Page 16, 10th August 1935

10th August 1935
Page 16
Page 16, 10th August 1935 — PRIVATE CINEMA

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By Edward Owen


I have seen recently a number of holiday snapshots and the quality of the photography is remarkable: the definition is good, exposure correct, and people generally seem, instinctively, to have a fair knowledge of picture-making.

You may say there is nothing very difficult in all this. But think of the people you know who have cameras. As a rule they know precious little about photo graphy. ree eeee will say: "Wait a moment! Let me see, I'll set the camera for ' very bright.' There! Now smile! " Click—and in a day or two you see the result.

What is rather amazing is the sureness of this still photography. Why are most of the photos good? Well, I think there are several reasons, but the chief is this: When only six or eight pictures are taken at a time the photographer is able quite easily to relate the results to the conditions in which they were made.

Gains No Experience

His experience is, therefore, gained more quickly than is the case with the eineenthusiast who will take 40 and sometimes as many as 50 shots on the same reel. The latter has to wait longer for the processing, and sometimes longer still to project the film.

There grows up such a length of time between the resultant pictures and the con ditions in which they were shot thet if he makes no attempt to take special notes he gains little or no experience; at any rate, it is a desperately slow business.

The remedy is obvious. The eineworker must learn more about his instrument, and he cannot do this unless he makes a note, at least in the beginning, of each picture he takes. This may seem very laborious--and I can assure you it is—but in the long run it will save a great I deal of expense.

The Alternative

These notes should deal briefly with the aperture, the lighting, brand of film used, speed of camera, filter and so on. Each shot should be numbered.

The eine camera is totally different from the still camera, it is much more flexible, having sometimes as many as five or six variants for each exposure. This entails a certain amount of patient study.

The alternative to this methodical study is the haphazard shooting of the fresh enthusiast, who exults over the good pictures but seldom asks himself why the majority of his shots have failed. He goes on gaily wasting a phenomenal amount of film till eventually he eeee up the hobby in disgust, with the remark that it is much too expensive.

It is infinitely better to experiment with 200 or 300 feet of film in the beeinning and to try out your camera than to go on wasting film for a couple of years, and even then not exploring the fqll capabilities of the instrument you possess.

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