky, into its correct black and white contrast - a half-tone grey. Also, we can make those red roses look more like red in contrast to their surroundings.
SHUTTING OUT BLUE
8. Yellow is a complementary color to blue. Therefore, by placing a yellow filter over the lens we shut out a proportion of the blue light, the proportion depending on the density of the yellow filter. Orange will shut out still more blue, while red will almost completely absorb the blue, resulting in, this color being printed as nearly black. We therefore see that with a blue sky. we can at will, without and with the use of filters, interpret it in any tone or half-tone we desire, from white to black. Naturally, because of their lack of sensitivity to red, it is useless to employ green and red filters with ordinary and chrome films. Green and red filters should, be used only with panchromatic films. When using a pan film no filter is necessary for record the red roses in their correct shade, but nevertheless a filter might have to be used in order to make the roses stand out from their background of foliage. This is where red and green filters come in useful, but we will have to leave that for another occasion.
Saturday 1st July 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The next general meeting of the Adelaide Camera Club will be held on Monday evening at the club room, Institute Building, North terrace. The special subject for the occasion will be a talk on "Bromoils" by Mr. Les. Fisher. A "bromoil" is a print from which the silver image has been bleached and replaced by oil pigment. It is recognized as a photographic process and there are many who consider this method the only way of obtaining good pictorial results. Others contend that such a process should not be necessary and that it is only used to cover up a photographer's lack of skill in producing a good "straight" print. The evening should be a most interesting one.
FILTER FACTORS
As a filter absorbs a certain proportion of white light, a photographer employing one must remember that not so much light will reach his film and must compensate for this by increasing the exposure time or alternatively using a larger lens aperture or stop. Filters are sold as having a certain multiplication factor. For example, you can buy a yellow filter requiring an increase in exposure time of 1½ times normal or 2 or 3 or 4 times. These factors are expressed in the following manner: x 1 1/2, x 2, x 3 and x 4. A x 1 1/2 yellow filter is very useful, as it does not increase exposure time by very much, thus enabling it to be used even with fast shutter speeds, while, for general use its color correction is sufficient.
Saturday 8th July 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the general meeting of the Adelaide Camera Club held on Monday night, Mr. Les Fisher gave a talk and practical demonstration on making bromoils. The portrait competition was judged and resulted: First, Mr. L.A. Wilde; 2nd, Mr. C. Thompson. At the practical meeting to be held at the University on 17th July, the subject will be, "Full Length Figure Studies". A suitable model will be provided, as well as lighting and back grounds.
100 YEARS OF PROGRESS
The year 1939 is the centenary of photography, for it was 100 years ago that Daguerre and Fox Talbot disclosed to the world their discoveries which led to present-day photography. The last few years have witnessed intense progress in the photographic world, particularly in miniature cameras and photographic emulsions. Whereas a few years ago a lens of f4.5 on a quarter-plate camera was considered the acme of speed, today we can purchase miniature cameras with lens of f1.5 - about 12 times as fast. In addition, film emulsion speeds have increased so much that, compared with a few years back we can obtain films today that are 8 to 16 times as fast.
THESE TWO IMPROVEMENTS MEAN THAT NOW PHOTOGRAPHS CAN BE TAKEN WHICH PREVIOUSLY WERE IMPOSSIBLE. SNAPSHOTS AT SPEED MAY BE TAKEN IN THE THEATRE, IN THE HOME, WITH ORDINARY ARTIFICIAL LIGHT AND EVEN IN THE STREETS AT NIGHT TIME.
The press photographer who attends an official function no longer has to drag along a huge camera, with its accompanying smoky flash-powder outfit. He merely takes from his pocket a small camera and in a fraction of a second he has his picture. No longer does the photographer have to cry "Hold it" and thus get an unnatural, posed picture; today his pictures are the essence of "candid" portraiture.
FAST MINIATURES
The miniature camera has made tremendous strides in the last year or two and there are now models which will take from two to four pictures a second if desired, thus enabling a photographer to catch fleeting expressions and select from his tiny negatives those which give the finest pictures. One of these cameras operates by clockwork. All the photographer has to do is to press the button as fast as he desires. This operates the shutter and sets the clockwork in motion, which advances the film, resets the shutter and records the exposure on the counter dial. Another make has a small lever which is operated by the middle finger of the right hand, while the index finger operates the shutter release button. It is a case of press the index finger and then the middle finger and a little practice makes the operation nearly as fast as clockwork. These cameras take 50 pictures, one inch square, on 35mm film and with modern fine grain emulsions and improved developers, good enlargements are easily obtained. Another camera, made in England, is not much larger than a watch and contains all the usual accessories as a "built-in" feature. These include different filters, lens hood, exposure meter and range finder. All these improvements have made photography one of the most popular and fascinating hobbies of the day.
Saturday 15th July 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
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ADELAIDE CAMERA CLUB
On Monday night the Adelaide Camera Club will meet at 8pm at the physics building, University, for its monthly practical evening. The subject on this occasion is a novel one, "Full-length Figure Studies". With a suitable model and adequate lighting facilities, members are offered an opportunity to exercise their skill on a branch of photography which is usually only available to well-equipped studio owners and which contains all the elements of first-class pictorial work.
For this work, to obtain not only enlargements of fair size but grainless, it is recommended that a moderately fast panchromatic film be used rather than one of the ultra-fast types that are now available. Proxar lenses are unnecessary for this work, but members should bring with them their tripods. Exposure times should be on the generous side and development time should be on the short side to produce negatives that will render full shadow detail, but free from excess contrast.
ANNUAL EXHIBITION
Members and intending members of the Adelaide Camera Club are reminded that entries close on July 31st for the exhibition of Australian Pictorial Photography, to be held in the Royal Society of Arts Gallery, North terrace, from 15th to 25th August. Prints must be suitably mounted, preferably on white or cream mounting board and mounts must conform to one of the following standard exhibition sizes: 25 x 20 inch, 20 x 16 inch, or 16 x 12 inch.
Intermediate workers, for whom there will be a special section in the exhibition, will be permitted to have their enlargements processed by the trade. The senior section of the exhibition will consist of prints, which must be entirely the work of the entrant.
Exhibitions of this nature are certainly worth the trouble and expense that they entail, as not only do they give amateur pictorial photographers an opportunity of seeing their own work alongside and, in comparison. With the work of others, but displays of this nature give the public an excellent idea of the progress that can be made when a small body of enthusiasts get together and make some concerted effort to progress with a hobby that is universal, but the possibilities of which are not realized by the majority of camera owners.
NEW ANGLE PHOTOGRAPHY
There is a small "school" of photographers scattered round the world who because they lack sufficient imagination to obtain good pictorial subjects under natural eye-level conditions, resort to taking subjects from acute angles, resulting in photographs showing a distorted vision of the real thing. It is not uncommon nowadays to see portraits taken from somewhere near ground level, so that the subject appears to be leaning backwards, has giant size legs, smaller body and a tiny head.
And these new-angle photographers hope that because the portrait is "something different" it will be accepted as pictorial and artistic. There are occasions when a moderate amount of angle work is justified, but the photographer must know when to employ it usefully and not to distort a subject for the sake of distortion.
Amateur photographers are well advised to adhere to eye-level work where possible. This results in pictures as we see them. Even photographs taken at waist-level at times give an untrue rendering of a subject. Therefore, the camera position should be studied and well considered before taking any photograph. It is a point that is often overlooked and sometimes a picture could have been greatly improved if it had been taken from eye-level rather than a lower or higher position, or when taken from eye-level would have been better if taken from a somewhat lower or higher level. Particularly should camera level be considered when taking architecture, animals, still life, portraits and figures in landscape.
Saturday 22nd July 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Although many successful practical evenings have been organized by the Adelaide Camera Club this year, probably the most interesting and instructive meeting of all took place last Monday, when the subject was "Full length Figure Studies". A capable model was available for the occasion and special background and lighting were provided, so that the opportunity to obtain first-class pictorial results presented itself. Needless to say, full advantage was taken of the occasion by the large number of members present and it is expected that many fine prints will be entered for the figure study competition, which will close at the general meeting of the club on September 4th. Club members are again reminded that entry forms for the forthcoming photographic exhibition must be in the Hon.Secretary's hands not later than 31st July. Prints may be handed into Kodak (Australasia), or Harrington Pty. Ltd., both of Rundle street, from which centers they will be duly collected. Entrants should, however, be careful to address their parcels to the Hon.Secretary, the Adelaide Camera Club and mark the package "Exhibition Prints".
SPEED WORK
Camera enthusiasts who are rather new to the game are apt to become confused over the difference between speed as applied to lenses, shutters and films. They hear and read about fast lenses, high-speed shutters and ultra-rapid films and sometimes imagine that one of these will act as a suitable substitute for another that may not be available to them. For example, one camera owner with a maximum high shutter speed on his camera of 1/100th second, was under the impression that by using an ultra-rapid film he could stop motion that normally calls for 1/400th to 1/500th second. Of course, this is not the case, because if a moving object requires 1/500th second to stop it completely on the recorded negative, it will need this shutter speed whatever type of film is employed. There is, of course, an association of each of these speeds with one another and in the above instance an ultra-rapid film would enable a shutter speed of 1/500th second to be employed under condition when a slow speed film would necessitate a much shorter exposure. Alternatively, an ultra-rapid film would permit an exposure speed of 1/500th second at a much smaller lens aperture, under certain lighting conditions, than would be possible with a slower film, thus allowing greater "depth of field", or, to put it more plainly, recording near and far objects more sharply than would be obtained with a wider aperture. Again, the use of a fast or very wide aperture lens permits faster shutter speeds and the faster the film employed the faster the shutter speeds that can be used. Such conditions as photography in the theatre or in the streets at night under artificial light illumination call for fast lens and ultra-rapid films, but even with these the shutter speed may be only 1/10th, 1/25th, or 1/50th second, according to the strength of the lighting available.
SUMMING UP
However, without the fast lens and ultra-rapid film an exposure of several seconds would be called for, making it impossible to "stop" moving objects, either on the stage or in the street, as the case may be. Let us sum up what each of these speed accessories will do for us.
FAST LENSES: A lens, for example, rated at f2 is twice as fast as a lens of f2.8, four times as fast as f4, eight times as fast as f5.6, 16 times as fast at f8 and 32 times as fast as f11, which latter lens stop value is the approximate average lens speed of the cheap snapshot box-type camera. In use under poor lighting conditions, where a camera with an f2 lens can employ a shutter speed of 1-50th second, the snapshot camera, with an f11 lens, would need to give an exposure of approximately one second, a speed which would not stop moving objects.
SHUTTER SPEEDS: High shutter speeds are useful in stopping fast-moving objects, provided lighting conditions, lens aperture and film speed permit the use of the maximum speed. Otherwise shutter speed must be adapted to the lens aperture employed and the film speed in use.
ULTRA-RAPID FILMS: Very fast film emulsions permit the use of higher shutter speeds if required and/or smaller lens apertures to be employed if greater depth of field or all-round sharpness is desired. If neither very fast shutter speeds or very small apertures are needed a film of the slower variety giving finer grain, is better employed.
Saturday 29th July 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
ONLY a few days remain before the closing date for entries and prints for the Australian Exhibition of Pictorial Photography. Entries must be lodged with the Hon.Secretary of the Adelaide Camera Club (Mr. H.L. Austin), 70 Watson avenue, Rose Park, not later than Monday. Prints may be sent to the Hon.Secretary or left at Kodak (Australasia) Pty. Ltd. or Harrington Pty. Ltd., Rundle street, both of which firms have consented to collect and deliver them to the Hon.Secretary. The selection committee, comprising the President (Mr. L.A. Wilde), the vice-President (Mr. F. Cole), Messrs. Les. Fisher, J.N. Tomlinson and F.A. White, assisted by Miss E.I. Viney and Mr. Austin, will meet on Saturday 5th August, to choose prints to be hung for exhibition. The exhibition will be officially opened at 8pm on Tuesday 15th August, by the Lady Mayoress (Mrs Barrett). All members and their friends and readers of "The News" are cordially invited to be present.
BETTER SNAPSHOTS
Practically every camera owner and I refer mainly to those people who do not make photography a serious hobby but nevertheless possess a camera which is used at holiday times and on other odd occasions - has experienced a sense of disappointment when handed their prints from the developing and printing concern which has undertaken the processing of their films for them. There is something that is not quite right about those prints; the results are not just what was expected. That picture of the wife and baby on the beach, for example. It is them all right, but anybody else would need a magnifying glass to recognize them. And why does Aunt Matilda look as if she is suffering from anaemia on one side of her face while the other side is almost black as from sunburn? What will my friendly neighbor say about that photo of little Tommy, their son, whom I offered to "snap" when playing on the lawn? Great Scot, look at the size of his feet! They are big enough for a full-grown policeman. Draft these cameras! Why don't the manufacturers turn out something decent for the money, instead of producing a contraption which does not give a true rendering of what I snapped! To the inexperienced, those last remarks appear to be justified, nevertheless, they are wrong because even with the cheapest camera today good snapshots may be taken if the amateur photographer will only be careful to observe a few essential rules before pressing the button. Here are a few hints which, if digested, will enable the casual snapshotter to avoid those disappointments, those wasted films and the expenditure of money for developing and printing for results not worth the outlay.
FULL-LENGTH PORTRAITS
Two mistakes are liable to be made by the photographer. The first is that he gets the subject too small in the picture and the second is the opposite he gets so close that heads or feet are cut out of the picture. The remedy is to study the subject carefully in the view-finder and fill the space as much as possible, allowing a reasonable margin at top, bottom and sides so that heads do not touch the top and feet do not rest right on the bottom.
LIGHTING
Harsh, contrasty faces in photographs taken by amateurs are generally due to the picture having been taken in full sunlight with the sunlight glaring on one side of the face and the other side in shadow. The remedy is to select a bright spot out of the direct glare of the sun and to give a generous exposure. If the subject is studied before snapping the lighting on the face will give a good guide to the photographer. Often the shadow side of the face, if it appears to be too dark, can be lightened by having someone hold a white sheet, table cloth, or even a newspaper, a few feet away to reflect the light back into the shadows.
DISTORTION
Feet, shoulders, heads and even ears and noses are frequently rendered out of proportion, due to the fact that they are oser to the camera than the rest of the subject when the camera is brought to within a few feet of the person being photographed. No matter how good the camera, this will occur and the remedy is to avoid too close an approach to the subject and to place the person or persons being photographed so that the whole of the body is as near as possible in one plane. If sitting down the subject should be sideways to the lens with the head turned towards the camera. If the front of the body faces the camera then the legs cannot avoid being much nearer the lens. These are just a few hints on common errors made by the amateur. There are many others which will be dealt with from time to time in this column.
Saturday 5th August 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly general meeting of the Adelaide Camera Club will be held on Monday at the club room, Institute Building, North terrace. Members participating in the club's annual photographic exhibition, to be opened on August 15th, are reminded that entries cannot be accepted if their current club subscriptions are not paid. Any members so placed will have a final opportunity on Monday of ensuring that their prints will be submitted to the selection committee. Next Saturday afternoon the committee and any club members who may care to volunteer, will meet at the Royal South Australian Society of Arts Gallery at 2pm for the purpose of hanging prints selected for exhibition. Invitation cards to attend the official opening will be available to members on application to the Hon.Secretary at Monday night's meeting.
COLOR TRANSPARENCIES
Last summer our garden was a blaze of glorious color; in fact, it was a real joy to go into the garden and gaze upon the various beds of flowers. Do not ask me to name all the varieties, because I have a bad memory for such things, but I do remember one big half circle of petunias. My wife said, "Soon they will all be done and will have to be pulled out to make way for winter planting, so what about taking a photo or two to remember it by?" My answer was that while black and white was most useful for recording all sorts of things, such as babies and dogs and cats, it would not do justice to this subject. Black and white can make quite a good job of one or two roses or other flowers in a vase, but to convey the real impression of all that mass of assorted colors it would need to be photographed in color. So I purchased a color film, waited for a nice, bright day with not too harsh a glare from the sun and, keeping the sun behind the camera, obtained several records of the garden from different positions. And now during these winter months, when the garden discloses practically nothing but seedlings, we can look to our heart's content on the glories that are past. In the same manner were recorded some of our summer holidays. The blue skies, the white-tipped waves and the golden sand.
JUST AS EASY
Color photography is just as easy as black and white, provided that a little extra care is given to exposure times, as these films have not the large range of latitude in exposure that the ordinary black and white emulsions allow. The cost is a little higher, but if used carefully, so that each frame produces a worth-while picture, the outlay is certainly justified. Even moderately cheap cameras are suitable for color photography, as an exposure of approximately 1-25th second at f8 in bright, sunny weather is correct. Care must be taken not to include masses of black shadow in the picture, as they will not harmonize with the surrounding colors and the best way to avoid this mistake is to keep the sun right behind the camera, a rule which is condemned in ordinary black-and-white photography, as in the latter case shadows are employed to give molding or depth to the subject. Another point to watch is that of seeing that the colors in the subject to be photographed harmonize. Nothing is worse than a clash of gaudy colors and it will soon be found by experience that a few simple color tones will make the best picture.
PRINTING IN COLOR
Taking prints from color transparencies is an accomplished fact, but the process is involved and fairly expensive. In other countries the trade concerns are making prints for their customers, but the cost even for "contact" size runs into several shillings each. I understand that this convenience will soon be available to the Australian public and undoubtedly the day is not far off when the process will be so simplified that color prints will be able to be done at home. So start taking color transparencies and one day they will be useful in making real natural color prints.
Tuesday 8th August 1939
Page 14 - News (Adelaide South Australia)
"GLORIOUS FREEDOM"
is the title of this camera study by L.A. Wilde, of Myrtle Bank.
The picture has been included in the Australian Exhibition of
Pictorial Photography being held by the Adelaide Camera Club.
The exhibition will be open at the Society of Arts Gallery,
North terrace, from 15th to 25th August.
Tuesday 8th August 1939
Page 5 - News (Adelaide South Australia)
PHOTOGRAPHIC ART EXHIBITION
Photographic art will be exhibited by the Adelaide Camera Club at the Society of Arts Gallery, North terrace, City, from 15th to 25th August. Pictures to be exhibited include landscapes, seascapes, portraits, figure studies, architecture and color transparencies. In addition to the 107 South Australian and interstate photos to be shown for competition, 20 loan pictures from the Dunedin (New Zealand) Photographic Society will be on display. The exhibition will be opened by the Lady Mayoress (Mrs Barrett) at 8pm on 15th August. Judges will be Messrs. J.C. Goodchild and M.J. MacNally. The exhibition will be open free to the public from 12pm to 5pm and 7pm to 9.30pm daily.
Wednesday 9th August 1939
Page 8 - The Advertiser (Adelaide South Australia)
EXHIBITION OF PHOTOGRAPHY
LADY MAYORESS TO OPEN SHOW NEXT WEEK
For an Australian exhibition of pictorial photography, it will hold in the Royal South Australian Society of Arts Gallery, North terrace, from August 15th to 25th, the Adelaide Camera Club has received an entry of 129 picture including entries from other States.
The Lady Mayoress (Mrs Jean Beatrice Barrett) will open the exhibition at 8pm on Tuesday. Judging will take place on Monday. In each of the seven sections one diploma and three certificates will be awarded by the judges, Messrs J.C. Goodchild and M.J. McNally.
The Adelaide Camera Club will present a special plaque each to the best exhibitor from another State and the best South Australian exhibitor, irrespective of class. The exhibition will include 20 loan pictures from the Dunedin Photographic Society located in New Zealand.
The following sectional entries have been received: Landscape 45, seascape 12, portrait 12, figure study 8, architecture 6 and other subjects 18.
The exhibition will be open daily between noon to 5pm and 7pm to 9.30pm. There will be no evening session on Saturday 19th August or Sunday 20th August. No charge will be made for admission.
Thursday 10th August 1939
Page 19 - News (Adelaide South Australia)
EXHIBITION of PHOTOGRAPHS
A fine exhibition of Australian and New Zealand photographs, arranged by the Adelaide Camera Club, will be opened by the Lady Mayoress (Mrs Barrett) on Tuesday night.
The exhibition will be held in the Royal South Australian Society of Arts gallery in Institute Buildings. North terrace and will be open until August 25th. The Adelaide Camera Club is affiliated with the Royal South Australian Society of Arts and with the Royal Photographic Society of Great Britain.
There will be 109 pictures for competition and a special display of 29 photographs from the Dunedin Photographic Society located in New Zealand.
The exhibition is particularly interesting because this year is the centenary of the invention of photography as we know it today. Fox Talbot, an Englishman, was the inventor.
Saturday 12th August 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
A number of very fine color transparencies, including those entered for the Adelaide Camera Club's forth coming exhibition of pictorial photography, were shown by projection at the club's general meeting on Monday night, principal exhibitors of color transparencies were: the vice-President of the club, who showed some fine slides of his recent trip to the Northern Territory and Mr. Les Gill, who specializes in this class of work and turns out some very beautiful color slides.
Club members and readers of this column are reminded for the last time that the Adelaide Camera Club's photographic exhibition will be opened by the Lady Mayoress on Tuesday night, at 8pm in the Royal South Australian Society of Arts gallery, North terrace (entrance off Kintore avenue). All will be welcome.
I will have more to say next week about the exhibits, but I can say now that it is the finest collection of pictorial photography the club has produced. Every member has put in work improved over last year by one hundredfold, which is an excellent compliment to the club as a whole and to the President and executive officers who have striven to help and encourage every member from the beginner upwards.
COLOR PROCESSING
In last week's article I dealt with the subject of color transparencies. As regards the processing of these color films, of which there are three makes on the market, a little advice may be helpful. There are two systems of color photography, namely, the "additive" process and the "subtractive" process.
These terms apply to the methods adopted to register the subject in color on the film emulsion. Kodachrome and Agfacolor are both of the "subtractive" type and so far these films are only available in 35mm. size. Due to the involved process necessary with "subtractive" type films, it is essential that all processing be carried out by the manufacturer.
The amateur photographer cannot at present undertake this work. With Dufaycolor, which is of the "additive" type and which is available in all popular sizes of films, it is now a fairly simple job to process these films at home. Recently a simplified method was evolved which enables the color photographer to process his Dufaycolor films in any of the popular apron or spiral type daylight developing tanks.
TANK PROCESS
The advantage of completing the entire processing by the tank method is that the film remains untouched by hand and is freed from the risk of damage, dust and other impurities, a very important feature where color is concerned. It must be understood that first of all the exposed film must be loaded into the tank in complete darkness, as the emulsion is panchromatic or sensitive to all colors. After this has been done the rest of the work is in daylight or artificial light and the procedure is as follows:
1. First Development:
Azol - 6 drachms
10 per cent. solution of potassium Thiocyanate - 5 drachms
Water to make - 17 oz.
Develop at temperature of 60 deg. Fahrenheit for 10 minutes.
2. Wash: Fill tank with water and agitate for 30 second and repeat with an other fill of water.
3. Acid Bath:
Potassium permanganate - 20 gr.
10 per cent. Solution sulphuric acid - 2 oz.
Water - 15 oz.
Make sure that all the permanganate is dissolved before use. It is best to mix up this solution at least half an hour before using. Pour into tank and agitate for seven minutes at 65 degrees Fahrenheit.
4. Wash: Fill tank three times with water with half-minute agitation between each fill.
5. Chemical Blackening Bath:
Sodium bisulphite - 1/2 oz.
Sodium hydrosulphite - 75 gr.
Johnson's desensitiser - 1 drachm
Water to make - 17 oz.
Frequently agitation for 15 minutes at 65 degrees Fahrenheit.
NOTE: The above bath must be mixed immediately before use as its properties deteriorate rapidly.
6. Wash: Two half-minute soakings in water.
7. Hardening Fixing Bath:
Plain hypo. fixing solution plus Kodak liquid hardener or Johnson's acid hardener.
Fix for three minutes.
8. Final Wash: In running water for one hour.
9. Wipe surface carefully with viscose sponge and hang up to dry.
Monday 14th August 1939
Page 5 - News (Adelaide South Australia)
CAMERA CLUB ANNOUNCES AWARDS LIST
Awards in the Australian Exhibition of Pictorial Photography, conducted by the Adelaide Camera Club, were announced today. The exhibition will be opened tomorrow night at the S.A. Society of Arts Gallery by the Lady Mayoress (Mrs Barrett) and will be open to the public until 25th August from noon to 5pm and from 7pm to 9.30pm daily. Awards were:
LANDSCAPES:
Miss D. Barnes (South Australia) and J.L. Wray (New South Wales), diplomas: J.N. Tomlinson, H. Keil, M.W. Murray (Tasmania) and F.A. White. certificates of merit; Miss E.I. Viney, H. Mallard (New South Wales) and J.L. Wray (New South Wales) highly commended.
SEASCAPES:
W. Ellis (Queensland) DIPLOMA: L.A. Wilde and H.C. Lewis (Victoria), certificates of merit: L.A. Wilde, honorable mention.
PORTRAITS:
L. Fisher, DIPLOMA: Drew and Lewis, certificates of merit: Drew, honorable mention.
FIGURE STUDIES:
C.N. Tomlinson, DIPLOMA: L. McKay (Queensland) and R.V. Benny (New South Wales) certificates of merit; Tomlinson, honorable mention.
ARCHITECTURE:
H. Mallard (New South Wales), DIPLOMA: Fisher and Wray, certificates of merit; F. Cole, honorable mention.
ANY OTHER SUBJECTS:
Benny and R. Edwards (Victoria), DIPLOMA: Lewis and Tomlinson, certificates of merit; L.C. Spurrier and G. Purcell (New South Wales), honorable mentions.
INTERMEDIATE SECTION:
D. Underdown and H.O. Irwin, certificates of merit; Irwin, highly commended.
COLOR TRANSPARENCIES:
W.S. Talbot, diploma; Talbot, L.J. Gill and Miss Viney, certificates of merit.
Monday 14th August 1939
Page 7 - News (Adelaide South Australia)
CAMERA MASTERPIECES TO BE SHOWN
Photography is described in the dictionary as a "process by which pictures are produced by the action of light upon surfaces treated with chemicals sensitive to light".
In the Adelaide Camera Club's exhibition, which is to be opened by the Lord Mayor (Mr. Barrett) tomorrow night at the institute galleries, we are shown a lot of pictures produced in this way and produced so beautifully that one wonders how much nearer the machine and the brain behind it is going to get to the result of the co-ordination of brain and hand.
If only the practising painters of South Australia would pull together and show such enthusiasm as this band of artistic brothers of the camera, there is no knowing the heights that we might reach.
Enthusiasm like this is hard to equal. These artists in light and shade are always there, always ready to help, teach and tell of their hopes and aims. Now and then you meet a "Gregory Grumbledon" but he soon becomes a dissolving view and the caravan goes on.
This present exhibition is on a high level. During the year I have met many artistic prowlers, small camera in pocket, watching, waiting and eager for some effect they have in mind.
What a great game this is! What a comfort to the harassed man who all the week has been chained to the machine.
What a light there is in his eyes as he tells you of his hopes and how proud he is of his contribution to the world of beauty. There is beauty here as well as strength, or as it is known in art circles, "guts". I don't think it was Gilbert who said:
Let us silence once for all
These mid-Victorian nuts.
Bleating of beauty, let us rather
Proclaim the god of "guts".
These people have combined the two with telling effect. An expanded catalog of the work, with insignificant comment, is utterly impossible here. Sufficient to say that the club has produced a show of artistic photography that is better than we have previously had and it is worthy of a visit from art lovers in Adelaide who realize that beauty can be pictured by other means than by the co-ordination of the brain and hand.
The portraiture section, although small, is excellent. A huge improvement is noticeable in both the seascape and landscape offerings. There is no evidence of faking for effect, all is straight-out composition and atmospheric quality.
Architecture is treated with beautiful effect and the offering from the Dunedin (New Zealand) Photographic Society has a wall all to itself, whereon it displays a delightful series of land and seascape.
In the intermediate section there are some promising efforts, a couple of animal studies being particularly good. Altogether it is a display well worth a visit.
Tuesday 15th August 1939
Page 6 - News (Adelaide South Australia)
CAMERA CLUB DISPLAY
The Lady Mayoress (Mrs Barrett) will open an interesting exhibition of Australian and New Zealand photographs tonight. The display has been arranged by the Adelaide Camera Club and is at the Royal South Australian Society of Arts Gallery in Institute Buildings, North terrace. The photographs include seascapes, landscapes and figure studies and the Dunedin (New Zealand) Photographic Society has sent a special group of 29 pictures. Admission will be free and catalogs can be bought in the gallery. The Adelaide Camera Club is affiliated with the Royal South Australian Society of Arts and with the Royal Photographic Society of Great Britain.
Tuesday 15th August 1939
Page 5 - News (Adelaide South Australia)
"NOT TOO BAD AT ALL"
A three-year-old visitor runs his critical eyes over the pictures at the
Australian Exhibition of Pictorial Photography in the Royal Society of Arts Gallery,
North terrace. The exhibition, which has been arranged by the Adelaide Camera Club,
will be opened tonight by the Lady Mayoress (Mrs. Barrett).
Tuesday 15th August 1939
Page 8 - News (Adelaide South Australia)
CAMERA CLUB SHOW OPENS TONIGHT
Photographs with the artistic quality of paintings, some of them almost in distinguishable from etchings or aqua tints, are to be seen at the Adelaide Camera Club's exhibition of photo graphic art at the Society of Arts Gallery, North terrace. The exhibition, which will be opened by the Lady Mayoress (Mrs Barrett) tonight, may be seen by the public for 10 days, from 12pm to 5pm and 7pm to 9.30pm.
Tuesday 15th August 1939
Page 19 - The Advertiser (Adelaide South Australia)
AUSTRALIAN EXHIBITION OF PICTORIAL PHOTOGRAPHY
An Australian exhibition of pictorial photography arranged by the Adelaide Camera Club will be opened by the Lady Mayoress (Mrs Barrett) in the S.A. Society of Arts Gallery at 8pm today. The exhibition will remain open until 25th August and daily hours of admission will be from noon to 5pm and from 7pm to 9.30pm. Admission will be free. The awards, together with the catalog numbers of the prize winning entries, are:
SECTION I (LANDSCAPES) - Diploma and best South Australian print (No 4) "Dunedin Heights" (Miss D. Barnes, South Australia); diploma and best interstate print (No 36) "San Ramparts" (J.L. Wray, N.S.W.); certificates of merit (No 18) "Inman Valley" (J.N. Tomlinson, South Australia), (No 31) "Survivor" (Hugo Keil, South Australia), (No 37) "Autumn" (M.W. Murray, Tasmnia), (No 40) "Sunshine Walk" (F.A. White, South Australia); hon. mention (No 15) "County Calm" (Miss E.I. Viney, South Australia), (No 26) "Mountains and Marshes" (Henri Mallard, N.S.W.), (No 31) "Autumn Leaves" (John Wray, N.S.W.).
SECTION II (SEASCAPES) - Diploma (No 45) "Pearlers" (W. Ellis, Queensland); certificates of merit (No 50) "The Storm Clouds Pass" (L.A. Wilde, South Australia), (No 53) "Silver Sea" (H.C. Lewis, Vic.); hon. mention (No 47) "Sunshine and Solitude" (L.A. Wilde, S.A.).
SECTION III (PORTRAITS) — Diploma (No 58) "Rolling Stone" (Les Fisher, South Australia); certificates of merit (No 105) "Joyce" (E.H. Drew, South Australia), (No 62) "Happy Thoughts" (H.C. Lewis, Victoria); hon. mention (No 104) "Doris" (E.H. Drew, South Australia).
SECTION IV (FIGURE STUDIES) — Diploma (No 65) "The Fireman" (C.N. Tomlinson, South Australia); certificates of merit (No 64) "Slumber" (L. McKay, Queensland), (No 70) "Invitation" (R.V. Benny, N.S.W.); hon. mention (No 66) "Rhythm" (J.N. Tomlinson, South Australia).
SECTION V (ARCHITECTURE) - Diploma (No 76) "Sunlit Courtyard" (Henri Mallard, N.S.W.); certificates of merit (No 74) "Portico" (Les Fisher, South Australia), (No 77) "Fountain by Night" (John L Wray, N.S.W.); hon. mention (No 73) "Pride of Brisbane" (F. Cole, South Australia).
SECTION VI (OTHER SUBJECTS) — Diplomas (No 85) "Danse Macabre" (R.V. Benny, N.S.W.), (No 92) "Dew Impearled" (R. Edwards, Victoria); certificates of merit (No 81) "Bush Grill" (H.C. Lewis, Vic), (No 82) "A Link with the Past" (J.N. Tomlinson, South Australia); hon. mentions (No 91) "Smokes" (L.C. Spurrier, South Australia), (No 95) "A Fly's Tongue" (G. Purcell, N.S.W.).
INTERMEDIATE SECTION — Certificates of merit (No 97) "The Headland" (D. Underdown, South Australia), (No 98) "The Boys" (H.O. Irwin, South Australia); hon. mention (No 99) "The Pathway" (H.O. Irwin, South Australia).
SECTION VII (COLOR TRANSPARENCIES) — Diploma "Sewing" (W.S. Talbot, South Australia); certificates of merit "Scarborough N.S.W". (W.S. Talbot, South Australia), "Torrens River" (Miss E.I. Viney, South Australia), "Jean and Beth" (L.J. Gill, South Australia).
Wednesday 16th August 1939
Page 12 - News (Adelaide South Australia)
CAMERA SHOTS FROM UNUSUAL ANGLES
Simple subjects are given a new interest in the pictures displayed in the Adelaide Camera Club photographic exhibition, which was opened at the Society of Arts Gallery, North terrace, last night.
A solitary tree on an expanse of heathy hill, or a Scotch thistle, taken at close range among a tangle of grasses against the skyline, has an unexpected beauty.
Other unusual studies may be seen in the still-life section, where such ordinary things as a glass of water or a few cigarettes and matches on a linen cloth are the subjects.
The exhibition will be open for 10 days. In addition to the South Australian and interstate entries, for which two trophies have been awarded, there is a group of pictures on loan from New Zealand.
Wednesday 16th August 1939
Page 25 - News (Adelaide South Australia)
Page 25 - The Advertiser (Adelaide South Australia)
LADY MAYORESS OPENS CAMERA CLUB EXHIBITION
The Lady Mayoress (Mrs Barrett), opening the 1939 Adelaide Camera Club exhibition at the Society of Arts Gallery last night, referred to the interest taken in photography by the Royal Family. The King, she said, had the Empress of Australia stopped in mid-ocean to take a picture. The Duke of Kent was also interested and presided at the annual dinner of the Royal Photographic Society in London this year, the centenary of photography, she said.
The Lady Mayoress paid a tribute to the President (Mr. L.A. Wilde) in his efforts to bring out the young and enthusiastic amateur.
Friday 18th August 1939
Page 3 - News (Adelaide South Australia)
BIG RANGE OF PICTURES AT CAMERA SHOW
Drops of dew on a spray of bamboo leaves form the subject of a prize picture in the Adelaide Camera Club's photographic exhibition, which is attracting many visitors to the Society of Art gallery in the institute building, North terrace. The exhibition which will be open every afternoon and night until next Friday, has a wide variety of subjects, from almond and plum blossom in-sunlight to an old archway and steps lit up at night. In the group of pictures lent by the Dunedin Camera Club of New Zealand, there is a charming study of a Dalmatian dog's head and another delightful dog study called "The Boys" shows two alert little terriers. There are interstate as well as local entries in the exhibition and pictures are marked to show which have won awards.
Saturday 19th August 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
With an excellent attendance, the Australian Exhibition of Pictorial Photography, organized by the Adelaide Camera Club, was officially opened by the Lady Mayoress (Mrs Barrett), at the Royal South Australian Society of Arts Gallery, North terrace. On the walls there are 109 prints selected from a large number entered for competition and a non competitive special loan exhibit of 20 prints from the Dunedin (New Zealand) Photographic Society. Awards have now been made and published in the press and a copy is included with each catalog. Therefore, except to congratulate those who were successful in catching the judges eyes, I will not dwell further on the subject. However, for those who have not yet visited this fine display and who intend to do so and for those who will make a second or third visit, I am giving a few hints on how to get the utmost enjoyment from exhibits of this nature.
PICTURE ANALYSIS
Many people who will visit the exhibition will walk round the room, admire the prints displayed and then being at a loss as to what to do next, will leave the gallery with a feeling that they have not quite done all that they could have done. The truth is that they fail to absorb the individualism that is reflected in each picture and do not analyze the subject to ascertain why it is a successful picture or otherwise. To be able to do this adds materially to the enjoyment of inspecting, not only pictorial photographs, but any work of art. I would suggest that the visitor first of all should slowly walk round the exhibit so as to satisfy a natural curiosity and with this accomplished, start once more, taking each picture as a subject for analysis. This may mean more than one visit, but it will certainly be worth the trouble. In analyzing a picture, the following hints may prove helpful:
1. Note the style of composition. The picture may be based on a diagonal motive or pyramidal or circular, or on the letter "S" (such as a winding road or stream).
2. There may be rhythm in the composition. For example, the top of a hill forming a segment of a circle with a tree, the top of which forms a similar outline and behind and above the tree a cloud formation more or less following the lines of the hill and tree.
3. Look for action. In a subject depicting a windy day, there should be enough evidence to give the impression that the wind is really blowing.
4. In portraiture look for the natural unstrained pose, the delicate or harsh lighting according to the needs of the subject and study the flesh tones.
5. Figure studies should portray grace and symmetry and the pose should interpret correctly the title given to the picture.
6. In landscapes in particular, note the perspective or depth and how this is obtained by the correct use of light and shade. Sunshine makes most pictures.
BALANCE IS NECESSARY
7. Carefully examine each picture for "balance". A badly balanced picture always looks heavier on one side than the other and gives a feeling of insecurity, although it is nailed to the wall.
8. Note the types of sky. Clouds of the type that suit the rest of the picture and in some cases no clouds at all, as such would detract from the principal subject.
9. See how each picture leads the eye into it and not out of it and how the eye travels towards the principal item in the picture space.
10. Note sharpness of outline where it is needed and softness where it emphasizes the principal subject in the picture.
11. Work out for yourself the view point and angle of the camera for each print. In most cases this will be normal eye-level, but where it is not, then the angle used should be justified for that particular subject and not adopted for the sake of unnatural effects.
12. Notice how height is emphasized by comparison. This is usually obtained by the introduction of a figure or other item, the size of which is commonplace knowledge.
13. See how nicely the majority of prints are finished off. Ugly unwanted spots or blemishes are taboo on first class exhibition prints and finally note how the mounts and style of mounting help to set off the picture and improve its display value.
14. Then if you still have time to spare, have a good look at the natural color transparencies.
Wednesday 23rd August 1939
Page 4 - News (Adelaide South Australia)
PATIENCE AND SKILL BEHIND ART PHOTOGRAPHIC SHOW
Infinite patience as well as great photographic skill are behind many of the pictures in the Adelaide Camera Club's photographic exhibition, on view this week in the Society of Arts Gallery, North terrace. While the artist can select his view point and ignore unsightly objects such as tin sheds and telegraph poles, the photographer has to take things as they are. He must wait until the opportune moment when sunshine, clouds and other points in the picture are just right. Examples in the exhibition which illustrate the patience and enthusiasm of the photographer are "The Hour of Sunrise" and the sandhill study "Land Ramparts" in the open landscape section and "Morning-Lake Wanaka" in the Dunedin loan exhibit from New Zealand. The exhibition will be open every afternoon and evening and closes at 5pm on Friday.
Friday 25th August 1939
Page 6 - News (Adelaide South Australia)
GOVERNOR PATRON OF CAMERA CLUB
EXHIBITION SUCCESSFUL
The Governor (Sir Malcolm Barclay-Harvey) has accepted the position of patron of the Adelaide Camera Club. This is the first time for many years that the State Governor has held this position. How appropriate it is, however, is emphasized by the fact that most members of the Royal Family are keen photographers. The President of the Adelaide Camera Club (Mr. L.A. Wilde) said today that the Governor's acceptance of the position was most pleasing specially as it occurred on the concluding day of the Australian exhibition of pictorial photography at the Art Gallery. During the nine days that the work of the cameramen had been on display more than 1,700 people had attended - a record.
SIR CHARLES MALCOLM BARCLAY-HARVEY, KCMG
Born 2nd March 1890 - London, England
Died 17th November 1969 (aged 79) London, England
Appointed GOVERNOR of SOUTH AUSTRALIA in March 1939
Saturday 26th August 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club held its meeting at the Royal South Australian Society of Arts Gallery on Monday, when advantage was taken of the exhibition of pictorial photography to have Mr. J.C. Goodchild (one of the judges at the exhibition) give an informal talk on "Composition", using the display to illustrate the various points. The club is greatly indebted to Mr. Goodchild for his helpful and constructive criticism. The next general meeting will be held at the club room, institute building, North terrace, on Monday 4th September, when intending members will be welcome. As usual, there will be a special subject for the evening. This will also be the last general meeting of the club's financial year.
FOCUSING
It is sometimes difficult to determine the exact point upon which to focus, when two widely separated planes have to be included in a picture with the greatest general sharpness of definition. When one of the planes is situated at infinity and the other is near to the camera, the best result will be secured by focusing upon a point which is twice the distance of the nearer plane from the camera.
For instance, if it is desired to photograph, with the maximum sharpness, one plane which is 100 ft. away and another plane which is only 10 ft. away, the best general definition will be secured by focusing upon a point which is 20 ft. distant and then stopping down the lens aperture as far as exposure time conditions will permit. With the camera in the hand, the extent of stopping down may be limited; on a tripod, the smallest stop can generally be used without difficulty. If both planes are near to the camera, no general rule can be given. As is well known, focusing upon a point midway between the two is not always satisfactory.
Saturday 2nd September 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The acceptance by the Governor (Sir Malcolm Barclay-Harvey) of the position of patron of the Adelaide Camera Club is a notable event in the history of South Australian pictorial photography. As this year is the centenary of photography, it is interesting to recall that Queen Victoria and the Prince Consort, who was an ardent photographer were the first patrons of the Royal Photographic Society of Great Britain. Ever since that time Royalty has shown more than a keen interest in photography and today His Majesty the King is not only patron of the Royal Photographic Society, but is a very good photographer.
CLUB MEMBERS CAN LOOK BACK WITH A GREAT DEAL OF SATISFACTION ON THE AUSTRALIAN EXHIBITION OF PICTORIAL PHOTOGRAPHY FOR 1939. THE WORK DISPLAYED WAS EXTREMELY HIGH AND RECEIVED FAVORABLE COMMENTS FROM THE GENERAL PUBLIC AND IN PARTICULAR, FROM ART CIRCLES.
The attendance was gratifying, 1,706 people having inspected the display, an increase of nearly 400 over the previous year. This is a sure indication of the growing popularity of photography. The general meeting of the club will be held on Monday 4th September at 8pm, in the club room. Institute Building, North terrace. As there were many inquiries regarding membership during the exhibition, intending members are invited to come along to this meeting. The club room is next to the Royal South Australian Society of Arts Gallery, where the photographic exhibition was held. The committee will, as usual, meet at 7pm.
HINTS ON FIXING
Too many photographers are inclined to be casual over fixing both negatives and prints. They make up a working solution and go on using it time after time, trusting to luck that the bath is still at workable strength. The importance of adequate fixing cannot be over-estimated. In cases in which permanence is of special importance, two successive fixing baths should always be employed and prints should be well rinsed between them. The second bath should be composed of quite fresh hypo. and should be reserved for prints which have been passed through the first bath. Prints must on no account be passed into the second bath direct from development. A satisfactory fixing bath for prints is the following: Hypo, 4 oz. Potassium metabisulphate, 1/2 oz. Water, 20 oz. In the case of negatives the hypo. should be increased to 8 oz. in order to ensure rapid fixation. Two baths are unnecessary for negative fixing, provided a comparatively fresh solution is used. In fixing prints, it is wise to throw away the first fixing bath after reasonable use, then transfer the second fixing bath to do the work of the first bath and mix a fresh solution for the second bath. Five minutes in the first bath and 10 minutes in the second bath should then be ample.
Saturday 9th September 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the general meeting of the Adelaide Camera Club, held on Monday evening, the year's progress in photography, photographic apparatus and materials was reviewed. The latest types of cameras were displayed and demonstrated and comparisons were made of the improvement in negative and printing paper emulsions. Many new and useful accessories were also shown and explained. On Monday 18th September, a social gathering will be held at the club room to wind up a most successful year. At this meeting some entertaining movie films will be shown both in monochrome and color. Supper will also be held before the meeting closes. Relatives and friends of members are cordially invited to attend. Will those members who were not present at the last meeting please get in touch with any member of the committee, who will be please to explain more fully the arrangements being made for this social event.
NEGATIVE REDUCTION
While it should always be the aim of the photographer to produce a negative ideally suited to picture making, occasions arise when, through some cause or other, it is found after developing that the negative will not give a satisfactory print without further treatment. If the subject has been fully exposed so that all details are recorded on the negative, but the print there from is flat and lacks contrast, then reduction by means of Farmer's reducer will increase contrast and liven the picture considerably. Farmer's reducer acts mainly on the thinner parts of the negative and care must be exercised not to overdo the reduction, as details in the shadows on the print may be lost entirely. Farmer's reducer is simple to make, as it merely consists of a solution of plain hypo, to which is added a few drops of 10% solution of potassium ferricyanide. The negative should be well soaked in water first, then placed in the Farmer's solution for a few seconds and quickly washed again, repeating the operation until reduction has reached the desired stage. When a negative is too contrasty, Farmer's solution would only aggravate the situation and therefore a reduction agent, which acts more upon the darker portions of the negative, is desirable. Such a reducer is ammonium persulphate. The following stock solution will keep in good condition for some months: Ammonium persulphate 350 grs. and Water 20 ozs. Immediately before use, add to each 4 oz. of the stock solution five drops of strong nitric acid. Soon after immersion of the negative, a white cloud will be seen to form in the solution. This consists of silver chloride and is formed by the interaction of the mineral salts present in tap water with the silver dissolved from the image. Its formation is a sign that reduction has begun. If soft water is used this cloud formation will not appear. The dish should be rocked continually, in order to ensure even action.
QUICK RINSING
As soon as the negative has reached the desired density it should be rapidly rinsed in water and immediately placed in a stop-bath composed of a 5 per cent. solution of sodium sulphite (cryst.) and agitated for a minute or two, then left in the stop bath for five minutes. The stop bath should be prepared and ready for use before beginning this reduction process, because washing in water only will not stop the reducing action of the persulphate and unless the stop bath is brought into action quickly, the complete negative image may be destroyed. After removing the negative from the stop bath, wash in running water for 15 to 20 minutes. It is important that the ammonium persulphate used to form the stock solution should be dry. Any sign of moisture is a certain indication that it is partly decomposed and in such condition the solution would be unstable. It is also advisable that the negative to be reduced by this process should have previously been passed through a hardening bath and also should be thoroughly soaked before immersion in the reducing agent.
Saturday 16th September 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club members are reminded that on Monday evening they will meet at the clubroom, Institute Building and not, as is usual for the third Monday in each month, at the University physics lecture room. This gathering, which is the last meeting of the club financial year, will take the form of a social event, at which some excellent 16 m.m. movie pictures will be shown, to be followed by a supper. Members are invited to bring their relations and friends and, if possible, contribute something towards the supper table. Suggestions are invited for the next year's syllabus. Will members kindly write down items which they would like to be included under the following headings:
(a) Theoretical illustrated lectures.
(b) practical lectures and demonstrations,
(c) practical photographic meetings (such as portraiture, figure, studies, etc.) and
(d) outings (give places and months suitable).
These suggestions must be handed to the President or Hon.Secretary of the club at the annual general meeting, to be held on Monday 2nd October.
CLEANER PRINTS
One feature which I particularly noticed at the recent Australian Exhibition of Pictorial Photography was a definite improvement in the "cleanliness" of prints. This freedom from spottiness, scratches and other unsightly marks went a long way towards making the actual subjects of the prints look really pictorial and stamped them as "first class" technically. There were one or two exceptions, but these were not really bad and were so much in the minority that they had no effect on the display as a whole. This improvement in cleanliness of work is due to several reasons, among which we can definitely list the following:
1. An improved knowledge of the technique of handling negative material, particularly miniature films.
2. Cleaner dark-room operations.
3. A better knowledge of the art of "spotting", retouching and working on prints.
4. Keeping the camera clean inside and outside.
Exhibition prints, however, represent the work of but a few photographers and it is still a common occurrence to be shown half-plate and whole-plate enlargements by camera enthusiasts, who do all their own processing, that are spoiled by their dirty, unfinished appearance.
100 PER CENT. BETTER
In one or two cases I have taken prints of this type from their owners and after working on them for a comparatively short time, in some cases only a few minutes, I have returned them looking 100 per cent, better and something like a good photograph. The comments I usually get on such occasions are most gratifying, but the owners of the prints look as though something magical has taken place which is beyond their understanding or power to accomplish themselves. As a matter of fact the production of clean prints is as simple as A.B.C. and calls more for care and patience than for skill and technical knowledge, in fact, I attribute most of the trouble met with by photographers, who habitually turn out blemished prints, to unreasonable haste and an unsatiable desire to see the final result. Once that habit is overcome and it is realized that a little extra time and care will produce results that no one need be ashamed of, then improvement begins to take place. To assist those who are sincere in their endeavors to turn out first-class work, but who need a little guidance. I will next week outline the procedure that must be followed if success is to be attained.
Saturday 23rd September 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club held a successful social evening at the clubroom last Monday. The President (Mr. Wilde) presented the diplomas and certificates awarded at the recent Australian Exhibition of Pictorial Photography. A fine program of amateur 16mm movie films was the chief entertainment.
CLEANER PRINTS
The next meeting to be held by the club will be on Monday 2nd October, when a new financial year will begin and the election of officers will take place. Intending members are invited to attend this meeting, at which full facilities will be made available for them to enroll immediately so that they may obtain full advantage of the year's program of lectures and demonstrations.
In my article last week I promised to review the procedure necessary to ensure unblemished enlargements such as are today expected and, in fact, insisted on for exhibition purposes. Care at all stages from loading the film into the camera to the final task of mounting the print is the keynote of success. Black spots on prints are mainly due to particles of dust in the camera settling on the film surface and thus preventing light rays from acting on the sensitized emulsion beneath. These little marks on the negatives are generally known as "pinholes".
Likewise many scratches on films are due to minute pieces of grit settling on the polished rollers over which the film is transported after each exposure. The remedy in both cases is to clean out the camera very carefully before loading each film. A camel's hair brush of fairly large size is recommended, plus a little wind power from the lungs. This takes but a little time and will save much work on the prints. The next step to avoid blemishes on the negative is cleanliness in darkroom procedure. Keep the dark-room as free from dust as possible and certainly do not dust the room just before using it. This will only send particles of dust floating round the air.
See that the developing tank or dishes are free from dust, also the work table on which the film is unrolled. Filter the developer and hypo before use and if necessary the rinsing water. Learn not to finger the film when handling, except at the ends.
When washing is completed, wipe off surplus moisture with a damp viscose sponge that is free from dust, otherwise all your good work will be undone. It is wise to keep your viscose sponge covered when not in use so as to protect it from collecting particles of dust and other foreign matter.
DRYING THE FILM
The film should be hung up to dry in a place which is free from dust, but subject to a gentle flow of fresh, warm air. The best means of drying a film is to construct a small vertical box, somewhat longer than the film, with copper wire gauze all round the bottom end, which should surround an electric light globe and at the top end a wire gauze lid.
The film is suspended from a piece of stiff wire across the top and with a clip on the bottom, allowed to hang perpendicularly in the box so that the bottom of the film is about 6 in. above the electric lamp.
The heat of the lamp draws air in through the wire gauze surrounding it and this is warmed and passes up round the film and out of the wire gauze lid. At the same time, the wire gauze prevents dust from reaching the inside of the drying box. A lamp of about 25 c.p. is sufficient for the purpose.
When perfectly dry, lay the film flat on a clean newspaper and cut it into individual negatives with a pair of sharp scissors. Through all these processes keep the fingers from touching the picture surface. When each negative is cut off the length of film, file it carefully in its own envelope, which can be suitably numbered or titled according to the filing system adopted.
It is a mistake to put all the negatives together in one envelope, as they can hardly escape damage when being sorted and re-sorted. The next step is enlarging and care must still be exercised. I will deal with this next week.
Saturday 30th September 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The annual general meeting and election of officers of the Adelaide Camera Club will take place on Monday night at the clubroom, Institute Building, North terrace. All members are asked to be present to record their votes for those members they desire to hold office for the coming year. Suggestions for the syllabus for the forthcoming year will be invited and discussed at this meeting and if time permits a short talk will be given. New members may be enrolled immediately if they attend this meeting or send in their application for membership forms at once. Club subscriptions for the new financial year are due and members are asked to make prompt payment to the Hon.Treasurer (Mr. J.N. Tomlinson) or the Hon.Secretary (Mr. H.L. Austin).
CLEANER PRINTS
For the last two weeks I have been discussing the ways and means of ensuring good quality, clean enlargements and have reached the stage where, as far as is humanly possible, the photographer has obtained negatives free from pinholes and other blemishes. The next step is to enlarge those negatives so that the print is also as clean and clear of unwanted marks as possible. Even with a perfectly clean negative, if care is not taken enlargements will contain spots, hair lines or other defects. The cleanliness exercised when preparing and using the dark room for processing the film must be maintained for the printing operations. First the dark room must be as clean and free from dust as you can get it, but dusting must not take place just before the room is to be used. Better to have the dust there and settled than floating in the air. Next the enlarger must be given attention. The lamp house cover should be removed and the housing carefully wiped clean inside, also the lamp.
SIX SURFACES
The condenser should be gently dusted with a soft, clean cambric handkerchief and the same operation applied to the negative holder. It is important to see that the two pieces of glass between which the negative is sandwiched are free from dust and hair. As each piece of glass has two surfaces and the negative two surfaces, there is a total of six surfaces to take care of and ensure that each is free from anything that will affect a clear and clean projection on the sensitized paper. The heat from the lamp will draw any dust in the air into the lamp house, indicating the need for every precaution. It is advisable to dust the negative and the glasses in the negative holder each time a fresh negative is put into use. The lens of the enlarger also needs attention. It will collect dust on the inside surface probably more so than on the outside. Both surfaces should be lightly dusted with a camel's hair brush. If the atmosphere is moist and the room cold, look for condensation on the lens, as this will affected definition. The dark room should, if possible be warmed to about 65 percent to 70 percent F., some little time before using and if this is done there will be no condensation trouble.
UGLY MARK FROM HAIR
See that the baseboard of the enlarger is free from dust, as the action of placing the paper on it will disturb the dust and send it floating round. Also, if your hair is inclined to fall out, either wear a cap or after placing the paper in position, lightly dust it and then stand back a bit. It is surprising what an ugly mark a small hair will make if it lands on the paper just where an eye or mouth will be printed. This article is not intended to deal with the problems of correct exposure, correct development and other photographic processes; it is merely intended to guide photographers in the way of cleaner, prints, but, of course, unless the photographic technique is also first class all the advice about cleanliness is really wasted. Therefore, use clean dishes, fresh developer and hypo, wash the prints thoroughly and dry them in a place free from dust and small flying insects. In spite of all these precautions the probability is that there will be a spot or two, either black or white, or both, on the print and I will explain the easiest methods of treating these next week.
Wednesday 4th October 1939
Page 18 - The Advertiser (Adelaide, South Australia)
CONTRIBUTION to the GARMENTS FOR RED CROSS
The Adelaide Camera Club donated £1/1/0.
Saturday 7th October 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
At the annual general meeting of the Adelaide Camera Club held last Monday the following officers were elected for the ensuing 12 months:- President, Mr. Les Fisher; past President and educational officer, Mr. L.A. Wilde; vice-President, Mr. J.N. Tomlinson; treasurer, Mr. G.L. Fisher; librarian, Mr. F.A. Wendt; committee, Miss E. Irene Viney, Messrs. F.A. White and W.S. Whisson; hon. Hon.Secretary, Mr. H.L. Austin. The retiring President (Mr. Wilde) and vice-President (Mr. Cole) had both occupied their respective offices for two years.
The syllabus for 1939-40 was approved and as printed copies will not be available for two or three weeks here are the arrangements for the next four meetings: Saturday, October 14 - Outing to Coromandel Valley, Meet at Blackwood Railway Station at 3pm; Monday, October 16 - Practical demonstration (University), "Enlarging Projection Control"; Monday, November 6 - Talk on "Lenses" (clubroom); Monday, November 20 - "Character Study", photography (University).
SPOTTING
When, in spite of all possible care in processing both film and print, a few black and white spots blemish an otherwise excellent photograph, steps must be taken to remove them. This can be done without disfiguring the print by more than one method. Black spots can be taken out with the point of a sharp knife or razor blade, or, better still, a "pen trimmer", which is especially made and sold for this type of work. A little skill, obtained by practice, is necessary to avoid digging ugly holes in the surface of the print. Many photographers who employ this system, are able, after a certain amount of experience, to reduce a black spot to the same shade as the surrounding tone. The only advice that can be given to those who wish to employ this method is to go gently and avoid "digging". Even if at first, you are not expert enough to reduce the black spot to the correct tone, but leave a white spot instead, this can be put right, but if a big hole is dug in the print, then the mark will show and spoil the picture. A better method is to use chemical means for turning the black spot into a white one, which can then be spotted with oil color, water color, or pencil to the right shade. To do this fill an egg cup or other small receptacle with plain hypo solution (4 oz to 20 oz. water) and place alongside it a large crystal of potassium ferricyanide. Dip the tip of a fine pointed No. O sable brush into the hypo and gently wipe it on the ferricyanide crystal and apply the point of the brush to the spot. The black spot will turn white. Care must be exercised not to apply the solution to a larger area than the spot, or there will be a large patch of white to shade-in, making the job all the more difficult to handle. After treatment wash the print thoroughly, either in running water or in several changes of clean water. It must be understood that this method offers no control over the tone of the spot. It goes from black to white and no middle tones can be secured except after spotting.
BLACK SPOTS
Advanced workers often use a chemical method of removing black spots, which offers complete control over tones. This method is known as the Etchadine process, but the original outlay for material is somewhat high and unless the chemicals are also going to be used for general print treatment, this system is not worth adopting as the potassium ferricyanide treatment is so cheap and quick to use. Having removed all black spots from the print, there comes the task of filling these in to match the surrounding tones. Unless the print is being worked with oil dope, the best method to employ is water colors, with a No. 0 sable brush. The paint should be applied very lightly. Dip the point of the brush into the water color and on a piece of waste paper, wipe off practically all the paint until the brush is almost dry, then apply the tip of the brush to the white spot and repeat the operation until the right tone is secured. For quick work and small spots a special spotting pencil can be used. In such cases it is advisable to steam the print afterwards over the spout of a kettle. This softens the gelatine emulsion and incorporates the pencil marks, so that they will neither be seen nor rub off. Care must be taken not to overdo the steaming, or the gelatine will melt and the print will be spoiled.
7
Saturday 14th October 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Members of the Adelaide Camera Club will hold their first outing of the season this afternoon, the venue being Coromandel Valley. Club members frequently receive entry forms for international photographic exhibitions from all parts of the world. Some of these are ignored and others meet with response, all according to circumstances. One such entry form, received a few weeks ago, is now before me. When posted from its country of origin it was just an ordinary document. Today it represents a pathetic reminder of the war. It is an entry form from the Polish Photographic Society, inviting participation in its eleventh International Photographic Salon to be held in Warsaw and later transferred to Lwow and Lublin. Entries were to reach Warsaw not later than September 20 and the exhibition was to have been opened on 15th October.
MINIATURE CAMERAS
Whether the Polish Photographic Society still exists is extremely doubtful, but undoubtedly in good time it will arise again and carry on one of the few hobbies which are truly international in character and one which helps to promote good fellowship among the peaceful nations of the world. England and America have always been able to maintain a strong hold on the low and medium-price market for folding and box-type cameras for amateur photographers and also for the larger professional studio and commercial cameras, lenses and photographic material. These countries, however, have never seriously attempted to capture the market for the expensive type of miniature camera, selling between £25 and £75. This market has up to the present been held by a country which is now at war with us and it must be acknowledged that these cameras have been fully worthy of the excellent reputation which they hold throughout the entire world. These miniature cameras, taking negatives of sizes from 24 mm. to 2 1/4 in. square, are as precision made as a good watch and I think it would be safe to say that at least 75 per cent of advanced amateurs, also professionals, using expensive miniature cameras have in their possession one or more cameras made in that country. I mention this because it appears to me that an excellent opportunity exists for England and America to step in and produce miniature cameras of the higher price, precision type, such as are in great demand today in practically every country in the world. There is no reason why this should not come about. Both England and America have optical experts and factories capable of producing such cameras and surely there is no better time than the present to begin production. Much will have to be done to gain the expert photographer's confidence, but if first-class unstinted workmanship is put into each production a good reputation can soon be built up. Every Britisher would be proud to own a first-class British-made precision miniature camera, or if such were not available would be inclined towards one of American manufacture.
Saturday 21st October 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Summer time is outdoor time and for the next six or seven months, the beaches, the hills and the rivers will be patronized at every opportunity. This is the time to record, by photography, children in their most natural mannerisms. Freedom from the narrow confines of home, necessitated by winter conditions and freedom of limbs and bodies are all registered in a child's expression when seen at play in the open in fine summer weather. Now, when children are looking their best, is the time to get the camera to work. It is no good putting it off, because next year the children will be another year older and every year registers a change. If the photographic album is to be complete, then every year of the children's lives must be suitably recorded.
SOME USEFUL HINTS
There is nothing difficult in taking photographs of this type and only a few words of advice and caution are necessary. Here they are:
1. Make sure that your camera is clean inside and out and keep it clean, especially from sand. Films, lenses and shutters are speedily ruined if sand gets into cameras.
2. When "snapping" children get reasonably close, but allow a space in the view-finder all round the subject, otherwise it is quite easy to cut off part of a child's head or its feet in the photograph. In any case do not get closer than the minimum distance given in the instruction book accompanying the camera. This usually ranges from about 5 ft. to 7 ft., but with some miniature cameras an approach as close as 3 ft. can be made. Remember, however, that the closer the camera is to the objective, the more likelihood there is of distortion. My advice, therefore, is to keep to a reasonable distance, but get the subject large enough to fill the picture space nicely.
3. Use of good color sensitive film. One of the orthochrome variety at least, or better still a fine-grain panchromatic. Summer time means plenty of color and this does not mean just bright blue skies and sea, but colored frocks and bathers and sunshades and sun-tanned bodies.
GOOD RECORDING
All these should be recorded in the correct shades of half-tones on the print. Only panchromatic films are sensitive to all colors, but these films must be handled carefully. They must be loaded into the camera in complete shade and the red film-counting window must be covered. If such a cover is not provided on the camera, then a small piece of black adhesive tape will do the trick. The orthochromatic type of film is sensitive to all colors except red and gives a very good recording of most subjects. No cover for the red window is needed with this type of film. 4. If the camera is a moderately good one, then it will in all probability allow a lens hood to be fitted. These can be purchased at reasonable prices, or quite a good home-made one can be made by cutting a rubber ball in half and then cutting a hole in the dome to the exact diameter of the lens mount, so that it makes a tight fit over the lens. A lens hood will keep glare and reflections from the lens itself, resulting in a much clearer and better quality picture. 5. For beach scenes and other open landscape type photographs a light yellow filter is a great advantage, as it assists in recording the sky in a natural tone and thus greatly improves the picture. A yellow filter can be used with both orthochromatic and panchromatic films. A few more useful hints for those who are not experts will be given next week.
Saturday 28th October 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The main function of the articles which appear each week in this column is to provide useful information to the camera owner who knows little or nothing about the finer points of the hobby. To supplement my notes I advise all interested readers to subscribe to a photographic magazine which caters for the novice as much as for the expert. Such a magazine is the "Australasian Photographic Review", costing 6d. a month. In addition, there are English magazines, such as "The Amateur Photographer" (weekly) and "The Home Photographer" (monthly).
FOUR MORE HINTS
Last week I gave a few hints to camera owners who were getting ready for summer outings and holiday trips. Here are four more:
1. Remember that the light is much stronger at the seaside than inland. This is due to the wide expanse of sky and sea, which act as huge light reflectors and in a lesser degree to the light-colored sand. Therefore, a smaller lens stop or a faster shutter speed, or a combination of both, should be employed.
2. Watch the background when taking photographs of individuals or groups. A good picture is easily spoilt by having a flagstaff or lampost apparently growing out of somebody's head. A close-up portrait with a clear back ground of sky or sea is also far better than one showing a lot of other people in all sorts of attitudes scattered round the main subject.
3. Don't point the camera towards the sun unless the lens is protected from the direct glare by a lens-hood or other shade. If photographs are taken "against the light" and very attractive ones can be taken, be sure to increase the normal exposure by two to four times. For example, if the sun to right or left of the camera calls for 1-50th second at f11, then when taking a subject with the sun right ahead give at least 1-25th second at f11 or if possible 1-25th at f8, or corresponding speeds for larger or smaller lens apertures.
4. If the camera is not a fixed focus type always be sure to attend to the focusing. Many snapshots are ruined through forgetting to attend to this adjustment. The worst cases are naturally the close-up portraits, as the closer the subject is to the camera the more accurate must be the focusing.
Saturday 4th November 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The monthly general meeting of the Adelaide Camera Club will be held on Monday evening at the Club Room, Institute Building, North terrace. The main subject will be a talk on lenses. Although the lens on a camera is its most important and in the majority of cases, its most expensive, feature, very few camera owners know much about the subject. A lens is one of the few photographic articles that is accepted without question and it says a lot of the manufacturers that seldom, if ever, are the purchasers disappointed. For all that, it is important that photographers should have some knowledge of the various types of lenses. Apart from quality there are other important features in a lens, such as its aperture and focal length and its freedom for spherical and color aberrations. All these considerations have a marked effect one way or the other on the ultimate result obtained in the form of a photograph. The relation of the focal length of a lens to the amount of subject recorded on a negative is important, for there is a vast difference between a photograph taken with a wide angle lens and one taken with a telephoto lens.
SNAPSHOT SPEED
Whether a subject can be taken at snapshot speed in artificial light depends mainly on the aperture of the lens, although the speed of the film emulsion must be taken into consideration. The point also arises as to whether the lens used at full aperture is capable of recording a subject at high resolution, or, in other words, sharp all over. A wide aperture lens of poor quality may not give the desired results at full aperture, therefore, when price is a consideration in buying it is better to purchase a lens of smaller aperture and higher quality. Supplementary lenses of the proxar or portrait attachment type form a subject that should also be studied before they are purchased and used. Too many unsatisfactory photographs are obtained through the misuse, of this type of auxiliary lens. On most cameras the lens is fixed and is not interchangeable. In such cases the focal length is normal and suitable for the majority of subjects. However, there are quite a number of makes of cameras both large and miniature which enable lenses of different focal length to be used.
FOCAL LENGTHS
This point must be considered before purchasing a camera and to give the consideration full justice one must know just what lenses of different focal length will do. For example, the normal focal length of a lens on a camera taking 35mm film is 2 in. A 4-in. lens fitted to the same camera will give less of the subject, but will magnify what is recorded to twice the size of what the 2-in. lens will record. On the other hand, a 1 1/2 in. lens will record more of the subject, but proportionately smaller to that recorded by the 2-in. lens. In the taking of portraits in a professional studio, the focal length of a lens is most important. There is little room to move the camera backwards or forward, but there is a big difference between photographing a group and taking a head and shoulders. For the latter, a lens of greater focal length is used and this enables the photographer to get a large enough recording of the head and shoulders without moving the camera close up to the subject and thus risking distortion of prominent features, such as nose, ears and chin. The study of lenses is both interesting and useful.
Saturday 11th November 1939
Page 6 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club's 1939-40 syllabus is now available and copies can be obtained from the Hon.Secretary (Mr. H.L. Austin) or from distributors of photographic material. An excellent program of lectures, demonstrations and outings is provided for the ensuing year.
THE USE OF "STOPS"
One of the problems which confronts the owner of a camera having several stops, or lens aperture, is which stop to use and when should one particular aperture be employed in preference to any other. The complete answer to this problem is rather involved and if set out in true technical fashion would probably be beyond the understanding of the average camera owner, who desires only some guidance on the matter and is not concerned with mathematical accuracy. For example, the correct stop to use depends upon the depth of field desired - that is, the nearest point to the camera and the farthest point between which two points all will be in focus or recorded sharply on the negative. Now, it is an inherent quality of all lenses, however good or expensive they may be, that the depth of field is narrowest at full lens aperture and widens as the lens is stopped down.
THREE MAIN FACTS
The depth of field is also affected by the distance focused upon and the distance beyond which all objects are in focus is termed the hyperfocal distance. Again, the hyperfocal distance depends on the focal length of the lens. Therefore, three main facts must be considered in the selection of the correct stop to use - 1. The depth of field desired. 2. The focal length of the lens. 3. The hyperfocal distance for each stop of the lens being employed. A fourth consideration must also be taken into account when working out the hyperfocal distance and this is what is known as the circle of confusion. Briefly and as non-technically as possible, the circle of confusion relates to the desired sharpness at several times enlargement of original negative size. For example, a whole-plate negative (8 1/2 in. x 6 1/2 in.) needs enlarging only twice its size to provide a print 17 in. x 13 in., while a negative 1 1/4 in. x 1 in. would require enlarging approximately 14 times its size to produce a similar-size print. Now a pinpoint on the whole-plate negative would be magnified only twice its size, but a similar pinpoint on the smaller negative would be increased 14 times in size.
FACTORS TO CONSIDER
It therefore will be seen quite easily that the smaller the negative the sharper it must be to stand up to big enlargement and to compare favorably with an enlargement from the bigger negative. On the other hand, the normal focal lengths of lenses fitted to cameras taking small negatives are shorter than the local lengths of lenses in cameras taking large negatives and the shorter the focal length the greater the depth of field obtained at any given aperture. Thus the smaller camera is compensated, enabling sharpness of detail to be obtained at much larger apertures than possible with larger cameras. Now, all the foregoing has been given to readers, not as a guide as to what stops to use but to illustrate the technicalities that enter into a subject such as the one under discussion. Next week I will endeavor in simple language to give some guidance to the novice on the selection of lens stops for different subjects and lighting conditions.
Saturday 18th November 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
On Monday evening, at the physics lecture room, University, members of the Adelaide Camera Club will hold a character study demonstration. Cameras, tripods and fast panchromatic films should be brought along. Lights and background will be provided. Last week I commenced a discussion on the subject of lens stops and how to select the right one. Now that I have explained the technicalities involved, the reader can dismiss such mathematical calculations from his mind and by following a few simple rules, obtain quite satisfactory results. The following hints, if memorized, will aid in selecting the correct "stop" for most subjects:
1. Regard the lens as a window to a room and the iris diaphragm which alters the aperture, or stop, as a blind. Now, the diaphragm full open represents the window blind fully raised, thus letting in the maximum amount of light in a given time. As we stop down the lens by the aid of the diaphragm so we are gradually lowering the blind and letting in less light in the same period of time. Thus, as we reduce the aperture so we must increase exposure to compensate. For example, if the largest aperture of a camera lens is f4.5, this represents the blind right up. At the next stop down, which will be f5.6, our
2. Remember that the smaller the stop used the greater will be the "depth of field", which, as explained last week, means the sharpness of the subject recorded on the photograph, from a point near the camera to a point further away. For example, here are two adjustments with a wide difference of "depth of field". (a) A lens of 3 in. focal length, used at a wide aperture of f2.8 and focused on a subject 5 feet away, will give sharpness from about 4 ft. 9 in. to 5 ft. 3 in., a depth of field of only 6 in. (b) The same lens stopped down to f11 and focused on 25 ft. will give sharpness from about 12 ft. to infinity (i.e., the furthest distance recorded). This the "depth of field" will run into several miles.
3. For ordinary snapshot work choose in bright weather stop f11 and set the focus at 25 ft. and most subjects will be sharp, both near and far.
4. For portraits, however, when it is desirable to make the background "fuzzy" deliberately, so that it will not compete in importance with the subject being photographed, use the largest stop available and focus very carefully on the subject. If the camera is not of the focusing reflex type or is not fitted with a range-finder, coupled to the focusing, the distance of the subject being photographed must be carefully measured. This care only applies to short distances, such as from 4 ft. up to about 10 ft. Any distance beyond that can be mentally calculated if the photographer is at all a fair judge of distances.
5. When weather is dull or when lighting, such as artificial light, means longer exposure times, then a compromise must often be made by using the largest aperture available and focusing on a point which will give as much sharpness as possible around the principal portion of the subject, which is generally situated in the foreground. If a tripod or other support for the camera can be used then, of course, smaller stops and time exposures can be given, provided that moving objects are not included in the subject.
Saturday 25th November 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
When the 35 mm. still camera was introduced 14 or 15 years ago, many people laughed at the absurdity of such a small negative and prophesied its early demise. In those days one could hardly blame them, for the question of fine grain and special fine grain developers had not been seriously considered. This was because the popular sizes of films and plates were quarter-plate or postcard, although cameras had been for some time available in 3 1/4 in. x 2 1/4 in. and V.P.K. sizes. Even the smallest of these, the V.P.K. negative, made a respectable contact print and big enlargements from small negatives were rarely needed. With the coming of the precision built 35 mm camera and its slow but sure growth in popularity, serious attention was given to the question of films suitable for this type of camera, as enlargements were absolutely necessary and the problem of grain had to be overcome. Rapid progress was achieved and each successive year saw not only finer grain negative material, but an increase in emulsion speed as well.
STILL SMALLER NEGATIVES
Today the bogy of "grain" has practically been eliminated, so much so that the 35 mm negative is no longer the baby of the family. In fact, it is large when compared with the negative obtained with the latest miniature camera to be announced. This new camera, which measures 3 1/8 in. x 1 1-16 in. x 1/2 in. and which will fit comfortably in the palm of the hand and weighs only 4½ oz., takes 50 exposures on one film, each negative measuring 11 mm x 8 mm. If this is compared with the 35 mm film, which gives a negative 36 mm x 24 mm, it will be seen that the new size negative is approximately only one-tenth the area. At a rough calculation this super-miniature negative would be about one-quarter of a postage stamp in size. This new camera is no cheap toy. It is a precision-made job, costing 17 1/2 guineas and will give shutter speeds of from 1-1,000th second to 1/2 second with B. and T. It has a 3.5 anastigmat lens, with a built-in filter and has automatic winding for the film. A special developing tank and enlarger can also be obtained. No information is yet available about the maximum size print that can be obtained without too much evidence of grain, but from personal experience in enlarging from small sections of negatives I should estimate that if carefully handled and processed there should be no difficulty, with modern fine-grain emulsions, in getting prints up to half plate (6 1/2 in. x 4 3/4 in. or even larger.
FASTENED TO WRIST
There are other cameras taking negatives smaller than 36 mm x 24 mm and these range from 24 mm square to 18 mm x 13 mm. Then, of course, there is the popular 8 mm. movie camera, but pictures from this film are seen by transmitted light, which is entirely different from making prints to be seen by reflected light. How much smaller in negative size camera manufacturers will go is hard to prophesy, but I know that in America there is a camera advertised which is fastened to the wrist like a watch. I doubt whether it is a precision made job like the one I have just described, but undoubtedly it will take photos and was probably introduced because of the craze in America for candid camera snaps.
Saturday 2nd December 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
The Adelaide Camera Club will hold its last meeting of the year on Monday night at the club rooms. The subject of the evening will be "The Etchadine Process". The club will then go into recess until Monday 5th February.
AMATEUR PORTRAITURE
If there is one type of snapshot that makes me "hot under the collar", as the saying goes, it is that in which an attempt at portraiture has been made by posing the subject standing stiffly at attention or sitting uncomfortably upright in a chair and facing the camera with an, expression which implies that the end of the world has arrived. Very often, with children, the best Sunday clothes are put on making the child feel very stiff and awkward.
INCORRECT METHOD
I can almost picture what has taken place after seeing the results in the form of a print. Taking an average snapshot portrait, I should say the following is the procedure that was adopted: 1. Amid tears and protests little Tommy is dressed up "to kill". 2. He is admonished, with threats of dire punishment, to behave himself. 3. He is marched to the "place of execution" (that is how it feels to Tommy) and told to "stand (or sit) straight up, please and don't bend your back! Now look at the camera and a little dicky bird might pop out!" Tommy did not come down in the last shower, but to get the agony over as quickly as possible, gives a wild stare at the camera. 4. "Now smile, there's a good boy" and Tommy gives an icy grin. Click and the photo, is taken. And the result? Well, it is certainly Tommy, but not Tommy as we all know him. No twinkle in his eyes! No mischief written across his boyish face! Even his intelligence and he has a lot, is hidden by the strained look in his eyes.
HOW TO DO IT
And if all this is pointed out to the loving parents they say. "Ah, but you don't know Tommy. We could never take his photograph if we used any other method". Or they might say very acidly, "And how would you go about the task with a young monkey like Tommy?" Well, I acknowledge that some children are more difficult than others, but the only difference that makes is the length of time it takes to put them at their ease and lose that self-conscious expression. While circumstances alter cases, what I would do with Tommy would be something like this: 1. Dress him in an open-necked shirt and short pants, neat and clean, but not stiff and uncomfortable. 2. Spend as much time as possible playing and chatting with him until he is really friendly and thoroughly at ease. 3. Show him the camera and tell him how it works and pretend to take his photograph. 4. Ease off a little as if tired (Tommy won't be) and wait the opportunity for a quick snap when a suitable, natural pose and facial expression presents itself. I can guarantee that the result will be more like the real Tommy.
Saturday 9th December 1939
Page 4 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Every camera should have a carrying case, not so much from the point of view of convenience in carrying, as for the protection afforded to a valuable and delicate piece of mechanism. For the person who owns a small "pocket-size" camera and who prefers to carry it in a pocket, a suede purse will protect the camera from an ingress of dust and fluff, which seems always to accumulate in a coat pocket. This means, however, that any accessories, such as a lens hood, filters and exposure meter, not to mention spare films, will have to be accommodated loose in another pocket and each item will have to be protected from damage by enclosing it in a small box or wrapping of some sort.
EVER-READY CASES
The miniature camera, with body dimensions too large for comfortable accommodation in the pocket, can be suitably protected and carried in a case of the ever-ready type. This kind of case permits the use of the camera without having to remove it from the case. It is so constructed that with one operation that portion covering the top of the camera, which carries the view finder, range-finder, shutter release, film winder and counter and the front of the camera, which, of course, carries the lens, focusing and adjustments for aperture and shutter speeds, is released so that it hangs below the camera during actual use. Provided that the camera is carried suspended from a neck-strap, it can be brought into operation very speedily. This type of case is very popular, but it still leaves the problem of carrying all the supplementary gadgets and if it is of the interchangeable lens type, additional lenses which are usually rather bulky.
CARRY-ALL CASES
The type of case which I favor and use and which is employed to quite an extent overseas is the "carry-all" case. I had my own case made to order to measurements which I worked out and then fitted up the interior into various compartments. The outfit resembles a small leather attache case and can be carried either by a shoulder strap or by a strap handle. It is no larger than necessary to contain all I require and each item of its contents has its own particular nook and can be taken out for use with the minimum of trouble. This case, which measures approximately 12 in. long by 9 in. wide and 2 1/2 in. deep, contains the following items: Camera with neck strap in soft wash leather cover: lens hood: four filters, each in a bakelite case: Albada sports view-finder: electric exposure meter in purse: six spare films: an eight-section tripod, which when closed, measures only about 7 1/2 in. long; ball and socket head for tripod: a clean duster: a large camel's hair brush for cleaning inside of camera: two antinous releases: a packet of lens cleaning tissue and a table showing depths of field for my particular lens.
CANNOT RATTLE OR MOVE
Each compartment is lined with velveteen, as also is the inside of the lid of the case. Each item fits snugly into its compartment and cannot rattle or move about when the case is being carried. As a whole, it is an outfit ready for any emergency - just like a doctor's bag. When I pick up my case to go out I do not have to worry whether I have forgotten anything, nor do I have to cram gadgets into various pockets of my coat, which incidentally, are generally pretty full with pipes, pouches, cigarettes, matches and other things dear to the heart of man.
Saturday 16th December 1939
Page 2 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
Carry on! Recent news from Great Britain indicates that the Government has asked people to keep on with their hobbies, on the basis that it would be unpatriotic to drop them. This is quite easily understood, as most hobbies mean expenditure on certain classes of goods and this helps business along and keeps money circulating. So photographers, the best thing you can do in these trying times is to go on with your picture making. Anyway photography is an excellent antidote to the blues. If any reader is considering the purchase of another camera, or of taking up photograph as a hobby, or wants to start a son, daughter, nephew, or niece in an interesting, educative and worthwhile pastime, then now is the time to buy camera and accessories. Not only because it is Christmas time and therefore an apt period for presents, but chiefly because the range of cameras to select from is at present quite good. but in a few months who can tell what will be available? To guide prospective buyers, here are a few comments on various types of cameras and the approximate costs:
BOX CAMERAS - An ever popular type of camera, cheap but efficient. All makes are now greatly improved over the old style. For example, there is a "Ful-Vue" model, which has a reflex viewfinder, giving a picture nearly the full negative size of 2 1/4 in. square. There are also modern shaped box cameras, such as the type which has an eye-level tubular view-finder, quite an innovation for a box camera. Prices under this heading range from 6/ to 25/.
MIDGET CAMERAS - These are distinct from miniature cameras, being so small that they will slip into a waistcoat pocket or purse. A useful and efficient little camera for those who do not desire to carry a larger size or desire an auxiliary camera. Prices range from 8/ to 63/.
FOLDING CAMERAS - Another very popular type of camera with amateurs, but with a much wider price range and with a variety of lens, shutters, view finders and other equipment. If a folding camera is required, there is only one way to select and that is first to decide on the maximum price and then ask to see a selection round the figure decided upon. Prices range from about 30/ to £30.
MINIATURE CAMERAS - While miniature cameras are generally regarded as expensive, some well-known makes with coupled range finders, cost from about £25 to £75 without accessories, but there are now several moderate price miniatures giving excellent results and according to the lens and shutter supplied, ranging from 18/6 to about £12.
MINIATURE REFLEX CAMERAS - Excellent cameras for the snapshotter and serious amateur alike, because they give a full-size view of the subject up to the moment of exposure. Prices range from £5/5/ to about £30. according to make, lens, shutter and other equipment fitted.
ACCESSORIES - Very useful presents for camera owners are accessories, such as camera cases, lens hoods, yellow filters, tripods, developing and printing outfits, photograph albums and exposure meters and guides, as well as many other useful gadgets.
Saturday 16th December 1939
Page 3 - News (Adelaide South Australia)
"FREELANCE" (Mile-End) - There is no freelance photographic club or society known in South Australia. The Adelaide Camera Club however is open to membership. Members gain guidance in photography that would enable them to submit prints for sale.
Saturday 23rd December 1939
Page 2 - News (Adelaide South Australia)
SEEN THROUGH THE LENS
Conducted by L.A.W. for the
ADELAIDE CAMERA CLUB
To all readers I would like to extend my best wishes for Christmas and the new year. To all readers who this Christmas have become owners of their very first cameras I wish every joy and success in their new hobby. A few words of caution only would I offer these newcomers to photography. These are set down as simple rules below:
1. Read carefully the book of instructions accompanying the camera until they are fully understood.
2. Practice the various adjustments necessary before actually loading a film into the camera.
3. Purchase (for a few shillings) a book on photography for beginners. The help that such a book will give will more than repay the cost.
4. Always remember that the camera has a delicate mechanism in the shutter and that the lens is easily scratched. Therefore be careful and do not leave it lying on the beach, where sand will soon cause a lot of mischief.
Monday 15th January 1940
Page 4 - News (Adelaide South Australia)
SIMILARITY IN NAMES
The Adelaide Camera Club has two officers named Les Fisher. One is President, the other is Hon.Treasurer. The President is a Tasmanian and works in a city store; the Hon.Treasurer is in the passenger department of Adelaide Steamship Co. and has won prizes at the Avicultural Society's show with shell parrots.
Wednesday 3rd April 1940
Page 8 - News (Adelaide South Australia)
WAR EFFORTS DEPICTED
THE 220 photographs depicting Britain's fighting strength, to be exhibited in the Adelaide Town Hall to help the Comforts Fund, had been taken by masters of photographic technique, said the education officer of the Adelaide Camera Club (Mr. L.A. Wilde) today. There was an atmosphere of action in every picture. He believed that people who saw them would not only gain a greater knowledge of what was being done, but would have greater confidence in the result of the war. The photographs, many of them enlarged to more than 3 sq. ft., depict the work of the army, navy, air force and the new fleet air arm. They have come from the studios of Ilford Ltd., of London. The exhibition will be open to the public from Monday next to Saturday 13th April, from 1pm till 10pm each day. Admission charge will be sixpence. Hanging and display will be done by members of the Adelaide Camera Club.
Friday 5th April 1940
Page 10 - News (Adelaide South Australia)
GRIPPING WAR PICTURES ON SHOW
An opportunity for Adelaide to see what the British fighting forces can do in peace and war is afforded by the exhibition of photographs at the Adelaide Town Hall next week in aid of the Fighting Forces Comforts Fund.
The most modern units of the navy, army, air force and fleet air arm are to be seen at work and play in beautifully enlarged photographs arranged to the best advantage by members of the Adelaide Camera Club.
Amateur photographers will be particularly interested in the fine camera work of Armand, Console and Charles E. Brown. Soft gradation panchromatic plates were used for the majority of the exhibits, but particularly interesting are numbers 2, 38 and 40 in the fleet air arm section. which were taken with a miniature camera, two of them being enlarged to as much as 45 diameters with perfect results.
The photographs, which are from the studios of Ilford Ltd., of London. will be on view from 8th to 13th April. Admission will be sixpence.
Tuesday 9th April 1940
Page 3 - Border Watch (Mount Gambier, South Australia)
PHOTOGRAPHIC EXHIBITION
Under the aegis of the Mount Gambier Photographic Discussion Group, assisted by the Adelaide Camera Club an exhibition of photography will be conducted in the Town Hall, Mount Gambier in July. Mr. L.A. Wilde (educational officer and past President of the Adelaide Camera Club) will be the judge and he will also deliver lectures during exhibition week on the various phases of photography. Schedules and entry forms may be obtained from Mr. S. Varcoe, Ferrers Street, with whom entries close on 30th June.
May 1940
Page 238 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB
As in most things we all have our likes and dislikes and photography is not by any means the exception, in fact, it is oft-times rather difficult to discover, where pictures are concerned, just what kind of subject some, or most people, like or prefer. So with the idea of hoping to please and satisfy all its members, the Adelaide Camera Club follows out a program which caters for all fancies, Outings are arranged to enable those who are keen on such subjects as trees, landscapes, seascapes, etc., and at least once each month members meet in the Physics Laboratory at the Adelaide University for the purpose of trying their skill at figure work with the aid of artificial lighting. Models are generally interested and generous enough to lend their services on these occasions, with a result that, aided by their enthusiastic co-operation, some really good practical evenings are enjoyed. In addition, valuable data is collected in connection with this fascinating branch of photography.
As a matter of interest a set of pictures is being forwarded and I hope, reproduced, showing some of the "shots” taken by the writer at the club’s March meeting. Usually between twenty and thirty members bring their cameras along, some (I don’t know how they can bear it) just watch proceedings and the difficulty of coping with this number of enthusiasts in a comparatively limited space is over come in the following manner:
A roll call is made of all who intend working. These are then divided into groups of threes or fours. By the way, preparations such as fixing, drapings for background, lighting and other necessary paraphernalia are, of course, made ready beforehand. The names of the first batch are called, lights go on, focusing is fixed, the models pose and as soon as each has secured a picture the models relax. This procedure is repeated until the full list is completed, when models change for the next subject. This method has proved quite satisfactory and can with confidence be recommended to other clubs for a try-out. It is something different from the usual run and has been the means of keeping our members keen and enthusiastic. It also provides an opportunity to do indoor figure work for those who do not possess the necessary equipment. (My pictures were taken on "S.S. Pan" at speeds varying from 1/10th to 1/5th second at f 5.6).
Two sheets, one of canvas, the other of hessian, were the only trimmings used for either background or ground-sheet in each picture. Two 500 watt lamps and one spotlight were used.
Figure Studies by Artificial Light at the Adelaide Camera Club March meeting. (G.L. Fisher)
Tuesday 21st May 1940
Page 7 - Border Watch (Mount Gambier, South Australia)
THE CAMERA CORNER
By "REFLEX"
The Fighting Forces Comforts Fund is to benefit from the efforts of a group of young people in Mt. Gambier who are camera enthusiasts. This group has organized a photograph exhibition, which will be held in the Town Hall, and will be opened by the Mayor on July 8. It has promise of giving Mt. Gambier an exhibit of pictorial photography of the highest standard, for besides local workers who are producing fine pictures of South-East scenery, the members of the Adelaide Camera Club are sending about 40 pictures.
Amongst those from the Adelaide Camera Club who are contributing pictures are Mr. Les Fisher, the President, who is sending four studies; Mr. L.A. Wilde, the Past President and member of the Royal Photographic Society, who is also recognized internationally for his reputation for good organization and exhibitions. Mr. Wilde is bringing five prints with him, and these will be of the same high standard always seen from this worker. Mr. Wilde is co-operating with the local group in the organization of the exhibition and will judge the competitive section.
Mr. F. Cole is sending five pictures, amongst which is one entitled "Gums of the Flinders". This is one of the landscape studies of which Mr. Cole is a recognized worker. Mr. H.L. Austin, the Hon. Secretary of the Adelaide Camera Club, sends four pictures, including a seascape and one of Waterfall Gully. As a portrait worker Mr. E.H. Drew, who is sending five studies, has made a close study of and worked out a special technique in lighting, and this worker's prints should provide an interesting study for those interested.
Several other workers of prominent standing in the Adelaide Camera Club are sending pictures and the exhibition has evidence of providing the residents of Mount Gambier and district with a display of the highest order.
Wednesday 26th June 1940
Page 7 - News (Adelaide South Australia)
S.E. PHOTOGRAPH DISPLAY
Taking with him an exhibition of photographs from the Adelaide Camera Club, Mr. L.A. Wilde will visit Mount Gambier in July to judge an exhibition there and to deliver three lectures. Proceeds are to be devoted to the Fighting Forces Comforts Fund.
The exhibition will be opened in the Mount Gambier Town Hall on 8th July by the mayor (Mr. S.C. Davis) and will remain open until 14th July. Mr. Wilde was associated with the recent exhibition of pictures of Britain's fighting forces in the Adelaide Town Hall.
Exhibits will be staged by the Mount Gambier Photographic Discussion Group.
July 1940
Page 336 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB
The May meeting, being a practical one, provided an opportunity for several of the older members — advanced workers — to demonstrate for the benefit of younger members their prowess in preparing prints for exhibition. Mr. E.H. Drew, who specializes in portraiture, used a straight un-retouched enlarged print of a young lady on a smooth texture paper, which showed the usual unwanted minute spots and blemishes. These he corrected. The spotting was done with a No. 1 brush and water color black, the demonstrator explaining that very little moisture and only a semblance of color, was necessary for obtaining the best results. Too prominent highlights were toned down by a similar method, whilst a razor blade was used for brightening the whites in eyes and lightening the irises. Waves in hair were "livened up” by the same process. When finished, the "worked up” print was a vast improvement on the original and all signs of "working” were hidden by treating the surface with paraffin wax. Mr. Drew being expert in this particular class, all he did seemed simple.
ADELAIDE CAMERA CLUB
AN AUSTRALIAN EXHIBITION OF PICTORIAL PHOTOGRAPHY
This Salon is one of those most regularly held in Australia and as a consequence, its standards are increasing year by year. This year’s Salon is to be held at the Gallery of the Society of Arts, North Terrace, Adelaide, 20th to 30th August. Entry Forms may be obtained from the nearest Kodak Branch on receipt of a stamped addressed envelope, or from Mr. H.L. Austin, 70 Watson Avenue, Rose Park, S.A. The last day for the reception of entries and prints is 8th August. It is also hoped that some arrangement may be come to whereby entries in the Mount Gambier Salon may subsequently be handed to the Adelaide Camera Club.
Tuesday 9th July 1940
Page 1 - Border Watch (Mount Gambier, South Australia)
Friday 12th July 1940
Page 2 - The Narracoorte Herald (South Australia)
PHOTOGRAPHIC EXHIBITION
MAYOR COMMENDS LOCAL CAMERA GROUP
OUTSTANDING DISPLAY OF PRINTS
In officially opening a comprehensive display of 270 camera studies last night, the Mayor (Mr. S.C. Davis) warmly complimented the Mount Gambier Photographic Discussion Group upon its enterprise in staging such a fine exhibition.
The prints are on view in what were formerly Gilpin's premises, opposite Jens Hotel and proceeds of a silver coin collection are being devoted to the local Comforts Fund. There are many striking examples of photographic art and no one should fail to witness the display on some afternoon or evening during the week, Mr. M.R. Pocock is President of the Mount Gambier Photographic Discussion Group and Mr. S. Varcoe Hon.Secretary.
COMPETITION AWARDS
The exhibition, which is the greatest single collection of photographs ever staged in this town, covers all subjects, including landscapes, seascapes, architecture, portraits and a variety of other subjects by local and workers from other parts of Australia who are noted throughout the world as exhibitors.
The judging was carried out by the Immediate Past President of the Adelaide Camera Club, Mr. L.A. Wilde, who made the following awards:
Section I - LANDSCAPES AND SEASCAPES:
"Moorings", G.C. Higginbottom, Melbourne Pictorial Group. Landscape - R.M. Fraser, Melbourne Pictorial Group.
Section II - PORTRAIT AND FIGURE STUDY:
"Betty" (Portrait), K.W. Hill, Melbourne Pictorial Group. "The Watcher" (Figure Study), B.G. Mehrtens, Collinswood, South Australia
Section III - ARCHITECTURE:
"Richmond Bridge", F.G. Robinson, Sandy Bay, Hobart, Tasmania.
Section IV - ANY OTHER SUBJECT:
"Friends of the Road", K.W. Hill, Melbourne Pictorial Group; "Autumn Roses", R.O. Fewins, Melbourne Pictorial Group.
Section V - LOCAL VIEW (CLUB MEMBERS):
"Blue Lake", M.R. Pocock, Mount Gambier; "Glimpse of Leg of Mutton Lake", C.W. Ireland, Mount Gambier.
EXPECTATIONS EXCEEDED
The President of the Mount Gambier Photographic Discussion Group (Mr. M.R. Pocock) in introducing the Mayor to the gathering, said that the Mount Gambier Photographic Discussion Group consisted of only eight members at the present time and they were affiliated with the Adelaide Camera Club. Commencing work about two years ago, they had been making slow but steady progress and aimed to go ahead. They had set out with the intention of staging a small exhibition with a view to the development of pictorial photography, but the exhibition had grown beyond all expectations and instead of perhaps 50 pictures, the number had grown to approximately 270. The Group was indebted to the Adelaide Camera Club for the loan of about 50 very fine prints and to Mr. Walter Burke, editor of Australia's leading photographic magazine, for his generous gesture in staging his show of 150 photographs taken while overseas. The object of the exhibition was to promote pictorial photography and at the same time to give a little assistance to the local Comforts Fund by means of a collection at the door. The Mount Gambier Photographic Discussion Group was very much indebted to the Adelaide Camera Club for permitting Mr. L.A. Wilde to come to Mount Gambier with the collection of pictures and for his work in judging. Successful exhibitors in the various sections would each receive a certificate of merit.
The Mayor said he deemed it a privilege to be asked to open such an outstanding exhibition. He believed that a similar exhibition was, held in Mount Gambier some years ago, but this was the first occasion on which such a show had been sponsored by local enthusiasts. If only for that reason, the exhibition deserved every encouragement and particularly in view of the fact that it was assisting the Comforts Fund.
MAYOR'S COMMENDATION
His Worship congratulated the Mount Gambier Photographic Discussion Group upon its enterprise in organizing the very fine display. It was to be highly commended and he trusted that the public would take every opportunity of viewing those excellent specimens of photographic art. The display indicated a very high degree of excellent organization on the part of the Mount Gambier Photographic Discussion Group, which was to be congratulated.
Photography was something like the flu, said the Mayor. Once anyone got the fever, everything else had to stop. Get a couple of enthusiasts talking photography and a game of golf or bowls was not in it. Nothing was accomplished without enthusiasm and it was no doubt due to the great enthusiasm of the local camera men that such an excellent display had been made possible. There was so much to learn on the technical side of photography that such an exhibition must prove a great stimulus to local enthusiasts. They would be well repaid for the effort they had put into the display. The Mayor then declared the display open, amid applause and trusted that before the week was out attendances at the display would exceed their most sanguine expectations.
LONGER HOURS ANNOUNCED
In order to afford local residents every opportunity of witnessing this unique display, the local Mount Gambier Photographic Discussion Group has decided upon an extension of hours during which the display may be inspected. In addition to every evening from 7.30, the prints may now be seen on the following afternoons - Wednesday, 3pm to 5pm; Thursday, 12 to 3pm; Friday 3pm till 9pm; Saturday 10am to 5pm.
Wednesday 14th August 1940
Page 7 - News (Adelaide South Australia)
PHOTOGRAPHIC ART SHOW
EXCELLENT DISPLAY OF 270 PRINTS
JUDGE'S COMMENTS
The photographic exhibition which is being held at present in the premises formerly occupied by Gilpins Ltd. is attracting considerable attention. The display is a particularly fine one, which reflects a good deal of the character of the cameraman, as well as providing a wonderful variety of photographic art.
The Mount Gambier Photographic Discussion Group organized the exhibition and a collection is being taken in aid of the Comforts Fund.
OUTSTANDING STUDIES
The judge of the competition exhibits, Mr. L.A. Wilde, of the Adelaide Camera Club, commenting on the display last night, said that the whole exhibition was excellent and some very outstanding studies were submitted. Those entered for competition form the lower part of most of the display, while those around the top are a pictorial record of a trip through Europe by Mr. W. Burke FRPS, editor of "The Australasian Photo-Review".
The winner of the open landscapes and seascapes section was "Moorings", by G.C. Higginbotham, of the Melbourne Pictorial Group, which Mr. Wilde said was an excellent, well balanced entry, having an excellent composition of light with all unnecessary detail subdued. In this class of picture a record of the scene is not what is required; the exhibit is one which induces thought and leaves a lot to the imagination. A landscape by R.M. Fraser, also of the Melbourne Group, gained a Certificate of Merit. This picture had the correct perspective, with good lighting and balance. "The Restless Sea", by Ida M. Capper, also, gained high marks in this section, but just failed to make the standard, of the other two. In this section there were some excellent studies, covering a wide range of subjects.
Although there were fewer entries the Portrait Section made a fine display. The winner was K.W. Hill, of the Melbourne Group, entitled, "Betty". The portrait was full of life, especially the eyes and the whole picture had a breezy atmosphere. Second was "The Watcher", a figure study, which showed effort and originality of thought on the part of B. G. Mehrtens, of Collingswood, South Australia.
There were seven entries in the Architecture Section and the winner, F.G. Robinson's "Richmond Bridge", (Tasmania) was undoubtedly the most outstanding of the exhibits, said the judge.
The winners in the section "Any Other Subject" were both of the Melbourne Group and were entitled "Friends of the Road" and "Autumn Roses". The first showed originality and the texture of the exhibit was excellent, the second being a nicely arranged study.
LOCAL GROUP EXHIBITS
All these sections were open to amateur photographers, but the last was confined to the local Group and was for a local view. Both M.R. Pocock and C.W. Ireland gained certificates of merit in this with "Blue Lake" and "Glimpse of the Leg of Mutton Lake" respectively. Although the local enthusiasts were no match for the more experienced city camera men, the judge said that they have shown a great improvement in their work since he last saw them. They had not reached the pictorial stage, but they were well on the way and with an eye to things which were necessary to define a picture from a snapshot, their improvement should be even more marked. The difficulty was for them to get expert advice and this exhibition was making up some of the deficiency in this direction.
The other portion of the show comprised loan exhibits by the Adelaide Camera Club and Mr. Burke and covered a wide sphere in the photography world. Mr. Wilde said that some of the places had been visited by local residents and this would help to make them appreciate the work of the exhibitor even more. Among these were pictures which had won awards in some of the big displays in this country and they were well worth inspecting.
Mr. Burke's exhibit alone provides a wonderful show and includes glimpses at sea, Ceylon, Aden, Egypt, Italy, Gibraltar, France, England, Holland, Belgium, Denmark, Germany, Czechoslovakia and Hungary. They are the best of 2,000 films which were exposed during a tour of Europe in 1938. A silver coin collection is taken at the exhibit and for this small cost there is a show to be seen which may not be available in this town for some time to come.
Wednesday 14th August 1940
Page 7 - News (Adelaide South Australia)
STATE-WIDE GROUP OF CAMERA GEMS TO BE SHOWN HERE
An Australian Exhibition of Pictorial Photography will be held at the Society of Arts Gallery, North terrace, from 20th to 30th August. The exhibition will be presented by the Adelaide Camera Club.
Of 300 prints submitted, 167 have been accepted for the display. Prints from every State will be hung. In addition, an interesting set of 150 travel pictures taken by Mr. Walter Burke FRPS, during a recent world tour, will be shown. Colored transparencies will also be on view.
Mr. M.J. MacNally, artist and writer, will open the exhibition at 9pm on Tuesday. Judges are Messrs. F.A. Joyner, S.W. Stump and J.C. Goodchild.
Friday 16th August 1940
Page 2 - News (Adelaide South Australia)
"POSSESSION IS NINE POINTS OF THE LAW"
L.A. LOVE
humorous portrait study in the
exhibition. Photographers from all parts of
Australia will be represented in this
display of camera art.
"ETUDE"
E. ROBERTSON
South Australian entry in the exhibition,
which is to be opened by the well-known artist,
Mr. M.J. MacNally.
Tuesday 20th August 1940
Page 2 - News (Adelaide South Australia)
PICTURES IN CAMERA CLUB DISPLAY ARE WORK OF REAL ARTISTS
A great many of the exhibitors at the photographic display at the Institute Gallery by the Adelaide Camera Club have more claim to be considered artists than some people who per medium of oils, watercolors and etchings wish themselves on the public from time to time.
The co-ordination of the brain and little black box in this exhibition comes very close indeed to the co-ordination of brain and hand we see in many displays. It is in the composition and tonal values where these camera artists shine, some of the pictorial offerings shown being of a high order.
Take one at random - "The Wings of the Morning". Here is a beautiful study, showing ducks leaving a placid lake with an enchanted island in the misty distance. The clever way this artist has scraped his negative, giving the ripples of the moving ducks, is very effective.
The tree studies are the best I have ever seen in photography. The amount of thought and care expended on some of these studies is an object lesson to any artist or student of art. How many times have you walked over a hill and tramped down into the dream village of Irene Viney. This is quite Gruneresque in composition and treatment and the type of landscape subject one never tires of. The artist who composed "The Meeting of Ruth and Naomi" has been rather careless with the interpolation of the two figures - the gummy connection is too obvious.
The figure studies are fine, one by Tomlinson of a lass flying through the air with the greatest of ease being excellent. His other figure study is, however, not so successful. This is a splendid show and I hope the public will go to see it. It will be opened officially tonight.
Wednesday 21st August 1940
Page 6 - News (Adelaide South Australia)
WOMAN'S AWARD FOR PHOTOGRAPHY
Miss Doris Barnes, of Sixth avenue, St. Peters, who won a bronze plaque in the photographic exhibition by the Adelaide Camera Club, has won six similar plaques. She also holds a bronze plaque won at the Inter-colonial exhibition of Overseas Photographers. Three of her portrait studies are in the photographic section at the Art Gallery. She has been a keen photographer for 20 years. Like most keen photographers she does all her own printing and developing and has a dark room at her home. She has been made a Life Member of the Adelaide Camera Club, is interested in all kinds of photography and has dabbled in seascapes, landscapes and portraiture.
Wednesday 21st August 1940
Page 18 - News (Adelaide South Australia)
PHOTOGRAPHY AWARDS FOR SOUTH AUSTRALIA
SHOULD TAKE UP PAINTING
The Adelaide Camera Club's exhibition of pictorial photography, which was opened in the Society of Arts gallery last night, contained work from all over Australia, but South Australia gained as many awards as all the other States put together. The President (Mr. L. Fisher) said that the collection represented the best work available in the Commonwealth this year. Opening the exhibition, Mr. M.J. MacNally said that he wondered why some of the exhibitors did not go in for painting as they displayed all the attributes necessary — selection, tonal qualities, composition and color. They were artists in the true sense, but he was afraid so many artists in these times preferred to stay at home with a camera instead of going further afield for subjects, with paint and brush. Perhaps they were becoming lazy minded or did not appreciate their own possibilities as painters. There was also an exhibition of travel photographs by Walter Burke. The diploma and bronze plaque for the best interstate entry were awarded to F.G. Crook-King (Queensland) for "Brunswick River" and the bronze plaque for the best South Australian entry was won by Miss Doris Barnes, with "Evening Glow". Perhaps no form of expression in recent years has become so fascinating as that of photography and the advance which has been made in this sphere of art is fully displayed in the excellent collection at the exhibition. With so many beauty spots available it is only natural that the landscape section is the largest on view and one can readily congratulate the artists on the choice of subject. Nature's "Fantasy" and "Lengthening Shadows", both by J.L. Wray, are delightful studies of light and shade on sand dunes and ridges, the beauty in the first increased by magnificent cloud effects. "Sand Dunes" by Rose Simmonds, is another excellent study of a very similar subject. Hugo Keil shows fine timber, sharply etched in "Grandeur of the North" and there is real artistry in the trees and clouds in "Wind in the Trees" by F. Cole, also in the lacy shadows thrown by the "Mitchell Gates" and plane trees photographed by Doris Barnes. The moonlight effect obtained by E Robertson in "Nocturne" is clever, while G.L Fisher has scored a decided success in "Sunlight Through the Trees". Clean, sharp work, again sand and clouds is excellent in F. Cole's "The Fugitive" and his "Ruth and Naomi" is also very effective. Seascapes are intensely interesting and the deep, rich tones of "Sunset" by G.R. Packer make a fine study, another unusually attractive picture is "Breaking Wave" by Rose Simmonds and there is very strong appeal in "A Day is Over" by J.W. Cocks. Figure subjects afford much scope for unusual effects and in "Thoughts of Home" by J.N. Tomlinson, an Eastern figure is gazing over the sea. There is movement in "Etude" by E. Robertson, a dainty figure in diaphanous drapery and clearly the light and shade in the same artist's "National Institutions". Beauty of form is displayed in "Nude Study" by M. Bernard. Some of the portraits are very delightful notably, "After the Bath" a happy looking youngster by F.A. White and a fine character study, "The Old Hand" by M. McCredie. The architectural studies are few, "St. Johns, Canberra" by Rev. T. Jones is most interesting and there is excellent work in "The Memorial" by C. Webb and "St Mary's" by F. Knight.
Saturday 24th August 1940
Page 10 - The Mail (Adelaide South Australia)
At the opening of the Adelaide Camera Club's exhibition of pictorial photography at the Society of Arts Gallery I glimpsed Mrs. F.A.H. Manning, a charming figure in black with a brace of silver fox furs about her shoulders and a smart little velvet toque atop her brunette hair.
Saturday 24th August 1940
Page 2 - News (Adelaide South Australia)
CAMERA AS MEDIUM OF ART
The exhibition of photography by the members of the Adelaide Camera Club is a revelation as to the height of accomplishment reached by some of the artists in this medium. From the point of view of selection and composition the display is an object lesson for some of our practising painters and students and I hope they will go to see it.
Some time ago in an exhibition of paintings I saw a depiction of the gates of the University in Frome road. It was a charming picture, but I thought at the time the point of selection left something to be desired. Here in this display there is a picture of the same subject from another angle, which leaves nothing to be desired. Carefully thought out, it gives the beauty of this piece of ironwork and its back ground full force and the flickering sunlight dancing round and about the stripped trees of winter is beautifully handled.
The members who have exploited the bromoil process have not been quite so successful. Their efforts strike one as verging on the "arty", particularly one with the obviously treated cloud looming over a background of hills. This detail completely spoils another wise good effort.
Mr. Les Fisher, the President, has some fine essays. "The Golden Hour", I like best and Mr. F. Coles "Wind in the Trees" would make a delightful decoration for a wall.
There is so much excellence right through that one is stunned with the richness of it all and unable to do a report in the manner it deserves. One achievement stands out and that is the success of the South Australians. They gained the same number of awards as the whole of the other States together, a fact which occasioned great rejoicing.
Thursday 29th August 1940
Page 25 - Chronicle (Adelaide, South Australia)
CAMERA CLUB DISPLAY
F.A. Joyner and S.W. Stump judging the pictures at last week's exhibition of the Adelaide Camera Club.
September 1940
Page 433 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB EXHIBITION
This club staged an “Australian Exhibition of Pictorial Photography" from the 20th to 30th August in the South Australian Society of Arts Gallery.
Opening the exhibition, Mr. M.J. MacNally said that he wondered why some of the exhibitors did not go in for painting as they displayed all the attributes necessary — selection, tonal qualities, composition and color. They were artists in the true sense but he was afraid so many artists in these times preferred to stay home with a camera instead of going further afield for subjects, with paint and brush. Perhaps they were becoming lazy-minded or did not appreciate their own possibilities as painters.
The diploma and bronze plaque for the best interstate entry were awarded to Mr. F.G. Crook-King (Queensland) for "Brunswick River", and the bronze plaque for the best South Australian was won by Miss Doris Barnes, with “Evening Glow".
As no general report has so far reached us we extract the following form "The Advertiser".
With so many beauty spots available, it is only natural that the landscape section is the largest on view and one can readily congratulate the artists on the choice of subject. “Nature’s Fantasy” and "Lengthening Shadows”, both by J.L. Wray are delightful studies of light and shade on sand dunes and ridges, the beauty in the first increased by magnificent cloud effects. “Sand Dunes” by Rose Simmonds is another excellent study of a very similar subject, Hugo Keil shows fine timber, sharply etched, in "Grandeur of the North" and there is real artistry in the trees and clouds in "Wind in the Trees” by F. Cole, also in the lacy shadows thrown by the "Mitchell Gates” and plane trees photographed by Doris Barnes. The moonlight effect obtained by E. Robertson in "Nocturne" is clever, while G.L. Fisher has scored a decided success “Sunlight Through the Trees”. Clean, sharp work, again sand and clouds, is excellent in F. Cole’s "The Fugitive" and his “Ruth and Naomi” is also very effective.
Seascapes are intensely interesting and the deep, rich tones of “Sunset” by G.R. Packer, make a fine study; another unusually attractive picture is “Breaking Wave” by Rose Simmonds and there is very strong appeal in “A Day is O’er” by J.W. Cocks.
Figure subjects afford much scope for unusual effects and in “Thoughts of Home” by J.N. Tomlinson, an Eastern figure is gazing over the sea. There is movement in “Etude” (E. Robertson), a dainty figure in diaphanous drapery and clearly cut light and shade in the same artist’s “National Institutions”. Beauty of form is displayed in “Nude Study” by M. Bernard..
Some of the portraits are very delightful, notably “After the Bath”, a happy looking youngster, by F.A. White and a fine character study, “The Old Hand” by M. McCredie. The architectural studies are few, “St. John’s, Canberra” by Rev. T. Jones, is most interesting and there is excellent work in “The Memorial” by C. Webb, and “St. Mary’s” by F. Knight.
The miscellaneous group includes various subjects and fine work. “Fluffles” (F.N. Day) is a very natural portrayal of a cat in which the hair is excellently shown and there is highlight on metal in "The Saxophonist” by G. Purcell. Quite delightful is “The Pied Piper of Christmas”, a group of children running for a free gift of toys. Unusually interesting is “Up in the Blue”, a plane above the clouds, by H. J. King.
The flower studies are particularly dainty and beautiful; quite outstanding are “Spring Pattern”, an exquisite branch of white blossom, and “Water Lily” (Alan Hodgson), also “Sign of Spring” (R. Edwards).
There was also shown Mr. Walter Burke’s One Man Show of 158 travel photographs, which had previously been on exhibition in Sydney, Melbourne and Mount Gambier and these were found specially interesting as the pictures cover so many Continental places now frequently in the news.
October 1940
Page 491 - The Australasian Photo-Review
AWARDS AT THE |
|||||||||||
SECTION I: LANDSCAPES: |
SECTION I: LANDSCAPES: |
SECTION VIII: STILL LIFE: |
INTERMEDIATE SECTION: |
||||||||
SECTION I: LANDSCAPES: |
SECTION II: SEASCAPES: |
SECTION III: PORTRAITS: |
SECTION III: PORTRAITS: |
SECTION IV: FIGURE STUDIES: |
|||||||
| CERTIFICATE: G.R. Packer South Australia |
CERTIFICATE: Miss Doris Barnes South Australia |
CERTIFICATE: Keast Burke N.S.W. |
DIPLOMA: G.L. Fisher South Australia |
CERTIFICATE: R.W. Wrightson South Australia |
DIPLOMA: F.M. Day South Australia |
CERTIFICATE: E.H. Drew South Australia |
CERTIFICATE: Dr. L.A. Love Victoria |
CERTIFICATE: Mrs. M. McCredie N.S.W. |
CERTIFICATE: F.M. Day South Australia |
CERTIFICATE: E. Robertson South Australia |
CERTIFICATE: F. Knight Tasmania |
SECTION V: ARCHITECTURE: |
SECTION VI: |
SECTION VII: COLOUR TRANSPARENCIES: |
|||||||||
| DIPLOMA: Rev. T. Jones N.S.W. |
CERTIFICATE: Chas. Webb Victoria |
CERTIFICATE: F. Knight Tasmania |
DIPLOMA: Frank N. Day South Australia |
DIPLOMA: A.N. Vivash Western Australia |
CERTIFICATE: F.G. Crook-King ARPS Queensland |
CERTIFICATE: C.W. Ewing Queensland |
CERTIFICATE: J.G. McCredie N.S.W. |
DIPLOMA: W. L. Whisson South Australia |
CERTIFICATE: W. L. Whisson South Australia |
CERTIFICATE: L.A. Wilde South Australia |
CERTIFICATE: Mrs. Rose Simmonds Queensland |
December 1940
Page 571 - The Australasian Photo-Review
ADELAIDE CAMERA CLUB
At the Annual General Meeting the following officers were elected:
Patron: His Excellency the Governor of South Australia (Sir Malcolm Barclay-Harvey); President: Mr. Les Fisher; Vice-President: Mr. R. L. Packer; Hon. Vice-President: Mr. J.D. Brown; Treasurer: Mr. G.L. Fisher; Auditor: Mr. F. Cole; Librarian: Mr. F.A. Wendt; Committee: Messrs. J.N. Tomlinson, F.A. White, W.S. Whisson; Hon.Secretary: Mr. H.L. Austin; Publicity and Program Organizers: Messrs. F.A. White and J.N. Tomlinson; Past-President; Mr. L.A. Wilde.
Mr. J.N. Tomlinson gave an instructive lecture on lenses at the November meeting.
Scheduled lectures and demonstrations include subjects such as “Paper Negatives”, “Portraiture and Make-Up”, “Figure Studies”, “Ballet”, “Enlarging and Print Control”, “Bromoil”, “Filters and Exposure Meters”. Several outings are to be arranged and also competitions. Entries for the first competition, “Action Photographs”, will close at the first meeting in February 1941.
Visitors to meetings will be welcomed and those interested should get in touch with the Hon.Secretary, Mr. H.L. Austin, 70 Watson Avenue, Rose Park.
SIR CHARLES MALCOLM BARCLAY-HARVEY, KCMG
Born 2nd March 1890 - London, England
Died 17th November 1969 (aged 79) London, England
Appointed the GOVERNOR of SOUTH AUSTRALIA in March 1939
Monday 2nd December 1940
Page 8 - The Advertiser (Adelaide South Australia)
Thursday 5th December 1940
Page 42 - Chronicle (Adelaide South Australia)
OBITUARY - MR ALFRED WILKINSON
Mr. Alfred Wilkinson, who died in a private hospital on Thursday at the age of 71, was formerly President of the Adelaide Camera Club. For some years he was a partner in the firm of Lodge and Wilkinson, hairdressers, city. He lived for many years at Prospect, but for several months before his death stayed with his son-in-law, Mr. T.C. Stephens, Garden Suburb Commissioner, at Colonel Light Gardens. Mr. Wilkinson had many photographic successes. Two of his pictures were purchased by the Public Library Board for use in the National Gallery and two more, "The Monarch of the Glen" and "Overlooking the Plain of Adelaide", both studies of Glen Osmond, were hung in the gallery of the Royal Photographic Society of Great Britain. "Majestic Gums" a fine picture and one of his early successes, was accepted by the hanging committee of the London Photographic Salon, which also accepted "The Quarry", one of 414 selected out of 4,000 sent in for competition. His wife died several years ago, as did a daughter (Doris). Two daughters, Mrs Stephens and Miss Florence Wilkinson, survive.
Mr. ALFRED WILKINSON