LISMORE CAMERA CLUB
FORMED 1929
Tuesday 26th March 1929 Page 6 - Northern Star (Lismore, NSW)
OPEN COMPETITION ARRANGED
Although the Lismore Camera Club is only newly-established, its membership has already grown to 27 and eight new ones were elected last week. At the first committee meeting on Thursday, at which the Mayor (Ald. C. McKenzie) presided, it was decided to hold an open competition, the subject being "a local or district view". The competition is not restricted to club members, any local or district photographic enthusiast may enter. Each competitor is entitled to nominate three photographs, all of which must be mounted. No points, however, will be allowed for the mountings. Messrs. E.T. Hannah and L.P. Parker were appointed the judges. Entries, closing on 15th April, may be left at any of the Lismore "same day" service stations and they will then be handed to the judges. Messrs. F. Wicks and J.R. Allen have donated the first and second prize of £1 1s and the "Northern Star" has agreed to publish the winning picture and pay 10s for it.
The judges will distribute the prizes at a general meeting of the club in Hampton's Chambers on 18th April, when competitors will be explained the faults with their entries.
The club decided to adopt the rules framed by the Photographic Society of New South Wales for use in connection with future competitions and championships which it intends to conduct.
Rev. H.J. Buttrum, Messrs. L.P. Parker, R.J.B. Jack, J. Stokes, E.T. Hannah and A.V. Clutterbuck were present at the meeting and apologies were received from Messrs. A.C. Brand and A.C. Morton. The following new members were also elected: Mrs. A.V. Clutterbuck, Misses W.G. Falle, M. Amos. Messrs. J.A. Keay. C. Wesley, J. Kille, G. Roberts and C.W. Talbot.
Thursday 18th April 1929 Page 4 - Northern Star (Lismore, NSW)
The Lismore Camera Club, meeting, Hampton's buildings, 8pm.
Friday 19th April 1929 Page 6 - Northern Star (Lismore, NSW)
FIRST COMPETITION RESULT
Rev. H.J. Buttrum (vice-president) occupied the chair at last night's meeting of the Lismore Camera Club, held in Hampton's Building's when the result of the first competition was announced and an interesting lecturette was given by one of the judges, Mr E.T.D. Hannah, on the merits of the winning photographs and the shortcomings of others.
There were 39 entries, which gave the judges (Messrs. Hannah and L. Parker) three hours close scrutiny before they finally awarded first prize to Miss I.A. Hannah and second to Mrs. Care. Prizes £1 1s each were donated, by Messrs. F.W. Wicks and Co. and J.R. Allen. The judges were accorded a hearty vote of thanks and Mr Hannah's lecturette was much appreciated. The photographs, which comprise a very interesting collection, will be displayed in shop windows during next week.
Members were invited to assemble at 12.15pm on Anzac Day to proceed to Marom Creek on the Rous road. Lunch will be taken and the outing will be attended by experienced members who will be pleased to give instructions in taking outdoor subjects. The club will meet in Hampton's buildings on 27th April at 7.30pm, when a general discussion will take place on the criticism of the photographs. Those desirous of making the trip to Marom Creek are asked to get in touch with the Hon.Secretary (Mr A.V. Clutterbuck), telephone 724. Efforts will be made to arrange for cars to pick up members without a conveyance.
Tuesday 23rd April 1929 Page 5 - Northern Star (Lismore, NSW)
Winning print in the Lismore Camera Club first open competition.
The photo, exhibited by Miss I.A. HANNAH (Lismore), shows the Hospital Hill bus
returning to town up the hill near the corner of Orion and Keen streets, with the
Roman Catholic Cathedral in the background.
A good evenly balanced photo of a fair subject, with excellent lighting.
Saturday 27th April 1929 Page 8 - Northern Star (Lismore, NSW)
About 25 members of the Lismore Camera Club spent an enjoyable day on the occasion of the club outing to Marom Creek. Leaving Lismore by car about 12.30pm, the party arrived in time for lunch and found plenty of opportunity for picture-making in the beautiful surroundings. The club will meet in Hampton's Chambers, Keen-street, at 8pm to-day and members will show the photographs taken at Marom Creek. Some of the more experienced photographers will then criticize the exhibits and explain any weaknesses. The photographs entered in the club's recent competition may be seen in the shop windows of F. Wicks and Company, J.R. Allen and A.E. Brand.
Saturday 27th April 1929 Page 8 - Northern Star (Lismore, NSW)
LISMORE CAMERA CLUB
A General Meeting of the Lismore Camera Club will be held in Hampton's Chambers, Keen-st., at 8pm to-night. Members and intending members are invited to attend.
A.V. CLUTTERBUCK
HON.SECRETARY
Saturday 11th May 1929 Page 8 - Northern Star (Lismore, NSW)
Though launched only a short time ago the Lismore Camera Club is a vigorous organization and now has more than 30 members, including many prominent townspeople. The club includes many experienced photographers and welcomes all those interested in photography, including those whose understanding of the art is limited to "pressing the button". The latter will find that they will have much to gain by joining the club and the subscription is only a nominal one. During the week the committee met and made arrangements for an outing to Lennox Head on the King's Birthday. Cars will leave Lismore post office at 9am. The club's periodical excursions have been very pleasant affairs as well as interesting from a photographic point of view. Members and intending members who do not own cars will be conveyed by the members who have cars. Cameras will be taken and the more experienced members will give the younger ones points on picture making as distinct from "pressing the button". The prints will be discussed at a later date.
Monday 3rd June 1929 Page 4 - Northern Star (Lismore, NSW)
The Lismore Camera Club will hold an outing to-day, leaving the post office at 9am. Lennox Head will be visited and a prize will be given for the best photograph taken by a member during the day. It is hoped that there will be a large attendance. Lennox Head is one of the beauty spots of the North Coast and offers a great field for amateur photographers.
Monday 22nd July 1929 Page 6 - Northern Star (Lismore, NSW)
The Lismore Camera Club committee will meet at 8pm on Wednesday night next in Messrs. Webster, Jack and McDonald's office in Molesworth-street to make arrangements for the coming season. Outings, competitions and lectures will be arranged.
Tuesday 20th August 1929 Page 4 - Northern Star (Lismore, NSW)
A program for the coming season will be arranged at the general meeting of members of the Lismore Camera Club in Hampton's Chambers to-morrow at 8pm. It is hoped to arrange some attractive excursions and a full attendance is required.
Thursday 15th May 1930 Page 6 - Northern Star (Lismore, NSW)
The Lismore Camera Club usually arranges a number of outings each winter and amateur photographers have found these excursions enjoyable and profitable because of the valuable hints that the novices get from the more experienced members. The first "excursion" this year will not move out of Lismore, but will be largely instructional and will be held in Spinks Park, commencing at 2.30pm on Saturday 21st May. The only qualification necessary for membership is a liking for photography and all types of cameras, including a small cine camera, will be in use around the park when the club holds its first meeting.
Thursday 22nd May 1930 Page 6 - Northern Star (Lismore, NSW)
Members of the Lismore Camera Club last year found their membership enjoyable and instructive from a photographic point of view. At 2.30pm on Saturday next the club will hold its first excursion this year in Spinks Park. Anyone owning a camera, or interested in photography, is welcome to attend. Expert members will explain how to obtain the best results and the various points that change a snapshot into an artistic photograph. Previously, the long excursions to district beauty spots were pleasant affairs and their repetition will be discussed.
Friday 30th May 1930 Page 13 - Northern Star (Lismore, NSW)
PHOTOGRAPHY
HINTS TO THE BEGINNER
ISSUED BY
LISMORE CAMERA CLUB
The development of the film is often considered by the beginner to be something much beyond his or her capability. In reality it is a very simple process. It is essential to do this work in a perfectly dark room. This can be easily arranged at home by doing the work in the evening, when nature provides us with the necessary darkness. A bathroom, kitchen or laundry is ideal, as running water is a great convenience.
A ruby light is, wisely, the only kind to use during the process. Any photographic dealer could supply a suitable one for a few shillings. It is necessary to have three dishes, preferably deep and narrow, such as a gravy bowl. In No. 1 we require a quantity of clean water. In No. 2 our developing solution. This solution can be had either in liquid, powder or tablet form and can be procured from any dealer with necessary instructions for mixing, etc.
In No. 3 we have our fixing solution, which consists of Hypo about one (1) tablespoonful to one (1) cup of water. (Caution: Do not get the slightest trace of the hypo in the other dishes, or the work will be completely ruined).
Having thoroughly washed and dried our hands we are ready to proceed. First extinguish all but the ruby light. Unroll the film, separating it from the black paper. Take hold of it by each end and run it carefully through dish No. 1 (water) until it is thoroughly soaked, perhaps for one minute. Then pass through bath No. 2 (developer) and continue until the image appears to be much too dark on the surface and can be clearly seen on the back of the film. Then put back into bath No. 1 plain water and rinse all developer off. Transfer to bath No. 3 (hypo) and continue until all the milky appearance has vanished. The lights can then be put on and last process which is a thorough washing of the film in running water for at least half an hour.
During this time the film must be kept constantly moving and the water in dish poured out from time to time. It is the thoroughness of this process on which the permanency of the negative depends. The film can now be pinned up in place, free from dust, to dry.
For any further hints communicate with the Hon.Secretary of the Lismore Camera Club, Box 77A.
Friday 6th June 1930 Page 4 - Northern Star (Lismore, NSW)
PHOTOGRAPHY
HINTS TO BEGINNERS
BY THE
LISMORE CAMERA CLUB
This week we will endeavor to put into as condensed form as possible the printing of gaslight papers.
The name "Gaslight", originated by the fact that the whole work of developing and printing, could be carried out by the aid of gaslight, although, of course, any artificial light could be used.
After the day's, work is done and tea over we can settle down to a very interesting evening, having purchased a packet of suitable gaslight papers from one of the dealers. There are several different brands and we prefer here not to recommend any particular make, as they will all give good results if instructions are carried out accurately. When purchasing, one should ask for a paper suitable for a weak, medium or strong negative, as there are different grades of contrast. By weak we mean a negative probably thin and grey, lacking in contrast. This should need a strong contrast paper. On the other hand a negative which is dense and contrasting with deep black high-lights and thin shadows needs a soft grade paper. As a general rule the stronger the contrast the slower the paper and the longer exposure to the light is necessary when printing.
Also purchase developer (recommended by your dealer) and fixing salts, either hypo or acid fixer which can be obtained in carton form suitable for mixing with water as required. The latter we prefer as it acts as a clearing bath as well. Select some of your pet negatives and proceed. Mix the solutions and arrange three dishes as we did for developing the film.
No. 1 : Plain water.
No. 2 : Developing solution.
No. 3 : Fixing solution.
Keep these three baths at one end of the table and reserve the other end for loading the printing frame. Again let us warn you to wash your hands thoroughly after each time you have had them in the fixing solution and dry well before handling the printing paper.
SHADE THE LIGHT
Next, make certain that the light is well shaded from table on which the work is to be done, it should only be strong enough to see with difficulty, if any stronger the paper will fog during the developing process. We are now ready to load our printing frame. Place the glossy or film side of the paper in contact with the dull side of the negative, between the glass and the back of the frame, with the negative side out. Next take the frame to a suitable position in front of light, say, about 12 inches, let it expose. The time of exposure will depend on the density of the negative, candle power of light and the speed of paper. Make a trial exposure on a small piece, giving an approximate time according to the instructions given with the paper.
We are now ready to develop. Return to the shaded position and remove paper from frame then place in No. 2 bath, developing solution and rock, the dish, carefully, making sure that it covers the paper quickly and watch the progress. If the exposure has been correctly done, the image will appear in a very short space of time and should be carried out until it will not develop any further, at the same time one must remember that if left too long in bath a general greyness will take place.
Next, place print in bath No. 1, plain water, for about one minute, keeping moving all the time. Then remove to bath No. 3, fixing solution and let it remain for ten minutes. After it has been in this bath for a minute the dish can be taken ever close to the light and the print examined. If too dark the exposure was too long; if not dark enough the exposure was too short. On our second attempt we will probably get a much better print than the first.
Now proceed with the second print while the first is fixing. After they have had a full ten minutes in the last bath they can be removed and placed in a dish with running water constantly moving prints and changing water for at least an hour. They can then be removed and allowed to dry. This may better be done by placing face up on clean blotting paper. Later we will explain how to put a high gloss on the print.
The Hon.Secretary of the Lismore Camera Club will be pleased to arrange a practical demonstration by one of the experienced members at any convenient time. Address, box 77A, P.O., Lismore.
Next outing to-morrow (Saturday), leaving McLiesh's corner at 2pm. All those interested are invited to attend.
Friday 13th June 1930 Page 4 - Northern Star (Lismore, NSW)
PHOTOGRAPHY
HINTS TO BEGINNERS
BY THE
LISMORE CAMERA CLUB
PRINTING BY BROMIDE
Last week we explained the method to adopt in printing with "gaslight" paper. Bromide printing is very similar inasmuch as the printing is done by artificial light, the only difference being that "Bromide" paper is very much faster and a perfectly dark room is required. The only light is that given by a ruby or orange lamp. The same lamp as we recommended for developing the film may be used for this paper.
The exposure will be extremely short as compared with "gaslight" and it will probably be found an advantage to print at a greater distance from the light. A fast paper with thin negatives at one foot distance may only require one second exposure.
A little confusion generally exists in the mind of the beginner as to what exposure to give if the distance of the light from the frame be increased. Suppose for argument sake, one second is found to be correct for a certain negative at one foot. What exposure will we give if the frame is moved away to four feet?
Almost every novice will tell you, of course, four seconds. This will be entirely wrong. It will require sixteen seconds. There is a law known as the "law of inverse squares" (which is a little beyond our present work). This law proves to us that as the printing frame is moved away from the light that the exposure will have to be increased by an amount equal to the distance squared. That is to say that, should it be moved from one to two feet, that is, twice the distance, the exposure will have to be increased by four times and if moved to three times, the exposure will be increased by nine times and so on.
Bromide paper can be procured in different grades of contrast as also is gaslight and one can only advise the beginner to be guided by his dealer when procuring the paper. There are also different surfaces of paper, glossy, matt, crayon, rough, silk, canvas, etc.
GLAZING THE PRINT
The first mentioned glossy can be improved very much by glazing. This is done by squeegeeing the print face down on to a piece of glass while wet and allowing to dry. At this stage we warn you to carry out a few simple instructions or to your disgust the prints might adhere so firmly to the glass that they cannot be removed except by thoroughly soaking again:
(1) It is wise to put prints through a hardening bath such as alum. This bath can easily be prepared by dissolving one ounce of alum in ten ounces of water. Allowing the prints to remain for ten minutes and then thoroughly wash for about twenty minutes.
(2) Clean the glass thoroughly with Bon-Ami or similar preparation then use freely some special stripping solution which can be procured for the purpose.
(3) Place the wet prints face down and squeegee thoroughly every air bubble out. This can be determined by examining from the other side. Place in a dry place to dry. When ready the prints will strip off quite easily, in fact will probably fall off.
The Hon.Secretary of the Lismore Camera Club will be pleased to arrange any practical help if those interested will favor him with a letter to Box 77A P.O., Lismore.
Friday 20th June 1930 Page 4 - Northern Star (Lismore, NSW)
PHOTOGRAPHY
BEGINNERS HINTS
BY THE
LISMORE CAMERA CLUB
HOME PORTRAITURE
This subject is perhaps the most interesting; it is, however, one of the most difficult. Our friends exhibit their albums with pride, which in almost every instance contain 90 per cent, of portraits. We see uncles, aunts, cousins, brothers, sisters, no age limit, to those from baby a few days old, perhaps in nurse's arms, to grandma and her knitting on her lap and grandpa sitting on the verandah enjoying his "pipe of peace". We see the five generations snapped after Christmas dinner is over, when all have gathered together at the festive season. Did we say that these subjects were most interesting. We did, but how disappointing. We have perhaps been instructed to see that the sun shines full on the figure and never expose in the shade. This advice causes most of our failures.
LIGHTING
Remember that lighting is the soul of the picture, without it, all our efforts will be futile. Never let the sun shine full on the face of the sitter, but endeavor to let it fall at an angle of about 45 degrees or even more obliquely. Excellent work can be done by photographing against the light, but never let the sun shine into the lens of the camera. It must be shaded by hat or some other object. If the sun is shining from behind the photographer, the sitter will appear with glary white face, flat and lacking of all modelling. The shadow of operator will appear in the foreground of the picture and thus completely mar the work. If the sitter is placed so that the shadows throw sideways, a pleasing effect will be produced. The subject will be able to open her eyes naturally. The cheek, nose, etc., will appear to stand up in the picture and altogether we will portray something living and human. Very pretty effects can sometimes be produced indoors but, owing to the long exposure and the adjustment of reflectors, the work may be considered beyond that of the beginner.
EXPRESSION
Having posed your sitter in a convenient place with the light showing up the features to best advantage, keep chatting merrily to your victim and wait a suitable moment, when you have the mood you wish, snap. If your sitter was not aware of the moment having arrived, so much the better. A few exposures may be well worth while as you may chance to catch, the expression you seek on a second or third attempt but, all the time keep your guest entertained.
FOCUSSING
If your, camera has a focusing scale set it exactly to the number of feet marked, as your sitter is in front. Focus always on to the face and trust that the rest will look after itself. In fact, the most pleasing and soft effects are obtained by throwing all other parts slightly out of focus. If you have a box or fixed focus camera, procure a portrait attachment if you are going to attempt bust, or close-up pictures, neglecting this will probably show up a sharp background and blurred figure.
EXPOSURE
Remember that under exposed portraits are hideous, showing glary white highlights and black shadows. Expose for the shadow side and not for the highlights. In most instances a very short time exposure will be necessary. If it is taken in the shade about half a second will be required with stop F. 11, providing, of course, you are close to the light. Early morning or late afternoon will require a longer time, which only practice will teach. Here be cautioned to place the camera on box, chair, tripod or some perfectly solid body.
COLOR SCREEN
If your sitter happens to be a little freckled, you will be a lifelong enemy should you omit to use a color filter in front of the lens, as every freckle will appear ten times worse than nature shows it. Instructions are generally given with the screen. The most common used, will require five times longer exposure than without. Thus an exposure of one fifth of a second without will require one second with screen.
BACKGROUND
Most beginners fail badly with their early attempts by having an unsightly fence or some other objectionable object which completely attracts the eye. Whatever you select as background be sure that it completes the setting of your study. A full length study is very nice with a winding garden path and perhaps an archway or pagoda included. But be careful that your background is not sufficiently prominent to compete with the main subject. Avoid any straight lines unless they lead into the picture and finish at the most important part of your picture.
AVOID BLACK AND WHITE EFFECT
If portraiture is to be natural you must avoid printing it on contrasty paper. There is nothing more hideous than hard black and flaring white prints. In nature everything is soft and pleasing; we do not expect portraiture to be like soot and white-wash.
The Hon.Secretary of the Lismore Camera Club, Box 77A, is anxious and willing to arrange any help and instruction.
Friday 4th July 1930 Page 4 - Northern Star (Lismore, NSW)
PHOTOGRAPHY
BEGINNERS HINTS
BY THE
LISMORE CAMERA CLUB
One of the readers of the "Northern Star" has asked the following question.
"I do my own printing and use mostly Nepera and Velox papers. I can print on Nepera with fifteen seconds exposure and produce a wonderful picture. The Velox papers I give a minute to a minute and a quarter exposure, but the picture has yellow stains and marks like hair marks. I have examined the negative and glass and find nothing to cause these marks. Could you please explain the reason?"
The Camera Club will be pleased to answer any questions of this kind, through the columns of the "Star".
(1) Be careful to wash prints thoroughly after taking out of developing bath and before putting into fixing solution.
(2) It is safer to put through a clearing bath, a very simple and effective one is: a tablespoon of vinegar to 20 oz. of water.
(3) Do not allow any trace of this solution to go into tho developer, as it will not improve matters.
(4) Always see that your prints are kept moving for a few minutes after putting into fixing solution.
(5) Never allow prints to remain in developer after development ceases. We believe from your notes that this is the cause of your trouble.
(6) Regular Velox paper requires a very long exposure. Evidently you are still under exposing.
(7) The hair marks that you complain of may be abrasions due to the paper being roughly handled before use.
All inquiries should be addressed the Hon.Secretary, Lismore Camera Club, Box 77A. P.O., Lismore.
Friday 4th July 1930 Page 4 - Northern Star (Lismore, NSW)
PHOTOGRAPHY
BEGINNERS HINTS
BY THE
LISMORE CAMERA CLUB
SELECTION OF THE PICTURE
It may seem strange to the novice that the experienced photographer will select his pictures from the most unlikely places. We may search in and out and all about and yet not see a single object of interest and yet to the trained eye, there are many pictures.
LIGHT AND SHADE
We are solely dependent on the lighting conditions to suit our subject. Under one light an object may have no pictorial qualities, yet at the right time of day the perfect may be found. In most cases early morning and late afternoon are the best time for our work, as the shadows are long and the difference between light and shade is accentuated, which usually helps considerably in our composition.
DESIGN
We must always look for some definite design formed by the lines or curves upon which the picture is composed and all within this picture must be in keeping with it. Avoid making the picture too symmetrical, as there is nothing more hideous than a composition which may be likened to a squad of soldiers in exact formation.
CONCENTRATION
We must have one definite object upon which all our interest concentrates. All other objects must be so arranged as to take our mind back to the main subject. Very few pictures will stand a second principal.
SUITABLE SETTING
On the other hand no composition is complete without surroundings. There must be something to harmonize and give us that feeling of naturalness and atmosphere. Suppose that we concentrate on a tree of which the limbs make beautiful curves, should that tree be found in front of some modern building. The lines of the building will so attract our attention that the beauty of the limbs will not be appreciated. On the other hand let us admire that tree in a setting which is natural to it, in the background some distant landscape with a misty atmosphere which will lighten the tone and give us a pleasing feeling and yet not strong enough to keep our mind away from the main object.
BALANCE
Then let another tree of a smaller size be placed as to be a means of balancing the composition, something upon which our eye may pass to and then back to the original position. Here let us warn you not to place the main subject in the center of the picture or you will need two balancing objects which very rarely give artistic effects. There is a rule (which is sometimes broken by experienced artists), that is, "to place the principal object in a position one third from either side and its point of greatest interest one third from top or bottom". One cannot help suggesting to the budding pictorialist to carry out this rule until one's knowledge is sufficiently developed to make a deeper study. The balancing object may be placed on the opposite side and perhaps diagonally. That is to say that the greatest point of interest be on the right lower, a convenient place for the balancing object be the left higher position. Although the shape of the main object will alter the position and in many cases we may conveniently place it in the lower position also.
MASSING OF TONE
As far as we are able let us make the principal object have the greatest and deepest shadows, with also the highest highlights. If it is a dark object endeavor to have brightly lit the background on its shadow side to strengthen its tone and as far as possible a darker mass on the brightly lit side. Avoid detail in all but the main object and not have a lot of small patches of light and shade spread over the whole picture. In conclusion as far as is practical select simple subjects with few objects. Some of the greatest pictures are also the simplest.
The Hon.Secretary of the Lismore Camera Club, Box 77A, Lismore, will be pleased to arrange for you any further help.
Friday 18th July 1930 Page 18 - Northern Star (Lismore, NSW)
PHOTOGRAPHY
BEGINNERS HINTS
BY THE
LISMORE CAMERA CLUB
A reader of the "Northern Star" asks the following questions: My camera has three stops. Could you advise me when to use the smaller ones ? Up to the present time all my snaps have been taken with the large aperture.
The Lismore Camera Club will be only too pleased to help any beginner, through the columns of this paper, with any similar difficulty.
We assume that your camera is one of the box type and has no means of focusing for close up pictures. The smaller stops may be used for sharpening the picture for this work when with the large stop all close objects would be blurred. It increases what is known as the depth of focus, that is to say, that with the large stop, objects within six feet may not be sharp. The next stop may sharpen the focus of objects as close as four feet and the smallest stop may focus even as close as two feet.
EXPOSURE
You may now ask, why not take all the snaps with the smallest stop and thus save the bother of altering it. We must not forget that the smaller the stop, the less light will be admitted and a longer exposure will be necessary. If we are going to give instantaneous exposures on most objects we will not get good results with the small stops. The increase in exposure will be approximately twice as long with the middle stop and eight times as long with the smallest stop. Therefore it will be necessary to give time exposure if this stop is used.
REST YOUR CAMERA
It will be quite impossible to hold your camera steady enough for time exposures with the hand. A tripod, box, table or some firm object must be used to rest it on while the exposure is being made.
FOR BRIGHTLY LIT SUBJECTS
Occasionally we meet subjects such as seascapes, cloud scenes, etc., which we cannot help over-exposing even with the instantaneous exposure. Again the smaller stops come to the rescue and reduce the quantity of light reaching the film. With seascapes the middle stop may give best results, except early in the morning and late in the afternoon, when the large stop would be an advantage. With cloud scenes the smallest stop may be used for the best results.
FOR FOCUSSING MODELS
With cameras on which it is possible to alter the focus, the stops may be used differently. If we are concentrating on a close up subject, very often the picture will be greatly improved by throwing the background out of focus. This can be done by adjusting the focus for the number of feet that the object is from the camera. Use the largest stop and the distance will be softened in focus and thus the interest is directed to the foreground.
For further hints, readers are invited to communicate with the Hon.Secretary of the Lismore Camera Club, Box 77A, Lismore.