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Morgan
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KANSAS CITY, MO. PUBLIC, LIBRARY
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CONTRIBUTORS:
JAMES A. BARNES American Historian
ANTON F. BATJMANN .... Photo Technician
IULIEN BRYAN Traveler and Lecturer
CHARLES BREASTED .... Formerly Asst. Director Oriental
Institute. Writer
F.DERSCH Chemist Research Laboratory,
Agfa Ansco Corp.
H.DUERR Chemist, Agfa Ansco Corp.
A. LAURENCE DUNN .... Doctor of Dental Surgery
JOHN P. GATY Salesmanager, Beech Aircraft
Corp.
JOHN N. HARM AN, JR. ... Chemist, Technical Writer
MANUEL KOMROFF .... Author
J. WINTON LEMEN Chief Photographer, The Buffalo
Times
J. M. LEONARD General Service Supervisor,
A. T. & T. Co. Long Lines Dept.
EDWIN LOCKE Photographic Section, Resettle
ment Administration
ELBERT M. LUDLAM .... Photographer
JOHN T. MOSS, JR Architect, Industrial Designer
ROWLAND S. POTTER . . . Vice President, Defender Photo
Supply Co., Inc.
ROY E. STRYKER Photographic Section, Resettle
ment Administration
JOHN W. VANDERCOOK . . . Author and Explorer
AUGUSTUS WOLFMAN . . . Editor, Leica Photography
H. W. ZIELER President, E. Leitz, Inc., New York
THE LEICA
MANUAL
A Manual for the Amateur and Professional Cover
ing the Field of Miniature Camera Photography
by WILLARD D. MORGAN
Contributions Editor
Life Magazine . . . .
HENRY M. LESTER
Cinephotographer
and Contributors
MORGAN & LESTER, PUBLISHERS 1QOQ
100 EAST 42ND STREET • NEW YORK CITY JLwVJO"
First Edition
First Printing August 1935
Second Printing November 1935
Third Printing August 1936
Second Edition [Revised]
First Printing December 1936
Third Edition [Revised]
First Printing September 1937
Second Printing April 1938
Copyright 1938
Willard D. Morgan
Henry M. Lester
All rights reserved in all countries. No part of this book
may be reproduced or translated in any form without
permission in writing from the editors and publishers.
Printed in U.S.A. By Wagner Printing Co., Inc., New York
ACKNOWLEDGMENTS
The Editors wish to express their appreciation to all
those who have assisted in the compilation of this work:
Contributors
of chapters, and the many friends working with the
miniature camera who have submitted photographs and helped
to formulate the scope of this Manual,
Barbara Morgan
for planning typographical arrangement
Ruth Lester
for collaboration in the editing of the volume.
Heavy on the Bass
Elmar 50mm lens, 1/100 sec., f :9, Agfa Superpan, Film
Paul Bradley II
TABLE OF CONTENTS
The Leica Comes of Age 7
by Manuel Komroff
PART I — BASIC LEICA TECHNIQUE
CHAPTER 1. Leica and Its Auxiliary Equipment 15
by Willard D. Morgan
What to Photograph with- a Leica, Know Your Leica. Your
Beginning. How to Make Your First Leica Pictures. Loading the
Leica Film Magazine. Models F and G Leicas. Interior Mech
anism of the Leica. Daylight Loading. Winding the Film. Earlier
Leica Models. Leica Accessories. Vidom Universal View Finder.
Direct View Finder. Wide-Angle View Finder. Wintu Angle Finder.
Sunshades and Their Use. Correction Lenses for Range and
View Finders. Slow Timing Device. Rapid Winder, Protective
Cases. Optical Short Distance Focusing Device "Nooky". Syn
chronized Flashlight Unit. Panorama Photography. Remote
Release and Shutter Winder. Single Exposure Leica.
CHAPTER 2. My Leica Technique 45
by Anton F. Baumann
Selecting Film and Developer. Filtering Solutions. Washing the
Film. Selecting Lenses and Their Various Uses. Filters. Enlarg
ing Leica Photographs. How to Look at Enlargements. Exposure
and Development. Eliminating Dust. Making Lantern Slides.
Making Lantern Slides by Enlarging. Black and White Enlarge
ments from Kodachrome Positives.
CHAPTER 3. Leica Lenses 61
by H. W. Zieler
The Iris Diaphragm. The Miniature vs. Larger Cameras. Depth
of Focus and Relative Aperture. Depth of Focus Scale. Ex
posure Variations. Perspective and the Various Leica Lenses.
The Hektor 28mm f:6.3. The Elrnar 35mm f:3.5. The 50mm
Lenses. The Hektor 73mm f:1.9. The Elmar 90mm f:4. The
Thambar 90mm 1:2.2. The Elmar 105mm f:6.3. The Hektor
135mm f:4.5. The Telyt 200mm f:4.5. Mirror Reflex Housing.
Proper Care of Lenses. Front Lenses.
CHAPTER 4. Color Filters 95
by Henry M. Lester
When Filters Should be Used. Color Sensitivity Charts. Color
Balance and Correction of Contrast. Making Your Own Filter
Tests. Filter Factors. Choice of Film and Filter. What Filters
to Use. Filter Factor Table. Polarized Light. Pola Screens.
In Color Photography. Dark Sky Effects.
CHAPTER 5. The 35mm Film— Its Selection, Exposure
and Development 119
by Henry M. Lester
Part I — Film Selection
Sensitivity to Color. Speed of Emulsion. Graininess. Contrast.
Latitude. Selection to Fit the Purpose. Types of Film. Pan
chromatic Emulsions. Orthochromatic. Color-Blind and Special
Emulsions. Infra-Red and Reversible Films. Emulsion Speed
Values. Comparative Table of Speed Ratings. When to Use a
Certain Film. Films for the Leica.
Port II — Film Exposure
Exposure Meters. How to Use an Exposure Meter. How to Make
Exposures Without an Exposure Meter. Exposures for Photoflash.
Part III — Film Development
Development with Relation to Exposure. Developing Equipment.
Developers. Preparing Your Own Developer. Developing For
mulas. Dr. Sease Fine Grain Developers. A Modified Dr. Sease
Fine Grain Developer. Time and Temperature Control of Fine
Grain Developers. Compromise Developers. Re-using Developers.
Agitation. Shortstop and Fixing Bath. Washing the Film. Drying
the Film. Soaking a Film Before Development. Steps in Develop
ing a Film. General Suggestions. Reticulation. Newton Rings.
Film Cleaner. Reducing and Intensifying Leica Negatives. For
mulas and Procedure for Reversible Film. Storage and Preserva
tion of Films.
CHAPTER 6. Dry Hypersensitizing of Leica Films _.™__159
by F. Dersch and H. Duerr
Mercury Vapor Treatment. Increasing Sensitivity from 75% to
150%. Practical Applications. Keeping Qualities and Storage.
CHAPTER 7. Making of Enlarged Negatives
Three Methods . 167
by John N. Harman, Jr.
Direct Copy Film. Reversible Film. Intermediate Film Positive.
Formulas.
CHAPTER 8. Your Own Leica Darkroom 171
by Willard D. Morgan
The Darkroomette. A Model Darkroom. Bathtub Finishers.
Stocking the Laboratory. A Two Room Laboratory.
CHAPTER 9. Enlarging and Contact Printing . . 179
by Willard D. Morgan
Selecting the Equipment. Valoy Enlarger. Focomat Enlarger.
Accessories, yasex, Enlarger. Making the Actual Enlargements.
Estimating Print Density. 'Printing Control During Enlarging.
Photoflood Bulbs. Contact Printing.
CHAPTER 1 0. Enlarging Papers and Printing 197
by Elbert M. Ludlam
Choice of Paper Stocks and Surfaces. Tone Gradation. Fast and
Slow Projection Papers. Contact Papers. Development. Expos
ure. Exposure Factors at Various Magnifications. Comparative
Speed of Various Projection Papers. Short Stop. Fixing. Wash
ing. Hypo Test. Drying. Ferrotyping. Toning. Spotting. Pres
entation of the Finished Prints. Embossing Prints.
CHAPTER 11. Copying and Close-up Photography 223
by Willard D. Morgan — Data Tables by Henry M. Lester
Importance of Small Object Photography. Accessories. Sliding
Focusing Copy Attachment. Extension Tubes, Data Tables for Ex
tension Tubes Used Directly on the Leica. Tables for Extension
Tubes and Formulas. Focusing. Avoiding Vibration During Copy
ing. Critical Focusing with 30x Magnifying Glass. Focusing by
Measurement. Fixed Focusing. Illumination. Making and Using
Film Copies. Exposure Time. Films Used. Developing. Filters.
Lighting Medical Specimens. Auxiliary Reproduction Devices.
Rotating Copy Attachment. 250 Exposure Leica.
CHAPTER 12. Making Leica Positives for Projection 257
by Willard D. Morgan
What Makes Good Positives. The Two Positive Printing Processes.
Contact Printers. Eldia Printer Directions. Making the Leica
Glass Positive. Projection Paper for Testing. Mounting the
Finished Glass Slide. Film and Glass Slides by Projection.
Combination Printer Directions. Belun 1:1 Copy Attachment.
CHAPTER 13. Projecting Leica Pictures 273
by Willard D. Morgan
Equipment Available for Projection. Table of Screen Distances
and Areas. Titles for Films. Storage.
CHAPTER 14. Stereoscopic Photography 283
by Augustus Wolfman
The Stereo Equipment. Filters. Sunshades and Film. Stereo
Color Pictures. Protecting the Stereos. Making of Stereo Prints.
Stereo Projection.
CHAPTER 15. Natural Color Photography with Kodachrome
and Wash-Off Relief Prints 293
by Henry M. Lester
Additive and Subtractive Principle. Daylight or Artificial Light.
Type A Film. Exposures in Artificial Light. Table for Photoflash
Lamps. Medical Photography. Color Film Latitudes. Daylight
Exposures. Filters. Daylight Kodachrome Exposure Guide. Pro
jection. Black and White Pictures from Kodachrome Film.
Wash-Off Relief. Wratten Copy Board Chart. Color Separation
Filters. Formulas and Procedures.
CHAPTER 16. Defender Chromatone Color Printing Process 317
by Rowland S. Potter
Making Actual Color Prints. Toning Separation Positive. Con
densed Routine for Producing Chromatone Prints. Toning Chro
matone Prints.
PART II — LEICA IN SCIENCE AND EDUCATION
CHAPTER 17. Education Through the Eye 323
by Roy E. Stryker and Edwin Locke
Learning by Looking. Sources. Importance of a Shooting Script.
Presentation. Flat Prints and Projection of Pictures. Uses of
Visual Material. A Project in Visual Education. Narration by
Instructor or Synchronized Record. Cost of Synchronized Record
ing. A Practical File System.
CHAPTER 18. The Leica in Historical Research 343
by Tames A. Barnes, Ph.D.
Obtaining Complete Historical Record Pictures. The Research
Equipment. Economical and Time Saving.
CHAPTER 19. Archeology and Exploration 349
by Charles Breasted
Practical Field Work. Aerial Photographs. Archeology. Natural
History and Exploration for the Amateur. Indirection Photography.
Choice of Equipment and Its Care.
CHAPTER 20. The Miniature Camera for Miniature Monsters___369
by J. M. Leonard
Catching the Insects. Equipment. Photographing in the Field.
Selecting the Correct Photographing Angle. Bringing Home the
Catch, Mounting the Insects. Lighting. Ultraviolet Light. Equip
ment for Indoor Work. Photographing at Home. Exposure and
Development.
CHAPTER 21. Photomicrography with the Leica Camera 393
by H. W. Zieler
When to Use the Leica for Photomicrography. How to Adapt the
Leica to the Microscope. Photomicrography of Living Matter with
the Micro Ibso Attachment. General Photomicrography with the
Sliding Focus Attachment. Obtaining Critical Focus. Amateur
Photomicrography. Selecting the Microscope. Illumination Appa
ratus. Magnification and Resolving Power. Light Sources. Filters
and Films. Exposure.
CHAPTER 22. Dental Photography ^ 419
by A. Laurence Dunn, D.D.S.
Equipment Required. Making the Photographs. Focusing.
Transillumination of Teeth. Illumination. Photographing Reflected
Images. Determining Exposures. Reproduction of Pictures from
Projection Screen. Importance of Keeping Accurate Records.
CHAPTER 23. The Leica as an Ophthalmic Camera .435
by Henry M. Lester
New Equipment for Ophthalmic Photography. Mirror Reflex
Housing. Exposure Factors. Illuminating the Eye. Flashlight
Exposures. Color Filters. Natural Color Photography. Koda-
chrome. Making of Black-and- White Negatives from Kodachrome.
Microphotography in Ophthalmology. Special Illumination. Infra-
Red Photography. Placido Disc Reflections. Portraits of Patients.
Smoke Box Photography.
CHAPTER 24. Infra-Red Photography 457
by John P. Gaty
Infra-Red Films. Differences in Infra-Red Values. Infra-Red Pho
tography in the Field of Medical Research. Criminology. Photo
micrography. Exposures and Filters. Hypersensitizing the Film.
PART III — THE LEICA IN SPECIALIZED FIELDS
CHAPTER 25. Candid, Stage and News Photography __________ 467
by J. Winton Lemen
The Sequence Picture. My News Photo Technique. Weddings
and Churches. Covering Conventions. Artificial Illumination.
Films and Exposures. Film Development. Speed Gained by En
larging Wet Films. Film Development Enroute. The Miniature
Camera in the Courtroom. Where to Find Picture Subjects. Stage
and Action Photography. Equipment Recommended. Standardiz
ing Your Methods.
CHAPTER 26. Aerial Photography ___________________________ 489
by John P. Gaty
Aerial Compared to Ground Photography. Leica as a Profitable
Aerial Camera. Starting Your Own Aerial Photo Business. Con
trolling Perspective by Lens Selection. Making the Preliminary
Ground Survey. Filters for Different Visibilities. Exposure.
Infra-Red Photography. Films. Preventing Vibration During Ex
posure. Photographing from Transport Air Liners. Your Per
sonal Airplane. Aerial Photos at Low Altitudes.
CHAPTER 27. Exploring with the Leica _______________________ 513
by Julien H. Bryan
Keeping a Clear Photographic Viewpoint. Patience and Good
Manners Essential. Sense of Humor and Understanding Helps.
Preparing for the Expedition. Elimination of Unessential Equip
ment. Selecting Film. Obtaining Correct Exposure. What Filters
to Use. New Viewpoints. Photographic Restrictions and Censorship.
CHAPTER 28. Leica Photography in the Tropics ______________ _ 53 1
by John W. Vandercook
Equipment. A Dehydrating Method. Developing the Film.
CHAPTER 29. Photomurals with the Leica _________________
by John T. Moss, Jr.
Relation of Photomurals to the Architecture. Physical Limitations
of Size. Subject Matter. Composing the Photomural. Grain and
Viewing Distance. Technical Photomural Procedure.
INDEX _____________________ — — ______________________ ______ ™-550
ADVERTISING SECTION _____________________________________ 554
MINIATURE CAMERA DEALERS AND SERVICE STATIONS _____ 555
5
Montage
6
Barbara Morgan
THE LEICA COMES OF AGE
MANUEL KOMROFF
The age of the old "woolly'1 salon print is over. Is it possible,
that this sweet, soft, mushy bit of sentiment is now in the scrap-
heap? Yes, it is gone forever. Perhaps some old boy clinging to
the dear old horse-hair past will still reach down and drag out from
under the bed a few mussy examples of "pictorial art" to show you.
But do not laugh. In the presence of death you should be respect
ful. And the death of an ideal takes longer than the death of a man.
Sentiment dies hard. And while we may still occasionally see ex
amples of the fuzzy salon print they are growing rarer and their day
is definitely over.
How is one to account for the rapid decline and death of a whole
school of photography, a school that held sway for so long and
during the most important time in the development of photography?
Was it killed from the outside or was it poisoned from the inside?
What were the main factors that led to so definite a revolt ?
I believe that there were two main factors that hastened the
advent of modern photography. The first of these was a decided
change of the times that followed immediately after the war. Modern
art had come into its own, modern architecture was announcing a
new shell for the new life as different as the skyscraper was from the
classical Gothic cathedral. Automobiles that had been built on ver
tical lines were dropped low and streamlined on the horizontal, in
the kitchen we threw out the old agate ware, in the bathroom
chromium and showers became the order, in the bedroom the lace
curtains were discarded, color was added to the living room and
murals to the nursery. Radio replaced the old phonograph, modern
movies — the old melo-drama, sunshine and vitamins — the old brown
school of medicine, and as for women: — the hand that rocked the
cradle now steers the car and the old modest blush now became frank
rouge with lips that smoked a cigarette oh the street.
Yes, life changed quite quickly. And as life changed the sur
roundings changed. Values were different and meanings different.
Ten million men dead in a war that reached no victory and no con
clusion could not help but change the lives of those who survived. And
this surely was one of the factors that did away with the oM school
of photography.
The other factor was a piece of engineering. A small camera
was introduced to the world in the year 1925. To many of the old
photographers it looked like a toy designed for a lady's handbag. But
on closer examination it bore all the evidence of a keen precision
instrument designed and manufactured by the ablest technicians of
a world-famous microscope company. It had certain important in
novations. It used a long strip of motion picture film, it could take
pictures in rapid succession, and it borrowed from the war the range
finder which did away with the guess focusing of the old ground
glass. A great scope of shutter speeds and extra rapid crystal sharp
lenses together with its size and ease of manipulation made this
camera into an instrument of modern expression that dealt the final
blow to the old "imitation art" school of photography. This camera
was the Leica!
Amateurs welcomed the Leica with open arms and their results
were far from disappointing. Professionals, a little slower to gm>
up their well tried boxes and methods, soon realized that this instru
ment opened up a new photographic vista and here at last was a
definite extension of the pictorial horizon. Many who had picked up
the Leica as a possible handy accessory to their great battery of
equipment found in a year or two that they had definitely abandoned
the large expensive sizes and were working exclusively with the
miniature Leiea. And not only did they find that the Leica was
capable of doing much that the old view plate box was capable of
doing but that it could do many things that the large camera could
never do. It was possible to get pictures quickly in court rooms, in
the dark of the theatre, at night on the street, a bird in its flight and
a thousand and one more frozen and revealing records of our rapidly
passing American scene. Speed and frankness are a characteristic
of our time. The Leica with its freedom of expression became, al
most overnight, the pocket note book of passing events.
As time changed photography felt the need for change. The
Leica made that change possible. Modern photography was born
through necessity. And the instrument was put forward to make
possible and record the new, the immediate, the complex and varied
life of our time. Look at the pictures. They tell the story. Words
seem inadequate and unnecessary. Reading is a difficult fatiguing
task. A thousand words will often tell much, less than a single photo
graph. And the ease with which this is captured has opened a new
means of expression to many. A single press of the button and that
whole complicated network of reality is trapped and recorded on a
strip of celluloid. The record is complete and permanent. What the
eye has failed to see it has captured and what the memory might
forget it remembers.
It is no wonder that in the dozen years that have passed since 1925
the miniature principle put forward by Oscar Barnack, the inventor
of the Leica, has taken so strong a hold on the public. It is this
invention that has made possible the new photography.
But before we press the button we might remember that the
two characteristic inventions of our age have been telegraphy and
photography. From the telegraph grew the telephone, wireless, and
radio. From photography grew an age of bad portraiture, silly snap
shots, and vulgar movies. Realism, that stark naked child of our
century, fared much better with the electrical inventions. The optical
inventions retained a hang-over from our dreamy romantic age.
Boatmen
Charles R. Frazier
9
Photographs were made soft and sweet. A bad school of sentimental
photography held the stage for several generations. Perhaps the
reason for this is the fact that art is much more conservative than
science. A false notion in the mind of man can often be altered by
a single experiment, but his aesthetic sense, controlled mainly by his
emotions, is slow and difficult to change. Photography, although most
startling at first, was very slow to take its proper place in our realistic
age.
In painting, the revolt against sentiment and tradition occurred
many years ago. Impressionism came like a blast and recorded a new
emotional sense,* one which was more harmonious with our age. And
long before impressionism and our present-day school of candid-
camera photography, distinguished artists used the hard facts of
reality as a subject for their art. Daumier, Goya, Gavarni, Courbet,
and Delacroix were only a few of the distinguished names. Some
how or other it took many years for photography to see the world in
the light of these artists. It was stupidly slow.
A new photography is not born as the result of a new device or
invention. A new photography comes into being through a new
view point, through a new angle of life and through a philosophy
that is different. It is the instrument that follows the thought and
it is the need that creates the machine.
But a new instrument at once demands a different handling and
new methods of photographic manipulation must be devised to meet
new problems. A strip of modern miniature film five feet long can
not be developed very easily in the old plate tray. Neither can the
old fashioned borax developer be effectively used on a negative that
is not much larger than a postage stamp and make it stand a severe
enlargement.
Ingenuity and invention however has not been lacking. For each
month during the past ten years some little progress has been made
and something new has been brought forward. And this volume,
THE LEICA MANUAL, is the compiled synthesis and full record of
this photographic innovation and progress. It is more; it is a one
volume encyclopedia filled solid with information tested through the
exacting laboratory of experience. No secrets are withheld. And
nothing that has been found useful for the amateur or the profes
sional has been omitted.
Intricate subjects, such as the chapter on optics, have been pre
sented in this volume in a simple and informative manner so that
the Leica photographer may be better acquainted with the lenses that
10
The Lookout Rudolf H. Hoffmann
Elmar 90mm, 1/60 sec., f:9, No. 2 Filter, Du Pont Superior Film
11
lie is using. The developing formulas and processes are the very
latest and best that the laboratories have brought forward. Many of
these have been revised and several new ones added for this edition.
And many of the other chapters also have been brought up to the
last "minute all with a single object in view, to make this volume the
full and complete unabridged companion and guide to the new photo
graphy. The technique and principles described in the pages of this
book embrace all cameras in the miniature field.
This book is the result of invention, research and experience all
carefully organized, tabulated and compiled. Many men and the
work of many years are here presented for those interested in the
practice of the new photography. The information is accurate and
you may safely follow any advice given with the promise that your
pictures will at once be better.
It will be noted that only standard formulas and thoroughly
tested procedures have been included. There are many ephemeral
processes and formulas which catch the interest of miniature camera
workers every year, their popularity however being short lived. For
lack of intrinsic merit they become soon forgotten. As this book
goes to press there is no new technique or formula available which
supersedes in merit and practicability the material already included.
This volume has been made possible by a fortunate combination
of editors. Willard D. Morgan had been for many years head of the
Leica division of E. Leitz, Inc. New York as well as founder and
editor of "Leica Photography. ' ' He has seen the "toy" grow into
the little giant of photography. And what is more he has seen it
from the inside. Questions and problems came to him daily from
many parts of this country and from many outside countries. And
the answers to all are contained in these pages. And today as one of
the picture editors of Life Magazine he continues to add to this latest
edition the results of his new photographic experience.
Henry M. Lester who was at one time instructor of miniature
photography in the Brooklyn Institute of Arts and Sciences has
served an apprenticeship of many long years in the laboratory and
as a professional photographer. He was one of the very first in
America to see the unique and practical side of the Leica and to
use it successfully in direct competition with the commercial studios.
He has taken hundreds of pictures in operating rooms of hospitals,
in factories and in the broad field of general photography. As most
of his work was done for visual instruction or for reproduction his
methods had to be certain and his results sharp. And every shred of
his varied and full experience has been woven into these pages.
12
Both these men have been long exposed and developed to the new
photography from its very beginning. And here is the printed result.
Turn the pages over casually and you will see at a glance that the
combination has been a happy one. The contributors of the special
chapters are all recognized experts in the field in which they write.
Do not be afraid of the many attachments that are described for
the Leica. It is necessary that this volume should be as complete as
possible for each attachment has its special use, and some day you
may require one or more for some special photographic work. The
Leica camera with a 50mm lens, a good exposure meter and a strip
of fine grain film are all you need to start with. You will find this
minimum of equipment sufficient to make all the pictures in the gen
eral field of photography. But a thorough understanding of the basic
principles and the latest methods of handling are essential and this
volume has been designed for that purpose.
A chapter by Anton F. Bauman is included for the purpose of
giving a new Leica photographer a definite perspective upon which
to get his bearings before reading the other parts of the LEICA
MANUAL. By being carried through the actual work and technique
of one photographer the reader will find specific information which
he can use immediately. The reading of this chapter too will arouse
many other questions which are more fully answered throughout the
book. For these reasons it is suggested that this chapter be read first
before delving into the matter deeper.
To make the book as complete as possible the editors have in
cluded some very special chapters such as Bye Photography, Dental,
Photomurals and Aerial Photography. The person interested in gen
eral photography may never be required to employ any of the tech
niques described in these chapters but a careful reading of these
specialized pages will disclose a good deal of information that is cer
tain to increase the reader's photographic knowledge and prove of
great value to him at some future time. Better pictures are not made
by people who know less but by those who know more. As your
photographic knowledge increases so will the horizon of your vision
expand and your photographs will bare the evidence of this enrich
ment.
13
PARTI
BASIC LEICA TECHNIQUE
Feeding Time
Elmar 35mni, 1/60 sec., f:9, Green Filter, Du Pont Superior
14
Willard D. Morgan
LEICA AND ITS AUXILIARY EQUIPMENT
WILLARD D. MORGAN CHAPTER I
When we first look at the Leica camera many questions naturally
arise regarding its construction, operation, and results which may
be expected from its use. Such a small camera as the Leica requires
a special technique which is different from other cameras. After
all, any camera consists of a lens and a light-tight box containing
the film. Prom this basic principle many cameras have been devel
oped, incorporating hundreds of different special features which
tend to make the operation of the camera more easily adapted to
special uses.
In the case of the Leiea, an entirely new photographic field was
entered with such a radical change in camera design that immediately
many old habits had to be revised in order to understand the possi
bilities of miniature camera work. The Leica camera required the
\ise of 35mm motion picture film, the use of fine grain developers,
an appreciation of the value of short focal length lenses and their
possibilities in securing photographs which were radically different.
As the Leica camera was developed through the various succes
sive stages from the early Model A to the Models B, C, D, E, F and
the present Model G with shutter speeds from 1 to 1/1000 second there
naturally developed a tremendous interest and demand for informa
tion bearing on miniature camera work. Such information assisted in
helping all miniature camera users to band together and work in this
new photographic field. In fact, many people using the Leica camera
actually belong to a fraternity by themselves. Evidence of this fact
is to be seen in the numerous miniature camera clubs which have
recently been formed as well as the personal interest among small
camera users, and the large amount of space given to miniature
cameras in the photographic magazines.
In developing the technique of miniature photography, it has
been necessary to do considerable experimental work and also pro
duce many written articles covering the important phases of this
type of photography which requires a technique unfamiliar to the
15
average person occasionally using a box camera. Naturally, the
users of other than miniature cameras may be confused upon their
first introduction to the possibilities of miniature camera photog
raphy. They will hear discussions about this and that highly cor
rected lens, resolving power, circle of confusion, depth of focus,
various different orthochromatic and panchromatic films with their
advantages and demerits. The religion of fine grain will be ever
uppermost.
Although the people who are actually using the miniature camera
are deriving immense pleasure from their particular work, it may be
that the outsider will look upon such a field as a chaotic world.
Miniature camera users will talk about enlarging negatives the size
of a postage stamp up to 16 x 20 inches or more. While many
workers in this field enjoy the experimental angle, it is true that over
90% of the miniature camera users are interested in simply produc
ing good photographs. Most of us make our Leica enlargements
either the postcard size or the 5x7 inch size. Beyond this size, we
enter the field of salon prints or enlargements which may be used
for mounting and hanging in the home.
For example, a Leica user in Indiana writes the following after
talking with one of the uninitiated miniature camera users :
" About 90% of the camera users of today are not interested in
wonders. They do not possess the skill of the expert. They are
interested in a camera that will perform well in the hands of the
ordinary man in the street, the man who is willing to pay the price
of a good camera but lacks the skill of an expert. Does the Leica
meet this condition? My opinion is that it surely does.7"
What to Photograph with a Leica
Photographing with a Leica can be one of the simplest and most
effective means of making a perfect negative. On the other hand a
Leica user can become so involved with his camera, accessories, and a
multitude of ideas about miniature camera photography that he may
lose sight of the original idea behind the Leica. The Leica was
produced to simplify photography and make the actual use of this
camera so convenient that it would be indispensable. After all why
not use our Leica camera functionally and become familiar with the
many intriguing uses to which this camera may be applied.
Before starting to take pictures with our Leica let's stop a
moment and become familiar with the photographic possibilities
open to the miniature camera user.
16
Leica Equipment
1. Because of the small size of the Leica it can be concealed in the pocket
and later used for making pictures in practically any place where there
is sufficient light to make an exposure. You may catch the unposed
positions of people in a railroad waiting room, or the information clerk
carefully explaining some route to a customer. The theater, night club,
public gatherings, street scenes, and everywhere people meet there will
be pictures for the Leica user to make. Such photographs tell their own
story, and show in a moment that the photographer must have had a
miniature camera and worked quickly in order to make the exposure.
2. Use the Leica for making twenty or thirty successive portraits of the
same person and thus catch a more complete interpretation of character.
These views will portray a wide range of interesting expressions instead
of the usual one-view portraits which are made with the larger cameras.
3. This same idea of making sequence pictures can be used for photograph
ing children who are forever scampering about. Catch these colorful
expressions of the youngsters and arrange the resulting pictures in an
attractive series in your album.
4. When traveling with the Leica you will find that it is easier to take
many more than the ordinary number of pictures and thus give a more
complete record of your trip. With the cost of film so small there is no
reason why many hundreds of interesting pictures cannot be obtained,
even on a short trip of only a few days.
5. At the horse races, athletic events, yacht races, and other similar events
the Leica will fit into the occasion without being in the way and thus
take the edge off an otherwise glorious time.
There are naturally many other uses for the Leica. One of the pleas
ures of owning this camera is to discover some of these uses for oneself
and thus satisfy one's creative instincts in producing something a little
different from "the boys with the big cameras." In this book the writers
have endeavored to present their photographic methods as well as to convey
some of the pleasures to those who are seeking new discoveries and a more
complete understanding of miniature camera photography. To begin with,
let's start with the equipment itself.
Know Your Leica
As the Leica has been constructed quite differently from most
cameras we should become more familiar with the important working
parts. Let's take a Leica in our hands and look at it ... wind and
release the shutter ... set the speed dial at various stops . . . pull
the lens barrel out and lock it by a slight turn to the right . . . turn
the focusing mount of the lens and watch the images move out of
focus or into focus through the range finder which is coupled with
the lens . . . open and close the iris diaphragm of the lens . . .
study the depth of focus scale at the base of the lens mount . . . try
the slow shutter speeds on the Model F or G Leicas . . . move the
counting dial to zero after winding the shutter . . . move the small
lever between the winding knob and the time setting dial to R or
reverse . . . pull up and turn the rewind knob, then push it back into
position and change the lever back to A or advance . . . adjust the com-
17
pensating eyepiece of the range finder for distances under 15 feet
. . . open the baseplate . . '. remove the take up spool and film
magazine ... try loading and unloading several times before replac
ing the baseplate . . . then go back to winding and clicking the
shutter, and at the same time focus on actual objects and imagine
that you are making actual pictures.
All this may at first seem complicated but once you have gone
through this routine the actual operation of the Leica will seem
extremely simple. You will become familiar with a new type of
camera which has been built to eliminate the usual amateur photo
graphic troubles, such as double exposures, out of focus pictures,
under-exposures because of slow lenses or failure to stop rapid motion
because of slow shutter speeds.
To make Leica pictures it is not necessary to own the very
latest model camera with all the interchangeable lenses, filters, cases,
and a hundred other accessories which could be used. No, all this
equipment is for those who can afford it and also for use when they
have advanced to the point where more specialized photography is
required with the Leica.
Fig. 5 Leica Model F or G Equipped with 50mm f:2 Summar lens. Model
G Available in Chrome Finish Only
Your Beginning Leica Equipment
All you need as a beginning Leica user is: a Leiea camera
equipped with one of the 50mm lenses, an exposure meter, and
several rolls of film. "With this outfit you can take thousands of
18
Leica Equipment
excellent pictures and never miss the use of additional accessories.
Many fine pictures are still being made with the early Leica Models
A and C. The basic idea of the Leica has never changed since the
day it was first introduced to the public in 1924. Therefore it is
unnecessary to be disturbed by the haunting thought that it takes
a fortune to operate a Leica. On the contrary, once the camera is
purchased the operation cost is drastically cut when compared to
the larger cameras.
How to Make Your First Leica Picture
When preparing to make your first Leica picture there are a
few important points to observe as follows:
1. Place the film magazine containing the unexposed film into the
camera after removing the base plate and take up spool. Figure
shows the position of the film when properly loaded.
M ' W D
Fig. 6 Dotted Line Shows Correct Position of Film when loaded in the
Leica camera. M — Take up Spool, W — Film, D — Film Magazine
2. Check to make certain that the reversing .lever, located between
the winding 'knob and the speed dial, is at A or advance. (This
lever is moved over to R after all the exposures have been made
and the film is to be rewound into the original magazine.)
3. Turn the winding knob and click the shutter twice in order to
pass the film which was exposed to light while loading. Then
wind the shutter a third time and also set the counting dial at
picture number one opposite the small arrow. If preferred the
counting dial can be set at zero after the second wind of the
shutter. Then after the shutter has been released the camera is
ready for making pictures.
Each time the shutter winding knob is turned, when there is
film in the camera, the rewinding knob turns in a reverse direc
tion (counterclockwise), thus indicating that the film is properly
passing to the next exposure. If this is not the case the film
leader should be wound back off the take-up spool and the film
reloaded into the camera.
19
4. Determine the correct exposure with the Leicameter, or any other
reliable meter.
5. Set the shutter speed on the dial by slightly lifting and turning
to the proper position required. Before setting the shutter
speed turn the winding knob one complete turn. In the case of
the Model F or Gr Leicas the slow speed dial is set at any desired
stop between 1 second and l/20th of a second after the top dial
has been set at 20-1 which represents l/20th to 1 full second on
the slow speed dial. When l/20th is to be used on the Models F
or G- set both dials at the figure 20.
6. Pull out the lens barrel and lock it into position by a slight turn
to the right, in case one of the 50mm lenses is in use.
7. Set the iris diaphragm to the proper opening which has already
been determined by using the exposure meter.
8. Secure exact focus by looking through the range finder eyepiece
and at the same time rotate the lens barrel back and forth until
the two images coincide. (The earlier Models A, C, and E Leica
Fig. 7 Rear View of Range
Finder and View Finder. Note
Magnifying- Eyepiece on
Range Finder Adjustable for
Sharp Focus on Near Objects
under 15 Feet When in Up
right Position
cameras do not have the built-in range finder with automatic
lens coupling as in the later models. However these earlier
models may be converted to a later model, or a separate range
finder may be used for determining the distances.) When only
one image is seen through the range finder the subject is in exact
focus. Shift the eye to the right (when holding the camera hori
zontally) and compose the picture through the viewfinder. When
you are ready to make the picture, press the release button
gradually and thus make the exposure. You have now taken
your first Leica picture !
9. Keep on taking pictures until you have used up the entire roll
of 36 exposures. Try various shutter speds, outdoor and in
door views. Place your Leica in its case or in your pocket,
then see how fast you can whip it into action and at the same
time remember the points which are essential for making a
picture.
20
Leica Equipment
1. Determine the exposure
2. Pull out and lock the lens in position
3. Set the lens diaphragm stop
4. Turn the shutter winding knob one complete turn
5. Set the shutter speed dial
6. Look through range finder and determine focus
7. Shift your eye to the view finder and compose picture
8. Gradually press the shutter release button and make the
exposure.
10. Caution . . . When pressing the release button with the fore
finger avoid jerking the camera by abruptly pushing the release.
Instead, hold the finger on the release and gradually squeeze
the button down, similar to the gradual trigger squeeze which is
so essential to accurate shooting with a gun. Place thumb of
right hand under the base plate to counteract the downward
action of the forefinger. "Wherever possible it is best to use
shutter speeds of l/40th or l/60th of a second or faster when
the camera is held in the hands, in order to avoid any possible
motion during exposure.
11. When you reach the end of the film-roll the shutter winding
knob will not turn . . . don't force it and try to squeeze another
exposure onto the film. Instead, just move the reversing lever
to R and rewind all the film back into the film chamber. The
base of the release button will turn during this procedure and
will stop the moment the film pulls away from the take up
spool in the camera. The film magazine may be removed from
the camera after the winding has been completed and the
reversing lever moved back to A or advance.
12. Each time the shutter winding knob is turned, when there is
film in the camera, the rewinding knob turns in a reverse direc
tion (counterclockwise), thus indicating that the film is properly
passing to the next exposure.
Loading the Leica Film Magazine
The Standard Leica Film Magazine, sometimes referred to as
model B, has been constructed to hold about S1/^ feet of 35mm cine
film which is sufficient to make up to 36 double frame exposures, 24
by 36mm in size. This cylindrical magazine contains three parts:
the outer shell B1, the inner shell B2, and the center spool B3. The
guide groove on the inner shell and the pin inside the outer shell
opposite the safety spring, assists in opening and closing the film
magazine.
21
To assemble the magazine first insert the center film spool
into the inner shell with the tip of the film in the opening of the
spool chamber. It is a good plan to bend back the tip end of the
film in order to make it easier to pull the film out of the magazine,
and also to prevent the film from drawing back into the magazine
before loading into the camera. Next, introduce the inner shell with
spool into the outer shell with both rectangular openings together
and open. When the inner shell comes to a stop turn it to the left
or anti-cloe'kwise until the safety spring clicks into the locked posi
tion. Before the chamber is closed pull the film out several inches.
The film magazine can only be opened after the safety spring has
been slightly lifted and the inner shell turned to the left or clock
wise. The inner shell is then withdrawn and the film removed
either in the daylight or in the darkroom, depending upon the film
packing used.
B2 B?
Fig. 8 The Model B Leica Film Magazine
B = Complete Spool Chamber Model B
BI = Outer Shell
B2 Dinner Shell
B3 = Center Spool
B4 = Slot of Center Spool
B5 = Milled Knob of Center Spool
B6 = Slots of Spool Chamber
BT = Knob of Spool Chamber
B8 = Safety Spring
22
Leica Equipment
The Outside Parts of the Models F and G Leica Cameras
1. Winding knob. . .one complete turn winds shutter, advances film to the
next picture, and registers one count on the dial 7 at base of knob.
2. Shutter release button. . .with protective bushing which may be un
screwed and a Wire Release screwed over the release button.
3. Shutter speed dial... for setting speeds from 1/2 Oth to l/500th of a
second and time exposure. Dial 10 is used for setting the slower
speeds between l/20th and 1 second. Winding knob 1 must be wound
one complete turn before setting speed dial. Once this dial is set it
need not be changed for successive exposures unless the shutter speed
is to be changed. Leica Model G has an additional shutter speed of
1/lOOOth of a second.
4. Clip . . . for holding Universal View Finder, Stereo Attachment, Level,
Reflecting View Finder, Angle View Finder, and other attachments. A
small engraved arrow on one flange of this clip indicates the shutter
settings.
5. Built-in range finder. . .which has an interior mechanism connecting
with the lens mount for determining correct distances and focus.
6. Rewinding knob. . .which is pulled up and turned to rewind the exposed
film back into the film magazine.
7. Counting dial . . which automatically records each photograph taken.
On this counting dial there are two small lugs used for turning the dial,
anti-clockwise and against the direction of the arrow on the winding
knob, to the zero mark.
I. Winding Knob
2. Shutter Release
Shutter Speed Dial
4. Finder Clip
5. Built-in Range Finder
Rewinding Knob
7. Counting Dial
8. Counting Arrow
9. Reversing Lever.
A « Advancing Film
"R =3 Reversing Film
10. Slow Speed Dial
13. View Finder
'12. Diaphragm Ring
11. Lens Focusing Lever
Fig. 9 Outside Parts of the Leica Camera
.23
8. Counting arrow. . .indicating the number of photographs taken.
9. Reversing Lever. . .which disengages the automatic coupling of film ad
vance and shutter mechanism when the exposed film is to be rewound
back into the film magazine. When this lever is set at R it operates
somewhat similarly to a clutch on an automobile by disconnecting the
camera mechanism. Keep the lever at A while making exposures.
10. Slow shutter speed dial... which turns to change the shutter speeds
between l/20th and 1 full second. There is also a time exposure setting
on this dial. Speeds between 1 second and 1/8 second are continuous.
11. Lens focusing lever. . .which is pressed, to release the lens mount from
the infinity setting, and moved back and forth while the eye looks
through the range finder until the double image of an object comes
into focus and only one image is to be seen.
12. Knurled diaphragm ring... with diaphragm markings which is turned
for setting the proper lens opening in the Sunimar f :2 lens. The 50mm
Elmar and Hektor lenses have the diaphragm settings on the front of
the lens mount.
13. View Finder. . .which includes the full area of the image registered by
the 50mm lenses. The Universal View Finder covers the picture areas of
the other Leica lenses.
The Interior Mechanism of the Leica
Fig. 10 Diagrammatical view of the Leica short base built-in range finder.
The two arrows point toward the object which will be in exact focus when
the image coming through the right hand movable prism is projected and
coincides with the image which is seen through the prism mirror on the
left. As the lens turns, the base of the mount moves in or out and thus
moves the small lever which is attached to the right hand prism.
Daylight Loading and Unloading Film Cartridges
It is more convenient to secure Leica films already loaded in film
cartridges. The Agfa, Eastman, Gevaert, Mimosa, and Peratz films are
packed in complete magazines ready for instant use in the Leica. These
film cartridges are daylight loading and unloading and greatly simplify
the film loading process. Figure — shows this type of film cartridge in
position.
Occasionally one wishes to remove the film roll after half a dozen or
more exposures have been made. This may be necessary when a different
film is required or when some of the exposed section of the film is to be
developed. Before rewinding the film, note the number of exposures taken.
Then, after moving the rewind lever to R, raise and turn the rewind knob
until the film pulls loose... then stop in order to prevent the film leader
24
Leica Equipment
from going back into the film chamber. Remove the film magazine with
the two or three inches of the film leader still outside of the magazine.
Later this same film roll may be replaced in the camera, winding and
Fig. 11 Back cross-section view of the Leica showing focal plane shutter,
film, and all the actual working parts of the camera in cross-section
Pig. 12 Looking down on cross-section view of range finder and view
finder housing. Note position of range finder prisms, the right prism is
moved by the bar which contacts the flange of the rotating lens mount
Fig. 13 Top cross section view of the Leica showing position of the film,
focal plane shutter, lens, and other working parts
25
clicking the shutter as many times as necessary to move the exposed
portion of the film through the camera. The lens cap should naturally be
left over the lens during this process.
If it is desired to remove the exposed portion of the film for im
mediate development the camera is taken to the darkroom and the film cut.
This is facilitated through the use of a special Film Cutting Knife, which
is a narrow metal blade with a V shaped notch on one end. The edge of
the film between the take-up spool and the sprocket is engaged in the
notch of the knife, and then the latter is run down to the width of the
film. The take-up spool containing the exposed film is removed from the
camera and the film loaded into a developing tank. A new leader is cut
on the remaining unexposed film and it is reloaded into the camera.
Fig. 14 Film Cutter Fig. 15 Method of Cutting Film End
Which Projects from Magazine and In
serts into Take Up Spool when Loading
the Leica camera
Loading Bulk Film
Bulk film may be purchased in almost any length from 15 feet to 1000
feet at prices ranging from 2 to 8 cents per foot. As the Leica will expose
8 pictures per foot of film it is an easy matter to figure out the amount of
bulk film required after allowing for the few frames which are lost at the
beginning and end of each Leica loading.
When loading the Leica film magazine with film from a large roll it is
necessary to carry out all operations in complete darkness, unless the proper
safety lights are used. In the case of fast panchromatic films complete
darkness is essential. Therefore it is best to practice loading the film
magazine in daylight with a short piece of film in order to become com
pletely familiar with the operations. You can even shut your eyes during
this practicing.
When cutting film from the larger roll care should be taken to cor
rectly taper the end of the film which attaches to the spool and also the
leader end which is partly cut away as shown in the illustrations. A Film
Trimming Guide is available for this cutting.
26
Leica Equipment
When the Film Trimming Guide is used for cutting the spool end of
the film, the guide is opened and the film inserted through the narrow
slot with the emulsion side down. Let the end of the film project slightly
beyond the end of the guide, close the trimmer and then cut the film as
shown in the illustration. Always make certain that no finger prints are
left on the emulsion side of the film.
Fig. 16 Method of Cutting Film for Inserting into Magazine Spool
Now place the other end of the five foot length of film into the Trim
ming Guide as shown in figure 16 and make a longer cut in order to make
it easier to load the film into the camera later. It should be noted that no
cut is made through a perforation on the film edge. The Film Trimming
Guide has two pins which engage in the perforations and hold the film in
the proper cutting position. Place the film into the guide with the emulsion
side facing the two pins. The film ends can be cut with a scissors without
a Trimming Guide after a little practice.
Winding the Film
In order to make it easier to wind the film spool with fresh unex-
posed film a Hand Film Winder and also a stationary Mechanical Film
Winder are available. The operation of these winders may be studied from
the accompanying illustrations. The Hand Film Winder is slipped into the
bottom of the center spool and engages the cross-pin for turning.
Fig. 17 Loading Film Spool by
Means of a Mechanical Winder.
Also for use with Model FF Spools
The Mechanical Film Winder should be attached to a table or heavy
block of wood. A slit core receives the film spool ready for the film winding
27
process. After the film end has been fixed to the center spool, the film
should be wound tightly during the turning of the handle. Do not attempt
to pull the film and thus tighten the film already rolled on the spool . . . this
will produce scratches.
Fig. 18 Hand Film
Winder
The Earlier Leica Models
Although the first Leica model was made by Oscar Barnack in 1914 it
was not until 1924 that actual production began with the introduction of
the Model A Leica without the interchangeable lens feature. This camera
contained all the basic features which are to be found in the latest Model F
Leica, with the exception of built-in range finder and slow shutter speeds.
During the ten years between 1925 and 1935 new improvements on the
original design created new models : Thus :
1. A camera with Compur shatter instead of the usual focal plane shutter
was introduced as the Model B Leica.
2. Interchangeable lenses brought out the Model C Leica (also known as
Model I outside of the U. S. A.)
3. A built-in focusing range finder adapted to couple to the various inter
changeable lenses produced the Model D Leica (also known as Model II).
Fig. 19 The Pioneer Leica
Constructed in 1914 by Os
car Barnack
4. A horizontal Short Base Range Finder and the pull-up type of rewind
knob identify the Model E Leica (similar to Model I).
5. An additional slow shutter speed mechanism, with speeds down to 1 full
second, was added to the Model D type and thus created the Model F
Leica (also known as the Model III).
6. By the addition of a l/1000th of a second shutter speed the present
Model G Leica (also known as the Model Ilia) was produced.
28
Leica Equipment
Pig. 20 The Model E Leica
with Fokos Range Finder
Fig. 21 Detail of Leica Show
ing Fokos Range Finder in
Position, Range Finder may
be Turned When Making New
Shutter Adjustments
Note. Outside of the United States the Model C Leica is known as
Model I, the Model D as Model II, the Model F as Model III,
the Model G as Model Ilia, and the Model FF as the 250 Ex
posure Leica. It will be noted that the original Model A Leica
was simply known as the Leica Camera without a model number.
7. With the addition of film chambers to hold up to 33 feet of film 250
Exposure Model FF Leica was introduced.
8. Finally, the Single Exposure Leica was made to meet special require
ments.
Fig. 22 The 250 Exposure Leica Model FF
29
Fig. 23 Loading the Leica Model FF. After Exposures Have Been Made
Film is not Kewound. Note Special Film Trimming Guide
This brief summary of the various Leica models will be of special
value to many people who intend to purchase either new or used Leica
cameras. The latest direction book which is supplied with every new
camera contains information about the operation of the Leica. This infor
mation can be applied to all Leica models. Therefore it will not be nec
essary to reprint detailed descriptions and directions on these cameras.
One of the remarkable features of the Leica is the fact that it is possi
ble to convert any of the earlier models to the very latest model. This
fact alone is really a tribute to the inventor who was able to design the
basic features of the Leica so perfectly.
Leica Accessories
Along with the development of the Leica there naturally came
the production of many accessories which served to extend the use
of the camera into many new photographic fields. With the introduc
tion of various interchangeable lenses there was a need for the Viclom
Universal View Finder. The various enlargers made it possible for
the average amateur to make excellent enlargements from his Leica
negatives. Stereo, copy, micro, panorama, and other attachments
came in rapid succession to round out the universal use of this
camera. Most of these accessories are carefully described in the
various chapters to which they relate. However a few of the impor
tant accessories not illustrated elsewhere in this book are shown in
this chapter.
Vidom Universal View Finder
As the direct optical view finder in the Leica is only used for
the 50mm lenses it is necessary to use the Vidom Universal View
Finder for all other interchangeable Leiea lenses. This finder con
tains an adjustable diaphragm which is easily moved by turning a
calibrated ring to include the field of view of any Leica lens. The
30
diaphragm is rectangular and the sides retain the standard 2 to 3
proportion of the Leica negative size when changed for any field of
view. Thus if the Vidom Finder is used with a 90mm lens the
calibrated ring is turned to the figure 9 (opposite the long line) and
the adjustable diaphragm will then include the exact field of view
between 30 feet and infinity. When taking close-up pictures between
31/2 to 6 feet set the figure representing the focal length of the lens
opposite the short line on the finder. For distances between 6 and 30
feet set the figure between the two index lines.
A parallax adjusting lever is located at the rear base of the Vidom
Finder with calibrations of 3^, 5, 7, 15 feet, and °° or infinity. As
the finder is attached to the top of the Leica and not directly behind
the lens this parallax adjusting lever is used to make the proper
inclination of the finder in order to include the exact field covered
by the lens. Thus this finder is used by many Leica owners for taking
close-up photos with the 50mm lenses. The direct view finder already
attached to the Leica does not have this parallax adjusting feature.
Fig. 24 Vidom Universal View
Finder Used for Determining Field
of View of the Various Leica
Lenses
The eyepiece of the Vidom Finder rotates in a 90 degree arc in order to
keep the image right side up when using the camera in the horizontal or
vertical positions. When using* this finder to photograph rapidly moving
objects it is best to keep both eyes open in order to make it easier to keep
the object in the center of the finder.
Another valuable use of the Universal Finder is in determining" the
field of view in pictorial photography without the camera. By sighting
through the finder one can easily determine if there is a picture worth tak
ing without the necessity of removing1 the camera from the case. Such a con
venience is of special value when working with the longer focal length
lenses.
Rasuk Direct Vision View Finder
A non-optical direct view finder, known as the Rasuk, is recommended
for certain types of sport, newspaper, theatre, and general pictures. This
finder consists of a rotating metal masking frame and a peep sight for cen-
31
Bering the Images. A removable reducing mask is used with the 105mm
and 135mm lenses. When this mask is removed the frames cover the fields
of view included in the 35mm, 50mm, 73mm, and 90mm lenses.
The rear peep sight has a small rectangular opening for use with all
lenses except the 105mm and the 135mm lenses. A small round peep sight
is moved into position for using the Rasuk Finder with these 105mm and
135mm lenses.
The rear sighting frame can be slightly raised or lowered for obtain
ing the proper parallax adjustments. There are three engraved marks of
3%, 7, and °o (infinity). For close-up pictures between 3% and 7 feet
the parallax adjustment is quite necessary in order to include the exact
field of view. Leica users who wear glasses may find this finder of spe
cial value as it may be a little easier to follow the objects and properly
frame the picture. With a little practice both eyes may be left open
when the Rasuk Finder is in use. This is of particular value when fol
lowing a fast moving object. With both eyes open the object may be seen
very quickly before it comes into the field of view for photographing, and
thus the final picture will be taken with the object in the correct position.
Fig. 25 Direct Vision
Frame Finder Attached
to Leica
Fig. 26 Wintu Angle View Finder
Fig. 27 Reflecting View Finder for
use with All 50mm Lenses
Wide Angle View Finder
Although the Universal View Finder includes the field of the 35mm
wide angle lens there are times when the smaller wide angle direct view
finder is used. This wide angle finder is about the same size as the 50mni
finder on the Leica, with the exception that it covers the 35mm lens field.
Leica users will find this Wide Angle Finder very useful when the 35mm
lens is to be used a great deal, because the camera and additional view
finder can easily be slipped into a pocket when not in use.
32
Leica Equipment
The Wintu Angle View Finder
We are all familiar with the way in which most pictures are taken by
pointing- the camera directly towards the subject with the operator also
facing in the same direction. By using the Wintu Angle View Finder the
conventional picture taking methods are abandoned with the Leica held at
a right angle to the direction in which the operator is facing. In other
words, you can take the picture around a corner and not attract attention
or have the people, to be included in the picture, assume unnatural poses
or expressions. This finder is also of particular value for making candid
camera pictures.
To mount the Angle View Finder on the Leica it is only necessary to
slip the metal bracket into the clip on top of the Leica, then move the
small angle prism over the range finder eye-piece. By sighting through
the small angle prism the object can be quickly foctised when using the
Model D, F, or G Leica with the built-in range finder. After focus is
secured shift the eye to the eye-piece of the Angle View Finder.
There is also an Angle View Finder (Winko), without the angle prism,
for use with the Leica Models A, C, and E. With a little practice an
Angle View Finder will be of great value to the traveler, candid camera
worker, and the general photographer.
Fig. 28 Sunshade Fig. 29 Sunshade
for Summar 50mm for Elmar 50mm and
lens 90mm and Hektor
50mm and 135mm Fig. 30 Adjustable
lenses Sunshade
Sunshades and Their Use
Whenever possible it is advisable to use a sunshade or lens hood on
the Leica lenses. Such protection eliminates any possibility of stray light
from entering the lens and thus causing a slight halation on the film.
This fact is true of any photographic lens, and the larger the aperture
the more important it is to use a lens shade to cut off the strong side lights
which have no photographic value.
Leitz supplies a small metal sunshade for the Elmar and Hektor 50nim
lenses as well as the 90mm and 135mm lenses. An adjustable sunshade is
made which can be used for the 50mm lenses and also the longer focal
lengths with the exception of the 73mm, 90mm Thambar, 105mm and the
200mm lenses, which are already supplied with their own shades. This
adjustable shade has engraved markings for each focal length and the
proper setting is quickly made. There are also special lens shades supplied
for the 28mm, 35mm, Summar and Xenon 50mm lenses.
Correction Lenses for
Range Finder and View Finder
1 Persons who wear eyeglasses find it difficult at times to focus with the
aid of the range finder or to see the entire field in the view finder, because
the eyeglasses prevent them from placing their eyes close to the camera.
This difficulty can be overcome by the use of special Correction Lenses on
the eye lenses of both the range finder and view finder.
33
The Correction Lenses embody the same correction as that contained
in the eyeglasses worn by the Leica user. When these special lenses are
placed both on the view finder and the range finder, it is not necessary to
wear eyeglasses and the eye can be placed close to the camera. The Leitz
Co. has in stock the necessary Correction Lenses to correct nearsightedness
and far-sightedness (myopia and hyperopia). It is but necessary to obtain
the prescription of one's eyeglasses from the optician or optometrist and
the proper Correction Lenses will be supplied. These screw into the eye
lenses of ^both the range finder and the view finder.
Special lenses to correct astigmatism are also obtainable. However,
it is necessary to secure them on special order. In this case the prescrip
tion for the eyeglasses must also be furnished.
When to Use the Wire Cable Release
When making either time or instantaneous exposure the Wire Shutter
Release is of special value. For example, this release is indispensable
for making exposures in photomicrography, all types of close-up copy
work, and wherever exposures are to be made where it is essential not to
jar the camera. The Wire Release is screwed over the release button of
the Leica after the metal protective bushing has been unscrewed.
When it is advisable to operate the Leica at a distance of 10 or 20
feet the longer corresponding wire releases are recommended. For exam
ple, the 20 foot release may be used to release the Leica shutter after the
camera has been set to photograph a bird or possibly when the photogra
pher wishes to be included in the picture.
Slow Timing Device
Owners of the Leica Models A, C, E, and D may adapt their cameras
to the slower shutter speeds between l/20th and 1 second by using the
Slow Timing Device. As it is cheaper to secure one of these attachments
than to have these earlier Leica models converted to the Model F, there
is a definite advantage in using one of these Slow Timers.
This Slow Timing Device is screwed directly to the release button of
the Leica. To operate: wind the shutter of the Leica and set the shutter
speed dial to Z the same as for a time exposure. Next, set the Slow
Timer by turning the two knobs of the Tinier clockwise until the dial comes
to a stop. To set for the proper speed lift the longer part of the metal
band slightly and turn back or forth until the index line at its outer edge
points toward the speed required.
The shutter is released by pressing the release button, located on the
side of the Timer, either with the finger or a Wire Release. Press the
release down slowly and hold the finger there until the shutter has opened
and closed, in order to avoid shaking the camera during the short moment
when the shutter is open.
On some of the older cameras the release button varies slightly in
height, thus it may be necessary to make a slight adjustment on the Slow
Timer before it will operate correctly. To make this adjustment simply
use a screw driver and turn the large screw head, located in the hollow
shaft of the Timer, to the right or left until the proper release is secured.
If the release button of the camera is too low the adjusting screw of the
Slow Timer may not have sufficient pressure upon the shutter release
button ... in this case the screw is turned anti-clockwise. If the button
is too high, the rotating levers in the attachment do not work properly,
consequently the shutter opens only half way and remains open. In
34
Leica Equipment
such a case the adjusting screw is turned clockwise. Once the proper
adjustment has been made for your camera the Timer will need no addi
tional change.
Rapid Winder
There are many occasions when the Leica user may wish to take
successive pictures within a very short period of time in order to record
continuous actions. The Rapid Winder has been made to serve this pur
pose. With this attachment extremely interesting picture series may be
made of dancers, animals at play or running, children, wrestlers, and
rapidly moving objects of all kinds.
The Leica Rapid Winder replaces the base plate of the Leica camera.
A trigger is pulled after each exposure is made. This trigger action
causes the film to be wound and the shutter set at the same moment.
With Leica Cameras from serial No. 1, up to and including No. 111,449, the
small pin which holds on the base plate must be changed to a larger pin
to accommodate the Rapid Winder which also necessitates a new base plate.
A new winding spindle and winding knot must also be supplied as these
cameras are not equipped with a notched winding shaft. Cameras num
bering from 111,449 up to and including 159,000 must be supplied with a
new winding shaft and knob for the shaft.
Fig. 31 New type Rapid Winder
with trigger action which fits over
base of Leica.
Protective Cases for Leica Equipment
All Leica equipment should be kept in protective cases when not in
use. Such protection will keep your equipment looking better and also
prevent the camera or lenses from receiving scratches or hard knocks.
Sand and dust will be kept out. Too much emphasis cannot be laid upon
the importance of keeping all Leica equipment neatly fitted in their
proper cases.
There are Eveready cases for the camera only. Soft leather cases
for the Camera only and for individual lenses. Then there are a number
of combination cases available for the camera, additional lenses, and other
extra equipment such as filters, view finders, and extra film magazines.
All color filters should likewise be kept in soft leather cases or the orig
inal filter box to prevent scratching and the collection of dirt on the glass
surface.
Optical Short Distance
Focusing Device "Nooky"
This new and ingenious attachment extends the usefulness of
the automatic focusing principle of the Leica beyond its present
range. Heretofore the shortest distance for which the setting of
the lens could be secured automatically was 3^ feet. By unscrew-
35
ing the lens from the camera and screwing the i£Nooky?? into its
place, and subsequently attaching the lens by its lugs to it, sharp
focus can be instantly secured on all objects from approximately
40 inches to within 18 inches of the camera.
The "Nooky" attachment can be used on models D, F7 PF
and G- Leica Cameras. It is intended for use with 50mm lenses and
two models are available, one for the Elmar 50mm lens and the other
for the Hektor and Summar 50mm lenses.
As this issue goes to press, it is available for the Elmar 50mm lens.
Later it will become available in models for other 50mm lenses.
In using this device outdoors, as for details of plants, flowers
and insects, one should focus quite critically and take care that in
shifting the eye from the range-finder to the view-finder the camera
should not be moved out of focus. "When you are only 18 inches
away from your object the movement of an inch forward or back
ward makes a difference. Outdoors as well as indoors stop down
as much as you are able so as to take in the fullest depth possible, and
allow for any error in focusing.
A framing mask is incorpor-
ated into the optical range finder ~~
part of this device which ingeni
ously and automatically compen
sates for the shift of field due
to parallax
At the short distances for
which this attachment is intended
Fig. 32 Optical Short Dis
tance Focusing Device
"Nooky"
the depth of focus is obviously very small. It is extremely im
portant in focusing the lens to employ only the center of the field
measured through the range finder when the double edge of the
framing mask enters the field of vision. Unless very short expos
ures are called for due to inadequate illumination it is important
to stop down the aperture of the lens to at least f :4.5 to increase
its depth of focus. The following table gives the approximate
depth of focus at the various settings of the lenses and at various
distances as well as approximate size of the field covered at the
various distances:
36
Leica Equipment
Fig. 33 Praying Mantid James M. Leonard
Elmar 50mm with "Nooky", 1/30 sec., f :9, Agfa Superpan Film
DISTANCE: DEPTH OF FOCUS AT LENS STOPS: APPROXIMATE
Object to lens
Inches
39 1/2
35 y*
31%
27%
f: 3.5 4.5 6.3 9
12.5 18 FIELD COVERED:
3i/2
JLJ.ICJUCS —
4% 5% 9
12%
181/2
mcnes
16i/2 x 24%
21/2
3% • 4%
61/2
9
13%
14%
x 21%
1%
21/2 31/2
5
7
10%
12%
x 19%
11/2
1% 21/2
3%
5%
7%
10%
x 16^4
1
1% 1%
21/2
31/2
5%
9
x 13%
%
% 1%
1%
21/2
31/2
7%
x 10%
!/4
% 1
1%
2
2%
6%
x 9%
19%
17%
Above figures are rounded off to nearest %".
Synchronized Flash Unit
Heretofore synchronized flash photography with the Leica was
not practical because of the fact that the Leica has a focal plane
shutter and the foil flash lamps available have a very short peak.
At bulb (Z) or slow speeds such as 1/20 or 1/30 second good
results were possible but at the higher speeds, due to the short peak
of the foil lamp, only a portion of the negative would be well ex
posed and. the rest of the negative extremely under-exposed. A new
bulb has now been introduced, in which the active material is a
special hydrolanium wire and which has a relative long peak. This
37
makes possible the use of synchronized flash guns with the Leica
since fully exposed negatives may be obtained at high speeds. Accord
ingly, a Synchronized Photoflash Unit is being supplied for the
Leica.
Fig. 34 Synchronized Photoflash Unit and
Also Special Attachment for Holding Three
Photoflash Lamps
This Unit consists of three main parts — a semi-cylindrical shell which
is fastened to the right end of the camera and which serves to support
the unit; a battery pillar to which is attached the receptacles for holding
the flash lamp and a small testing lamp, and a synchronizing head. Syn
chronization is dependent upon the shutter speed dial on top of the camera,
which bears a direct relation to the movement of the shutter. A special
metal cap with a cut-out portion fits on the shutter speed dial. The shutter
of the camera is first wound, the dial set to the speed desired and then the
special cap placed over the dial so that the engraved arrow on the cap
lines up with the dial on the accessories clip of the camera.
The synchronizing head fits into the accessories clip of the camera.
On its underside, which rests over the shutter speed dial, are two small
contact points. One rests on the special metal cap and the other lays in
the cut-out portion of the latter. On pressing the shutter release contact is
made when the shutter speed dial revolves and the contact point laying in
the cut-out portion of the special metal cap touches the latter. This gun
cannot be used at 1/1000 second since the shutter speed dial is slightly
raised when set at this speed.
If a lamp is inserted into the gun before the shutter is wound, the
lamp will be flashed. As a guard against this the small test lamp remains
lighted as long as the shutter remains unwound. There is also a special
head available for holding three lamps, which is interchangeable with the
single lamp head. After one lamp has been flashed a turn of the special
head places the next lamp into position.
38
Panorama Photography
The Leica may be adapted for this type of photography through
the use of a Panorama Tripod Head. This is a special tripod head
which allows the camera to be turned so that the required individ
ual pictures can be taken to make the finished panorama photograph.
Since the number of photographs necessary to make a panorama
varies with the focal length of the lens to be used, different rings are
supplied for the various Leica lenses. With the exception of the rings
for the 135mm and 200mm lenses, each ring has two scales, for
horizontal and vertical pictures. (The rings for the 135mm and
Fig. 35 Accessories for Panorama Photography:
Ball Jointed Tripod Head, Spirit Level, Angle Bracket and Panorama Tripod Head with
interchangeable graduated rings for various lenses
Fig. 36 Complete Panorama Outfit Fig. 37 Complete Panorama Out-
Assembled for Horizontal Pictures fit Assembled for Vertical Pictures
39
200mm lenses only have a scale for horizontal pictures.) The dif
ference in the number of pictures necessary, according to the focal
length of the lens, can be seen by the fact that with the 28mm lens
6 horizontal pictures are required to make a complete 360° pano
rama and with the 200mm lens 36 horizontal pictures are needed.
Fig. 38 Remote Release and
Shutter Winder
Fig. 39 Table Tripod with
Adjustable Setting
Besides the Panorama Tripod Head, additional equipment is necessary
to successfully engage in this type of photography. A special Angle
Bracket is required for centering the lens over the pivotal point and for
using the camera vertically. For leveling the camera and locking it in that
position, a Ball Jointed Tripod Head should be employed and a Spirit
Level will also aid in this work. The latter is fitted into the clip of the
camera for horizontal pictures, or the clip of the Angle Bracket for vertical
pictures. It is also obvious that a good sturdy tripod is a necessity, and in
addition it is advisable to use a cable release to avoid jarring of the
camera.
When making the panorama, the lens to be employed should first be
determined. This depends on the subject. Interiors, where little room is
had for backing the camera, will require short focal length lenses, whereas
distant outdoor scenes call for the use of long focus objectives. Next, the
farthest and nearest points in the picture, which are to be sharp, are
determined and the lens set accordingly. Re-focusing for individual pic
tures cannot be done since this will alter the relative size of the pictures,
A dependable exposure should also be used for each individual exposure,
and the camera should be adjusted so that it is perfectly level.
Remote Release and Shutter Winder
This device enables the Leica to be operated from a distance and is
therefore of interest to nature photographers, or others who may find
occasion to operate the camera through remote control. It consists of a
semi-cylindrical shell which is attached to the winding knob side of the
camera: A lever on this shell lies over the shutter release button. The
40
Leica Equipment
second essential part of the apparatus is a winding drum which, is secured
to the winding knob of the camera. Strings are attached to both the wind
ing drum and the lever lying over the shutter release button, and the
strings may be 10, 20 or more feet in length according to specific require
ments.
Pulling the string attached to the winding drum will give the winding
knob of the camera a complete turn and a pull on the second string releases
the shutter. It is thus possible to expose an entire roll of film at a dis
tance from the camera.
An important point to observe in the use of this apparatus is that a
sturdy tripod be employed and that it be firmly secured by attaching weight
to its legs or through other means. It is also advisable to use long focal
length lenses, which enable the camera to be at a greater distance from the
subject, so that the latter is less likely to be disturbed by the clicking of
the shutter.
Adjustable roller guides control the direction of the pulling strain and
to facilitate matters it is advisable to use strings of different colors.
Single Exposure Leica
The Single Exposure Leica was introduced to meet the demand for
making single negatives instead of the strip of exposures on the ordinary
roll of Leica films. This camera consists of a small housing which is
the exact depth, from lens flange to film surface, as the regular Leica
camera models. A removable ground glass plate, film holder, Ibsor shutter,
and one of the Leica lenses completes the outfit. Some of the advantages
and uses of this camera may be mentioned as follows:
1. Used as a lens tester. The distance between lens flange and ground
glass is 28.8mm which is exactly the same as the distance between the
lens flange and film surface in the regular Leica models. The exact
field of view of the various lenses can be quickly checked by focusing the
images upon the ground glass of the single Exposure Camera.
Fig. 40 Single Exposure
Leica. Note Film Holder,
View Finder and Shutter
2. For use in photomicrography. Single micro pictures can be quickly
made with this camera and developed in a small tray either for testing
exposure, filters, or for making permanent records. Use- this camera
without a lens but with a 6cm extension tube between the Single Ex
posure Leica and the eyepiece of the microscope/ with a black cloth
around the tube to exclude stray light. The camera is mounted on a
rigid support beside the microscope. Such an arrangement makes a
very inexpensive photomicro graphic outfit, and insures perfect results.
3. As a copying camera. Any type of copy work can be done with this
Single Exposure Leica by using an adjustable mounting and the vari-
41
cms extension tubes or the front lenses. If desired, it is possible to
obtain various fixed distances with the lens which can later be shifted
to the regular Leica for making" pictures on the longer strip of film.
4. For making portraits. It is quite easy to compose portraits on the
ground glass of this camera before changing to the film holder and
making the exposure. The 1.2cm extension tube can be used for close
ups when necessary. If one of the 50mm lenses is used the collapsible
feature of the lens barrel can be adapted to obtaining proper focus.
5. Also for general photography where only , one picture is to be made
at a time, especially where it is necessary to test exposures, color filt
ers, and films before using the regular Leica camera.
To set up and operate the Single Exposure Leica proceed as follows:
1. Attach the camera to a tripod, Sliding Arm of the copy attachment,
or any other rigid support.
2. Screw in one of the interchangeable Leica lenses and fit the Ibsor
shutter over the front of any lens except the 73mm, Thambar 90mm, and
Xenon 50mm, which have a diameter larger than the others. If the
Ibsor shutter does not fit tightly, simply press down the cut flange until
a tight fit is secured over the lens.
3. Attach the wire cable release. Usually there is a small pin which
comes attached to the shutter; this is used for making exposures by
setting the shutter and inserting the pin into the small hole on the
face of the shutter, and then removing the finger from the shutter
setting lever. The shutter remains closed, but the moment the pin
is withdrawn the shutter will open and close at the proper speed setting.
A string can be attached to the pin so that the operator can easily
get into his own picture after pulling out the stop pin and making the
exposure.
4. Next see that the ground glass is clipped into position with the ground
side of ^the glass facing toward the lens. Then secure the proper focus
by moving the lens mount around and watching the image on the ground
5. When exact focus has been secured replace the ground glass with the
single film holder. Pull out the dark slide covering the film. Make
certain that the shutter is not open over the lens while withdrawing
the slide. Then make the exposure, replace the slide, and remove the
film holder,
When preparing the single cut films for this camera it is a good idea
to wind the 35mm film in an opposite direction, with the emulsion side out,
and left that way for a few hours or several days before using. After this
treatment it will be found that the film lies much flatter and it is easier
to cut into single exposure lengths. It is also advisable to cut all the film
required at one time and keep the pieces between single black papers in a
light-tight box or envelope until used.
Use the width of the dark slide as a guide for cutting each individual
film. The width of this slide is the exact length of the film for one single
exposure in this camera.
Development of these single films can be carried out in a small tray.
A special holder is available for developing the single films. This consists
of a metal frame into which the film is slipped. A handle is attached to
the frame.
42
Leica Equipment
Summary
Many other accessories for the Leica camera will be described
in the following chapters. There are also many circulars giving
directions and booklets available from the Leitz Company on the
various Leica attachments. Directions are supplied with every
accessory when purchased. Therefore the, greatest emphasis in this
book has been laid upon the actual use of these accessories. The
reader is invited to carefully study all of the following chapters,
even though he may be interested in only one or two subjects. By
reading about the way in which the Leica is applied to other uses, it
is possible to pick up many suggestions which can be applied to one 's
own particular field of Leica photography. Also by reading these
various chapters you will obtain a more complete idea about the
scope of the Leica and thus be able to understand and offer sugges
tions to your Leica associates who may be working in these more or
less specialized fields of photography.
Fig. 41 Suntan
Elmar 50mm, 1/100 sec., f :9, E. K. Panatoralc Film
Richard C. Wood
43
Hopi Indian Child
Elmar 90mm, 1/40 sec., f :4, E. K. Panatomic Film
44
Anton F. Baumann
MY
ANTON F. BAUMANN CHAPTER 2
My entire photographic work is built up on experiences gained
from the practical use of the Leica camera. Of course, I went through
the period of composing pictures according to those "golden rules''
on the ground glass of my 8 x 10 camera, but since that time many
new rules govern the composition because we now have for one and
the same camera a battery of lenses from a super wide angle lens of
28mm, to a telesystem of 200mm.
Selecting Film and Developer
When, a few years ago the first super sensitive panchromatic films
appeared, and this film in conjunction with ultra fast lenses produced
surprising results under unusually bad light conditions, many Leica
photographers assumed erroneously that this was the only good film
for all purposes. Although I too use this film occasionally, I do not
believe that it is a film for universal purposes. It is essential for snap
shots under artificial illumination, for stage and news photography
under unfavorable light conditions, but I do not use it for all other
purposes.
In the first place it is impossible to obtain, with superspeed film,
the same degree of sharpness which we can expect from a slower film,
even if we develop this fast film in the best fine grain developer and
the enlargements really show no grain. We must remember that the
sensitivity of the film increases with increasing size of the original
silver bromide grains. If the size of each silver bromide grain is
larger, we must necessarily have a smaller number of grains per
square unit of area. What we call "grain" in an enlargement is
really nothing else but the positive image of the spaces between
clumps of grains in the negative. A fine grain developer may prevent
the "clumping" so that each silver grain is in the place of the
original silver bromide grain and the spaces between them are too
small to be seen in the enlargement. But the original amount of silver
bromide grains and their size determines the ultimate sharpness of
45
the picture and it is well known that an inlaid mosaic picture com
posed of a great number of very small stones will show finer
detail than one with fewer and larger stones.
Thus, a fine grain developer cannot increase the resolving power of a
film. In fact, critical observers may have noticed that a negative on
superpan film, developed in a normal developer, may produce an enlarge
ment which, although showing more grain appearance, seems to be sharper
than an enlargement made from a negative on the same type of film,
developed in a superfine grain developer. Thus, my continuous aiming at
ultimate sharpness is one of the reasons why I do not use superpan films
for all purposes.
Since for some purposes superpan film, such as Agfa Superpan, East
man Kodak Super X, Dupont Superior, etc., is essential, we must say some
thing about its development. There are three kinds of developers for high
speed films which can easily be distinguished:
The first type is composed with the aim of yielding the finest grain
possible. These developers generally require double or triple over-exposure
and thus they make us lose one of the most desirable qualities of the super-
sensitive film, viz., its very quality of being supersensitive. These devel
opers generally contain paraphenylenediamine and glycin. (See page 143.)
The next type aims to avoid too much reduction of the sensitivity of
the film and sacrifices a small amount of its fine grain producing prop
erties. These developers have also paraphenylenediamine and glycin as es
sential ingredients but they are slightly more active through the addition
of a certain amount of metol. (See page 143.)
The third type combines the advantages of both previous types, viz.,
finest grain and highest utilization of the sensitivity of the film" Several
Leica photographers have succeeded in discovering such developers after
many years of tedious and patient experimenting, often by following the
road of trial and error. But their super fine grain developers are not com
mercially obtainable and their formulas are generally their secrets.
And now, let us mention the other reason why I do not consider
superspeed films as suitable for universal purposes, and why, very
often, I prefer medium speed film.
I am particularly fond of taking outdoor close-up portraits. For
this type of picture I need a negative material which reproduces dis
tinctly and sharply one of the most important parts of the portrait,
the key lights. I found that only the medium speed film is capable
of doing that to any complete satisfaction. In other words, we prevent
the shadow portions adjacent to the highlights, from spreading into
one another. But also for photos at greater distances, the increased
resolving power of the medium speed film is a great advantage. The
sensitivity of these films (Panatomie, Finopan, Perpantic) is fully
sufficient for all ordinary purposes. After all, we need not expose
for a portrait or a landscape 1/500 of a second at f :12.5.
If we would attempt to develop these medium speed films in a devel
oper which was originally compounded for a superspeed film, we would
46
Leica Technique
do wrong. The result would be a negative of too much contrast. We must
realize that a superspeed film inherently yields negatives of less contrast
and requires a developer which is so compounded that it has a tendency
of boosting the contrast. The medium speed film, however, yields inher
ently more contrast and has a beautiful brilliant gradation. Therefore, it
demands a developer which works somewhat softer.
Only under one condition could we succeed in producing suitable nega
tives on medium speed film, developed in a developer for high speed film:
if we over-expose two to three times and reduce the time of development
correspondingly. But that is not necessary inasmuch as there are devel
opers especially compounded for medium speed film which do not require
over-exposure. These commercially obtainable developers are packed as
powders. I used extensively one product of the Tetenal Works known as
Ultrafin S. F. and recently the Edwal Laboratories, upon my suggestion,
perfected the so-called Minicol developer. Another developer for the same
use is Eastman Kodak Ultra Fine. Even the complete novice cannot
help producing good negatives if he uses medium speed film, exposed
according to the Leicameter and develops it in one of the two above
mentioned solutions. On my trip throughout the United States, I made
over 2,000 exposures and almost 99% of them were made according to
this rule and turned out to my complete satisfaction. With the exception
of three time exposures under extremely unfavorable conditions, I did not
use the tripod once, and altogether I used only one roll of superspeed film.
I had to develop all my films while on the road in hotel bathrooms. There
fore, I was compelled to use ready made developers. The negatives which
I obtained were not only satisfactory from the standpoint of development,
but they were also sufficiently clean. I always use the Correx tank in
which I develop two films at a time, back against back, with the emulsion
side out.
Filtering Solutions
One of the most important rules for the miniature photographer is
utter cleanliness. I have had no trouble in avoiding dust which might
adhere to the emulsion while it is drying. But these dust particles are
not the only reason why we often have to submit to the tedious task of
spotting the enlargements. Another equally undesirable source of dirt is
to be seen in particles which we find in the developer and the other solu
tions. Therefore, I always filter the developer, the fixing bath and the
hardener, every time before I place the film into these solutions. To
simplify my work while on the road, I generally add the chrome alum
hardener directly to the fixing bath. Those who do not believe in the
necessity of filtering the solutions should make the following experi
ment: expose one roll of film, cut it in half, develop one half in a new
filtered solution and the other half in an unfiltered, used solution. When
you make the enlargements you will be surprised to find that those pictiires
obtained from the first half require practically no spotting whereas the
others will make you spend a long time in cumbersome spotting.
Washing the Film
After the films have been thoroughly washed, I hold them under
the cold shower, the emulsion side toward the water spray and the
base gliding over the back of my one hand while the other hand grad
ually pulls the film along. Where no shower is available, a laboratory
47
flask with sprayer may serve equally well. One hand always presses
against the film base to hold the film against the spray. I never use
chamois leather or sponges for cleaning the film. After the film has
been hung up for drying, I remove with a moist piece of absorbent
cotton the water drops which might still adhere to the base side of the
film. The films are hung for drying in a clothes closet and the door
is closed so that no dust is whirled around by air currents. After the
film has dried I cut it into strips of four to six negatives and keep
it between folded pieces of clean white paper. Thus each film strip
is always flat, which is a great help in making enlargements because
it seems that the danger of Newton rings becoming visible in the
enlargement is thus avoided. By keeping films in rolls they have a
tendency to curl and buckle and the center portion of the strip presses
against the flat surface of the condenser thus causing Newton rings.
The selection of the medium speed film was made to obtain negatives
of utmost sharpness. In enlarging them we must aim again for utmost
sharpness. That is why the enlargers are so constructed that the excellent
Leica objectives can be used in them. The Elmar 50mm seems to be most
suitable for enlarging purposes. The resolving power of the lenses is
higher than that of the films, so that enlargements lacking in sharpness
can be due only to incorrect focusing or vibration during the exposure
of the paper.
Incidentally, it has been reported that two film manufacturers (Agfa
and Perutz) have perfected new types of films with a maximum resolving
power which is four times as high as that of the films used at present for
the Leica camera. Their sensitivity is relatively high, about 21° Scheiner.
They will enable the photographer to take full advantage of the resolving
power of the Leica lenses. At the same time they will not require com
plicated fine grain developers.
Since utmost sharpness of the negative is so important, I may mention
that a steady hand to hold the camera is a necessity. Those who are not
well trained in holding the camera steady should try to avoid exposure
times longer than 1/60 of a second. The depth of focus of the lenses of
shorter focal lengths is such that we need not close the iris diaphragm
more than f :6.3, at which opening, such short exposure times are generally
possible under normal light conditions. Only certain types of architectural
motifs with detail from the immediate foreground to infinity, may necessi
tate a further closing of the diaphragm.
Selecting Lenses and Their Various Uses
And now a few words about the selection of lenses for the camera.
My own experience has been that with three lenses having focal
lengths of 35mm, 50mm, and 90mm, we are well equipped for the great
majority of photographic tasks. The lenses of 50mm have the standard
focal length and if we select the Summar f :2 or the Xenon f :1.5 we
can take pictures under almost any light conditions. I have a par
ticular liking for the 35mm lens not only for candid photos where its
48
Fig. 43 "Sam", the Medicine Man
Elmar 90mm lens, 1/60, f:6.3, No. 1 Filter, E. K. Panatomic Film
Anton F. Baumann
49
great depth of focus is often a blessing, but also for landscape photos
with extensive cloud formations in the large sky portion or for archi
tectural photography for which the lens was originally designed. For
close-up portraits I use the 90mm lens. If I would use the 50mm lens
lens at such distances where the danger of unnatural perspective
would not exist, the subject would appear too small on the negative.
Since I always aim to make full use of the entire area of the negative
in the enlargement, I must select the lens accordingly.
The 90mm lens is also suitable for photos at longer distances.
Lenses having still longer focal length, the 135mm Hektor and
the 200mm Telyt, are more or less designed for special purposes such
as the photography of animals from a distance, sport events, etc.
The Mirror Reflex Box, permitting the observation of the image up
to the moment the picture is taken, is a valuable accessory for
these two long focus lenses. Their depth of focus is greatly reduced
but this may be of particular advantage where a background out of
focus helps to accentuate the effect of the subject. The correct balance
of the range of depth of focus is of great importance. In some cases
the impression of the third dimension can be emphasized by using a
short focal length lens and selecting a good foreground on which the
camera is sharply focused, whereas the background is ever so slightly
off in regard to sharpness. On the other hand, if there is nothing in
the foreground or if the objects in the foreground have been neglected
by focusing to infinity, such photos often have a flat appearance.
Fnters
I am opposed in principle to the use of filters of too much density.
The modern Panchromatic films have a color sensitivity which is so well
balanced that only slight corrections by a light yellow or light green filter
may become necessary. If, for instance, I take an outdoor portrait against
the blue sky, I use a light yellow filter No. 1 to have the sky appear darker
than the key lights in the features of the subject. (See page 49.)
For landscapes with green colors predominating, I use the graduated
green filter. The upper half of this filter is green to "hold back" the blue
of the sky, the lower half being clear for better detail of the landscape,
thus reproducing clearly all distant details, balancing them with the sky,
and preventing the foreground from getting too dark.
Really dense filters like the Leitz Red Filter No. 1 are of advantage
only for haze penetration into considerable distance. Such photos, by the
way, can often be taken on Panchromatic film and do not require special
Infra Red sensitive films. Only in some cases, when the sky shows only a
very faint pale blue color, these denser filters can be used to slightly sup
press the light coming from the sky portion into the negative to balance
the photographic effect.
50
Leica Technique
Enlarging Leica Photographs
Many Leica users still see unsurmountable difficulties in enlarg
ing their negatives. Of course, everybody has to gain a certain
amount of experience in order to produce uniform results in enlarg
ing negatives of different characteristics in regard to contrast and
other properties. But everything pertaining to technique can be
learned systematically, and a few words of advice and explanation
may help to eliminate difficulties which the beginner may encounter.
The first point of importance is the selection of the correct type
of enlarger. About this point a few words may be in order. When
somebody shows me an enlargement which is not sharp, my first ques
tion is: "What type of enlarger did you use?" All Leitz enlargers
are built on the principle of diffused light. They are equipped with
an opal bulb and, as you know, the opal glass diffuses the light in all
directions. You cannot see the filament, you see only one large, uni
formly illuminated surface. Incidentally, the ideal type of bulb
should be much larger than the area of the negative. But in order not
to make the size of the bulb too bulky we may use an auxiliary lens
which, so to speak, acts as a magnifier for the surface of the lamp.
This lens, however, is not to be confused with the regular condenser
system of another type of enlarger which uses directed light. (In
contrast to the above mentioned diffused light.)
In an enlarger with directed light we have a concentrated light source
and a clear glass bulb. Before this bulb, we have a regular condenser sys
tem consisting of two plano-convex lenses, which, has the task to focus the
light source (the filament of the bulb) in a definite plane which is so
located that in the plane of the enlarging paper we have uniform illumina
tion even though the filament may not emit uniform illumination. This
is accomplished if the condenser system focuses the filament in the plane of
the iris diaphragm of the objective of the enlarger.
Let us emphasize once more: in the condenser enlarger the condenser
system must create a definitely focused image of the light source, whereas
in the diffused light enlarger, the illumination system is afocal. The
diffused light enlarger requires an objective of excellent correction, since
the diffused light passes through its entire aperture. That is the reason
why we use either the standard Leica objective Elmar 50mm or a special
objective of the same focal length, well corrected for this purpose and in
a special mount the special enlarger lens: Varob.
Formerly, the condenser enlarger with directed light was used almost
exclusively. Since in these enlargers each point of the negative was illum
inated by light traveling in only one direction even the minutest surface
scratches, either on the emulsion side or the film base side (rear side),
became visible in the enlargement.
Contrary to this very unfavorable situation, it is the very principle
of the diffused light enlarger that each point of the negative is illum
inated by light traveling in many different directions and the diffusion of
the light eliminates the appearance of the surface scratches.
51
Furthermore, the enlarger with directed light increases the contrast
of the negative and in order to obtain an enlargement of normal grada
tion, we need an extremely soft negative.
Contrary to this condition, the diffused light enlarger reproduces faith
fully the contrast of the negative so that in the plane of the enlarged
image we have the same gradation as in the negative. Of course, we can
still change the contrast in the enlarged print by using different degrees
of contrast in the printing papers.
And now a few words about the use of the iris diaphragm in the
enlarger: The general rule is: the smaller the enlargement, the more we
should close the diaphragm. Closing the diaphragm does not result in
an increase of sharpness, but it permits us to increase the time of exposure
and therefore give us a better control. If we make big enlargements
(larger than 8 x 10 inches) we should leave the diaphragm fully open.
This gives us the advantage that we can further reduce the appear
ance of grain. When it is difficult, because of one's eyesight, to obtain
critical focus the lens should be stopped down one or two stops after the
preliminary focusing with the lens wide open.
How to Look at Enlargements
For testing the quality of the negative I make an enlargement
on 8 x 10 inch glossy paper with ferrotype finish. This enlargement
is examined most critically to see if it comes up to expectation
and, if it does, the negative can readily be enlarged even to the
largest dimensions. Many people erroneously believe that when a
negative produces a sharp enlargement of 8 x 10 it might possibly
produce an enlargement lacking in sharpness if it is enlarged to
possibly 20 x 30 inches. Naturally, if we look at this enlarge
ment from the same distance at which the 8 x 10 enlargement has
been examined, we might discover a certain degree of softness.
This cannot be considered as a lack in sharpness. Who wants to look
at an enlargement of 20 x 30 from the same distance at which an
8 x 10 enlargement is viewed? Apart from any other consideration,
one would obtain an entirely wrong perspective. In amateur photo
circles abroad, the suggestion was made to mention on each exhibi
tion print the correct distance from which it should be viewed. It is
interesting to learn how this viewing distance was computed. Let us
assume that the picture was made with a lens of 50mm focal length
and the ratio of enlargement was lOx. We multiply the focal length
of the lens of the camera by the ratio of the enlargement and the
result is the viewing distance which will yield the correct perspective.
If, however, we are too close to the print when viewing the huge
enlargement, I believe that the slight appearance of graininess would
be the least disturbing factor. This disturbance would be more than
compensated by the clean and brilliant appearance of the highlights,
which is particularly noticeable on enlargements made from negatives
52
Leica Technique
Fig. 44 Grand Canyon
Elmar 35mm, 1/200, f :6.3, No. 1 Filter, Agfa Superpan Film
Anton F. Baumann
on medium speed film. Again I wish to emphasize that I practically
standardize on this material and use super-speed films only where
super-speed is necessary.
Exposure and Development
As a paper developer I selected only commercially obtainable
products, such as the well-known Eastman D-72 (see formula on
page 202). I also obtained good results with Developer No. 102 made
by the Edwal Laboratories in Chicago, and Quinolin made by Fink-
Roselieve in New York City, as well as paper developers made by the
Agfa Anseo Corporation. These developers, with the exception of
Quinolin, have a tendency to produce an enlargement of relatively
high contrast, whereas Quinolin produces somewhat softer enlarge
ments.
If we select a type of enlarging paper which is available in three
degrees of contrast : soft, normal and medium, and have two different
types of paper developer, we actually have at our disposal six differ
ent gradations for the enlargement and this should be sufficient for
almost any type of negative.
It is well known that a correctly exposed enlargement should be
developed for one and a half to two minutes. Therefore, I always
53
avoid exposing the paper to the relatively bright green yellow light
of the darkroom lamp during the first minute of the developing.
Thus, I eliminate any possibility of fogging the paper and obtain
brilliantly white highlights. Final inspection of the enlargement is
made by letting the darkroom light shine through the paper in order
to see whether the shadows are sufficiently developed.
The paper goes from the developer into the short-stop bath (a
weak solution of acetic acid (see page 186) and then it is placed in the
fixing bath for a suitable time, during which the pictures should be
stirred at frequent intervals (see page 210 for formulas).
Which materials? As mentioned, for all enlargements of 8 x 10
inches I use a glossy paper with the final ferrotype finish. For enlarge
ments of 20 x 30 inches, however, I prefer paper with a slightly rough
surface (semi-matte).
Simplify matters. At any rate, the Leica owner should avoid compli
cating his system of working by shifting too often in the selection of his
papers and developers. I know that there was a time when the Leica fan
wanted to impress friends who visited his darkroom with an enormous array
of bottles. I use only one to two bottles of positive developer (for paper
and slides), one bottle of concentrated hypo, one bottle of fine grain devel
oper for medium speed film and another one containing fine grain developer
for high speed film. Aside from the usual acetic acid for the short-stop
bath, that is all.
After all, the final result is the best test and I am exceedingly anxious
to see that every Leica owner follows a simple technique.
Getting rid of dust. A few final remarks about the retouching and
spotting of Leica enlargements may be advisable. In spite of utmost clean
liness and care, small grains of dust may be enlarged with the film. In
this case I refer to dust particles which have slipped in between the surface
of the film and the condenser of the enlarger. Quite often dust particles
"bake" into the film emulsion during the process of drying.
Most of the loose dust particles can be removed from the surface,
whereas those impurities which have adhered to the emulsion during the
process of drying are a much more serious matter. Further details con
cerning this matter will be found in that part of this article covering the
developing of films. (Page 48.)
Materials for spotting. For removing spots on glossy enlargements I
use a very fine Japanese brush and genuine black India ink. I control the
degree of black or gray by increasing or decreasing the concentration of
the ink solution, by rubbing a hard piece of ink in a small pool of water
on a glass plate. For spotting semi-matte or matte surfaces I always
employ special spotting pencils, which are made in various degrees of
hardness so that any tone of black or gray can be obtained.
Making Lantern Slides
Quite often Leica owners ask me, c<Why lantern slides? — Why
not enlargements on paper?" Those who asked such questions found
their answer when attending our lectures and seeing the Leiea lantern
slides projected. It seems that many Leica owners believe that pro-
54
Leica Technique
jecting lantern slides is of value only to lecturers but not for the
amateur. Quite the contrary, however, for the enthusiastic Leica
owner can derive great pleasure from making and projecting lantern
slides. Suppose he returns from an extensive trip and wishes to
show his friends his personal impressions and adventures. Nothing
is more fascinating than a get-together for projecting lantern slides.
Aside from this, the projected picture has a great educational value,
for the photographer can see all his photos greatly enlarged and he
can judge the pictorial effect in the composition much better than any
other way. Finally, we must not forget that if you have a great num
ber of pictures, it is much cheaper to make lantern slides by contact
printing than to make giant, or even medium size enlargements. "When
I started with the Leica, I immediately realized the value of lantern
slide projection, and studied the projected image of my photos. Thus,
I discovered many mistakes and many possibilities of improvement
which had escaped me by viewing my enlargements.
Films or glass slides? Upon first thought it seems as if printing
Leica negatives on positive film strips were the least expensive and most
convenient method of obtaining transparent positives, since on a film strip
of 4 ft., thirty pictures can be printed. On the other hand, we are greatly
restricted inasmuch as positive film is available only in one degree of con
trast. When printing on film strips, we can only compensate for differ
ences in density of the negative through the time of exposure, but we
cannot compensate variations of contrast. As long as we deal with nega
tives where the time of exposure varies only within the straight portion
of the density curve, a variation of the time of exposure when printing is
fully satisfactory as a compensating measure. If, however, we find on
the negative film strip effects due to over-exposure or under-exposure,
mere variation of the exposure time in printing cannot lead to a uniform
result. We must resort to glass lantern slide plates, which are available
in two grades (medium and contrast). With these plates and two differ
ent types of developer we can actually produce four different degrees of
contrast. By printing on contrast positive plates and developing in D-72
developer (see formula page 202), diluted 1:1, it is possible to obtain satis
factory results even if the negative is very weak. On the other hand, a
negative of extreme contrast will yield a fine positive of good gradation
if printed on a medium plate and developed in Quinolin diluted 1:6 or 1:8.
It is advisable not to expose the positive plate too freely to the dark
room safelight. The positive plate should be covered entirely for the
first minute in the developer, then a quick inspection can be made. Too
frequent exposure of the plate, to the darkroom light, during the develop
ing, may produce a fog which will become doubly noticeable when the plate
is projected on the screen. The safelight filter used for printing positive
plates is the same as that for enlarging on bromide papers, although the
chloro-bromide emulsion of the plates is slightly less light-sensitive. The
treatment of the lantern slide plate in a shortstop bath and hypo is the
same as that used when making enlargements on paper.
Contact printing. If the simple positive printers Eldia (for printing
film strips), or Eldur (for printing glass plates) are used, a lamp is re-
55
quired to make the exposure unless we use the light unit of the enlarging
apparatus. The intensity of the light source should be so weak that the
exposure requires about six to eight seconds. If the light is too strong
and the exposure is shortened correspondingly, the least variation in the
time will cause the density of the positive to be influenced too much. The
large printing apparatus is equipped with a built-in light source and a
regulating resistance, and even has provisions for an exposure clock. This
printer is also equipped with two lateral slots for the introduction of
masks or other auxiliary devices which permit the dodging of portions of
the negative.
Making Lantern Slides by Enlarging
The Leitz Works now make projectors which yield such intense light
that the small Leica positive can be projected with good brilliance even
when the screen distance exceeds ninety feet and the size of the projected
image is approximately 9 x 13.5 feet. Under certain conditions it may be
permissible to slightly enlarge the original Leica negative and by projec
tion printing make a positive on a Leica lantern slide (2 x 2 in.) if the
ratio of the enlargement is not much more than 1:1.5 or 1:2. This can be
done if the original photograph was taken with an objective of too short
a focal length and we want to increase the size of the more distant objects
to create the impression that we used a lens of longer focal length. In
this case, the danger of the image on the screen appearing too flat does
not exist because we made a correction from exaggerated perspective to
normal perspective. When making such slight enlargements, the Leica
enlargers can be used by interposing intermediate rings between the lens
mount and the lens employed. Personally I have hardly any use for this
type of slightly enlarged positives because I always attempt to make use
of the full area of the negative. In most cases I recommend to every
photographer always to try to determine the desired composition within
the frame of the picture before taking the photo rather than enlarging
only a portion of the negative.
The Universal finder can be used to great advantage for this
predetermination of the picture. View the subject through the finder,
then increase or decrease the size of the rectangular frame and criti
cally survey the appearance of the subject within the frame. When
you have found the right framing, you can read on the ring of the
finder what focal length lens is required to take the picture from that
particular standpoint. But now approach the subject and gradually
open the frame of the finder so that the area remains about the same
but the relation in the sizes of the various objects at different distances
changes; in other words, the perspective becomes more pronounced
and the finder indicates that a shorter focal length is required. Thus,
the Universal finder is helpful in studying the rules of composition
and perspective, even if wo own only one lens.
Making corrections. Although the safe-light of the darkroom permits
a good inspection control of the positive during development, it is still
possible that one or more positives may turn out to be too transparent or
too dense. It is preferable to develop positives somewhat too long, even
56
Downtown Airport
Hektor 28mm, 1/60. f :9, No. 1 Filter, Panatomic Film
Anton F. Baumann
57
though they may be somewhat dense. I shall briefly explain my reason
for this advice.
When printing I expose and develop my positives rather fully. After
they have been finished in the hypo solution and washed in water, I use a
greatly diluted solution of Farmer's Keducer and in full daylight correct
the density to the desired degree. Lantern slides which have been pro
duced by this method show a particularly good brilliance.
Farmer's Reducer (Formula: R-4)
Solution A
Avoirdupois Metric
Water 1 ounce 32.0 cc
Potassium Ferricyanide 15 grains 1.0 gram
Solution B
Water 32 ounces 1.0 liter
Sodium Thiosulphate (Hypo) 1 ounce 30.0 grams
Add A to B and immediately pour over the negative to be reduced.
The formula should be prepared immediately before using as it decom
poses rapidly after mixing together the A and B solutions. When the nega
tive has been reduced sufficiently, wash thoroughly before drying.
Of course, every photographer can tone his positives according to his
own taste, but I should like to advise every Leica owner to restrict his
activity to only a few varieties of tone. Directions and materials for the
toning of lantern slides can be obtained in any photographic store.
Mounting lantern slides. Although a positive film strip is ready for
use as soon as it has dried after printing, it has the disadvantage that,
in spite of the most careful handling, it will eventually show scratches and
dust spots because of the repeated rolling and unrolling of the film strip.
It is possible to mount the film positives between glass plates, selecting
either three consecutive frames for one mount or mounting the frames
individually. This, incidentally, is the only satisfactory method for mount
ing Kodachrome films. However, wherever possible, this method should
be avoided, and the individual Leica pictures printed directly on glass
plates. The method of mounting by simply placing a cover glass over the
lantern slide plate is extremely simple and it is much easier to avoid dust
particles between the glass plates. As a binding material to hold the
cover glass and lantern slide plate together, Scotch cellulose binding tape
is recommended.
And finally, a few words about dust. In my previous article about the
making of giant enlargements, I dwelt thoroughly upon the avoidance of
of dust on the negative. It is almost still more important to avoid dust on
the positive and this refers not only to printing but also to mounting;
small dust particles which adhere to the surface of the negative or the
positive plate during the process of printing will show as white spots on
the screen, whereas, those particles which adhere to the surface during
the mounting will show up as black spots. If, however, the slide is mounted
in a relatively dust-free room and the photographer exercises a reasonable
amount of care, neatness, and cleanliness, it is possible to avoid the appear
ance of dust almost completely. For cleaning purposes, I recommend
either a piece of soft chamois leather which has been washed repeatedly
or a fine badger-hair brush.
58
Leicci Technique
Black and White Enlargements from Kodachrome Positives
When the Kodaehrome film became available for the Leica,
everybody was highly enthusiastic about the beautiful projected
pictures in natural and rich colors. Many photographers, including
myself, were so favorably impressed by this form of presentation that
they neglected black and white photography. These transparent posi
tives in natural colors, however, can also be used for making black
and white enlargements. I believe that the best way to proceed is, to
make a slightly enlarged negative (2% x S1/^ in.) on Panchromatic
process film and then to enlarge this negative in the regular way, see
Chap. 15 for additional details. In making these intermediate nega
tives, we can apply color filters by following the same rules which
govern the use of color filters when taking the original photo on
Panchromatic film. These color filters have to be attached to the
lens of the enlarger which is used to make the intermediate negative.
Fig. 46 Anton F. Baumann at Work in His Darkroom
Franz Reichert
59
The Wink
Elmar 90mm, 1/80, f:6.3, Photofloods, Du Pont Superior Film
60
Harold L. Harvey
LENSES
H. W. ZIELER CHAPTER 3
"What kind of a gadget is this? Is it a movie?"
"No, it's a little camera. Did you ever hear of the Leicaf"
"Oh yes — so, this is a Leica; it certainly is a compact little
thing! How large a picture can you take with it?"
"The pictures are not much larger than a postage stamp; but
you can enlarge them to almost unbelievable sizes."
"Gee whiz — it must have a marvelous lens!'7
Why does everybody think at once of the lens when he sees a
miniature camera? Why must a small camera have a particularly
good lens? What properties characterize a good lens? What does
the lens have to accomplish and how well does it succeed ? How can
you use your lens equipment to best advantage and why may you
want to have several lenses ?
When miniature photography was in its infancy, there were
many sceptics who pointed out that an enlargement can never be
as sharp as a contact print; and since the small negative must always
be enlarged considerably, the loss of detail, it seemed, ought to be
so great that the enlargement would be of little value.
Practice soon gave ample proof to the contrary. But practice
alone is often considered as insufficient proof because you may have
to use all kinds of tricks which only the expert knows. To set our
mind at ease about the possibilities of miniature cameras we may
start our investigation about lenses by finding out how sharp the
negatives of miniature cameras are. It is true that an enlargement
must always be less sharp than the original negative because the
same detail is stretched over a larger area. Still it is quite possible
that we may not be able to detect any difference.
Suppose we have before us two pages covered with printed mat
ter. Some clever printer may have been able to make the letters
on one page as small as l/500th of an inch. But the second page may
have letters as small as l/10QOth of an inch. We hold these two
pages as far away from the eye as we would hold a moderately sized
photograph. Of course, we would not be able to read these pages.
61
We would not even be able to see from this distance which of the
two pages has the smaller letters.
The capacity of the human eye to make detail distinguishable
or, the resolving power of the human eye, is limited. If we com
pare two objects as, for instance, a contact print and an enlarge
ment, the former having detail ten times smaller than the resolving
power of the eye and the latter having detail which is only three
times smaller than this limit, we may not be able to detect any dif
ference in sharpness.
The limit of resolving power of the human eye has been deter
mined by experiment and calculation. It is customary to express
it by the magnitude of the smallest detail in the object which can
still be resolved. This magnitude depends, of course, upon the dis
tance from which we view this object. If we want to see finer de
tail, we move the object closer to the eye. But the angle of vision
under which the finest resolvable detail appears, always remains the
same. Thus it has been found that, allowing for slight variation of
individual power of vision, the limit of resolving power of the human
eye is about 2 to 3 minutes of arc. That means that in an object
held about ten inches from the 'eye we cannot see detail if it is closer
together than l/100th part of an inch. If the object is 20 inches
from the eye, the detail must be 2/100ths of an inch apart if we are
to distinguish it.
Now we have to investigate how closely the detail can be crowd
ed together in a negative from a miniature camera. This investigation
is rather involved and it is to our advantage if we penetrate more
deeply into the entire process of the formation of images by lenses.
Let us select the simplest object possible: one luminous point,
Figure 48 below, shows a diagram of a simple experiment. A lentil-
shaped piece of glass is placed at a certain distance from the lumin
ous point P.
A sector of light of the angular aperture a passes through the
glass and in doing so it changes its original direction. Each light
ray is broken or, in scientific language : refracted. The more oblique
ly the rays meet the surface of the glass, the more pronounced is the
change in direction. By skillfully shaping the piece of glass we may
be able to guide each ray in such a manner that, after leaving the
lens, the -entire bundle of rays converges as a cone of the angular
aperture b until the rays meet again in one single point P17 which is
the image of the original point P.* This is the essential principle of
* If we hold a screen in the plane I-I we see on it one bright spot Pi.
62
Lenses
the formation of a real image. Wlien photographing a complex ob
ject the lens collects diverging bundles of rays from each object point
and must unite them in image points which must have such location
in respect to each other that they reproduce the object in the image
plane.
Fig-. 48 Formation of a Real Image of a Luminous Point.
It is the job of the lens designer to skillfully shape the lens. In
practice this job is so immensely difficult that we may say, it is im
possible to succeed completely. In the first place it is next to impos
sible to grind and polish accurately enough any surfaces of unusual
shape. In fact, in photographic lenses we only find lenses with
spherical or plane surface. But even if we weare not limited in this
respect, we would meet with many other difficulties. These light rays
are tricky individuals. One single ray of white light, for instance,
upon entering the lens, begins to disintegrate into rays of various
colors and finally a rainbow colored cone of light leaves the lens.
This phenomenon is known as chromatical aberration. We also must
contend with the fact that if we use spherical lenses, the outsiders,
the rays which meet the lens with greatest obliquity, are "bent too
strongly and refuse to come to the same meeting point where the
rays of the center of the cone unite. This is known as spherical
aberration.
There are many more misbehaviors of light rays which give the
lens designer a headache. If he wants to guide these rays to the
same point he cannot restrict himself to the use of one single lens.
He must combine several pieces of glass, selecting different materials
and shapes and placing them at accurately determined distances from
each other. Thus he creates a photographic objective of the type
shown in figure 49 which is the famous Elmar lens of the Leica
camera.
You will see the definite plan of construction: a single plano
convex lens is followed by a biconcave lens, placed at a definite dis-
63
tance from the first. Behind this second element there is a pair of
lenses cemented together. Each lens has spherical or plane surfaces
which in a diagram appear as parts of circles or straight lines. The
centers of all these circles lie on one straight line, called the optical
axis.
Fig. 49 Cross-section of the
Elmar 50mm f :3.5 Lens
Fig. 50 Cross-section
of the Hektor 73mm
f :1.9 Lens
There are other types of objectives* such as the Hektor shown in
figure 50, the Summar and many others. Each of them is built
according to a different plan and represents an effort to make the
rays behave, but no effort is completely successful. There is always
a sacrifice in some respect, as we shall see later.
With one of these objectivevs we may perform a few interesting
experiments. Of course, we cannot actually select as an object one
single luminous point. But we may produce a disc of light of a
definite and small diameter. Suppose a ground glass is placed before
a bright lamp and again before the ground glass an iris diaphragm
which can be contracted to very small diameters. This may pro
duce a luminous disc of, say 1/10 of an inch. We place the lens
at a certain distance from the light source and on the other side of it
we place a screen so that on it the image of the luminous disc appears
with maximum sharpness. The conditions may have been so selected
* "At this place, I wish to emphasize that I prefer the word 'objective'
to the word lens', although the latter terra is more popular. A lens is really
one piece of glass whereas an objective is a compound unit and consists of
several lenses."
64
Lenses
that the image has a diameter of l/200th of an inch. In other words,
the image is twenty times smaller than the object. Now, we reduce
the opening of the iris diaphragm to l/30th. of an inch and the image,
again twenty times smaller, is l/600th of an inch. But as we further
reduce the diameter of the luminous disc (perhaps to l/100th) we
find that the image retains the size of l/600th inch.
This is a very important discovery. Suppose we would have
two luminous object points, each of them very small, for instance
l/1000th of an inch in diameter, but less than l/30th of an inch apart.
The lens, when forming the image at the same ratio of reduction as
before, (20:1) reduces the distance between the images to less than
l/600th but at the same time each of the images occupies l/600th.
The two image discs overlap, melting so to speak into each other. "We
have now overstepped the limit of resolving power of the lens.
This experiment reveals a very important fact regarding the
performance of optical instruments; the image' of a theoretical object
point is never a point but a light disc of definite, measurable
diameter. But if we think that the actual magnitude of this disc can
be made smaller and smaller as manufacturing methods and the art
of lens designing improves, we are greatly mistaken. Unfortunately
there are definite limits which cannot be overstepped and they have
their cause in the very nature of light itself.
In a diagram we may indicate a light ray by one straight line, but in
reality we find that as light progresses with infinite speed in the direction
of this line, very minute vibrations take place with enormous frequency.
Physicists have attempted to explain the many strange phenomena which
light can produce, by assuming- that it propagates like a wave motion.
To help our imagination we may make a comparison. Suppose that you
throw a stone into a lake. From the center, where the stone hits the
surface of the water, we see a wave motion spreading with equal speed in
every direction as circles of ever increasing diameter. From crest to crest
of successive waves there is always the same distance, called the wave
length. This wave length may be small or large. The motion of the
waves probably spreads with a speed of several feet or yards a second.
But as these waves move away from the center, the surface of the water
only moves up and down so that if a piece of wood is swimming on the
water, it is carried up and down but not away from the center of the dis
turbance.
If light proceeds from a luminous point, waves of unbelievably small
wave length spread with equal speed in every direction. This speed, how
ever, is very great, almost 200,000 miles per second. The vibrations take
place at right angles to the direction of propagation. And, to come back
to the formation of the image of a point, where the light is concentrated
into the image point, we find an enormous confusion of vibrations from
light waves of different lengths and directions. These waves partly inter-
fer with and cancel each other but still they spread the light over a
65
certain area. In fact, if we would study this area through a microscope,
we would find a small disc of light surrounded by rings of light of very
weak and rapidly diminishing intensity. This is called a diffraction pattern.
We need not penetrate further into these theoretical optical matters.
We must only realize that even a theoretically perfect objective has a lim
ited resolving power. This theoretical resolving power depends mainly upon
the angle of convergence of the cone of light which the* lens concentrates (in
fig. 48 this cone is marked &). The larger this angle, the smaller is the
finest detail which a theoretically perfect objective could reveal.
But here we can see the difference between theory and practice. It
is unfortunate but true that, as we try to make objectives with great light
concentrating power, the difficulties which we encounter increase beyond
description. These misbehaviors of light: spherical and chromatical aber
ration and many others, can hardly be held in check. If we are^ content
with a small cone of light, the situation can be controlled quite nicely. A
small cone, of course, contains so to speak, only a small amount of light
and when photographing we would have to give very long exposures. In
this age of speed this would be a serious handicap. Therefore there is a
constant race between the manufacturers to produce lenses of greater light
concentrating power: but the task before them is very difficult indeed.
The Iris Diaphragm and the Resolving Power
As you know, photographic lenses are equipped with iris dia
phragms with which the angular aperture of the cone of light, and
therefore also the light intensity in the plane of the image, can be
regulated. As we open or close this diaphragm the difference be
tween theory and practice evidences itself as follows:
a. When the iris diaphragm is closed, the difference between theory
and practice is least noticeable. At the same time the theoretical
resolving power is at its worst.
b. As the iris diaphragm is gradually opened, the practical insuffi
ciencies come more and more into the foreground. This does not
mean that any practically produceable lens yields the sharpest
images when the iris diaphragm is closed. In fact, in a good lens
the sharpness will increase as we beg-in to open the iris. Only,
it will not increase as much as can be theoretically expected.
c. If the iris diaphragm is opened considerably, the misbehaviors of
light finally become so noticeable that even the actual sharpness
decreases.
A good method to judge the quality of a lens is, therefore, to find
out how much the iris can be opened with a beneficial effect upon the
sharpness, the resolving power, of the lens.
Every photographer should realize the full significance of this
fact and should not believe the wrong statement that any lens per
forms best when the iris is closed as far as possible.
But let us not forget our original question: How sharp is a
miniature negative? The actual limit of the resolving power is not
66
Lenses
the only factor to consider. We must not forget that the image which
the lens has formed is recorded on the film, which is coated with a
light-sensitive emulsion. The emulsion is turbid and has a certain
thickness. As the light penetrates into the emulsion, it is scattered
and the record of the image of one single luminous point upon the
film emulsion will necessarily occupy a larger area. Thus the film
emulsion introduces a certain loss of sharpness. If we wish to find
a quantitative measure for the sharpness of a miniature negative we
must measure the diameter of the image disc on the emulsion when
the object is so small that its image is equal to the limit of resolving
power of the lens. This area is often referred to as the circle of con
fusion, because within this circle there is a great confusion of aber
rations, diffractions, dispersions and many other misbehaviors of light.
Thus it has been found that the diameter of the circle of con
fusion of the better lenses, such as are used in miniature cameras,
does not exceed 1/SOOth of an inch, even when the diaphragm is open
and the practical discrepancies are most apparent. Upon closing the
iris diaphragm, the sharpness improves, then retains this optimum
value until finally, as the aperture assumes very small values, it de
creases slightly.
Fig. 51 Bridge Workers
Elmar 35mm, 1/100, f:9, Du Pont Superior Film
Peter Stackpole
67
We learned in the beginning that the smallest detail which the
human eye can detect from a distance of 10 inches is about l/100th
of an inch. If the detail in a miniature negative is crowded into as
small a spot as l/8QOth it is quite evident that this negative can be
enlarged 8 times without noticeable loss of sharpness.
If you really want to look at the picture you will never hold an
enlargement of 8 x 10 inches closer than 10 inches from the eye. Only
grain fiends have a habit of smelling their pictures, regardless of
size. "We, who want to enjoy the pictures which we have taken, have
learned that an enlargement may appear as sharp as a contact print
and thus we may confidently discard bulky equipment in favor of the
* small and compact Leica. Its existence is built upon a sound scientific
basis and, as far as sharpness of the picture is concerned, we may
safely say that for our purposes, it is sufficiently equivalent to the
large camera.
The Miniature vs Larger Cameras
With this fact established we shall now proceed to find that in
other respects the miniature camera is definitely and considerably
superior to the large camera. Above all, it has reconciled two oppos
ing factors which cannot be mastered with larger cameras: speed of
the lens and depth of focus in the negative.
You will often have found in photographs that some parts of the
picture were sharper than others. Either the objects close to the
camera are sharp and those further away appear fuzzy; or the back
ground is sharp and the foreground is out of focus; or there is a
range-in-between which is imaged crisply, whereas the very near and
very far objects lack in sharpness. The photograher can, at will,
select the range of object distances within which everything is imaged
with the best possible sharpness and, if he uses his camera correctly,
he can always direct the attention of the spectator to the subject of
interest. There is, then, a range within which everything- is equally
sharp and this range represents the depth of focus.
In photographs of general outdoor scenes and many other types of
pictures it is highly desirable, if not essential, that the entire picture be
in perfect focus. Only in portraits and group pictures it often is of spe
cial advantage to reproduce in sharpest focus only the subject of interest
and to have foreground and background intentionally out of focus, in order
not to distract the attention of the spectator.
If you compare Leica snapshots with those of a larger camera, you
will notice at once the increased depth of focus in the Leica enlargement.
I used the word snapshots for a special reason because as long as the big-
camera owner is allowed to increase the time of exposure of his photos as
much as he wants, he can also produce pictures of remarkable depth of
focus. He must only close the iris diaphragm.
68
Pig. 52 Fields Covered by Six Different Leica Lenses. All Photographs
Made From the Same Point.
69
On the mount of a photographic lens a whole series of numbers is en
graved which, upon first sight, seem to have no sensible relation to each
other. But if in a competition between large and small camera the iris
diaphragm is in both cases set to the same figure, for instance f :4.5, and
then the two pictures are compared in regard to depth of focus you will
win the race by a wide margin if you were the one who used the miniature
camera. And if you had inquired from your competitor about the time
of exposure of his picture, you would have found out that it was the same
as that which you gave, provided you both have the correct time.
In other words, the iris diaphragm affects not only the depth of focus
but also the time of exposure. It seems important to study both functions.
We begin, of course, with the effect upon the depth of focus. But even
before we come to this, we must explain why the large camera, when the
iris diaphragm was set to the same figure, yielded images of less depth
of focus.
Depth of Focus and Relative Aperture
We resort again to experiments. We take a lens for a 5 x 7 inch
camera and the Elmar 50mm lens. In both eases we set the iris to
the figure f :4.5 although we do not know as yet what that means. We
also need two screens, on which to project the images and a yardstick
ruled in very fine units, with which we want to measure, not only the
distance between screen and lens, but also the size of the images on the
screens.
Since we want to explore various ranges of object distance, we
select at first an object which is very very far away: the sun. We
move the screens back and forth behind the lenses until the images
are as sharp as possible. We see in both cases a very small and very
brilliant spot. The screen for the large lens is about 10 inches behind
the larger lens, whereas the other one is about two inches behind the
Elmar lens.
This distance at which the image of an infinitely distance object
is formed, is called focal length of the lens.® If we have held the
lenses so that their optical axes point directly into the sun, the
images are formed in the focal points. The screens are in the focal
planes of the respective lenses.
The focal length of a lense is a very important factor. It deter
mines the location and size of the images which the lens forms
of objects at different distances, the depth of focus, the perspective
and many other things and is one of the main keys to the secret of
the performance of the lens.
A comparison of the sizes of the images which in our experiment
both lenses have formed of the sun reveals that, although both of them
are very small, the one formed by the Elmar is still the smaller one.
* Actually the focal length is the distance of the focal point from the
so-called principal plane. Readers interested in optics may find further
information in physics textbooks.
70
Lenses
From the experiment we learn that the image of an infinitely far
object is formed in the focal plane and that the lens with the smaller
focal length forms the smaller image.
Now let us select another object which is nearer, for instance a
telegraph pole which is about 30 feet high and 100 feet away. We
discover that the screens must be moved farther away from the lens
in order to be in the plane of the image. When the screens are prop
erly focused the one of the 10 inch lens is 0.084th of an inch
(or 2.12mm) behind the focal plane. Had we left it in the focal
plane, the image would have been anything but sharp. The size of
the image of the pole, incidentally, is about 3 inches high.
The screen of the Elmar lens, however, had to be moved only
0.0033th of an inch (or 0.085mm). This is not much more than the
thickness of a sheet of paper. Therefore it is not surprising that even
as long as this screen was left in the focal plane, the image was still
remarkably sharp. As to the size of the image of the pole, which the
Elmar has formed, it is only 5/8th of an inch high.
Fig. 53 Boardwalk, Coney Island
Summar 50mm, 1/60, f :11, E. K. S. S. Pan Film
Richard Statile
71
This experiment will convince you that the Elmar lens of the
Leica camera forms images of greater depth of focus. The image of
the sun (many millions of miles away) was practically in the same
plane as that of the telegraph pole which was only 100 feet from the
lens. But now remember figure 48 where the rays coming from one
object point converge to a small spot and then diverge. As you move
the screen farther away from the lens, the rays from this object point
occupy a larger and larger area. At the same time the cone of rays
from a nearer object point would still be in the process of converging.
You must also remember that the image which a lens forms of a point
even in the plane of maximum sharpness is never a true point but a
small disc (circle of confusion). Thus we can illustrate the entire
situation in a diagram shown in figure 54.
Point P is imaged at P3 where the image occupies a circle of confu
sion of the diameter A — B. Point P17 nearer to the lens, is imaged
farther away so that in the plane I— I the rays are still as far apart
as A — B. The geometrically correct plane of the image of point Pj
is farther away, at P4.
On the other hand, point P2, farther away from the lens than
P is imaged closer than P3 and in the plane I— I the rays have di
verged so much that they occupy the area A — B. The total effect is
that on the film held in the plane I — I the images of all three points
are equally sharp and as sharp as the limit of resolving power of
the lens.
If you have understood this relation, you will be able to answer
the question: what happens when the iris diaphragm is closed fur
ther? The angular aperture of the image-forming cones of rays
becomes smaller and the rays converge and diverge less rapidly. Thus
the depth of focus increases. This is shown in the diagram of
figure 55.
To summarize: Lenses of shorter focal length have greater depth of
focus. The depth of focus of a lens of given focal length increases when
you close the iris diaphragm.
Depth of Focus Scale
As mentioned before we find on the lens mount a scale with numbers,
the meaning of which we have not yet explored. All we know is that these
numbers refer to different apertures of the iris. But at the base of the
lens mount, there is a beveled ring on which from one center index mark
to both sides we find the same numbers as on the iris scale. These numbers,
in connection with the distance scale on the lens ring enable you to read
the depth of focus for each aperture of the iris.
You can close the iris to the mark f :4.5, focus the lens to an object
which is 20 feet away and the depth-of -focus scale informs you that now
even objects as close as 14% and as far as 32 feet are in perfect focus.
72
Lenses
If you make intelligent use of this depth-of -focus scale, you can greatly
enhance the quality of your pictures. It is not always advisable to have the
greatest depth of focus possible. In a portrait, for instance fine effects can
be obtained by intentionally reducing the depth of focus, so that everything
except the features of the subject is out of focus. Thus the attention of the
spectator is at once directed to the subject of interest.
Even in other cases you can make good use of the scale. If on your
honeymoon you want to take a picture of your bride at Niagara Falls you
might be equally interested in showing the beauty of the falls. If you set
the iris to f :9 and your bride is 15 feet from the camera which is correctly
focused for this distance, everything from 9% to 35 feet is in focus but the
falls which are farther away, are not sharp. But if you consult the depth-
of -focus scale you may learn that with the iris at the same stop, the same
distance from the camera to the bride but the focusing mount set to a dis
tance of 27 feet everything from 12% feet to infinity is sharp. You have
sacrificed the foreground for the benefit of the background. Many photog
raphers do not realize the full significance of this possibility to correctly
"place" the range of depth of focus.
Fig. 54 Depth of Focus with Iris Diaphragm Open
Fig. 55 Depth of Focus with Iris Diaphragm Closed
At this place it is advisable to draw attention to the fact that the
depth-of-focus scale should not be taken too literally. You must realize
that the smaller the circle of confusion, — or to express it differently, the
sharper the image or the better the correction of the lens, — the smaller is
the range of depth of focus for a given aperture. The scales are mostly
based on an assumed size of this circle of confusion which is still small
enough to permit enlargements to about 8 x 10 inches. It was mentioned
before that upon closing the iris, the actual resolving power increases.
Quite a number of other factors, such as the thickness of the emulsion on
the film, etc., have to be considered. Therefore, the actual range of maxi
mum sharpness (especially at smaller aperture of the iris) is not identical
with the depth of focus indicated on the scale although even within this
latter range, the sharpness is still satisfactory.
73
If on the other hand your best friend wants to get your goat by boast
ing that his lens of the same focal length and the same aperture has a
greater depth of focus, don't be jealous, just pity him because either he lies
or he admits with his boast that his lens is not as well corrected as yours.
Thus we conclude our investigation regarding the depth of focus
and direct our atention to the other function of the iris diaphragm.
The regulation of the amount of light which passes through the lens.
Exposure Variations
It is quite easy to comprehend that if we close the iris diaphragm,
less light passes through the lens. But this knowledge alone is of
little help to us. Suppose we had to close the iris to one-half of its
original aperture in order to have enough depth of focus in the pic
ture; how much do we have to increase the exposure? Rather than
try until we hit by accident the right time of exposure, let us analyse
the situation. Figure 56 helps us in our investigation.
1
n
m
Fig. 56 Principle of "Relative Aperture"
Four rays, marked I to IV come from a distant point. If the iris
diaphragm is fully open, the entire amount of light between the rays
I and IV is collected by the objective. But the diagram shows only
a cross section of the lens. Actually these rays would fill an area
represented by the circle No. 1 at the left side of the diagram.
If we close the iris diaphragm to one-half of its original diameter
only light within the cone of the rays II to III filling the area of the
circle No. 2 would be able to pass through the lens. Although this
circle has one-half the diameter of that of No. 1, you will remember
that the area decreases with the square of this ratio. Thus only one-
quarter of the original amount of light passes through the lens when
the iris diaphragm is closed to one-half. Closing it further to l/3rd
of its original aperture would, of course, reduce the intensity to
l/9th, etc.
74
Lenses
Bealizing this we could make a scale which carries the number
1 when the iris is fully open, number 4 when the iris is closed one-
half, number 9 when it is closed to l/3rd, etc. These numbers would
indicate the increase in exposure necessary when the iris is partly
closed. But this would not fully solve our problem. Suppose you
want to compare your Elmar with the lens of one of your friends who
happens to own a 5 x 7 camera. His lens has a much larger diam
eter. Does it collect more light when the iris diaphragm is fully
open? Comparative exposure data may show that even with the iris
so far open that the actual diameter of the cone of light entering
his lens is twice that of your lens, he requires longer exposures.
What we need is an absolute system so that we can compare the light
transmitting power of lenses of different focal lengths.
Do not forget that the lens of the 5x7 inch camera, having a
focal length of 10 inches, also forms relatively larger images. If, for
instance, a lens of different focal length has twice the diameter of
your Elmar but objects at identical distances are imaged twice as
large, the greater amount of light passing through the larger lens is
also spread over a larger area (this area too increasing with the
square of the size of the image) so that the actual intensity in each
point of the image is the same as that in the image of your Elmar.
Both lenses have the same light transmitting capacity.
In other words, the actual diameter of the lens is no usable
measure for the amount of light collected by it. "We must compare
it with the focal length of the lens which, as you know, also deter
mines the size of the images. The ratio : focal length divided by the
effective diameter of the lens has therefore been introduced as the
standard measure for the light collecting power of the lens. The
increase in exposure when closing the iris diaphragm can always be
found by comparing the squares of these ratios.
A practical example will illustrate how you must proceed: The lowest
figure on the aperture scale of the Elmar lens is f :3.5. Since the focal
length of this lens is 50mm, the actual effective diameter of the lens is
50:3.5 (or 14.3mm). How much longer do you have to make the exposure
if you close the iris diaphragm to f:4.5? Divide the square of 4.5 (or
20.25) by the square of 3.5 (or 12.25) and you will find that with the
smaller aperture you must expose 1.67 times as long. If in the first case
(iris at f :3.5) you had to give an exposure of 1 second, you must expose
1.67 seconds with the iris at f :4.5 in order to obtain a negative of the
same density.
But if you have once established the correct exposure for certain light
conditions and a definite relative aperture of the lens (for instance f :4.5)
you can give this exposure to any photo, regardless of the focal length of
the lens. The Hektor 135mm at f :4.5, the Elmar 90mm at f :4.5, the Sum-
mar 50mm at f :4.5, the Elmar 35mm at f :4.5; all these lenses at these aper-
75
tures require the same time of exposure. Stick to this rule, even if super-
sensitive experts tell you that they have discovered minute variations in
densities of negatives thus taken. The latitude of the film will protect you.
Also remember that the effective diameter of a lens, even when
the iris diaphragm is full open, is not equivalent to the diameter of
the first element in the lens but to the diameter of the cone of rays
in an optical reference plane called entrance pupil. The size and
shape of the first element depends entirely upon the plan of design
of the lens and can vary even if the light transmitting power re
mains constant.
Perspective and the Various Leica Lenses
Before we discuss the merits of the various objectives for the
Leica camera, a few words must be added in regard to the perspective
in a photograph because the focal lengths of these lenses vary from
28mm to 200mm and sometimes you may be in doubt whether you
should go close and use a short focus lens or take a lens of longer
focal length and go farther away from the object until you see the
same relation between image and frame size in the field of the view
finder.
We have seen that the focal length of the objective determines the size
of the image of any object at different distances. It is to our advantage
if we become acquainted with the exact mathematical relation between the
focal length, the object distance, the size of the object and that of the image.
This relation can be expressed by the following equation:
0 D — f
I f
the symbols finding their interpretations as follows:
0 = size of the object
1 = size of the image
D = Distance of the object from the lens
f = focal length of the lens.
This fundamental equation should remain in the memory of every pho
tographer because he can derive great benefit from it. The left side repre
sents the ratio of reduction in the image. Here is how you can apply it:
Suppose you have obtained permission to photograph the animals in
the zoo. There is a beautiful lion which you wish to photograph. The bars
of the cage are about 15 feet from where the lion generally reposes. Which
objective should you take along so that you can hold the camera between the
bars of the cage and snap the picture without wasting space on the negative
for the empty cage?
The lion is 6 feet long (72 inches) and the longer side of the negative
is 1% inch. The ratio of reduction must be 72 : 1% or 48 : 1. The object
distance is 15 feet (180 inches). The equation tells you that the objective
which you should use must have a focal length of 3.6 inches or about 90mm.
76
Lenses
Shadow Dance
Hektor 73mm lens, 1/40 second at f:1.9, Agfa Superpan film
Gilbert Morgan
77
But we can gain more valuable information from this equation. You
know that objects which are far away appear small and those which are
close appear large in the picture. This accounts for the perspective in the
picture.
The ratio at which the image size decreases with increasing object
distance likewise depends upon the focal length of the lens and can easily
be determined with this equation.
Suppose you want to photograph the telegraph poles along the road
side. They are about 20 feet high. The first pole is about 75 feet from
where you stand and the distance between each following pole is 75 feet.
At first you take a photograph with the 90mm lens. The equation tells us
that the image of the first pole is 24mm high, that of the second pole is only
12mm high or one-half the size of the first one.
Now you change to the Elmar 50mm, but you remain standing where
you were. On this negative the first pole appears as an image of only 13mm
and the second one is about 6% mm. Although both images are smaller the
second pole appears again at one-half the size of the first one. From this
experiment we learn that: lenses of different focal lengths, used for photo
graphing from the same distance show identical perspective in the image
but different ratios of reduction. The smaller the focal length the greater
the ratio of reduction.
But when you use the 50mm Elmar you can go closer to the first
pole until its image is again 24mm high. You must now approach it until
you are only 41.7 feet away. But now the image of the second pole is only
8.6mm high or only slightly more than l/3rd of the size of the first one.
From this experiment we learn that: lenses of different focal lengths used
for photographing so that the ratio of reduction of the image of one given
object remains the same, show different perspective. Lenses of shorter focal
length yield images with more pronounced perspective.
If yon hold side by side the two photographs of the telegraph
poles taken with the 90mm Elmar and the. 50mm Elmar from differ
ent points of view so that the first pole in both, cases is equally long
in the pictures, you may want to know which of the two has more
natural perspective. The general problem involved is somewhat com
plicated because various factors are involved. For instance, we must
give consideration to the size of the enlargement and the distance
from which we look at it. But in general we may assume that an
enlargement of 5 x 7 inches is held about 10 to 12 inches from the eye
and as the size of the enlargement increases we also increase the dis
tance from which we view it.
Under these conditions the most favorable focal length of a
lens for the negative size of the Leica camera is 50mm. A lens of
this focal length will yield images of the most natural perspective.
It is, therefore, not surprising that this is the focal length of the
most popular Leica lenses.
Only if you want to photograph from a rather close distance, as
in portrait photography, it is advisable to select a lens of slightly
longer focal length. As we come too close to the subject, the size of
78
Lenses
the image increases so rapidly that there is a tendency for the image
of the closest features to be unproportionally larger than that of the
farther features. Then you obtain pictures where the nose is large
and the ears are too small. Such portraits are not flattering. Some
photographers are of the erroneous opinion that for portrait photog
raphy the miniature camera is altogether unusable. This assumption
is wrong. In fact, the miniature camera can produce portraits with
a perspective which is identical to that which we find in portraits
taken with cameras of larger negative size. A lens of about 73 to
90mm will do the trick. If we select an objective of still longer focal
length, the portrait will even lack in "plasticity" and the faces will
appear too flat.
We have gradually acquired knowledge about some of the most
fundamental principles of photographic lenses in general and can
appreciate the special requirements of lenses suitable for miniature
cameras. The family of Leica lenses has grown steadily and we may
summarize our knowledge by discussing each of them.
Fig. 58 The Leica Camera Together with the Various
Interchangeable Lenses
79
With, the exception of the 28mm and 35mm lenses each of the Leica
lenses bears a separate index mark (indicated by the letter R) for setting
the lens when engaging in infra-red photography. The infra-red rays, to
which certain special films are sensitive, do not unite with the visible rays
in forming an image. When using infra-red films and filters the lens is
first focused in the normal fashion and then the focusing mount is turned
to bring the special R index mark at the point formerly occupied by the
regular index mark.
The Hektor 28mm f:6.3
This lens has the shortest focal length of all available for the Leica
camera; as such it yields pictures having the greatest depth of focus.
Even with its diaphragm wide open at f:6.3 when fixed at infinity the
range of sharpness of this lens will include everything from infinity to
within as little as 12 feet from the camera. Incidentally, the short focal
length of this lens accounts for the great reduction in size of the image
of objects that are apparently near the camera. This power of reduc
tion permits us to cover a much larger field and to crowd more things
into a single frame of the Leica negative. The lens actually collects
rays within an angle of 76° into the frame of the negative. It is distinctly
a wide angle lens. The perspective which is quite accentuated offers attrac
tive possibilities to the skillful photographer especially on account of its
almost unlimited depth of focus. These two factors: rapidly receding per
spective and depth of focus are very useful in the treatment of architectural
subjects. The "super speed" photographer may consider this lens slow
because its largest opening is only f:6.3. One should realize, however,
that for a specifically wide angle lens having such extremely short focal
length, yielding images so completely free from distortion — the aperture
of f :6.3 may be considered an achievement of optical craftsmanship. The
lens comes in a non-callapsible mount, its short focal length making this
possible. A special view finder which renders a clear and brilliant image
of the field is available for this lens.
Fig. 59 The Hektor 28mm Wide-
Angle Lens with its Special Bril
liant View Finder,
The Elmar 35mm f:3.5
This is another member of the wide angle lens family which covers
an angle of view of 65°. While the angle of vision is somewhat smaller
than that of the Hektor 28mm, this is amply compensated by greater
light collecting power of its comparatively large aperture of f :3.5. Pic
tures made with this lens have considerable depth of focus and their
perspective is more nearly approaching that of normal vision. These
two features of the Elmar 35mm lens make it an ideal medium for
snapshooting. Set for infinity, with its diaphragm slightly stopped down,
it requires almost no focusing. From the depth of focus scale we know
that with the diaphragm set for f:6.3, when the lens is focused for 30
feet, the range of sharpness will extend from 10 feet to infinity. Thus
80
Lenses
focused, the camera can be kept in constant readiness in the pocket
or in the Eveready case. Due to its short focal length the lens does
not need a collapsible mount and protrudes only slightly beyond the
body of the camera, rendering it very handy for quick work. Though
its field of view is adequately covered by the Vidom Universal View Finder
so many people find it more convenient and expedient to use in connection
with this lens the special small view finder available for it. It fits snugly
into the clip of the camera upon the range finder, combining maximum
convenience with minimum of bulk. For general outdoor photography the
speed of f :6.3 is quite adequate. If candid photographs have to be made
in artificial light, when critical focusing may require more time than is
available — the lens can be left wide open and set to an approximate focus.
The aperture of f :3.5 is often sufficient to secure usable negatives even in
artificial illumination if super-sensitive film is used.
Fig, 60 Elmar 35mm
f:3.5 Lens with its
Special View Finder
which fits into the
camera clip.
The 50mm Lenses
The Elmar 50mm f :3.5 This is the lens which made the Leica camera
famous. The sharpness of the pictures taken with this lens was responsible
for the immense success of the Leica. It may be remembered that more
than 35,000 Leica cameras were sold before a model with interchangeable
lenses was offered. The Elmar 50mm is still the best standard lens upon
which you can build your equipment. This lens really set a new standard for
the correction of the optical equipment of cameras and carries a great share
of the credit for having put across the idea of miniature photography. The
Elmar plan of design was later on used for three other Leica lenses of 35mm,
90mm and 105mm.
Fig. 61 Elmar Fig 62 H e k t o r
50mm f:3.5 Lens 50mm f:2.5 Lens
The maximum sharpness in the negative prevails when the objective
is stopped down to about f:6.3 or f:9; and upon closing the iris further
there is no noticeable decrease of sharpness in the negative.
The depth of focus of this Elmar 50mm is still remarkable, and it was
with this lens that the surprising possibilities of miniature cameras in
combining speed of the lens, depth of focus and sharpness of the negative
were first demonstrated so successfully to the public, who became at once
enthused about miniature photography. The perspective of its pictures is
81
natural. The lens can even be used for portrait photography, although in
cases where extreme close-ups are taken, it should not be used, unless you
make use of a simple trick. Place the subject somewhat farther away and
when you make the enlargement, use only 2/3rds of the center portion of
the negative.
In summarizing the merits of this Elmar 50mm, one point should not
be forgotten: the price question. Before the Leica appeared, an objective
of an aperture of f :4.5 for a large camera was considered extremely fast,
because faster lenses were hardly obtainable. Faster lenses were not made
because their price would have been so prohibitive that there would
have been no market for them. Only when the Leica with its objectives of
short focal length made its debut, faster lenses became accessible for the
amateur.
The Hektor 50mm f :2.5 This lens differs from the Elmar of the same focal
length in two respects: in the first place, the name implies that it is built
upon a different plan of design, and secondly it has a higher speed. It was
the thirst of the amateur for still more speed which was to be satisfied with
this new type lens, and this higher speed necessitated a new plan of con
struction. The difficulty before the lens designer was great indeed. The cry
for more speed did not indicate whether the amateur knew how much more
expensive a good lens of this type would have to be. The step from f :3.5 to
f :2.5 means an increase of speed 100%. You may know that if the top speed
of 'a car would have to be doubled, it would become necessary to design a
new model which may be three to four times as expensive. Such margin
was not available for the lens designer. The speed increase would have to
be gained by making a sacrifice in some other respect. If we follow the
historical course of events we must not forget that when the Hektor 50mm
was created an enlargement of 5 x 7 inches was considered rather a satis
factory size. Strange, how quickly fashions change! Prom the short skirt
to the long skirt was hardly more than a year. From the 5x7 enlargement
to the monstrous size of 16 x 20 from a Leica negative was only a few
years !
But the Hektor 50mm with 100% increase in speed and a slight de
crease in sharpness at full aperture, was so designed that even if the iris
was closed only to f :4.5 or f :6.3 the sharpness equalled if not surpassed
that of the pictures of the Elmar 50mm. And furthermore, this lens has
one other slight advantage over the Elmar. Its plan of design made a
slightly higher color correction possible. Critical and impartial amateurs
may have noticed slightly superior results with the Hektor 50mm over those
of an Elmar 50mm when using panchromatic films.
In spite of these advantages and a moderate price the Hektor 50mm
lost some of its popularity as soon as a faster lens became available,
although at a still higher price.
THE SUMMAR 50mm f :2 This lens must be considered as a triumph of the
science of optics. You will remember that the quality of a lens can be
judged by finding how much the iris diaphragm can be opened with benefi
cial increase in sharpness of the picture. When we come to as high an aper
ture as f :2 we may be satisfied by seeing how little the sharpness decreases.
The Summar 50mm at this high aperture yields images so sharp that even
when enlarged to the size of 8 x 10 inches the smallest detail is still beyond
the limit of resolving power of the human eye if the photo is held 10 inches
from the eye.
82
Lenses
With the iris diaphragm fully open the speed of the Summar 50mm
is three times as high as that of the Elmar at its best. This speed is
enough to enable the photographer to take photos even under extremely
unfavorable light conditions. Thus it was with this fast lens that the
Leica camera conquered another field: candid and stage photography.
Fig. 63 Summar 50mm Fig. 64 The Xenon 50mm f :1.5
f :2 Lens in Collapsible Superspeed Lens
Mount
The Xenon 50mm, f :1.5 On the point of an ultra-speed lens of
50mm focal length the Summar is now superseded by this new ob
jective, which is about 75% faster than the Summar. However, it
is larger and heavier than the Summar and is supplied only in a
rigid mount, whereas the other 50mm lenses have collapsible mounts.
The range of the diaphragm is from f -.1.5 to f :9.
The lens is finished in beautiful and durable chromium and its
mount is so designed that its rotation for critical focusing can be
accomplished either by moving the regular locking thumb-knob or
by grasping the outer knurled collar of its mount. Some people find
that the latter method assures smoother operation. This lens should
gratify the yearning for high-speed lenses of even the most radical
speed fiends for some time to come.
The Hektor 73mm 1:1.9
This lens has a slightly noticeable softness at full aperture. But
this trace of lack of sharpness is very much less pronounced than
that in its cousin of 50mm focal length. Such improvement could be
accomplished because in the plan of design of the 73mm lens it was
preferred to place perfection of correction before the necessity of
a low price.
The lens is one of the best among those offered for the Leica
for the purpose of portrait photography and here this minute effect
of softness is rather a benefit. In portrait photography the smaller
range of depth of focus which results from the longer focal length
83
and higher, speed is also an advantage because the subject of interest
can thus stand out more distinctly against the blurred background.
"With the diaphragm closed to f :4.5 or more, the sharpness of the
pictures obtained with the Hektor 73mm also surpasses that of the
pictures taken with the Blmar 50mm, especially when panchromatic
film is used.
Fig. 65 Sport Finder for the 90mm Lens
with Parallax Adjustment
Fig. 66 Hektor 73mm f:1.9 Lens Fig. 67 Elmar 90mm f:4 Lens
The Elmor 90mm f:4
The general characteristics of this lens need hardly be enumerated
because they are evident from the preceding general remarks. In regard
to sharpness it fulfills every expectation. The depth of focus is naturally
smaller than that of the Elmar 50mm. But in outdoor photography the
lens will mostly be used for longer distances and then the depth of focus is
sufficient for all purposes. Its speed is high considering the rather long
focal length. It is also an ideal objective for portrait work.
Due to its price, which is lower than that of the Hektor 73mm, the
Elmar 90mm may also deserve preferred consideration in completing a
lens equipment. With three lenses, of 35mm, 50mm, and 90mm focal
length, almost any task can be fulfilled.
The ThomBor 90mm f:2.2
Undoubtedly this lens will contribute considerably towards a successful
invasion of the field of Portrait Photography with the Leica camera and
will convince those who still have serious objections to portrait photography
with this small camera. Its focal length is ideal for portrait photography
and its extremely high speed offers three distinct advantages. In the first
place, it permits a reduction of the depth of focus which is often necessary
in portrait photography when we wish to have the subject stand out against
a soft or unsharp background. Secondly, this high speed of the lens permits
shorter exposures or less light, so that even under unfavorable light condi
tions it may be possible to take snapshots. This is an important point if we
84
Country Drive
Elmar 35mm, 1/60, f :9, S. S. Pan Film
Paul Wolff
85
aim for natural and imposed expressions of the subject and wish to avoid
the somewhat self-conscious and lifeless artificial effects which are so often
found in posed portraits.
Finally, the high relative aperture and the very peculiar and entirely
novel plan of design of this lens make it possible to obtain a soft focus
effect which can be varied within wide limits. The means which are avail
able for this purpose are somewhat unusual and quite ingenious. Since
aside from the well known means of increasing the sharpness of soft
focus lenses by closing the iris diaphragm (thus reducing the amount of
spherical aberration, which the marginal rays cause, and which produce
the soft focus effect) there is also the possibility of eliminating the rays
in the center by introducing a so-called "center spot."
This "Center Spot" is introduced over the
front of the lens by means of a disc of opti
cally fiat thin glass in a screw-in mount which
has a small semi-opaque spot in its center,
which "closes'7 the center of the lens to all
light. This method of obtaining a soft focus
creates very pleasing effects in portrait pho
tography as well as general photography with
back light. The "Center Spot" cannot be used
beyond diaphragm opening f :9 since then an
image of the "Center Spot" will be reproduced
on the film.
When this lens is "stopped down" further,
the image will be really crisp and sharp so
that the Thambar can also be used for regular
landscape photography and other purposes.
Fig. 69 The Thambar These features and the agreeable fact that the
90mm f :2.2 lens with its Thambar is relatively low priced (considering
"Center Spot" Disc in a its very high relative aperture) make it a use-
Screw-In Mount ful and versatile Leica lens.
The Elmor 105mm f:6.3
In many ways similar to the 90mm lens, this Elmar may be preferred
by the tourist who wishes to economize in weight of equipment and needs
the longer focal length for photography at long distance. The lower speed
is not directly objectionable because when you take a picture from the peak
of a mountain to the next you usually have ample light at your disposal.
(The production of this lens has been discontinued.)
The Hektor 135mm f:4.5
This is decidedly a lens for long distance photography. Although still
usable for portrait work, the critical judge may notice a certain flatness
(lack of third dimension) in portraits taken with the Hektor 135mm.
These lenses of long focal length are sometimes called Teleobjectives.
The expression is misleading, to say the least. The term actually refers to
a type of long focus objectives with a very definite plan of design, consist
ing of a combination of a convex lens system. As you will remember, the
Hektor type has improved color correction, and at apertures not exceeding
86
Lenses
f :4.5 it yields images of perfect sharpness. Those who use panchromatic
or infra-red sensitive film with red or infra-red filters may find the Hektor
135mm the best lens for long distance photography.
Fig. 70 Hektor 135mm f :4.5 Lens
The Telyt 200mm (8 inch) f:4.5
This new lens is a Tele-Objective in the full sense of the term
(a true TELEPHOTO lens). It is so designed that the distance
between the film plane and the lens is shorter than the focal length,
a feature which is characteristic of the Tele System on which this
lens is based. This is obtained by introducing a negative lens element
back of the positive lens element. Thus, while the focal length of
the Telyt is 65mm longer than that of the 135mm lens its barrel is
only 3.3mm longer. It will be remembered that the Hektor 135mm
lens is not built on the principle of the Tele System but is a regular
anastigmat of long focus. The Telyt is the first Tele System objec
tive in the series of Leica lenses. Its correction is excellent so that
it produces images entirely free from distortion. Particular atten
tion was given to chromatic correction which makes the lens available
for long distance photography with panchromatic and Infra-Red
film in connection with red and Infra-Red filters. Excellent results
may be expected in this type of work. It should be remembered,
however, that for long distance photography clear atmospheric con
ditions are quite essential. While aerial haze can be overcome with
the aid of haze-cutting filters, it is almost hopeless to attempt to
photograph across so-called "heat-waves" or heat currents caused
by rapidly rising layers of air heated by sunrays or by heat reflected
from the ground. Such conditions cause local variations of the
refracting power of the air, resulting not only in decreased sharpness
of the photographic image but frequently in its complete distortion.
The long focal length of this lens made it possible (and necessary) to
equip it with a special mirror reflex focusing device contained in a small
and compact dice-like box which is attached directly to the camera. For
this particular lens such a method of focusing was preferred to the direct
coupling to the automatic range-finder. It combines the advantages of
extremely accurate focusing with the convenience of viewing the entire
picture on the ground glass of the mirror reflex box through a 5x or a 30x
magnifier.
87
Best results can be obtained with the Telyt only if a good tripod is
used or if the camera and lens are otherwise rigidly supported.
The Telyt, as compared with the standard 50mm lens, yields a magni
fication of 4x. Its view angle is approximately 12°. Its focusing mount
permits direct focusing by scale from infinity to 9 feet. At 9 feet it covers
an area of approximately 12 x 18 inches. Special extension tubes are
available for this lens permitting close-ups down to a working distance of
4 feet from the camera, at which distance the lens will cover an area of 4
x 6 inches, yielding a magnification on the negative of approximately 4% x.
The basic principle of interchangeability of Leica lenses has been main
tained in the Telyt. The mirror reflex housing can also be used with other
Leica lenses, particularly with the Hektor 135mm, which can be supplied
in a special shortened mount (without the automatic coupling), which is
simply screwed into the reflex housing in place of the Telyt. When thus
used the lens is acting as a normal 135mm objective and can be used up to
infinity.
Fig. 71 Intermediate Extension Collar for Taking
Close-up Pictures with the Telyt 200mm Lens
Fig. 72 New Telyt 200mm f :4.5
Telephoto Lens. Shown Com
plete with Reflex Housing 5x
Magnifier and Synchronized Re
leases
Lenses
Two Photographs Taken
From the Same Position
with the 28mm Wide
kngle and the Telyt Lenses
Fig. 73 Photograph Made
with the 200mm Telyt
lens
Fig. 74 General Wide Angle View Obtained with the Hektor 28mm Lens
89
Using the Mirror Reflex with Other Leica Lenses
Other Leica lenses of shorter focal lengths are limited to close-
ups when used in connection with the reflex housing. If the focusing
mount of the respective lenses is set for infinity the resulting ratio
of reduction or magnification respectively (on the film) is as follows:
Lens : Focal Length Ratio of reduction (on film)
(lens set for infinity)
Hektor 135mm 1:2.2
Elmar 105mm 1:1.7
Elmar (_ 90mm 1:1.5
Thambar J
Hektor 73mm 1:1.2
Ratio of magnification (on film)
(lens set for infinity)
Elmar
Hektor 50mm 1.2:1
Summar
Xenon
Elmar 35mm 1.8:1
Hektor 28mm 2.2:1
For estimating correct exposure with these lenses, whose focal lengths
are reduced by their use in connection with the reflex housing, formulas
offered in the chapter on copying and close-up photography should be con
sulted. The length of the reflex housing (considered as an extension
tube) is 63mm.
Front Lenses and Close Distance Photography
The problem of photographing objects at close range can be
solved in two different ways: either we can introduce intermediate
extension tubes to increase the distance from the lens to the plane of
the negative, or we can reduce the focal length of the lens system by
placing front lenses before the regular objective.
The use of extension tubes directly on the camera together with table of working
distances, ratio of magnification etc. is described on page 230.
As WP see from the Front Lens tables, these auxiliary optical systems
permit the photographing of objects with the Leica camera "from 3^ feet
to 10 11/16 inches from the camera back. The smallest object which can
thus be photographed to fill the negative frame measures 3%x5 inches.
If we wish to compare the optical principle of photography with Front
Lenses and with intermediate rings, we must again recall a few optical
principles. It will be evident that if in figure 75 the object point would
have been infinitely far away, a practically parallel bundle of rays would
have entered the lens. We have neglected so far to mention that if the
lens is so designed that it will converge with the highest perfection any
parallel bundle of rays, it is by no means to be understood that this same
lens system will converge with the same perfection (although in another
plane) a divergent bundle of rays from an object point which is nearer
to the lens. In other words, a lens which will yield the sharpest imag:e
90
Lenses
without spherical aberration when the object is far away will not yield as
crisp an image when the object is close to the lens. As the object moves
from infinity to minimum distance of 3% feet the amount of divergence of
the bundles of rays entering the lens is quite negligible, but if the object
comes considerably closer the spherical aberration would become so notice
able that the images would suffer considerably in quality.
If we add a Front Lens to the Leica objective, we reduce the focal
length of the entire lens system in a peculiar way and we learn from the
tables that for instance through the addition of Front Lens No. 1 to the
Elmar 50mm we can set the focusing mount to infinity when the object is
only 39% inches away. The Front Lens converts the slightly divergent
rays into a parallel bundle so that through this addition the Elmar, in
order to photograph an object at 39% inches, yields an image of the same
quality as one photographed at infinity without the Front Lens. This
same principle is consistently applied so that with the Leica focused to
3% feet, we can photograph objects at an actual distance of 22 9/16
inches when we add Front Lens No. 1. The front lens tables give further
details.
What we have to cope with particularly when photographing at short
distance is the misbehavior of light which is called "spherical aberration."
We will recall that the marginal rays have a tendency to converge closer
to the lens than the rays passing through the center of the objective. The
marginal rays can always be eliminated by closing the iris diaphragm.
Since in close-up photography, every optimum of detail rendition is abso
lutely essential, we cannot afford to leave the diaphragm wide open but
have to close it to such an extent that through compromise of the small
remaining defects in a lens system which have been described before, the
actual sharpness of the image is most favorable. The front lens tables con
tain definite information how much the Leica lenses have to be stopped
down for the Front Lenses and various distances.
Object
Supplementary Front Lens Elmar lens
Fig. 75 Path of Rays in the Elmar Lens with Supplementary Front Lens
Another interesting fact relates to the f values of the regular Leica
lenses. As long as we use Front Lenses for close-up photography, original
f values retain their value because the actual light intensity gathered by
the objective and expressed by the so-called f value is represented by
the figures: distance from lens to image divided by the diameter of the
lens. Since the use of a front lens enables us to use the same focusing
mount at close distance we find that for photography of an object at 39%
inches with front lens No. 1 the distance from the lens to the film is the
sace as if we would photograph an object at infinity without the front
lens. It is therefore possible to measure the actual intensity of the object
with a standard exposure meter and compute the value for the respective
aperture of the lens at which we take the photograph.
These hints may be valuable for those who use the Front Lenses
and it may be added that these auxiliary optical devices are par
ticularly advantageous if we wish to obtain the crispest sharpness
91
and best detail rendition in flat objects within the range of distances
indicated in the Front Lens tables. The question of photography
at -still closer distances is covered in Chapters 11, 20, 21, 22, and 23.
Proper Care of Lenses
It seems advisable to conclude with some suggestions relative to
the care of the miniature camera lenses. All lenses are made with an
accuracy which can hardly be found in any other piece of manu
factured goods. The lens surfaces must be so smooth and so accu
rately spherical that even a deviation of l/100,000th of an inch
would affect their performance. It is quite evident that such a delicate
and accurate piece of equipment requires special care and can easily
be ruined by careless handling.
The first rule for the care of lenses is therefore: keep the lens
surfaces free from dust and other impurities. When the lens is at
tached to the camera and not in use, see to it that it is covered with
the lens cap. When the objective is removed from the camera, use
the dust cap to close the other side so that the lens surfaces are not
exposed and no dust can collect on them.
Should the surfaces show deposits of dust or other impurities,
do not try to remove it by rubbing the surface with your fingers.
You may wipe the surfaces with a piece of silk cloth or with a piece
of lens paper. You may also use a fine camel-hair brash. In any
case it is imperative that the surface be wiped very gently. The
dust in the air is full of little abrasive particles which could scratch
the surface of the lens. The smallest scratch is in comparison to
the length of a light wave like a deep and wide trench, since a light
wave is as small as l/50,000th inch. You may secure a small bottle
of xylol and a package of lens paper and always moisten the paper
in the xylol when cleaning the lens surfaces. In wiping the lens,
have the paper make a circular motion.
If a lens surface is once scratched, it is not possible to simply
repolish this surface because such action would make the entire lens
thinner and would affect the optical performance. Only a replace
ment of this lens can fully repair the damage.
Under no circumstances should the photographer try to take the
lens apart, Such warning may seem unnecessary to many miniature
camera owners, yet it is given in view of experiences which have
repeated themselves only too frequently. A photographer may try to
insert a color filter betwen the lens elements, may try to clean the
inside surface or find another excuse for satisfying' his curiosity and
92
Lenses
take the lens apart. He will be sadly disappointed when he finds out
how hard it is to reassemble the lens so that no dust remains inside.
The lenses are assembled by the manufacturer in rooms which are
absolutely free from dust and special instruments are used to keep
dust from the insides of the lens.
Sometimes lenses show a few very minute bubbles in the glass.
These are not objectionable. The area of one bubble in comparison
to that of the entire lens surface, is very small and whatever small
amount of light is thrown off its course by this bubble is by far too
minute to caiise any photographically recordable light impression. A
long scratch over the lens surface is much more serious.
Altogether the photographer in trying to repair a lens should re
strict his activitiy to a minimum. As long as the objective is kept
closed by lens and dust cap no danger of serious trouble will ever
arise. If something irregular comes into evidence, the objective
should rather be sent to the manufacturer.
Fig. 76 Off the Eecord
Summar 50mm, 1/500, f :4.5, S. S. Pan Film
Arthur A. Gleason
93
Harvest Time
94
Paul Wiolff
COLOR FILTERS
HENRY M. LESTER CHAPTER 4
A filter is a medium which allows light rays of a certain kind to
pass through, while it is more or less impervious to others. From its
very definition, it appears that its function is purely subtraetive: it
adds nothing in the way of illumination; it merely eliminates from
light certain qualities which may be undesirable. This is the reason
for the increase of exposure generally required when filters are used.
Thus a filter should be looked upon as just another means of con
trolling light and illumination in addition to the others at our dis
posal. These are the shutter . . . for control of the length of time dur
ing which the light is permitted to reach the film; the lens diaphragm
. . . for cantrol of quantity and optical quality; the filter . . . for
Control of color quality or intensity. Additional means of light control
are available in the form of reflectors and diffusers.
Photographic color filters are usually made of glass. The coloring
which renders it capable of absorbing certain colors of light, while
allowing others to pass freely, is imparted to it by several methods.
Certain dyes are mixed with the glass in its molten state, thus render
ing it colored before polishing and shaping. This provides the most
satisfactory type of filter for use directly on the camera lens, it being
thin, uniform, color-stable, and unaffected by changes of temperature
and climatic conditions. Only breakage or scratches on the surface
will impair its usefulness.
Color filters are also prepared by coating gelatin containing a
given quantity of an organic dye upon optically flat and otherwise
prepared glass, and after drying, stripping this film from the glass.
The film is then cut to any size or shape and mounted between two
pieces of optically flat glass by means of a special cement (Canada
balsam) under heat and pressure. This type of filter requires greater
care in handling than the solid glass type. Improper handling, contact
with water, alcohol or high temperatures will render it useless.
Humidity or exposure to direct action of sunlight also causes deteriora-
95
tion. This type of filter should never be selected for use in the tropics
or for sea travel. However, for use in a temperate climate, with care
ful handling, it will prove entirely satisfactory. Gelatin filters are
available in a far greater number of colors than solid glass filters, and
being less expensive, are to be recommended for special purposes and
experimental work.
Still another type of filter is obtainable in the form of a so-called
water cell, which consists of a glass container having two parallel
sides filled with distilled water into which the dye required is dis
solved. This type of filter is used especially in scientific work, such as
photomicrography, where it acts not only as a color filter, but also as
a heat absorption filter. It is placed, not between the lens and the
photographed subject, but between the latter and the light source.
For the purpose of general Leica photography, we are concerned
only with the first two types of filters, either of which may readily be
slipped on and off the lens of the camera. Of these two, the solid glass
type filter is much the better for the Leica camera on account of port
ability. Gelatin filters have a definite place in the kit of the experi
mentally-minded worker, or one whose specialized work calls for an
endless variety of filters for tests and for other specific purposes.
Solid glass filters are to be preferred not only because of greater
stability and permanence, but also because of simplicity. Any medium
transmitting light affects its course to a greater or lesser degree,
Fig. 78 Mountain Scene
Ernst Schwarz
Elmar 35mm, 1/30, f:5, medium yellow filter, Agfa Superpan
96
Filters
depending upon whether it is optically flat. If it is, the disturbance
is negligible. The greater the number of media the light has to
traverse, the greater the disturbance of its course. Thus, when light
penetrates thin solid glass, it is affected only by the process of enter
ing it on one side, traversing its dyed mass and emerging on the other
side. Pure gelatin filters used without mounting between glass would
be just as effective were it possible to handle them in such form. But
a gelatin filter, cemented between two pieces of glass, requires the
light to pass through glass, Canada balsam, gelatin, Canada balsam
and glass again. Obviously it is simpler to produce a filter with two
piano-parallel (optically flat) surfaces than one possessing ten sur
faces meeting this requirement. Of course, this is merely a theo
retical, rather than a practical, objection, but it is frequently con
firmed in practice resulting in pictures of lesser sharpness and poorer
definition.
As a matter of fact, it should be known that filters actually affect
the sharpness of the picture, the type of the filter merely accounting
Fig. 79 Summer Solitude
Elmar 50mm, 1/100 sec., f:4.5, Filter: 23A, Du Pont Superior Film
John L. Davenport
97
for the degree of unsharpness. Theoretically speaking, the shorter
the wave-length of light, the sharper the image. Violet and blue
light, having the shorter wavelengths, are capable of producing
sharper images. If a dense filter is used which holds back the entire
amount of blue light, it permits only that light which has the longer
wave length to reach the film, with the resulting decrease in sharp
ness of the image. Moreover, some lenses are not so well corrected
for light of the longer wave length so that they cannot yield relatively
as sharp an image as that obtainable in the presence of blue rays.
In other words, the use of filters results in pictures of lesser sharpness
because the very element which contributes mostly to sharp images
has been eliminated or weakened.
What has been said about filters and their effect upon sharpness
of images should not be taken too literally. For practical purposes,
the effect of a good filter upon the sharpness of the image is, as a
matter of fact, quite negligible. Most of the objections are of a
theoretical nature based upon careful and painstaking comparisons
made under the microscope. The purpose of these objections is not
so much to discourage the use of filters as to produce a more in
telligent and judicious attitude towards their application in Leica
photography. Our nearest photographic relatives, the cameramen of
Hollywood, using almost the same negative material, employ filters
extensively. But their results tend only to confirm what has been
said: their knowledge of emulsions, plus their knowledge of filters,
yield results of rare excellence and quality.
It may not be amiss to qualify filters as the "necessary evil" of
miniature photography. They are something to be used if absolutely
necessary, but it would be better, whenever possible, to do without
them.
Undoubtedly, this very feeling prevailing among photographers
causes manufacturers of film to strive for those characteristics in
their products which gradually make the use of filters less essential.
When Fflters Should Be Used
Filters can and should be used if their choice and application
are made judiciously and not indiscriminately. They are intended to
establish and correct contrasts between various degrees of brightness
in the picture. The human eye has the ability to distinguish, not
only between light and dark, but also between colors. Colors pro
duce the sensation of various degrees of brightness. Since color
cannot be rendered through black and white photography, we make
it reproduce our sensations of the varying degrees of brightness in
98
FOters
Fig. 80 Mt. Hood by Moonlight E. D. Jorgensen
Elmar 50mm, % Hour Exposure, f :3.5, S. S. Pan
Note Movement of Stars During Exposure
terms of black, white and intermediate shades of gray. To com
pensate for the inability of the film to interpret things in terms of
degrees of brightness as does the eye, we use filters. It is important
to realize that ordinarily we would need no niters if the film repro
duced colors at the same scale of tonal values as the eye sees them.
This is important because film manufacturers strive to approach this
millenium, and modern film materials require the use of filters to a
much lesser degree than the older types of film.
Basically, color filters, as used in photography, can serve a two
fold purpose: to establish the balance of color values, or to upset
that balance. When the contrast between the various degrees of
brightness in the pictures approximates that perceived by the eye—
the balance is considered established. Depending upon the emulsion
used, it is then normal or corrected. When the contrast between the
various degrees of brightness is rendered differently from the
visual perception ... it is said that the color values, interpreted in
terms of shades of gray, are undercorrected or overcoirected. A
black sky or a dark gray sky with white clouds in a midsummer
landscape is an example of overcorrection, while a white sky with
light gray clouds in a similar picture would indicate undercorrection.
An intentional upsetting of the balance of color values may lead to
attractive effects. But the practice should not become a mania.
99
To be able to use filters correctly, to make them fill a definite
need and perform a definite task, the photographer must know the
film he uses, know its sensitivity to colors, know which colors react
more strongly on its emulsion and which should be suppressed and
retarded so that other colors may become equally effective. This,
in effect, is nothing less than handicapping one or more of the more
actinically active colors in favor of those which are "slow in getting
there. " Thus, if the film records blue too freely, some of it should
be held back. A yellow filter is used for this purpose.
A panchromatic film is, generally speaking, more evenly balanced
in its response to colors, but its sensitivity to green is slightly lower
than to other colors. To effect balance, all other colors must be
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Fig. 81 Effect of Filters upon Relative Color Sensitivity of Film:
A Typical Orthochromatic Emulsion (in Daylight)
suppressed or retarded slightly in order to give the green color an
opportunity to impress itself on the film. A certain greenish colored
filter is used for this.
The effect which filters have upon certain emulsions may be
clearly understood from the diagrams shown. These are not mathe
matically accurate, but they will help to understand the sensitivity of
different film emulsions to various colors, when a filter is placed before
a lens.
Nearly every film manufacturer publishes spectrographs of his
respective emulsions, which if properly read, indicate their relative
sensitivity to color. Some manufacturers have this information avail-
100
Filters
Fig. 82 Effect of Filters upon Relative Color Sensitivity of Film:
A Typical Orthochromatic Emulsion (in Mazda Light)
able in the form of numerical tables showing the relative sensitivity in
terms of per cent, 100 standing for " normal" color rendering.
In considering the use of filters, it is most important to realize
that even films of the same type but of various makes have different
characteristics regarding their degree of sensitivity to different colors.
Thus, an Orthochromatic film of one make will respond to certain
colors to a different degree than an orthochromatic film of another
make. The same applies to various makes of panchromatic films.
Fig. 83 Effect of Filters upon Relative Color Sensitivity of Film:
Typical Panchromatic Emulsion of Medium Sensitivity to Red (in Day-
light) 101
. 84 Typical Panchromatic Emulsion of Medium Sensitivity to Reel
(in Mazda Light)
Some manufacturers of filters supply spectro photometric absorption
curves of filters which show graphically colors which are transmitted and
absorbed by a given filter. A combined study of such data will yield ac
curate information as to what results may be expected from the use of
certain filters in connection with certain films. This information, how
ever, is not essential for the use of filters except in work of a very exacting
nature. For general use, working familiarity with a film and filter may
be gained by more practical methods.
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Fig. 85 Effect of Filters upon Relative Color Sensitivity of Film: A
Typical Panchromatic Emulsion of High Sensitivity to Red (in Day
light)
102
Filters
Fig. 86 Effect of Filters upon Relative Color Sensitivity of Film: A
Typical Panchromatic Emulsion of High Sensitivity to Red (in Mazda
Light)
Making Your Own Filter Tests
If a working knowledge of the properties of a film or filter is desired,
a series of exposures on the film with and without the filter is the best
means of getting it. Such exposures should be made with great care and
a record of conditions kept. The first exposure should be made without the
filter and should be based upon a careful reading of a reliable exposure
meter. The series of exposures should be carried out according to a defi
nite plan:
Film : Rated Speed:
Subject:
Exp.
No.
1
2
3
4 Blank Exposure
5
6
7 Blank Exposure
8
9
10
11 Blank Exposure
12
13
Light
. Daylight
Filter Meter Lens Shutter
Reading Aperture Speed
None
No. 2
1 sec.
f:6.3
1 sec.
1 second
2 seconds
4 seconds
5/2 second
l/4 second
2 seconds
4 seconds
8 seconds
1 second
1/2 second
103
Similar procedure may be employed for testing one or two other filters.
The exposed film should be developed in the developer customarily used.
The final proof of the test is in the finished print. The best print obtain
able should be made from the negative resulting from Exposure No. 1.
Prints from all other negatives should be made in exactly the same way,
the same paper used, the same degree of enlargement, the same exposure
given, the same developer and time of development. When these prints
are finished and dry, they should be compared and studied for color cor
rection, contrasts and detail rendering.
Such study will frequently yield surprising results. It may be found,
for instance, that best results may be obtained without the filter. Or that
the most desirable effect was produced when the filter was used without
increase of exposure. And then again, it may be that the picture was
most interesting when no filter was used, but the exposure halved.
Thus, for instance, it will be found by actual experience that if a
filter, primarily intended to suppress blue rays for which a given film is
too sensitive, is being used effectively in daylight, the same filter will be
found unnecessary for work in artificial light because of its more abundant
yellow and red rays. Obviously, there is no need to filter blue rays from
a light which is in itself deficient in that color. The same would hold
true of work in the late afternoon when daylight becomes more profuse
in yellow light. There would, ordinarily, be no need for a yellow filter.
It must be remembered, however, that although a filter is used to establish
a definite balance of color rendering, the use of the filter is superfluous
where that balance is present either in the light source or the subject.
Thus, if the sky is dark blue, even a light yellow filter will create a cor
rect color balance on a panchromatic film, and if it be a panchromatic
emulsion of high red sensitivity, no filter will be required to produce such
balance. If the sky, however, be pale blue or grayish blue, a more dense
filter would be required.
FHter Factors
To identify filters by means of their respective factors would be
meaningless, since no filter requires the same increase of exposure for
every film and for every light condition. For this reason, modern filters
are no longer designated by the symbol "x" following a number, like 2x,
3x, 4x, etc. These designations were intended to represent the increase
of exposure by two times, three and four times, respectively. Modern
filters are designated by their manufacturers either by a letter, number
or both, and each represents a medium of definitely known power of ab
sorption or transmission of certain rays of light. Consequently, filter
factor tables should not be taken too literally, for the best of them are
merely intended to give their relative power of absorption or transmission
regarding a definite emulsion. These tables should be used as guides only.
A definite familiarity with the properties of a film can be gained only
through practical application very much in the same measure as is the
case with emulsions, developers, papers, lenses, etc.
While color filters properly used offer a very flexible and definite
control of contrasts and tones, it should be realized that there are other
means with which certain effects may be produced. The making of prints
by enlarging rather than by contact offers an opportunity for holding
104
Filters
Fig. 87 Popocatepetl From Sacro Monte
Elmar 50mm, 1/60, f:6.3, Sky Filter, Panatomic Film
Charles R. Frazier
back the light from certain areas of the print while permitting it to
print through on other areas. This dodging or shading by means of a mov
ing hand, finger, piece of black paper, or cardboard enables the skilled
worker to produce quite remarkable effects on the finished print. Thus,
for instance, if one has a negative of a landscape on which a filter has not
been used, a negative possessing all detail and gradation in the foreground
but a corresponding over exposure and whiteness of the sky, the latter may
be successfully printed in or darkened to any degree desired by first expos
ing the paper for a length of time sufficient to bring out the detail of the
foreground and then interposing a piece of cardboard between the lens of
the enlarger and the portion of the paper containing foreground, letting
the sky print through. The exact technique of dodging and shading is de
scribed elsewhere. This point is mentioned here to assist any who may
have neglected to use a filter and who wish to improve a picture which
would otherwise appear b are and uninteresting from lack of an appropri
ate sky background.
Choice of Film and Filter
Those who lack experience in selecting a film and a filter to go with
it to produce certain effects will be well served with Viewing Filters.
These are strictly, as their name implies, visual filters and should never
105
be used for actual photography. They consist of discs or squares of
colored glass or gelatin mounted between glass. Colors, when viewed
through them, are considerably dulled and impress the eye in terms of
their relative brightness and contrast of tone, approximating the interpre
tation of the film. These visual filters are available in the form of
monocles, or regular spectacles. By looking through them, the photog
rapher is in a position to anticipate the effect upon the film before ex
posure. For work on orthochromatic emulsions deep blue filters are used,
while panchromatic emulsions require either a muddy yellow or greenish
visual filter. By far the most practical and economical visual filter guide
for the purpose can be had in the form of an inexpensive Filter Test Chart,
furnished by the Eastman Kodak Company. This chart contains eight
transparent samples of the most popular contrast filters and four test
filters (blue, green, yellow and red) through which subjects may be viewed.
If the subject, as seen through the monochromatic filter, appears to
the eye so that one can distinguish the different degrees of brightness of
the various colors, the film and filter indicated under that viewing filter
should be used to secure such rendering. If one cannot distinguish the
various colors, the subject should be viewed through another filter, and so
on. One of these will be found to give the desired color correction. Con
siderable knowledge of rendering color contrasts may be gained from fre
quent application of this simple device.
What Filters to Use
It is a good policy to follow the suggestions of manufacturers
of photographic equipment as to the type of accessories. They can
very well bear the responsibility for such use as it is to their interest
to help obtain the best results possible. Choice of the type and make
of filters used should be based upon the negative material employed.
If a variety of films is used, one will be best served by the compre
hensive line of solid glass filters offered by the makers of the Leica
camera. These filters are of excellent quality, thin, uniform and well
mounted. The filter mounts are important, particularly when the
camera is to be used in connection with the various accessories and
attachments for which these mounts are designed. For special pur
poses, and for specific work with Eastman Kodak emulsions, the
Wratten Light Filters (gelatin mounted between glass) should be
used, they being also of excellent quality and easily available in
unmounted circles fitting the Leica Filter mounts. The Wratten
Light Filters are especially designed for Eastman emulsions and the
most comprehensive information is available on their effect on these
emulsions.
One would be well served with a complete line of Leica filters
to which special "Wratten Light Filters may be added as required.
However, an impressive array of filters is not needed to turn out
excellent pictures. One or two should be sufficient for all general
106
Filters
work with modern film emulsions. The writer knows of several work
ers who boast of many an excellent picture but of only one filter.
Those who prefer orthochromatic films will be able to go through
life with but one or two filters without missing anything. Leitz No. 1
would be the best choice, while No. 2 might be added to complete the
outfit. The addition of a Graduated Sky Filter might be included
sometimes in preference to the No. 1. The equivalent of these are
the Wratten Kl and Wratten K2.
Users of Panchromatic Films may use more filters, but only if the
scope of their work is greater. Besides the two filters mentioned
above, together with possibly the Sky Filter, the Green Panchromatic
Filter should be used. If Eastman panchromatic emulsions are em
ployed, instead of the Leitz Panchromatic Filter, the Wratten XI (for
daylight) or the "Wratten X2 (for artificial light) should be used.
Fig. 88 Before the Take-Off Anton F. Baumann
Elmar 50mm, 1/60, f :9, No. 1 Filter, E. K. Panatomic
107
The Leitz Infra Bed Filter is a special filter which should be used
in connection with the Infra Eed Films for special effects. It is one
of those filters which for special reasons emphatically upsets the color
balance. The Wratten line offers a complete assortment of red filters,
ranging from very pale red to such densities as do not transmit visible
light. The choice of the density should be governed by the purpose
for which it is intended.
A special filter is made by the Leitz Company for elimination of in
visible ultra violet rays adjoining the visible range of the spectrum. These
filters are intended for use only in the high altitudes where these rays are
abundant. At sea-level invisible ultra violet rays are not sufficient to
be detrimental. In small amounts they are not effective, being actually
filtered out by the glass of the lens itself. Never use a filter unless one
is required to eliminate something that is not wanted in the pictures. With
particular reference to the Ultra Violet Filter, commonly known as the
U. V. Filter, it should be remembered that if the filter holds back only
certain rays, the effect of which we want to suppress in the pictures,
whereas it freely transmits all other rays, the exposure need not be in
creased to compensate for that filter, since those colors that will result in
underexposure are being deliberately so treated by the very use of the
filter. The same may apply to some other filters, particularly those pale
yellow, pale green and pale blue filters which are used for very slight color
correction. Wftiile actually even clear glass filters require a theoretical
increase of exposure (about 8%), this may easily be disregarded because
of the available latitude of the film and the improbability of getting a 100%
correct exposure at all times.
Some of the red filters, like the Wratten A or F may be used for
many purposes. Although they are not strictly infra-red filters, since
they do transmit a good portion of the visible part of the spectrum, they
will produce effects quite similar to those obtainable with the regular
infra-red filters when used in connection with Infra-Red films. It will
be simply a matter of degree, but the exposure will be substantially
shorter. These red filters are frequently known as effect filters because
they are used to produce most striking effects of night scenes, moonlight
scenes in broad daylight. In addition, these filters are also known as
haze-filters because they have the rare property of eliminating aerial haze
in distance photography, and in aerial photography. It should be remem
bered, however, that while these filters are very effective in eliminating
aerial haze, they will not cut through air filled with smoke, dust, fog
or steam.
While speaking of effect filters, the so-called fog-filters should be
mentioned. These fog filters, unlike the haze-filters, are not used to
eliminate fog from pictures, but, on the contrary, to put it into the picture!
Fog-filters are decidedly misnamed. They are not filters but merely dif
fusion screens, which are available in a number of degrees of softness or
fog. In skilled hands, these fog-filters produce truly remarkable results.
But, as a matter of general practice, their use is not to be recommended.
The small Leica negative should remain as sharp as possible. If softness
is desired, it should be produced by means of illumination or by using an
appropriate lens at the proper opening. All kinds of fog, and all degrees
of softness and diffusion may be produced on the finished print by skillful
108
Filters
Fig. 89 Gelandesprung
Photo by A. N. Carscallen,
Calgary, Alberta, Canada
Elmar 50mm, 1/500, f:3.5, U.
V. Filter, Altitude 7500 feet,
10:30 A. M., Panatomic Film
manipulation of the enlarger, and the reader is cautioned against placing
too much faith in such filters as are entirely satisfactory for, say, motion
picture work, but barely desirable in Leica photography.
Just when to use a filter is often something of a mystery to a begin
ner. Obviously, it is a matter of that great combination of knowledge,
experience and judgment. In order to assist the beginner, the following
list is offered:
Yellow Filters: May be used with either ortho or pan films. Everything
else being equal, a denser yellow filter should be used with the ortho
than with the pan film. These filters are almost exclusively for cloud
effects upon light blue skies. The lighter the sky the darker should
be the filter.
Sky Filters: For use with all films. This filter has a lower half of clear
glass, which from the center gradually changes into a yellow upper
half. The purpose of this filter is to hold back the blue rays emanat
ing from the sky only, without affecting the lower half of the image
in any way. It requires no increase of exposure. One should be care
ful in using this filter that the center of the picture coincides with the
line of the horizon. A most useful filter for landscapes and seascapes.
109
Green Panchromatic Filters: A filter specifically designed to enhance the
comparatively low sensitivity to the green of panchromatic films. Its
effect upon a panchromatic emulsion is similar to that of a yellow
filter upon an orthochromatic emulsion. It holds back not only the
blue, but also the red, to which this type of film is very sensitive. It
is, therefore, useful in the same way for cloud effects, etc. Whenever
Eastman panchromatic films are used, Wratten green panchromatic
filters are recommended for best results. (XI for daylight work and
X2 for artificial light.)
U. V. Filter: To be used .only in high altitudes, mountains, etc. Not for
work from an airplane when photographing the earth! The layer of
air acts as an efficient U. V. Filter. This filter does in the mountains
what a denser (yellow) filter does at sea level.
Red Filters: For extreme contrasts and effects, where overcorrection is
intentionally aimed for in order to produce dramatic effects. Brilliant
white clouds against a black sky. Moonlight effects with the sun sub
stituting for the moon. Dramatic sunsets. To be used with pan
chromatic films only. The darker red filters are designed and intended
specifically for infra red photography with Infra Red film.
Special Purpose Filters: For work with Kodachrome Films three special
filters are available: For the Regular Kodachrome Film (K-135) the
so-called Photoflood Filter (Wratten No. 80) must be used when the
film is employed in connection with photoflood illumination. This filter
has an exposure factor of 4x. For the same film a Kodachrome Haze
Filter (Wratten No. 1.) is recommended for long distance work, or for
portraiture in the shade. This filter does not require increased exposure
as it is only an Ultra Violet absorbing filter. Finally the Kodachrome
Type A Daylight Filter must be used when the Kodachrome Type A
Film (K-135-A) is used in daylight. No increase of exposure is neces
sary when this filter is used in connection with the K-135-A film.
Editor's Note.
Our readers will be interested to know that filters having transmission
characteristics and factors similar to those of the Wratten type, are now
available in many of the popular colors in solid glass form. These filters
are made of optically flat glass not affected by temperature or climatic
conditions. They are distributed in this country by the Chess-United Co.,
160 Fifth Avenue, New York City, through their agents and dealers.
Filter Factor Table
The following table of filter factors is offered in the hope that it be
used with a grain of salt. It is deliberately placed at the end of the chap
ter, trusting that the reader will not use it literally, but merely refer to
it for general guidance and information. The factors are bound to change
with varying light conditions. They should not be followed blindly, but
when used intelligently may be helpful in getting the desired results.
110
FUters
Fig. 90
111
Polarized Light Photography
Photography is dependent upon the reflection of light. Reflec-
tions which aid in the true reproduction of a subject are desirable,
those which cause distortion of tone values and become accentuated
in the final print are undesirable. These undesirable reflections can
be removed by photographing with polarized light.
Photography with polarized light is not new. The photo-miero-
scopist has employed the use of polarized light for years in pho
tography through the microscope. Eecently an entirely new method
of polarizing light has been devised, whereby the use of a screen, or
what appears to be a gelatin coated filter (the Pola-Screen) over
the camera lens we can cause light from certain angles to become
polarized.
The first undesirable reflections which come to the photographer 's
mind are those from eye-glasses. The lamps used in photography
reflect strong highlights in the eye-glasses. These can be eliminated
by careful lighting of a subject or by retouching the negative after
wards, but with the pola-screen hours spent in careful lighting or
retouching can be saved.
Eeflections from glass windows in stores or houses can be com
pletely eliminated. Reflections of the sky in water can be eliminated.
Many times such reflections are desirable for artistic reasons. But
when photographing a school of fish 'in shallow water or some types
of fungus growth in clear water sky reflections are very undesirable.
112
Courtesy Eastman Kodak Co.
Fig. 91 Sound waves vibrate along the direction of travel;
light waves vibrate at right angles to the ray and, ordinarily,
in all possible directions.
Filters
The reflections of light can be removed from glassware, silverware,
highly polished furniture or oil paintings, or when copying glossy
or rough surfaced photographic prints. Any object giving spotty
specular reflections can be properly photographed with the Eastman
Pola-Screen.
We are familiar with two qualities of light which are significant in
photography: the intensity which determines the exposure required and
the color which we have learned to control through the use of filters.
There is a third quality not generally well known but which can be
used to correct unwanted reflections, such as are most commonly incurred
when photographing polished wood floors or furniture. This quality is
known as vibration of light. It is known that rays of light vibrate at right
angles to the ray and in all possible directions. In this they differ from
sound waves which vibrate only in the direction of the ray. (See Fig. 91.)
Fig. 92 Light waves after passing through a polarizing medium
(shown diagramatically in the form of parallel slits).
This may be compared to a violin string which when plucked vibrates
in all directions. Now if this string were passed through a vertical slit in
a card and plucked, it would be possible for it to vibrate vertically only,
that is to say only in the direction of the slit. In similar manner a light
wave passing through a screen made up of countless minute rod-like crys
tals which are parallel to each other as shown in figure 92- A will be stopped
with the exception of the vibrations which are parallel to the slits in the
screen. The result is said to be polarized light, that is light vibrating in
only one direction.
In like manner a ray of light polarized to vibrate in, say a horizontal
plane, will be stopped completely by a screen the slits of which are per
pendicular to the vibration as in figure 92-B, or partially diminished in
strength if the slits are set at an angle to the vibration as in figure 92-C.
Light rays may be polarized in another manner. When a ray of light
strikes a reflecting surface at an angle of from 32° to 37° it is strongly
polarized by the act of reflection, the vibrations parallel to the surface being
113
Fig. 93 Ray plane polarized by reflection. A ray of ordinary,
unpolarized light is almost completely polarized when specu
larly reflected at about 32° to any non-metallic surface, such
as glass. This permits subduing oblique reflections from glass
and water by a single Pola-screen over the lens
Courtesy Eastman Kodak Co.
Fig. 94 Clear blue skylight, arriving at right angles to the
suns rays, is polarized. The sky may be darkened by the
Pola-screen without affecting the monochrome rendering of
foreground objects. The strongest effect is attained with the
camera axis roughly at right angles to the sun's rays
the ones most strongly reflected. (See fig. 93.) Another source of polarized
light is the sky itself. Light coming from a clear blue sky at right angle*
to the sun's rays is polarized so as to vibrate at a right angle to the sun's
rays.
Pola Screens for Black and White Photography
Supposing we are confronted with reflections in the polished
surface of a car as in the accompanying picture. Here the snow and
even the girl on skiis is clearly reflected in the car. The picture
would be much improved if this could be eliminated. From the
discussion above we know that by moving to the front of the car
taking the picture at about 35° with the side of the car as we have
done, the light rays reflected in its side are polarized parallel to
114
Filters
the side of the car, that is to say vertically. Now if we hold a Pola-
Screen so that the handle is parallel to the ground and look through
it we will see that the reflections have been almost entirely eliminated.
The lower photograph on the opposite page was taken with the Pola-
Screen in that position but held over the lens.
Many other applications will be found similar to this— particularly in
photographing interiors where we wish to preserve the grain of the wood
Fig. 95 No Pola-Screen.
Note objectionable reflec
tions on side of car
ytiAf^ „*;?• v' '
Fig. 96 Pola-screen over
lens alone. The oblique re
flections are subdued.
Courtesy Eastman Kodak Co.
in polished floors and furniture, silverware, objects behind glass or under
water, wet specimens, particularly clinical specimens, copying paintings,
and photographs or printed matter where ink or paper or both are shiny.
Dork Sky Effects
As mentioned above the light from a clear blue sky coming at
right angles to the sun's rays is polarized. A Pola-Screen turned so
that the slits are parallel to the sun's rays will cut down the light
from the sky giving a very dark sky in the picture. If used in
conjunction with a red filter a black sky is obtained giving the
effect of bright moonlight as in the accompanying pictures.
115
Used in Color Photography
Aside from the use of Pola-Screens for removing unwanted reflec
tion in polished surfaces Pola-Screens are very valuable in color
photography for increasing the intensity of the color.
We know for instance, what green trees, or yellow flowers, or a
bright red scarf will look like when photographed on color blind film.
The result is not true to the original but the film has been noticeably
affected. This is due to a blue surface reflection from the shiny leaves,
etc.
The Pola-Screen when turned so that the slits point to the sun
will reduce this reflected blue light thereby permitting the true colors
to show through thereby greatly enhancing the color quality.
Another use for the Pola-Screen in color work is to darken the
sky without otherwise affecting the color rendition. With a clear
blue sky the Pola-Screen acts as a variable density filter for that
part of the sky at right angles to the sun. Any effect from normal
to a quite dark blue sky may be obtained by rotating the filter in
front of the eye and then placing it over the lens at the same angle.
For color work Pola-Screen type IA only should be used as type I
will over-correct.
The Eastman Pola-Screens absorb the ultra violet and freely trans
mit the infra red rays without polarization so the exposures must be in
creased slightly more with orthochromatic than with panchromatic materials
and still more with non-color sensitive materials (positive film). In general
when using- Pola-Screen, type IA an increase of one diaphragm setting
larger than normal will give correct exposure. This amounts to approxi
mately double normal exposure. With the type I screen an increase of
four times in exposure is required — when using the Type II screen over
the light source and a Pola Screen over the lens no exposure factors can
be given since each subject will require different treatment exposures
ranging from 16 to 100 times normal.
Adjusting the Screen
In the Eastman Pola-Screens the mounting is made with a handle
which is in line with the slits in the screen so that you can tell their posi
tion by the handle. When the handle is vertical only vertically polarized
light is permitted to pass and when horizontal only horizontally polarized
light passes.
To photograph a subject like an automobile the unwanted reflections
being in the side of the car we turn the handle horizontally to remove the
reflections. On the other hand, to remove reflections from a floor, table top,
or the surface of water, turn the handle upward.
In using the screen to darken the sky the greatest effect is obtained
with the handle pointing directly at the sun. The shadow of a small pin in
the end of the handle indicates this point when it falls along the center of
the mdicator handle. To set the screen for intermediate points observe the
subject through the screen and maintaining the same angle place it over
the lens.
116
Filters
Equipment
Recently the Eastman Kodak Company made available a comprehen
sively designed line of Pola-Screen Accessories providing any desired com
bination of Pola-Screens, Filters, and Lens Hoods for practically any lens.
Figure 97 indicates the way in which the various parts shown fit together.
These various parts are so designed that special adapters for other lenses
can be made easily by a local optician or machinist.
C
D
CAMERA
POLA-SCREEN FILTER ADAPTER LENS
CELL RETAINING RING
RING
LENS HOOD
Fig. 97 Pola-Screen Accessories
Courtesy Eastman Kodak Co.
For fitting a large range of lens sizes, there are four accessory sizes
with a number of adapters for each size. These accessory sizes are re
ferred to as "Series." Series V is the smallest, Series VIII the largest.
Series V attachments, described later, may be applied to lenses % inch to
1 3/16 inch, by 12 different adapters. Among these adapters are several
special ones, to fit such lenses as the Leitz Elmar f :3.5.
Accessories now available in these four sizes are:
1. The Kodak Pola-Screen Type IA. "Type IA" refers, not to size, but to
the kind of polarizing material used. Type IA differs from Type I in
that Type I A is suitable for both Kodachrome and black and white.
Type IA is more neutral and has a lower exposure factor, at the expense
of some polarizing power., Two Type lA's should be used together to
control severe oblique reflections.
2. The Wratten Filter Retaining Ring. This ring makes possible the use
of circular Wratten filters, cemented in B glass but unmounted. Since
117
the filter is placed temporarily in the retaining ring for use, any one
of a number of such filters can be used in the same ring. Two or more
niters can be used simultaneously by using an equal number of retain
ing rings. Required filter sizes are listed below.
3. Lens hoods. These are hoods of fixed size, of turned aluminum. They
are intended for lenses of usual angle of view, the hoods should not be
used with wide-angle lenses.
None of these three accessories is complete in itself; an adapter ring
is required to fit the accessory to the lens. But one adapter ring is suffi
cient for any combination of these accessories.
Procedure in Fitting a Lens
If measurement of the lens shows that no Adapter Ring fits exactly,
choose one slightly larger than the lens. Then to adjust the ring to the
lens, bend in slightly three equally spaced sections of the flange until they
fit the lens barrel snugly. If the range of the Adapter Ring interferes
with screws or lugs in the lens mount or if it covers an index line for the
diaphragm or focusing scale, one or more of the sections of the flange
should be removed entirely by bending it back and forth a few times until
it breaks.
For those unusual lenses which cannot be fitted by any of the Adapter
Rings regularly supplied, a suitable adapter can be made locally.
The items required for using the Pola Screen on the f :3.5 Elmar lens
on the Leica are
Adapter Ring number 18
Series V Kodak Pola-Screen Type 1-A
Kodak Lens Hood Series V
A series V filter ring can also be used with this equipment giving added
flexibility by the use of filters with pola-screen such as for instance the Red
filter number 25.
Fig. 98
No Pola-screen, no filter
Pola-screen set for darkest
sky
Pola-screen and red filter
together
Courtesy Eastman Kodak Co.
THE 35 MM FILM
SELECTION, EXPOSURE,
HENRY M. LESTER CHAPTER 5
The 35mm film used in standard motion picture cameras estab
lishes for the Leica a valuable relationship. Because of the vast
quantities of film which the motion picture industry consumes, the
manufacturers of 35mm film go to no end of trouble to produce the
greatest variety and finest quality of film. This in turn makes avail
able to the Leica user an unlimited choice of negative material which
the user of larger cameras does not enjoy. "While this is a decided
advantage to an experienced Leica worker, it is frequently confusing
to the beginner.
It may be said, almost without reservation, that the modern
35mm film produced by large manufacturers is of excellent uniform
quality throughout, regardless of its type. However, not all films
are adapted to every kind of work. If they were, there would prob
ably be no need for some fifty different types of 35min film now
available. Some film emulsions will fill a wide range of application
and may be considered more or less universal. The word universal
is obviously a generality and as such is only measurably true. Other
films are designed to fill a specific need in the more specialized fields
of photography.
Those Leica workers who do not concentrate upon the more
specialized phases of photography, like photomicrography, aerial
photography, clinical work, etc., but who want to obtain excellent
photographs within the scope accessible to all photographic workers
will find that almost any good film of a standard make will answer
their requirements — provided they will get to know it through con
stant use and will understand its characteristics and its response
to exposure and development. On the other hand, those who are
doing specialized work should select a film to answer that specific
purpose. In either case, for consistently good results, once a film
emulsion is decided upon, whether it be for portraiture, pictorial
work or copying X-rays, that film should be used always for that
purpose, to the exclusion of all others.
Success in photography, as in all other crafts, is based upon the
ability of the worker to produce definite results. To produce them
119
consistently the worker must know his equipment and materials
thoroughly to make them do what he wants. Therefore : know your
film, learn what it can do and make it fit your purpose.
Part I — Film Selection
The 35mm films should be considered from the following view
points as the first step in making the selection:
1. Sensitivity to Color . . . From this viewpoint the films are
considered depending upon their response to various colors.
Those that respond or are sensitive to all colors including red are
known as Panchromatic.
Those that are sensitive to all colors except the spectral red are
known as Ortkochromatic.
The relative sensitivity of an emulsion to the various
colors can be controlled by means of filters.
Films that are not sensitized to distinguish between colors, except
between black and white, are known as Golor-Blind.
Then there are the Special Emulsions required for color photog
raphy, infra-red photography, or direct positives.
2. Speed of Emulsion . . . From this angle the films are con
sidered depending upon the relative amount of light required to
form an image on the emulsion. This classification results in
terming films as fast, meditim or slow.
The speed of a given emulsion can be controlled
within certain limits by development.
3. Grammes . . . From this point of view the films are con
sidered depending upon the size of the grain of the emulsion.
The smaller the size of the grain, the more desirable the emulsion
for Leica work.
Although the size of the grain is inherent in each
emulsion, being a definite part of its structure, its final
size in the negative can be controlled by means of suit
able development.
4. Contrast . . . From this viewpoint, we consider the emulsions
as to their ability to render comparative degrees of brightness
of the image. If the film is capable of rendering many shades or
gradations of grays between black and white, it is known as
a low contrast or long scale film. If the range of gradations of
120
Film Selection
gray between black and white is not great, the emulsion is known
as one of high contrast or short scale. Generally, the finer the
grain the greater the contrast and the shorter the scale.
Although contrast is substantially built into the emul
sion, it can be effectively controlled by exposure and
development skilfully made to depend upon each other.
5. Latitude . . . Here we consider the film by its ability to react
to various quantities of light admitted to it'.i 'It would be just too
bad if every exposure would have to be "on the button77, so to
speak, to produce a usable negative. "We. therefore look to the
emulsion for its ability to yield usable negatives with a certain
amount of under or overexposure. Latitude is important to us
not only because of the ever present danger of over or under
exposure, but also because it offers a means of producing definite
effects by intentional over or underexposure. Generally, the
finer the grain of an emulsion, the less its latitude.
The latitude of the film is one of its inherent charac
teristics which cannot be readily controlled.
Selection to Fit the Purpose
An important factor of successful Leica photography which is
not generally appreciated and understood is the necessity to choose a
film to fit a definite purpose.
The general level of quality of Leica work could be raised con
siderably if the worker, instead of asking the dealer for the best and
most expensive film, would consider these questions :
What is the film going to be used for?
In what developer will the film be processed?
What size enlargements will be required?
What type of paper will the enlargements be printed on (glossy,
mat, rough) ?
The size of the grain, as is generally known, increases with the
speed of the emulsion. There is a vast field of photography where
extreme speed of the film is not as essential as fineness of grain. The
selection of the emulsion should therefore be made with a preference
for fine grain rather than speed. This is made quite feasible by the
growing availability and popularity of extremely fast and sharp
lenses. However, where sufficient light is not available, or quick
action must be recorded, fast films must be used and one must be
willing to sacrifice the size of the grain and be satisfied with a smaller
enlargement for the sake of getting the picture, which would be im
possible without the fast film.
121
Types of Film
"With, a view to simplification of the multitude of emulsions avail
able on the market, a classification into five groups is offered. It
should be remembered that while each of these grouped emulsions
has its own distinctive characteristics, they have a good deal in
common, and the grouping is offered for simplicity. Also as a means
of expediency, not all the emulsions are being listed, but only those
whose popularity makes them readily available in either bulk or
daylight loading packages.
Group No. I Panchromatic Emulsions (Fast)
Agfa Superpan and the New. Ultra-Speed
DuPont Superior and the New DuPont XL Pan
Eastman Kodak Super-X
Eastman Kodak Super-Sensitive
Gevaert Panchromosa
Perutz Peromnia, etc.
The films of this group are fully panchromatic, being sensitive to
all colors, including red. These emulsions are not alike in their
relative response to the various colors of the spectrum. For ex
tremely critical color corrections speetrographs of each emulsion
should be consulted. (These speetrographs are readily obtainable
from the respective manufacturers.)
The most distinguishing feature of the emulsions of this group
is their speed: their all-over great sensitivity to light, both daylight
and Mazda. Their speed rating is 24-50 Weston (23° to 26° Scheiner)
to daylight or 16-32 Weston (21° to 23° Scheiner) to Mazda light. The
emulsions of this group are of the low contrast — long scale — soft
gradation type. The degree of contrast of these films can success
fully be controlled in development. They possess excellent latitude
and will yield usable negatives resulting from several times under
or over exposure. Their graininess is consistent with their high
speed.
Group No. 2 Panchromatic Emulsions (Medium Fast)
Agfa Finopan
*DuPont Micropan
DuPont Fine Grain Parpan
Eastman Kodak Panatomic
"'Eastman Kodak Micro-File
Perutz Perpantic
* DuPont Micropan and E. K. Micro-File actually belong in a group of
their own, because they are slower, more contrasty and finer grained films
than other emulsions in this group. Also they require a shorter develop
ment and do not need a very fine grain developer to yield the optimum in
grain size.
122
Film Selection
The Old Swimming Hole
Elmar 35mm, 1/200, f :3.5, Panatomic Film
Augustus Wolfman
123
The films of this group are fully panchromatic, the same as
those in Group No. 1, being sensitized to all colors. The particular
distinction of these emulsions is the exceptional fineness of grain
combined with good all-over sensitivity, which places them in the
medium fast class. Their speed ratings range from 12 to 16 "Weston
to daylight (20°-21° Scheiner) and from 8 to 10 Weston to Mazda
light (18°-19° Scheiner).
The latitude of the films of this group is not as great as that of
Group No. 1 but still considerable, and can be controlled in develop
ment. Generally, films of this group are of the "brilliant" type,
yielding negatives of high contrast and consequently of a shorter
scale.
Group No. 3 Orthochromotic Emulsions
Agfa Plenachrome
Gevaert Express
Mimosa Extrema
Perutz Neo-Persenso, etc.
The emulsions of this group are fine representatives of the
popular orthochromatic type. They are sensitive to all colors, except
the spectral red, with a high sensitivity to green. These films com
bine extreme fineness of grain with extreme speed to daylight.
Their definition is excellent and the gradation quite complete. They
belong to the k< brilliant" type characterized by high contrast and
a medium long scale. Their speed rating in daylight ranges from 20
to 24 Weston (22° to 23° Scheiner).
Group No. 4 Color-Blind Emulsions
This group includes only positive film, which is produced by
every manufacturer of negative film. Positive film is sensitive only to
the blue and violet colors of the spectrum. The distinguishing fea
tures of positive film are its extremely fine grain, high resolving
power, excellent definition and extremely high contrast. The length
of its scale of gradation is rather short, but this depends greatly upon
exposure and developing procedure. The speed rating for positive
film to daylight is about 1 or 2 Weston (8° or 11° Scheiner), while
only 0.15 or 0.3 Weston (1° or 3° Scheiner) to Mazda light, depend
ing upon the blue light contents of the light source.
124
Film Selection
Pig. 100 Montevideo, Uruguay
Burton Holmes
Group No. 5 Special Emulsions
A. Films for Color Photography
Agfacolor
Dufaycolor
DuPont Bi-Pack
Eastman Kodak Zulcras Bi-Pack
Eastman Kodak Kodachrome
Lumiere Film Color, etc.
Each of these films represents a definite system in itself, and
complete information pertaining to their characteristics is beyond the
scope of this chapter. Specific and detailed information on
KODACHROME FILM is contained in Chapter 15.
B. Infra-Red Films
Agfa Infra-Red
DuPont Infra-D
Eastman Kodak K (I-R)
These films are neither panchromatic nor orthochromatie as they
are not sensitive to all colors, being blind to a portion of the spec
trum in the green region. Their sensitivity extends beyond the
visible portion of the spectrum (which ends at the wave length of
125
approximately 700 millimicrons) covering light waves of wave
lengths from 700 to 1000 millimicrons and beyond. Infra-red emul
sions should be used exclusively with special filters available for;
Infra-red photography in order to be effective as such. Numerical
speed ratings of Infra-red films in terms usable for exposure meters
are not offered here, for the) obvious reason that exposure meters
are sensitive only to the visible portion of the spectrum, while Infra- >
red films are rendered "blind" to all colors but red and Infra-red
by the use of special filters. Modern Infra-red films have a high'
sensitivity which permits exposures of approximately l/20th of a
second at f:3.5 in bright sunlight with any red, orange or deep-
yellow filters. See chapter 24 for additional data on photography
with Infra-red film.
G. Agfa Reversible Superpan
This is an interesting new emulsion intended for direct positives
secured by reversal. This film cannot be developed to a negative.
It was designed for direct production of positives to be viewed by
projection or by transmitted light. Another interesting application
of this film material is for production of paper negatives or enlarged
negatives "by direct projection.
The speed rating of Agfa Eeversible Superpan to daylight is
20 Weston (22° Scheiner), and 12 Weston (20° Scheiner) to
Mazda light. See page 157 for complete processing information.
Emulsion Speed Values
Definite speed ratings for each emulsion are not given here. Speed
ratings of emulsions are merely relative values. They are useful only in
connection with given exposure meters, and then only in connection with
definite developers, such as are recommended by the manufacturers of the
film. Every good exposure meter is accompanied by a complete list of
speed rating of almost every film known. One should refer to these lists
for such specific information and apply it judiciously, bearing in mind the
fact that an effective speed of a given emulsion depends upon the type
and character of developer used for processing of that film. Fine grain
developers tend as a general rule to decrease the effective emulsion speed
by requiring "increased", "full", and otherwise greater exposures than
required with developers designed by film manufacturers for bringing out
the full emulsion speed of a given film.
That different developers have a definite influence upon the effective
emulsion speed value of the film, every serious worker should prove to him
self. This effect may be noticed by variations in density. It is suggested
that this experiment be done in the following manner. Expose a full roll
of, say panatomic film, remove it from the camera in a darkroom and cut
126
Film Selection
it in two. Develop one-half in a fine grain developer, such, as Eastman
Kodak Ultra-Fine Grain Developer and develop the other half in a Metol
Hydroquinone Developer like D-76, see page 141. If both portions have
been developed according- to the time and temperature recommended, a
difference in their respective densities will be apparent on inspection.
Such tests will conclusively prove that it is necessary to know the
developer in which a film will be processed in order to know the emulsion
speed of that particular film. Unless the emulsion speed values are
considered in this light, one will frequently be misled.
The various emulsion speed values now used cannot, in general, be
compared directly with each other, except possibly H & D and the Weston
speed values, for the reason that they are based on entirely different
principles.
Fig. 101 The Welder
Ed. Schaefer
The Scheiner and Din speed numbers have no definite relation to each
other nor to the other speed values except for emulsions having the same
characteristics which, however, are quite different for the various kinds
of 'commercial films or plates.
To give a rough idea of the relation of the various speed values a
comparison is given below for a type of film having the same characteristic
as an ordinary commonly used film, but as stated above, the relative values
do not hold for other types of emulsions and must, therefore, be used with
due caution.
For example, a report of an actual test shows that 26° Scheiner may
be equivalent in Din degrees to any value from 12/10° to 17/10° Din,
which corresponds to a ratio of over 3 to 1 in sensitivity. Further, 18/10°
Din may be equivalent in some emulsions to 65 Weston and in others to
24 Weston.
127
Comparative
Table of Speed
Ratings
of Various
Systems
CAUTION— Do not use this table
without reading above.
Relative
Value
Western Scheiner
DIN
H&D
18.3
3
14
7/10
159
23.4
4
15
8/10
200
29.8
5
16
9/10
252
37.9
6
17
10/10
318
48.3
8
18
11/10
400
61.6
10
19
12/10
504
78.5
12
20
13/10
635
100
16
21
14/10
800
127
20
22
15/10
1000
162
24
23
16/10
1270
207
32
24
17/10
1600
264
40
25
18/10
2020
336
50
26
19/10
2540
426
64
27
20/10
3200
Fitting the Film to the Job
Following are suggestions of the type of film to be used for best
resiilts in different kinds of work. The recommendations refer to
groups of similar .emulsions (see above) ; the choice of any one film
is left to the worker:
Group
of Film
Suggested
Depending on light conditions,
density and color of filters em
ployed 1 or 2
Aerial
Action and Sport
Architectural
Candid
In daylight 3
In artificial light 1
Exteriors only 3 or 2
Both exteriors and interiors. ... 1 or 2
Including child and pet photo
graphy l
128
Film Selection
Copying Blue-prints (with reid filter) 2
Black and white drawings, charts,
line work, documents and other
printed matter in black and white
where good contrast is required. . 4
Coins, stamps, paintings, fabrics or
any other small or large objects
containing color or requiring use
of filters for better contrast 2
Photographs in good condition.. 3
Photographs, old or faded where
use of red filter is required 2
Transparencies, black and white,
finger prints, X-rays, etc 3
Transparencies containing color. . 2
Entomology (insects etc.) 1 or 2
Flowers, Plants, Gardens 1 or 2
Geology (minerals) 2 or 3
Landscape and Pictorial If true color correction is re
quired 1 or 2
If 'great enlargements and fine
grain are preferred 3
Medical For general use, and for adverse
light conditions 1
If adequate illumination is avail
able 2
Dental work 1
Dermatology 3
Ophthalmology 1
Night and Stage 1
Photomicrography If color filters are required 2
If no color filters are required. . . 3
For living organisms 1
Portraiture If adequate illumination is avail
able 2
For adverse light conditions 1
129
General Use For beginners 3
If outdoor in daylight 3 or 2
If entirely or partly indoor, or
entirely or partly under artifi
cial light 2 or 1
Natural Color 5 A
Infra-Red 5 B
Reversal Transparencies 50
Films for the Leica
All films mentioned here and many others are available for the
Leiea camera in the following forms :
1. Bulk film: in rolls containing 25, 50, 100, 200 or 400 feet. Bulk
film has many advantages, including that of considerably lower cost. When
purchased in original manufacturer's packages it is more likely to be free
from scratches and abrasion marks than film obtained in daylight loading
units. Those who need and appreciate uniformity of film will find that
bulk film offers it, since a roll of say 100 feet is the same throughout,
and once its characteristics become known to the user, they can be depended
upon as long as this supply is used. Bulk film also offers the advantage
that it can be cut to any desired length, enough for forty exposures or
perhaps only five. It is recommended to buy bulk film in so-called "auto
matic camera" packages consisting of solid metal spools, which provide
a most satisfactory method for storing and handling film, protecting the
emulsion and edges against excessive contact with fingers. BULK FILM
SHOULD BE HANDLED WITH EXTREME CARE and its use should
not be attempted by workers lacking the necessary experience.
2. Daylight loading spools or magazines containing 30 to 36 exposures.
Eecently Eastman Kodak introduced an 18 exposure magazine, which
should prove popular with many people who like short lengths of films.
For convenience and ready availability daylight loading magazines are
most desirable.
3. Semi-bulk film. Recently bulk film is put up by at least two manu
facturers in the United States in the form of notched and tongued length
of 35mm film ready for loading into camera magazines of five or ten
lengths of 36 exposures each, edge marked with frame numbers. For those
who use large quantities of film this is a very practical package as one
can load the Leica film magazines in a darkroom without knife or scissors
for trimming the film. This sort of packing is offered for the time being
in this country by the Agfa Ansco and DuPont companies.
130
Film Exposure
Fig. 102 United Air Liner
Elmar 35mm 1/60, f:6.3, No. 1 Filter, Panatomic
Anton F. Baumann
Part II — Film Exposure
The last decade has witnessed an interesting trend in the field
of photography. Both the professional and amateur workers had
gradually become exposure conscious. They began to realize that
every important characteristic of the finished photograph takes its
root at the time the exposure is made, and that the desired result de
pends upon their ability to coordinate judicious exposure with skilful
development of the negative.
The Leica camera is in a great measure responsible for this
realization. Leica photography has established a definite system based
on the successful application of a number of principles. One of these
principles is a certain uniformity of exposures, since as many as
thirty-six negatives are usually developed at the same time, and in
dividual negatives cannot be controlled in the development.
This requirement of Leica photography brought about the in
terest in normal exposure. Normal exposure is that which places
the range of brightness somewhere in the middle of the limits of the
latitude of the emulsion. In terms of every day work normal ex-
131
posure strikes a compromise between the light and dark portions of
the subject so that the bright portions are not overexposed while
details in the shadows are recorded too.
From this point, within the limits of the latitude1 of a given
emulsion, a range of exposures favoring either the shadow details
or the highlights is available, depending upon whether the pre
dominant part of the photograph is to bring out the dark or light
portion of the subject. Which brings us to the matter of correct
exposure.
That exposure is correct which puts on film exactly what is
wanted in the picture.
A great variety of exposure meters and tables is available to
assist us in obtaining normal exposures. But normal exposures do
not necessarily mean correct exposures. While normal exposures
are within reach of every owner of a reliable exposure meter, cor
rect exposures require judgment and skill on the part of the pho
tographer — the knowledge of when and how to use over or under
exposure to get what is wanted in the picture. This knowledge
comes with practice and experience.
Exposure Meters
Exposure meters are essentially of three types:
1. Exposure tables and calculators are helpful guides to normal exposures
based on compiled actual experiences. Some of these are available in
the form of direct tables which suggest approximately normal exposures
for different emulsions and for various subjects, taking into consideration
time of day, location, season, weather, etc. Others are put up in the
form of slides or discs made of cardboard, celluloid, etc. Then there are
some in the form of booklets containing in addition to suggestions con
cerning exposures a variety of information, references, etc. The chief
merit of all of these lies in their providing some basis for arriving at a
more or less normal exposure.
2. Visual exposure meters which are freqquently known as the "extinction
type" require sighting the subject through a ground or tinted glass
screen while the amount of light admitted is gradually reduced to a
minimum. When that minimum is reached a scale indicates the desired
data. The greatest disadvantage of this type of meter is the impossi
bility to assume a standard sensitivity of the eye to light. Its chief
advantage is its ability to give readings in extremely unfavorable light
conditions of interiors and night photography. Any one of these instru
ments, if used consistently and with judgment, will provide usable in
formation as to normal exposure.
132
Film Exposure
3. Photoelectric exposure meters are the latest and to date most accurate
and dependable means for ascertaining normal exposures. They are
usually made as instruments of great accuracy and precision, and should
be handled as such. The instruments are built around a photoelectric
cell which converts light energy into electrical energy, which in turn
activates extremely sensitive miliammeters calibrated in terms of light
values. Such a popular photoelectric instrument as the Weston, though
comparatively expensive, belongs actually to those self-liquidating in
vestments which earn their price through constant economies of film,
elimination of uncertainty and securing consistently good results.
Fig. 103 Weston Photoelectric
Leicameter, New Model No. 650 •-.
Any photoelectric exposure meter when used strictly in accoxdance with
manufacturer's instructions will yield results of surprising accuracy. Each
has its own advantage and a careful comparison of them should be made
before deciding which one will answer individual requirements. It is difficult
to make specific recommendations because of the vastness of the field which
Leica photography covers today.
There are no factotums in photography. The more one knows about
photography the more difficult it becomes to point specifically to any one
film, exposure meter, lens, developer, paper and attach the term "universal"
to it. Only a careful examination of the product and scrutiny from the
viewpoint of what it is expected to perform will determine its usefulness.
No matter what the relative merit of any of these meters may be, it
is safe to state that the consistent use of any one of them will yield results
far superior to those obtained by guesswork.
How to Use an Exposure Meter
An exposure meter, very much like a lens, has a very definite
field coverage, varying with the make. The manufacturer supplies
this information with every instrument. The area covered should be
thought of as the base of a cone whose apex is in the center of its
light sensitive surface. The angle of this apex varies anywhere from
50° to 70°.
It should be remembered that a meter has no power of selectivity.
For instance, if a reading is taken of a dark object back of which
is a light surf ace, the meter will give a reading proportionate to the
133
Fig. 104 The Tower Ernst Schwarz
Elmar 35mm lens, f:9, 1/60, dark yellow filter, Agfa Superpan.
relative amount of light and dark portions of the entire area which
it "sees". One should endeavor, therefore, to take a reading by
holding the meter as close as possible to the object for whose detail
the exposure is to be made. It is a good practice to hold the meter
at a distance from the object approximately equal to the smallest
dimension of the object. The meter should be held so as to prevent
its shadow being cast on the area under observation.
When taking the reading of small objects occupying only a small
portion of their background, the proper way to secure a correct read
ing is by the method of substitution. A sheet of paper or fabric of
a color and brightness approximating that of the small object should
be placed over the object and its background and a reading secured
from that. For instance, if teeth are photographed and the meter
directed on the face or mouth, considerable overexposure of the teeth
would result, because the skin and lips are darker than the teeth.
However, if a piece of ivory tinted paper is placed over the face and
the meter directed on that, a correct exposure of the teeth will result,
while the lips and skin will be somewhat underexposed. This example
is quoted merely in the hope that it will assist in the judicious use
of exposure meters. Here again, the purpose of the picture must be
borne in mind.
134
Film Exposure
How to Make Exposures Without an Exposure Meter
Approximately correct exposures for outdoor photography can
be determined easily without an exposure meter if one were not
readily available or if there is no time to consult one. This method
can be easily memorized if the simple principles are grasped and
practiced a few times.
Exposure Guide for Outdoor Photography
Four Types of SKY CONDITION Most Frequently Encountered
Fig. 105 SKY FACTORS
No. 1.
Very Dull
Overcast Sky
With Heavy
Clouds
No. 2.
Dull, Cloudy
No Direct
Sunlight;
No Shadows
Cast
No. 3.
Bright Sun
Shining Through
Thin Clouds or
Haze. Shadows
Indistinct
No. 4.
Brilliant, Bright
Sun in Clear
Sky; Heavy,
Distinct Shadows
Cast
Four Types of SUBJECTS Most Frequently Encountered
Fig. 106 SUBJECT FACTORS
No. 1. No. 2 No. 3. No. 4
Portraits under Street scenes Open Landscapes Marine and
Trees; on porches City Buildings with sky; white Beach Scenes,
Nearby Shaded Nearby Land- buildings, out- Distant Land-
scenes scapes showing door sports and scapes, Snow
little or no sky activities and large masses
strongly reflect
ing white light.
Multiply number of SKY FACTOR by number of SUBJECT FACTOR
which, correspond to existing conditions; the product of multiplication will
135
give you nearest f value to which lens should be set.
Example: Street Scene on a bright, but hazy day in July:
3 (SKY FACTOR) X 2 (SUBJECT FACTOR) = 6.
Set lens opening at f :6.3
Set your SHUTTER SPEEDS as follows:
Summer 1/100 second
Spring and Fall 1/60 second
Winter 1/30 second
The above method is based on the use of FILMS OF GROUP NO. 1. (see
page 122.) If FILMS of GROUPS 2 or 3 (See pages 122, 123) are used
either the next larger lens stop should be used, or the- shutter should be ad
justed to the next slower speed. This exposure guide for outdoor photo
graphy has more than proven itself because of its simplicity and ease with
which it can be remembered. Satisfactory exposures will be secured almost
invariably, since the latitude of the film will take care of possible slight
under or overexposures.
Exposures for Photoflash
Average Distance Covered by One General Electric Mazda Photoflash
Lamp in a Reflector
Size of Approx. Distance of Lamp to Subject
Diaphragm Photoflash Group No. 2 or 3 Group No. 1
Opening Lamp Film Film
f :18 No. 10 5 ft. 7 ft.
No. 20 7 10
f:12.5 No. 10 7 10
No. 20 10 15
f :9 No. 10 10 15
No. 20 15 20
f:6.3 No. 10 15 20
No. 20 20 30
f :4.5 No. 10 20 25
No. 20 25 35
f :3.5 No. 10 25 30
No. 20 30 35
These figures are based on a room with medium colored walls and
Jig. Where pictures are made outdoors or under adverse conditions
at the greater distances, use the next larger diaphragm opening or reduce
distance from lamp to subject to about 70 per cent of that shown
ceiling,
at t
dist
136
Film Development
Part III — Film Development
Development with Relation to Exposure
Leica negatives will produce excellent enlargements if they meet
two requirements:
1. Fineness of grain.
2. A comparatively low degree of contrast.
Both of these conditions can be met by carefully selecting the
negative material and by coordinating the exposure with the de
velopment.
Leica negatives must be processed with low energy developers
which act gently and slowly. Development is carried out on the
time-and-temperature principle.
Most fine grain developers adopted for Leica work are carefully
and scientifically compounded to act uniformly and to produce pre
determined results. It is not necessary to delve into details of sensi-
tometry to obtain such predetermined results. To provide a means
of comparison of densities and contrasts, scientists have evolved a
definite system. The. unit in which the functional dependence of
density, contrast and exposure is expressed is the term gamma (y)
which is defined as a numerical expression for the contrast of the
negative obtained from a range of given exposures carried out in a
given developer in a given time.
Depending upon the size of the finished enlargement, the gamma
of Leiea negatives should vary between .6 to .8. The lower value,
which stands for lower density and contrast, should be aimed at for
greater enlargements; while the higher value for smaller enlarge
ments. Gamma of approximately .7 will be found excellent for all-
around purposes, and it is the gamma value of .7 on which the
time-and-temperature units should be based for the various fine
grain developers.
Density and contrast of a negative corresponding to gamma value
.7 are based upon normal exposure. Consequently, underexposures
with the same development will result in higher contrast and less
detail in the shadows; while overexposure under the same developing
conditions will result in lower contrast and more detail in the
shadows.
The time-and-temperature factors for a given developer to
produce gamma .7 stand for minimum development. This minimum
is necessary to assure fineness of grain and low contrast. If de
velopment is carried beyond that minimum, it is likely to increase
137
both graininess and contrast. In order that development be held
to this minimum and still bring out as much detail in the negative
as possible LEICA NEGATIVES MUST BE FULLY EXPOSED. Briefly:
OVEREXPOSE — UKDERDEVELOP ! . . . within reason of course. To put
this in terms of practical application, the films speed ratings usually
published should be considered as somewhat over-rated, and for best
results the films should be used at ratings slightly below the "official77
ratings.
Developing Equipment
The equipment for developing Leica film is extremely simple, easy
to handle and with proper care will last a lifetime.
For convenient development of Leica film there are two tanks, the
Correx and the Reelo. There is also a glass developing drum. Instruc
tions for handling accompany each one. The tanks should be used pre
ferably in all cases, except for reversal where the development drum alone
or in connection with one of these tanks is recommended. The greatest
advantage of developing Leica films in one of these tanks is the fact that
no dark room is needed for the processing. Once the film is transferred into
the tank (this can be accomplished in a changing bag), the development
and subsequent handling do not require darkness.
Fig.
The Reelo— All Bakelite Developing Tank
Fig. 108 Method of Winding Film upon
Reelo Spool.
138
Film Development
These two tanks differ from one another by the method in which sepa
ration of the film layers is accomplished. In the Correx tank the film is
separated by means of a celluloid apron with studded edges, while in the
Reelo tank it is separated by the grooved spool. The tanks are equally
effective and selection between them is a matter of personal preference.
The capacity of the Correx tank is about 500.0 cc, or 16 ounces; and
that of the Reelo about 400.0 cc, or 12 ounces.
Fig. 109 The Cor
rex — All Bakelite
Developing Tank
with celluloid Stud
ded edge Apron
and Thermometer
Developers
Those who wish to process their films themselves may use any one of
the prepared ready-to-use developers on the market,' which are available
either in powder form or in concentrated liquid form. These preparations
will give excellent results if used strictly in accordance with manufacturer's
directions.
The number of prepared Fine Grain Developers is so great that it was
always felt unnecessary to mention them specifically. Available in powders,
ready-to-use liquids, concentrated solutions, the great majority of them give
satisfactory results, varying only as to temperature and time recommended.
The Editors of this volume had the opportunity to watch for the past few
years experiments carried out by Mr. Harold L. Harvey, a talented photog
rapher and equally talented photographic chemist. As this edition goes
to press Mr. Harvey is almost ready to place his product on the market.
Fig. 110 Glass Developing
Drum and Tray
139
Because of its exceptional merits and many unique features of extreme
importance to Leica workers, the Editors feel that it is important to call
this new developer to their attention.
The New Developer will be sold under the trademarked name of Harold
Harvey's "PANTHERMIC 777" in a package sufficient to make one liter (1
quart), enough to develop 18 rolls of Leica Film. Put up in powder form,
ready to be dissolved in water, the Panthermic Developer, as the ^name
implies, may be used at all temperatures, without any fear of reticulation or
effect on graininess. It never requires chilling before use. Formula 777
has a top limit of 90° F. (32° C.) which covers most dark-room tempera
tures found in the tropics. In very cold dark-rooms it is better to heat the
developer to about 84° F. (28° C.) in order to shorten developing time.
The short-stop and hypo baths may be used at the same temperature or
lower. The developer exerts a sufficient desensitizing effect to permit in
spection by bright green safelight (the normal pan light with larger light
bulb).
Its keeping qualities are excellent both in solution and powder form.
Solutions on test have been found not to alter their energy or alkalinity
in twelve months.
Average development time on DuPont Superior is 10 min. at 82° F.
(27° C.)
A procedure is now being worked out whereby the user may use two
developer bottles, one for use, the other for stock. As each film is devel
oped, one replaces a definite quantity of used developer with fresh solu
tion from the stock bottle. By this method, the "working" solution is kept
at its point of lowest graininess and constant energy ... at any tempera
ture, the specified development time remains the same, when using the
replenishing method, whether one or forty films have been processed.
The structure and fineness of grain secured by the Panthermic 777
developer is such that it will be found eminently satisfactory for most pic
torial and commercial work. The shadow detail and gradation leave little
to be desired. The developer does not require increased exposure and pro
duces brilliant negatives which received normal exposure, or even some
what less than normal.
The Editors suggest that inquiries for this product be addressed to
the office of MORGAN & LESTER, 100 East 42nd Street, New York, N. Y.,
where additional information will be available on this developer as soon
as its retail distribution will get under way.
Preparing Your Own Developer
A more economical and possibly more practical way to produce
excellent negatives is to prepare one's own developer as well as other
solutions required for processing Leica negatives. A few simple
chemicals, a scale and a few graduates, are all that is necessary.
The number of formulas offered for fine grain development is
enormous. A careful study of them reveals the important fact that
in addition to some processes which have purely experimental merits,
140
Film Development
there are only two classical basic formulas available. Others are
merely modifications of these two :
1. The Metol Hydroquinone Borax type.
2. The Paraphenylene Diamine type.
The first type represents a developer which, as far as miniature
camera work goes, can be termed the maximum energy developer.
It will bring out details in shadows and underexposed portions of
the negative to a remarkable degree, while it will produce granu
larity of sufficient fineness to yield excellent enlargements up to
8x10 inches.
The second type is a low energy, extremely fine 'grain developer
which requires a fuller exposure than the first type, but in return
will yield negatives of such fine grain, excellent definition, and low
contrast that enlargements of 16x20 inches can easily be obtained.
Reference to fine grain performance of these two developers is made
specifically in connection with films of Group 1, which due to their speed
have an inherently coarser grain structure.
Developing Formulas
The Metol-Hydroquin one-Borax type of fine grain developer is
represented by the classical formula known as Eastman Kodak D-76,
or its derivative the Modified E.K.D-76, also known as Buffered
Borax.
E.K. Formula D-76
Avoirdupois Metric
Water (about 125 °F. or 52° C.) 24 ounces 750.0 cc
Metol 29 grains 2.0 grams
Sodium Sulphite, desiccated 3 1/3 ounces 100.0 grams
Hydroquinone 73 grains 5.0 grams
Borax (the 20-Mule Team variety) 29 grains 2.0 grams
Cold water to make 32 ounces 1.0 liter
Dissolve chemicals in the order given. Use without dilution. This formula can be re-used
and the quantity is sufficient to develop from 8 to 10 Leica film lengths.
Develop at 65° F. or 18° C.-~
Ultra-Speed Films 20 to 28 minutes
Films of Group 1 or 3 16 to 22
Films of Group 2 12 to 18
Films of Group 5B 20 to 25
141
Modified E.K. Formula D-76 (Buffered Borax Negative Developer)
Avoirdupois Metric
Water (about 125°F. or 52° C.) 24 ounces 750.0 cc
Metol 29 grains 2.0 grams
Sodium Sulphite, desiccated 3 1/3 ounces 100.0 grams
Hydroquinone 73 grains 5.0 grams
Borax (the 20-Mule Team variety) 29 grains 2.0 grams
Boric Acid, crystals 203 grains 14.0 grams
Cold water to make 32 ounces 1.0 liter
Dissolve chemicals in the order given. Use without dilution. This formula can be re-used
and the quantity is sufficient to develop from 8 to 10 Leica film lengths.
Develop at 65° F. or 18° C.—
Ultra-Speed Films 25 to 28 minutes
Films of Group 1 or 3 20 to 22
Films of Group 2 16 to 18 "
Films of Group 5B 24 to 27
The two developers given above should be used for films of Group
1 in all cases where it is known that the film has received the mini
mum possible exposure due to adverse light conditions (such as en
countered in stage, night, candid and action photography).
They are excellent standard developers for all films of Group
2 and 3.
Dr. Sease Fine Grain Developers
The Paraphenylene Diamine type of developer is capable of
yielding the finest grain yet obtained among the so-called "chemical'7
developers. It is based upon the mild " reducing ?? action of Para
phenylene Diamine (base; not the Paraphenylene Diamine Hydro-
chloride) in a mildly alkaline solution. The presence of Glycin as
a second reducing agent with Paraphenylene Diamine increases the
effective working speed of the developer, while retaining for it the
fine grain characteristics in resulting images.
A comprehensive group of four developing formulas was evolved
by Dr. Sease of the DuPont Film Laboratories. These formulas are
remarkable for their delicately balanced proportions of the same
three ingredients: Sodium Sulphite, Paraphenylene Diamine (base)
and Glycin, with the latter gradually increasing from 0 in formula
No. 1 to 12 grams per liter in formula No. 4.
Of these four formulas of Dr. Sease Fine Grain Developers:
Formula No. 3 should be considered STANDARD.
Formula No. 1, which yields the finest obtainable grain, requires from
three to four times the NORMAL EXPOSURE for the DuPont Superior
Film (or the films of Groups 1, 2 or 3) and for the Infra D. Film (or films
142
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of Group 5B), but requires little or no increase of exposure for the DuPont
Micropan Film.
Formulas No. 2, 3 and 4 which yield extremely fine grain (the con
tents of Glycin in a formula is inversely proportional to the fineness of
grain), require about two times NORMAL exposures for the DuPont
Superior Film (or films of Groups 1, 2 or 3) and for the Infra D Film
(or films of Group 5B), but require little or no increase of exposure for
the DuPont Micropan Film.
Above requirements for oyerexposure should be considered as
merely approximate and as referring actually to minimum expos
ures, which are so prevalent under inadequate lighting conditions.
One may interpret the latent image formed on the emulsion as the
result of exposure as having a certain amount of "inertia" to the
reducing action of the developer, that inertia being greater the lower
the energy of given developer. Thus, the greater the so-called
threshold value of the light that is permitted to affect the emulsion
the easier it is for these low energy developers to "pull up" the
image. Consequently when exposures are made in full, brilliant
light, the requirements for over exposures stated above are not as
great as those under adverse light conditions.
Modified Dr. Sease Fine Grain Developer
A marked improvement in contrast with almost identical fineness of
grain has been achieved by lowering the Glycin content of Dr. Sease
No. 3 Formula to 1/3 of its original quantity. The resulting Formula is
known as the:
ND-3 — Fine Grain Negative Developer
Avoirdupois Metric
Water (at 125° F. or 52° C.) 31 ounces 975.0 cc
Sodium Sulphite desiccated 3 ounces 90.0 grams
Paraphenylene Diamine (base) 146 grains 10.0 grams
Glycin 29 grains 2.0 grams
This makes final volume of 32 ounces 1000.0 cc
Dissolve chemicals in the order given. Use without dilution.
When using this formula the negative should receive 50% to 100% more
than NORMAL EXPOSURE to avoid loss of detail.
To reach gamma .7: develop with occasional agitation at 68°F. (20° C.)
Ultra-Speed Films 30 minutes
Films of Group 1 or 3 25
Films of Group 2 IQ
Films of Group SB 60
144
Film Development
Time and Temperature Control of Fine Grain Developers
The activity of all developers is affected by temperature. Close
temperature control is required for uniformity of results. There are
times, however, when developers have to be used at temperatures
others than recommended as standard. Experience has shown that
over a small range of temperature variation compensatory changes of
developing time may be introduced to keep results approximately uni
form. For such conditions the following table is offered as a guide
for changing time of development. It is based on the experimental
fact that, for the developers given here, the percentage change in
time to compensate for change in temperature is approximately the
same for all. The table is given for the two main temperatures
recommended: 65°F (18°C) and 68°F (20°C), and is expressed in
terms of percent of standard developing time, which is taken as
100%.
If recommended Temperature of
Developer is:
At temperature of: 65° F. (18° C.) | 68° F. (20° C.)
°F. °C. Change recommended Time of
Development to:
62°
65°
68°
71°
16.5° 120%
18° 100%
20° 85%
140%
120%
fo
100%
'0
85%
fo
22° 80%
EXAMPLE: Standard Developing Time being, say 18 minutes at 68° F.
(20° C.) it should be: at 62° F. (16.5° C.) 140% of 18, or abt. 25 minutes
at 71° F. (22° C.) 85% of 18, or abt. 15V2 minutes
Compromise Developers
Neither of the two types of developers described above is entirely
satisfactory for certain kinds of work where photographs taken under
extremely poor light conditions must be considerably enlarged. Such
a situation is frequently encountered in stage, action and candid
photography. For such purposes " compromise " formulas were
evolved which produce excellent shadow detail, gradation and con
trast, combined with exceptionally fine grain — in cases where only
minimum exposures were possible.
Two such formulas are offered, either of which is a modification
of Dr. Sease No. 3 formula:
145
PYRO Fine Grain Formula for Not Fully Exposed Negatives
Avoirdupois Metric
Water (about 135° F. or 57°C.) .... 24 ounces 750.0 cc
Sodium Sulphite, desiccated 3 ounces 90.0 grams
Paraphenylene Diamine 146 grains 10.0 grams
Boric Acid 14*4 grains 1.0 gram
Cold water to make 32 ounces 1.0 liter
Dissolve chemicals in the order given.
Directly before using add to every 500cc (16 ounces) of the above solution:
Pyro Crystals 43!/2 grains 3.0 grams,
Filter and cool to 65° F. or 18° C.
Ultra-Speed Films 38 minutes
Films of Group 1 or 3 30
Films of Group 2 25
Films of Group 5B 34 "
This developer cannot be re-used after addition of Pyro. Store it without Pyro.
The other compromise formula is based on the well known property of
Metol to bring out shadow detail and gradation.
METOL Fine Grain Formula for Normal and Not Fully Exposed Negatives
Avoirdupois Metric
Water (about 125° F. or 50° C.) .... 24 ounces 750.0 cc
Paraphenylene Diamine 146 grains 10.0 grams
Glycin 73 grains 5.0 grams
Metol 88 grains 6.0 grams
Sodium Sulphite desiccated 3 ounces 90.0 grams
Cold water to make 32 ounces 1.0 liter
Dissolve chemicals in the order given. Use without dilution. This formula can be re-used
and the quantity is sufficient to develop from 8 to 10 Leica film lengths. It definitely
improves with age and use.
Develop at 65° or 18° C.
Ultra-Speed Films 23 minutes
Films of Group 1 or 3 18 "
Films of Group 2 12
Films of Group 5B 21
The developers described cover practically the entire range of
Leica photography and although there are hundreds of fine grain
formulas offered almost every day, as matters stand now these should
be considered best suited to successful Leica photography. These
developers were chosen because of their simplicity, limited number of
ingredients, for their comparatively rapid action and for their de
pendability. If used strictly in accordance with instructions they
can be depended upon for consistently uniform negatives.
Although the following statement holds true of almost every
phase of photographic procedure, it is of particularly great impor
tance in connection with the preparation and use of developers : A
person not following* a recommended procedure is, at present, enter
ing- a field of research where definite results cannot be promised.
146
Fig. Ill Mixtecas Indians at Oaxaca Kalph E. Gray
Summar 50mm, 1/100, f:6.3, Panatomic Film
Re-Using Developers
Conservative use of developers which can be re-used permits the
development of 8 to 10 Leica rolls per 1000 cc (32 ounces) of de
veloper. A leading authority on the subject of fine grain developers
suggests the following method of using developers for most consistent
uniformity of densities in films. In the absence of other indications,
the first three rolls of film should be developed for the standard time
recommended in the formula. After first three rolls developing time
should be increased by 10 % for all other rolls up to ten per quart or
liter. Then discard developer. Prepare fresh quart or liter.
147
Any one of the above formulas (except the Pyro "compromise"
formula) can be re-used within reasonable standing periods, but exact
figures as to their keeping qualities would be of little direct value because
conditions of use and storage differ widely.
Between use the solutions should be stored in nearly full, well-stop
pered amber glass bottles with a special label provided for marking the
developer every time it is used. The developer should be poured back into
the original bottle after each use, until it has been used on 8 to 10 rolls,
after which it should be discarded or set aside for "priming" the next
batch of developer.
It is worth noting that most fine grain developers produce finer grain
and lower contrast the older they are or the more they have been used.
Most freshly prepared developers work more energetically than those some
what aged and used. The fresh solutions have that "fire" in them; and
for those who wish slightly softer results and finer grain it is recom
mended that they "prime" the developer either by adding some 25% of
the same developer ready to be discarded, or by developing in the fresh
developer a length of say 5 to 6 feet of fogged film. This produces a
certain amount of oxidation in the developer which takes the "fire" out
of it and softens its action.
Agitation
As a general rule continuous vigorous agitation during development for
finest grain is to be avoided, unless it is done by means of one of several
electric agitators now on the market, which are specifically designed for
that purpose. Too vigorous agitation is likely to make the developer foam
with resulting uneven distribution of the solution along the films surface.
Continuous agitation increases the rate of development to an extent
which depends upon the speed and character of the action of the device
used. Increased rate of development must be compensated by a shorter
time of development. Careful tests made with several of the most popular
electric agitators on the market tend to indicate that when developing is
done under continuous agitation the standard developing time should be
decreased by some 15% — 20%. Accurate data pertaining to each machine
must be obtained from carefully and systematically made tests.
Occasional gentle agitation (stagnant development) is not only recom
mended but urged. A twist or two of the tank or its reel every two or
three minutes will not affect the 'rate of development and is indicated to
prevent vertical streaks along the perforations of the film.
Continuous agitation with an electric agitator is very useful for the
intermediate short-stop bath and even more for the fixing and hardening
procedure.
The Short-stop and the Fixing Bath
Before proceeding with the details of actual development, one should
be familiar with the only other two solutions required for complete pro
cessing of Leica films:
The Intermediate Short-stop and Hardening Bath. The following solu
tion seems to have many features which should make it indispensable in the
processing of Leica films:
148
Fixing Film
Intermediate Short-stop and Hardener
Avoirdupois Metric
Water 16 ounces 500.0 cc
Chrome Alum 145 grains 10.0 grams
Sodium Bisulphite 145 grains 10.0 grams
Dissolve Chrome! Alum completely before adding Sodium Bisulphite; stir until
Sodium Bisulphite is completely dissolved.
Use without dilution.
This solution should be used at the same temperature as that of the developer.
Film should be left in this bath for five minutes.
This solution should be prepared just before required and discarded once used.
Actual use of this short-stop on many of rolls of Leica films proved its
value. It gently checks development and gradually hardens the emulsion,
the hardening process being continued in the acid fixing bath which follows.
This intermediate bath seems to correct the acidity of the subsequent acid
fixing bath to a degree which eliminates the danger of reticulation at that
point.
The hardening properties of this intermediate bath are such that
negatives treated in it are almost impervious to scratches. It accelerates
final drying of the film by contracting the layer of gelatine to its minimum
thickness, thus expelling as much moisture from it as possible. The emul
sion of a negative treated in this solution and the subsequent acid fixing
bath shows a remarkably glazed surface which makes it almost difficult to
distinguish the emulsion side from the back of the film. This glaze is proof
not only of sufficient hardness of the emulsion and fineness of grain, but
also of the absence of reticulation.
The Acid Hardening Fixing Bath. This is the final solution required
for processing Leica films and its purpose is to dissolve the unexposed
portions of the silver and thus render it insensitive to light. Another
function of this fixing bath is to harden the emulsion.
While the packaged form of acid fixing powders, which merely requires
solution in a given quantity of water, is quite satisfactory, far superior and
consistently satisfactory results are obtained by the use of the newest
formula offered by Eastman Kodak Company:
Acid Hardening Fixing Bath for Films
Formula E.K. F-5
Avoirdupois Metric
Water (at about 125° F. or 52° C.) 20 ounces 600.0 cc
Hypo (pea crystals or rice crystals) ... 8 ounces 240.0 grams
Sodium Sulphite, desiccated Vz ounce 15.0 grams
* Acetic Acid, 28% pure l]/2 fl. ounces 47.0 cc
Boric Acid, crystals 1A ounce 7.5 grams
Potassium Alum l/z ounce 15.0 grams
Cold water to make 32 ounces 1.0 liter
*To make 28% acetic acid from glacial acetic acid, dilute 3 parts of glacial acetic acid
with 8 parts of water.
Directions for mixing:
Dissolve the Hypo in about one-half the reauired volume of water ; then add the
remaining chemicals in the order given, taking care that each chemical is dissolved
before the next is added. Then dilute, with water to the required volume.
The film should be left in this hypo bath for 10 minutes (temperature should be
preferably the same as that of the developer), and it is frankly recommended to use
149
the hypo for fixing of film once only, after which it may be collected in a separate
bottle for fixing of paper. This may be considered by some as somewhat extrava
gant, but it should be worth while to know that this final step in processing some
thirty negatives will insure their longevity, which greatly depends on the freshness
and strength of the hypo.
For those who require larger quantities of acid fixing bath it is rec
ommended that they keep a separate solution of straight Hypo and a
separate Acid Hardener Stock Solution, mixing them in proper proportions
just before using. This results in fresher solution when required:
Acid Hardener Stock Solution
Formula E.K. F-5a
Avoirdupois Metric
Water (at about 125° F. or 52° C.) . . . . 20 ounces 600.0 cc
Sodium Sulphite, desiccated 2Y2 ounces 75.0 grams
Acetic Acid, 28% pure 7l/2 fl. ounces 235.0 cc
Boric Acid, crystals 11A ounces 37.5 grams
Potassium Alum 2l/2 ounces 75.0 grams
Cold water to make 32 ounces 1.0 liter
Dissolve chemicals in the order given, taking care that each chemical is dissolved
before the next is added.
Add slowly one part of the cool Acid Hardener Stock Solution to four parts of cool
30% hypo solution (2% pounds of hypo per gallon of water) while stirring the latter
rapidly.
Washing the Film
After fixing, the film should be thoroughly washed to remove all traces
of Hypo, otherwise the negatives may in time develop stains. Washing is-
best carried out while the film is still in the developing tank. A steady
stream of water, not colder than 65° F.. (18° C.) nor warmer than 70° F.
(21° C.), should be permitted to run into the tank through the opening in its
cover for not less than 20, preferably for 30 minutes. If it be important
to wash the film quickly, it is suggested to proceed as follows: Fill the
tank with water, agitate it for one-half to one minute, pour the water out.
Eepeat this operation six or seven times. The film ought to be free from
Hypo at the end of this procedure, and ready for drying.
Drying the Film
The film should be carefully removed from the developing reel and
hung from one end by means of a clip. It is best to suspend the film so
that it will not come in contact with the wall or other objects while drying.
With a Viscose Sponge or soft clean chamois, wetted and thoroughly
squeezed out, the excess water should be wiped carefully off both sides of
the film in one slow, gentle and uniform stroke for each side. A well hard
ened film should dry of its own accord in 20 to 30 minutes after being
suspended. For quick drying an electric fan may be used, provided one is
sure the fan will not direct a stream of dust onto the film. Dust particles
hurled at the delicate gelatine surface will become imbedded in it beyond
hope of removal. It is therefore preferable that the current of air strike
the uncoated celluloid back side of the film.
150
Developing Procedure
Soaking a Film Before Development
Unless the exposed film is old and brittle it should not be soaked in
water before development. There seems to be no advantage in pre-
soaking a film to be developed. It would be just one unnecessary opera
tion. The old contention in favor of such a procedure was that it pre
vented formation of air bells and enabled the developer to start work
more quickly and uniformly by presoftening the emulsion. Air bells are
successfully eliminated by stirring the developing tank for about a minute
immediately following its filling with developer, and then tapping the filled
tank twice or thrice against some wood surface. As to presoftening of the
emulsion of the film that seems superfluous for a procedure which takes
some 20-30 minutes of slow and gradual building up of image within the
emulsion of the film.
It is one of the features of the technique offered here to develop
Leica film with the utmost of simplicity and effectiveness, with complete
elimination of any and all steps of doubtful value.
Step by Step Developing Procedure
To develop a roll of Leica film proceed as follows :
Step 1. In total darkness wind film onto the spool of the developing
tank, emulsion side in (facing center of reel). To do so,
do not pull the film out of the closed or partly opened
magazine. Open the magazine, take the spool out and hold
it in the palm of the hand while rewinding it onto the reel
of the developing tank. Be sure to close tank carefully
and securely before turning on light.
Step 2. Cool developer to exact temperature required for given
developer. While cooling developer, prepare short-stop
bath and the hypo. Short-stop bath should be about the
temperature of the developer. Hypo not less than 65°F.
(18°C.) or more than 70°F. (21°C.).
Step 3. Pour developer in steady stream into developing tank.
Directly after filling tank, observe time on clock and start
agitating developer. Agitate for about one minute, not
vigorously but steadily to prevent formation of air bells.
Agitate every three to five minutes thereafter.
Step 4. One-half minute before expiration of full time called for
by developing formula, start pouring out developer from
the tank (pour into original storing container, unless de
veloper life is exhausted). Shake all developer carefully
out of tank.
Step 5. Without rinsing, pour the short-stop bath into tank in a
steady stream. Observe time on clock and start agitating
151
for about one minute. Leave short-stop in tank for five
minutes, agitating occasionally. Pour it off at expiration
of time. The short-stop should be used once only.
Step 6. Pour in hypo without rinsing tank. Start agitating
directly after tank is filled with hypo and continue every
two or three minutes. Fresh hypo should remain in tank
for 10 minutes. At the end of 10 minutes, pour off hypo.
Hypo should not be used for fixing film more than twice
(preferably once). It can then be used for fixing out
papers.
Step 7. After pouring out hypo, fill the tank with running water.
Adjust it to a temperature of between 65°F. (18°C.) and
70°F. (21°C.). Water colder than 65°F. will not wash
the film properly; warmer than 70°F. is likely to soften
the film. After filling tank with water, agitate it briefly
but vigorously, pour out water and put tank under tap,
letting the water run down in a steady stream for about
twenty to thirty minutes.
Step. 8. Eemove film from tank. Hang it by film clips in a cool,
dry, dust-free place and wipe off excess water gently from
both surfaces of film by means of Viscose Sponge. The
sponge should be wet, but thoroughly squeezed out. "When
wiping emulsion side only the gentlest pressure should be
exerted to prevent scratching. The celluloid side of the
film should be dried thoroughly with slightly more pres
sure. Film will dry normally in twenty to thirty minutes,
but it is best to let it hang for about three times the length
of time it requires for the film to become concave with
respect to the emulsion side.
Step 9. Eoll film carefully, emulsion side in and store it in a dry,
dust-free, clean box. A small rubber band slipped over the
roll will prevent film from scratching.
Step 10. It is best not to put the film into an enlarger for from six
to twelve hours after it has dried out. Objectionable
Newton rings will form if " green " film is placed in the
enlarger.
General Suggestions
Utmost cleanliness should be observed throughout processing of Leica
negatives.
Use only the best and purest chemicals, and once a brand is adopted
continue to use it for uniform results.
152
Developing Procedure
Pig. 112 Sleeping Acro
bat. Photo by J. S. Mosher
Elmar 50mm, 1/20, f :3.5,
Panatomic Film
Observe greatest accuracy in weighing and measuring chemicals.
Never permit fingers to come in contact with emulsion side of film
either before or after developing.
Never handle film except by its edges.
If film becomes soiled, wipe it carefully with a soft chamois skin
dipped in a suitable film cleaner (see page 155).
Apron of Correx tank should be removed when not in use, and kept
suspended by one or both its ends.
Films should be kept as far away as possible from heat, radiators, hot
water pipes, etc. It should be remembered that most of our negative ma
terial^ is nitrate stock and highly inflammable. Therefore films should be
kept in a well ventilated cool dark place, away from open flame.
Developing and handling of Leica negatives should not be turned into
an obsession, but should be considered as only one of the factors which
contributes towards the final picture.
153
Reticulation
Reticulation is a peculiar phenomenon occurring on films, and in the
case of Leica films it may actually ruin an otherwise perfect negative.
It is due to local strains in the gelatine which may be caused by a sudden
change in temperature of solutions, or atmospheric conditions. It occurs
in different degrees, from an extremely mild form barely distinguishable
by the eye, to a very severe form. Reticulation looks like miniature ele
phant skin shrivelled into a labyrinth-like pattern. In its severest form
it produces actual tiny cracks in the emulsion; the accompanying illustra
tions shows this condition.
Reticulation can happen at any point during processing of film, in
cluding pre-soaking, during development, or at the point of change from
developer to hypo. It can even occur while the finished film is drying.
To minimize the danger of reticulation, the pre-soaking of the film,
and its washing between solutions should be entirely eliminated. The use
of the short-stop as an intermediate bath between the developer and hypo
cannot be recommended strongly enough. The chrome alum and sodium
bisulphite short-stop has a beneficial effect upon the film by its gentle
hardening and slightly acid action as a transition from the alkaline de
veloper to the highly and hardening fixing bath. It is believed that the
short stop carried over in small quantities into the hypo bath corrects
the acidity of the latter to the point where it will not cause reticulation.
Fig. 113 Reticulation, mild
(Anonymous!)
Fig. 114 Reticulation, acute-
cracks in emulsion.
(Anonymous!)
154
Handling Film
Newton Rings
Another source of considerable annoyance are the so-called Newton
rings. These are irregular spots of all colors of the spectrum appearing
on the surface of the enlarging paper while the negative is in the enlarger
for printing. In appearance these Newton rings suggest those charac-
U
u
Fig. 115 Masking plate for eliminaton of Newton Rings, actual size for
tracing.
teristic, rather pretty, patterns which oil forms on water. While pretty
to look at, Newton rings are a decided nuisance for they will ruin any
print, and are hard to eliminate.
They occur particularly on "green" film, that is, film that has just
been dried but still contains moisture. For this reason it is recommended
that films not be put into the enlarger for six to twelve hours after drying.
Newton rings are actually caused by the condenser of the enlarger
not being in perfect contact with the entire back of the film, but merely
touching it at several points, indicating that the film is not in a true plane.
Of most remedies suggested for correction of this annoying condition
the one providing a special mask or spacer, as shown in the cut which is
a full size tracing, is the most practical. This masking plate can be made
from a thoroughly fogged, developed and fixed out piece of cut film, with
the aid of a sharp razor blade. The regular masking negative carrying
plate is taken out of the enlarger, the film placed over it as usual with the
emulsion side down, and the special mask placed over the negative; the
entire assembly is then slipped into the enlarger and from this point the
procedure is carried on as usual.
Film Cleaner
Film that is dusty, dirty, shows finger marks, lint, etc., should be care
fully cleaned before placing it in the enlarger.
An excellent all-around film cleaner is easily prepared as follows :
Ethyl Alcohol (pure grain alcohol) 85% (or parts)
Methyl Alcohol (wood alcohol) 10% (or parts)
Strong Ammonia 5% (or parts)
This cleaner is not "dry," as is carbon tetrachloride and similar cleaners.
Because this cleaner is "wet," it does not charge the film electrically, thus
155
leaving it without the usual tendency to attract lint and dust from the
air. This cleaner should be applied to both surfaces of the film with a
clean, lintless fine linen cloth, soft chamois or lens tissue.
Reducing or Intensifying Leica Negatives
These two processes are, to say the least, dangerous for miniature
camera work, and their use is definitely discouraged. Either of these pro
cesses increases the grain considerably and destroys definition. However,
for those who wish to save a valuable negative, the two formulas most
suitable for miniature camera work are offered:
E.K FORMULA R-5— PROPORTIONAL REDUCER
Stock Solution A
Avoirdupois Metric
Water 32 ounces 1.0 liter
Potassium Permanganate 4 grains 0.3 gram
Sulphuric Acid (10% solution) l/2 ounce 16.0 cc
Stock Solution B
Water 96 ounces 3.0 liters
Ammonium Persulphate 3 ounces 90.0 grams
For iise, take one part of A to three parts of B. When sufficient reduction is
secured the negative should be cleared in a 1% solution of sodium bisulphite.
Wash the negative thoroughly before drying.
E.K. FORMULA IN-5— SILVER INTENSIFIER
For 35mm Negative and Positive Films
The following formula is the only intensifier known that will not
change the color of the image on positive film on projection. It ,gives
proportional intensification and is easily controlled by varying the time of
treatment. The formula is equally suitable for positive and negative film.
* Stock Solution No. 1
Avoirdupois Metric
Silver Nitrate * 2 ounces 60.0 grams
Distilled water to make 32 ounces 1.0 liter
* Store in a brown bottle.
Stock Solution No. 2
Sodium Sulphite, desiccated 2 ounces 60.0 grams
Water to make 32 ounces 1.0 liter
Stock Solution No. 3
Hypo 3!/2 ounces 105.0 grams
Water to make 32 ounces 1.0 liter
Stock Solution No. 4
Sodium Sulphite, desiccated l/2 ounce 15.0 grams
Metol 350 grains 24.0 grams
Water to make 96 ounces 3.0 liters
Prepare the intensifier solution for use as follows: Slowly add 1 part of solu
tion No. 2 to 1 part of solution No. 1, shaking or stirring to obtain thorough
mixing. The white precipitate which appears is then dissolved by the addition
of 1 part of solution No. 3. Allow the resulting solution to stand a few min
utes until clear. Then add, with stirring, 3 parts of solution No. 4. The
intensifier is then ready for use and the film should be treated immediately.
The degree of intensification obtained depends upon the time of treatment
which should not exceed 25 minutes. After intensification, immerse the film
for 2 minutes with agitation in a plain 30% hypo solution. Then wash thor
oughly.
156
Film Reversal
Complete Procedure for REVERSAL of Agfa Superpan Reversible Film
Reversible Superpan should be handled in total darkness. It can, however,
be desensitized in a 1:2000 Pinakryptol Green Solution for two minutes,
and then handled in bright green light such as the Agfa No. 103 green safe-
light with a 25-Watt bulb.
The reversal procedure is divided into six basic operations, which are inter
spersed with appropriate periods of washing in running water.
1. DEVELOPMENT OF THE NEGATIVE IMAGE
First Developer.
Avoirdupois Metric
Water (125° F. or 52° C.) 24 ounces 750.0 cc
Meto1 30 grains 2.0 grams
Sodium Sulphite 1 ounce 30.0 grams
Hydroquinone 180 grains 12.0 grams
Potassium Bromide 120 grains 8.0 grams
Sodium Hydroxide 265 grains 18.0 grams
Potassium Sulphocyanate 75 grains 5.0 grams
Cold Water to make 32 ounces 1000.0 cc
Develop normally exposed film for 6 minutes at 65° F. or 18° C. with constant,
though not too rapid agitation. Do not use this developer more than once for
consistently good results.
Wash, film in running water for 10 minutes.
The accuracy of the first development and the thoroughness of washing following
it are the two most important steps in the entire procedure.
2. REVERSAL
Reversal Bath (Bleach)
Water to make 32 ounces 1000.0 cc
Potassium Bichromate 75 grains 5.0 grams
Sulphuric Acid (Concentrated) 1.3 drams 5.0 cc
Add Sulphuric acid last, pouring it slowly while stirring.
Agfacolor Plate Reversing Salts put up in tubes, ready to be dissolved in 18
ounces of water may be substituted for above reversal bath.
After the film has remained in the Reversal Bath for at least 2 min
utes, white light may be turned on in the darkroom, and the remainder
of the procedure may be conducted in white light.
Carry on reversal until both the negative image and the anti-halation under-
coating are dissolved leaving only the undeveloped silver haloid. This requires
about 5 minutes.
Wash film in running water for 5 minutes.
3. CLEARING
Clearing Bath
Water to make 32 ounces 1000.0 cc
Sodium Sulphite (desiccated) 1 2/3 ounces 50.0 grams
Clear in _above solution for 5 minutes. Yellow stain is gradually removed and
the emulsion assumes a clear white color.
Wash in running water for 2 minutes.
4. RE-EXPOSURE TO LIGHT
Thoroughly expose film to white light of a 200 watt bulb or of a Photoflood bulb
157
(either bulj> should be placed in a reflector). Hold film about 6 feet away from
light, rotating it so that its entire surface, both front and back, is thoroughly exposed.
Exposure required : 2-3 minutes. Direct sunlight should not be used. Film should not
be held too closely to light source to avoid injury to emulsion from heat.
5. REDEVELOPMENT
Second Developer
Water (at 125° F. or 52° C.) 24 ounces 750.0 cc
Metol 30 grains 2.0 grams
Sodium Sulphite (dessicated) 370 grains 25.0 grams
Hydroquinone 60 grains 4.0 grams
Sodium Carbonate (monohydrated) . . . 295 grains 20.0 grams
Potassium Bromide 30 grains 2.0 grams
Cold water to make 32 ounces 1000.0 cc
Develop until image has become thoroughly blackened, which requires about
5 minutes.
Einse in running water for 3-5 minutes.
6. FIXING
Fix for five minutes in regular acid hardening fixing hypo bath (page 149).
Wash in running water for 10-15 minutes.
Wipe off surface water gently with the aid of viscose sponge.
Hang up film to dry.
All solutions and the running water should be maintained throughout the
procedure at 65° F. or 18° C. Utmost cleanliness is required for success
ful results. Avoid contamination of solutions through carrying one into
another.
Storage and Preservation of Films
This matter is again a question of personal preference. The writer
knows of as many storing and filing systems as he knows Leica workers.
There are transparent cellophane envelopes in book or box form holding
strips of from three to eight negatives. There are books with flaps of
transparent paper and books with pockets. There are filing cabinets and
chests of endless variety.
Personally, the writer prefers to preserve, store and file Leica nega
tives in uncut lengths, in rolls firmly but not tightly wound. A small rub
ber band (about % inch in diameter) is slipped around the roll before
placing it in a steel box divided into small sections of twenty-five to a box.
Each roll is given a number and a brief description of the entire roll marked
under the corresponding number on the inside lid of the box. Each box
is marked with an alphabet number and a record kept in a loose leaf
scrap book into which contact prints from every roll are pasted.
Fig. 116 The Negative Viewer
and Marker is Convenient for
Examining Completed Films
158
DRY HYPERSENSITIZING OF LEICA FILMS
F. DERSCH
H. DUERR CHAPTER 6
Much, of the lure and fascination of miniature-camera photo
graphy can be traced to the photographer's desire to tackle difficult
subjects on which the miniature camera can show its real ability.
This tendency, coupled with the miracle lenses of today and modern
"supersensitive" films, has led the average Leica enthusiast to sub
jects undreamed-of but a few years ago. Theater shots with normal
stage lighting, candid photographs in radio studios, and countless
other subjects with unfavorable light conditions, have all given in
to the progress of speed lenses and fast films.
But this taste of new subject material has merely whetted the
serious worker's appetite for picture-making under difficult light
conditions, and many have turned to the process used by some news
photographers of "hypersensitizing" films to gain an extra bit of
sensitivity. In many instances the added sensitivity afforded by
such a method means the difference between success and failure in
capturing a poorly illuminated subject. Until recently, hypersensi-
tization was a discouraging procedure, for the work was messy, the
results uncertain and far from satisfactory. However, the process is
now practical, for from recent work carried out in the Agfa Ansco
Eesearch Laboratories in Binghampton, N. Y., the details of a simpler
and better method of increasing film sensitivity have been developed.
Mercury Vapor Treatment
This new method makes use of the action of mercury vapor and
eliminates the need of any wet treatment, solutions, drying of film or
other unpleasant operations. The treatment is simplicity itself, for
the hypersensitizing is effected merely by storing film in a sealed
container with a few drops (half a gram is sufficient) of mercury
for several days at normal room temperature. The mercury is placed
in a small non-metallic cup or wrapped up in a small piece of porous
blotting paper. If preferred, silver or zinc amalgam, which can be
obtained as a powder at any drug store or through your dentist, may
give greater convenience than is afforded by liquid mercury. Two
159
grams of the amalgam is sufficient for a one-liter container if the
powdered amalgam is spread out as much as possible. The hyper-
sensitizing can be carried out in any closed, non-metallic container
and in this connection developing tanks can be used with care if
they are clean and dry. Unvarnished or unpainted metallic con
tainers (except those of iron) should be avoided as they greatly pro
long the time necessary for treatment due to the absorption of mer
cury vapor by the metal of the container.
For the most rapid results, film should be unrolled to allow free
access of the mercury vapor. This can be done by hanging the film
in spirals in a light-tight box or by reeling it onto the clean, dry
reel of a Correx or Reelo developing tank in the center of which
the small amount of mercury or amalgam has been placed. The tank
should be sealed with scotch cellulose tape around the edges and the
center opening plugged with a rubber cork to prevent leakage of the
mercury vapor.
Length of Treatment
For the method outlined, hypersensitizing should be effected in
about 70 hours at normal room temperature, although it is difficult
to specify this as the definite time for treatment, since the time re
quired varies somewhat with prevailing conditions for hypersensi
tizing. Large containers, low temperatures, or the presence of metal
which can absorb mercury on its surface, may increase the time
necessary for treatment appreciably. It is therefore best to run a
sample of perhaps three short lengths of film under your own work
ing conditions first, allowing the film strips to be treated for dif
ferent lengths of time. Inspection of the negatives after a standard
ized exposure and development will indicate which time of treatment
should be used to obtain maximum increase in sensitivity. As a gen
eral guide upon which to start your tests, the three films should be
treated for perhaps 40, 60 and 80 hours at room temperature.
More definite recommendations than this for length of treatment are
of little value as the time required for a maximum hypersensitizing effect
depends greatly, as stated above, on the conditions of treatment. Further
more, while all makes of film have been found suitable for treatment with
mercury vapor, considerable variations in the time required for maximum
effect have been experienced in hypersensitizing film produced by different
manufacturers. This condition makes it all the more advisable for you to run
a brief test on the kind of film you use, to determine the optimum of time
of treatment with mercury vapor. Treatment can be continued as short strips
of film are removed at intervals, given a standard exposure and developed
until no further increase in sensitivity is noticeable. The presence of any
slight amount of fog not due to unsafe darkroom illumination or improper
160
Hypersensitizing
development is an indication of extreme over-treatment with mercury
vapor and should be remedied by reducing the time of treatment some
what.
Courtesy Agfa Ansco Corp.
Fig. 117. Left, untreated film: Right, film treated with mercury vapor
before and after exposure. Both negatives on Agfa Superpan film of same
emulsion number exposed l/200th second at f:4.5, developed in Agfa 17
at 65° F. for 14 minutes, enlarged together on the same sheet of Agfa
Brovira Hard paper without dodging or print manipulation. Subject gave
an average reading on a Weston meter of 65.
Fig. 118. Left, untreated film: Right, film treated with mercury vapor
before and after exposure. Both negatives on Agfa Finopan film of same
emulsion number, exposed l/200th second at f :3.5, developed in Agfa 17 at
65° F. for 10 minutes, enlarged together on the same sheet of Agfa
Brovira Soft paper without dodging or print manipulation. Subject gave
an average reading on a Weston meter of 65.
161
If sufficient time is available, films can be treated without being un
wrapped or removed from their cartridge or spool; 36-exposure cartridges
with foil removed, or longer lengths on spools, may be treated directly by
placing them in a sealed container with the mercury or amalgam. An
ideal container for treating film in cartridges is provided by the familiar
fruit jar with a glass top. With the top clamped down against a rubber
washer, the jar becomes an air-tight hypersensitizing outfit that is con
venient in size and easily accessible. The amalgam may, as before, be
wrapped in blotting paper or a small shelf can be inserted to support film
cartridges. Treatment in such a manner should continue for 8 to 10
days for maximum effect, and longer if the cartridge is constructed with
a large amount of metal.
The time of treatment can be shortened by carrying out hypersensi-
tization above room temperature — but this is not recommended, as the
presence of excess mercury vapor formed at higher temperatures can be
detrimental to health. Mercury and amalgam should be handled carefully;
but with normal care in washing hands there is no risk of "mercury poison
ing." Hypersensitized film is perfectly safe to handle.
Increasing Sensitivity From 75% to 150%
The amount of increase in sensitivity by this method is approxi
mately 75%, depending on the kind of film, slower emulsions having
been found to give usually a slightly greater response to treatment
than the fast emulsions. However, this is not the limit of speed in
crease obtainable through dry hypersensitizing. It has also been
found that while treatment before exposure gives an increase of ap
proximately 75%, treatment of the film after exposure will show a
still greater increase, and treatment both before and after exposure
of the film will result in a maximum gain in the sensitivity of about
125% to 150%. The treatment after exposure and before develop
ment known as "intensification of the latent image77 can be carried
out in the same manner as hypersensitizing before exposure.
Several other characteristics of mercury vapor hypersensitiza-
tion are interesting — particularly since they are possessed only by
this method. Of greatest interest, perhaps, is the fact that experi
ments have shown no change in gradation between completely treated
and untreated films. Tests have also shown that color sensitivity and
grain size are unaffected by sensitization with mercury vapor.
Practical Applications
Faster film gives us the obvious advantage of shorter exposures.
There are several ways in which we could gain by using proper judg
ment as to how the exposure should be shortened to serve our needs
best. Assuming that hypersensitizing results in 100% increase in the
sensitivity of the emulsion, making our film twice as fast as its
162
Hypersensitizing
original rating, we have several ways at our disposal any one of
which will give us an obvious advantage:
Adjustment possible:
1. Increased shutter speed
(lens diaphragm unchanged)
2. Smaller lens stop
(shutter speed unchanged)
3. Less (artificial) light
(same shutter speed and lens
stop)
4. Use of color filter requiring
twice normal exposure (same
shutter speed and lens stop)
Resulting advantage:
Easier to stop motion;
prevention of blurred images
Greater depth of focus;
better definition
Less heat and discomfort to sub
jects photographed indoors
Better color correction without
slowing down of exposure or in
crease of lens stop.
Any one or a combination of all or some of the above factors may
be used as long as the sum total of their respective light retarding
properties remains approximately within the scope of the increase of
film sensitivity secured by the hypersensitizing method. Careful
consideration should be given to this aspect of making the best of
this advantageous treatment of the film.
Fig. 119 Bessie
J. Winton Lemen
163
Keeping Qualities and Storage of Film
The keeping qualities of hypersensitized film vary considerably with
storage conditions. At room temperature, treated film retains its increase
in speed from one to two weeks. After this period, the sensitivity falls
off gradually until the entire increase in speed has disappeared in from
four to twelve weeks according to the type of material. The increase in
speed of hypersensitized film may, however, be kept over longer periods of
time by storing the film in a refrigerator. Tests have shown that film
stored at — 10° Centigrade will retain the greater part of its hypersensi-
tizing effect for over two months.
This fact suggests the possibility of a film storage control plan where
by a supply of treated film may be kept "on tap" to be used as needed.
Two or three treated cartridges may be kept, for example, in their metal
containers within the freezing compartment of your kitchen refrigerator.
Meanwhile an extra cartridge can be given unhurried treatment at room
temperature. When a film is withdrawn from the refrigerator for use,
the next film that has received treatment can be placed in "cold storage"
allowing a new cartridge to take its place in the container used for hyper-
sensitizing. This "cold-storage" technique is especially valuable if you do
not know the exact time at which you will need hypersensitized film, and
want to have the treated film on hand ready for use. Only one word of
warning: — allow at least an hour for the film to warm up to room tempera
ture before loading to avoid condensation of moisture on the film in the
camera.
Film that has lost its increase in speed may be treated again without
ill effects. In fact, tests have shown that several such hypersensitizations
may be made without causing deterioration of the film, and it is believed
that film can be retreated as often as is desirable and convenient if hyper-
sensitization is not carried to the point of fog. Since experiments have
shown the presence of fog only after extreme over-treatment, little need
be feared on this account, and in normal practice no fog will be encoun
tered. Treated film that is used after the hypersensitizing effect has dis
appeared shows no deterioration or any effect upon the keeping proper
ties or original photographic characteristics.
For Leica work requiring the greatest possible film sensitivity
the mercury vapor method of hypersensitizing will prove very help
ful. Users will find it not only effective, but clean, convenient and
simple. Many photographers will find it valuable for stepping up
the speed of a fine-grain film of moderate speed. Others may prefer
to use it for normally-exposed fast films which are to be developed
in fine-grain formulas requiring an increase in exposure. Certainly,
for those interested in hypersensitizing, it provides a method that
is far superior and more reliable than the usual wet methods used
heretofore.
164
Fig. 120 Beale Street Memphis, Where the "Blues" Began
Joseph J. Steinmetz
Summar 50mm, Agfa Superpan Film
165
166
MAKING OF ENLARGED NEGATIVES:
THREE METHODS
JOHN N. HARMAN, JR. CHAPTER 7
Probably everyone who has ever made a Leica shot and
" blown it up" to a good sized enlargement has wished for an
opportunity to do a bit of retouching on minor parts of the nega
tive. But a microscopic eye is needed for work as exacting as this,
and retouching and spotting have as a result been relegated to the
final print.
Many a cynical megacamist has seized this apparent fault as
the clinching point in his arguments against "postage stamp'5 nega
tives. And this with little reason, for there are three ways by
which Leica photographs may be conveniently put into the form
of enlarged negatives for retouching before the final print or en
largement is made.
Betouehing, however, is not the only advantage offered by the
use of enlarged negatives — for they come in handy in many ways.
"Whenever several enlargements requiring dodging or projection
control are desired to be made identical with one another, the use
of an enlarged negative not only simplifies the procedure and cuts
the over-all working time, but insures the uniformity of the final
prints. All the dodging and retouching may, for -example, be done
upon one master enlarged negative of from 4 x 5 to 8 x 10 inches
in size, and all prints of any size may be contact printed, enlarged,
or reduced from this with unvarying results. The contrast of ori
ginals that are too dense or too flat may also be improved in the
preparation of the enlarged negative. Furthermore, enlarged nega
tives offer an excellent medium for the combination of parts of
different negatives when, as is sometimes the case, the final print
is built of several separate images.
There are three methods which may be used to obtain good
enlarged negatives without excessive time or trouble in processing.
The first involves the use of a new and singular photographic
material, "Direct Copy Film." This unusual film produces a
negative directly from a negative — although it is processed in a
manner no different than that regularly used for chloride print
ing paper.
167
The second method is based upon the use of a reversible film
for the original exposure in the Leica. Upon special development,
this reversible film produces a positive (normally used for pro
jection purposes) which is then enlarged on a process or commercial
film to give the enlarged negative.
The third method embraces the preparation of an intermediate
film positive from which the enlarged negative is made. This is
naturally the longest process in point of time but it is well known
and will do the trick admirably if the special films required for
either of the first two methods are not obtained.
Direct Copy Film is a new material which is being manufactured by
the Agfa Ansco Corporation of Binghamton, N. Y. The emulsion of this
remarkable film has properties by means of which it can produce in one
single exposure and development a negative from a negative (or for that
matter, a positive from a positive). The emulsion of the film is treated
during manufacture so that when developed without any exposure what
soever, a maximum density of opaque silver is produced. However, for
every increasing amount of exposure the film shows a corresponding
increase in transparency after development. Thus, light parts of an ori
ginal are duplicated by transparent portions of the copy film and shadow
regions of the original are represented with equal accuracy. Aside from
this unusual characteristic the emulsion of Direct Copy Film resembles
a chloride printing paper in color sensitivity, required exposure, and gen
eral handling and processing in the darkroom. Because Direct Copy Film
has an extremely fine-grained emulsion no additional graininess is pro
duced in the final enlargement by this method.
Because of its peculiar properties, Direct Copy Film makes the prep
aration of enlarged negatives a rapid and simple procedure. The only
operations requiring special mention are those of exposure and develop
ment. Fixation and washing are done in the conventional manner.
Since Direct Copy Film has approximately the same speed as the
standard soft grades of contact printing paper, Leica negatives may be
enlarged onto it without unduly long exposures when a photonood bulb is
used in the enlarger. A small strip of chloride printing paper such as
Gonvira may be used in making a preliminary test exposure, and the cor
rect printing time determined from the test exposure. The piece of Direct
Copy Film should be mounted on the enlarging easel with the emulsion
side up. The Leica negative to be enlarged should be inserted in the en-
larger, not in the usual way, but with the emulsion side facing upward
instead of downward. This will give a reversed (from left to right) image
on the easel and a correct image in the final print. The density of the
enlarged negative should be controlled by adjusting the exposure and not
by modification of the developing time. Thin copy negatives indicate
over-exposure, while an enlarged negative that is too dense is the result
of under-exposure. Amber or bright orange light may be used in the
darkroom.
Development of the enlarged negative on Direct Copy Film can be
carried out in any soft-working film developer, but the three following
formulas are recommended for "best results.
168
Enlarged Negatives
For Normal Gradation on Direct Copy Film (Formula: Agfa No. 17)
Avoirdupiois Metric
Water (about 125° F. or 52° C.) . . . . 24 ounces 750.0 cc
Metol 22 grains 1.5 grams
Sodium Sulphite, desiccated 2l/2 oz. 80 grains 80.0 grams
Hydroquinone 45 grains 3.0 grams
Borax 45 grains 3.0 grams
Potassium Bromide ll/2 grains 0.5 gram
Cold Water to make 32 ounces 1000.0 cc
Use without dilution.
Develop 12 to 20 minutes at 65° F. (18° C.).
For Moderate Brilliance on Direct Copy Film (Formula: Agfa No. 47)
Water (about 125° F. or 52° C.) 24 ounces 750.0 cc
Metol 22 grains 1.5 grams
Sodium Sulphite desiccated V/2 ounces 45.0 grams
Sodium Bisulphite 15 grains 1.0 gram
Hydroquinone 45 grains 3.0 grams
Sodium Carbonate monohydrated 88 grains 6.0 grams
Potassium Bromide 12 grains 0.8 grams
Cold Water to make , 32 ounces 1000.0 cc
Use without dilution. Develop 8 to 10 minutes at 65° F. (18° C.).
For Maximum Brilliance on Direct Copy Film (Formula: Agfa No. 30)
Water (about 125° F. or 52° C.) 24 ounces 750.0 cc
Metol 50 grains 3.5 grams
Sodium Sulphite desiccated 2 ounces 60.0 grams
Hydroquinone 130 grains 9.0 grams
Sodium Carbonate monohydrated 1 oz. 150 grains 40.0 grams
Potassium Bromide 30 grains 2.0 grams
Cold Water to make 32 ounces 1000.0 cc
Use without dilution. Develop 4 to 5 minutes at 65° F. (18° C.).
As mentioned above, variations in results should be controlled more
by adjustment of exposure rather than by modification of developing
time. Best results will be obtained by keeping within the times recom
mended for each developer. Stains will be avoided by the use of a con
ventional acid short stop bath between development and fixation.
Enlarged Negatives from Reversible
Film Original
The second method of preparing enlarged negatives relies upon the
use of a reversible film in the Leica for the original exposure. This film
is developed by a reversible process to a positive, usually for projection
purposes. A film of this kind, prepared especially for the Leica, is made
by the Agfa Ansco Corporation of Binghamton, N. Y., and is sold under
the name of Superpan Reversible. It is a high speed, panchromatic
material which may be compared to the supersensitive type in group 1
(See page 122). Because it is a reversal film it gives positives which
169
have an exceptional fineness of grain — a noteworthy point for all miniature
camera work. The positive resulting from the processing of the Superpan
Reversible Film can be easily enlarged onto a piece of Commercial, Com
mercial Ortho or Process Cut Film and developed in a standard negative
film developer. The exposure required by Process Film will be about the
same as that needed for the faster grades of Bromide enlarging paper,
while Commercial and Commercial Ortho Film will require about one-tenth
as much exposure.
The processing of the reversible film original will be done at a nom
inal^ charge by the film manufacturer but it can be carried out satisfactor
ily in about two hours by the procedure outlined in detail on page 157
of this volume.
Enlarged Negatives by the Positive —
Negative Process
The third method by which enlarged negatives may be made from
Leica originals requires the preparation of an intermediate positive film.
This may be made, of course, by contact printing onto 3 5mm positive
film stock and proceeding as with the reversible film positive. However,
greater convenience is undoubtedly afforded by the preparation of the
intermediate film positive in an enlarged form. This is easily done by
enlarging the original Leica negative onto a sheet of Process or Commer
cial Film instead of the usual bromide paper. Development can be carried
out in a conventional negative film developer such as the following:
Metol — Hydroquinone Developer (Formula: Agfa No. 47)
Avoirdupois Metric
Water (about 125° F. or 52° C) 24 ounces 750.0 cc
Metal 22 grains 1.5 grams
Sodium Sulphite desiccated V/2 ounces 45.0 grams
Sodium Bisulphite 15 grains 1.0 gram
Hydroquinone 45 grains 3.0 grams
Sodium Carbonate mtonohydrated 88 grains 6.0 grams
Potassium Bromide 12 grains 0.8 grams
Cold Water to make 32 ounces 1000.0 cc
Tray Development: Use full strength. Normal development 5 to 7
minutes at 65 °F. (18°C.)
Tank Development: Dilute one part of above developer with one part
of water. Normal development: 12 to 14 min
utes at 65° F. (18° C.)
This enlarged positive film when fixed, washed and dried can then be
contact printed or enlarged onto another piece of Process or Commercial
Film to produce the final enlarged negative. Retouching and dodging
can, of course, be done at either of the two intermediate steps — inter
mediate positive, or final enlarged negative. If Process Film is used for
both intermediate positive and final master negative, developing time
should be decreased to avoid results of excessive contrast.
EDITOR'S NOTE: For finer gradation, softness and minute details expected of pic
torial work, it may be found that substitution for the positive Process or Commercial film
suggested by the author, by a softer film may be more effective. Reference is made to the
type of film offered by orthochromatic emulsions such as Eastman Portrait or Safety Ortho
films, Agfa Plenachrome or Defender Pentagon. These films are more sensitive to light in
general and a shorter exposure is required than for the positive film. The Safelight of
course, would need to be changed from yellow to ruby, according to recommendations
outHnS I byVTauthor °f Otherwise the procedure is not different from that
170
YOUR OWN LEICA DARKROOM
WILLARD D. MORGAN CHAPTER 8
A photographic darkroom can 'be the source of many enjoyable
hours. Here is a place where you can try out some of those new
photographic ideas of yours, make your exhibition enlargements, try
out the latest developing formula, make photo-montages, lantern
slides, develop color film and experiment with various enlarging
papers. As you complete your darkroom it will quickly become the
meeting place for your friends who have similar interests. After a
hectic day at the office or some other occupation the evening hours
in your darkroom will be one of the most enjoyable relaxations you
can experience.
Make the darkroom a model of convenience, cleanliness and neat
ness. If you cannot find space for a separate room for your work
don't worry but fix up the kitchen sink for your developing and en
larging equipment. Dark shades over the windows will exclude all
light, and the darkroom safety light may be easily installed over
the sink. If the kitchen is not convenient explore the bathroom and
confiscate one corner for your equipment. A wide board over the
bathtub will hold several trays, while the bathtub and sink may be
used for washing the prints or films. There are thousands of "bath
tub finishers" located in every section of the country who are doing
excellent photographic work The writer belonged to this fraternity
of " bath tub finishers" for many years before he had an opportunity
to enjoy the thrills of having a separate darkroom completely
equipped for his work.
If you happen to be living in a small apartment and wonder
how you can solve the darkroom situation try converting the kitch
enette into a darkroomette. Such a transformation has been cleverly
done by John T. Moss, Jr. of New York. The accompanying photo
graph will give a complete plan of Mr. Moss's darkroomette. Note
that the folding doors may be closed or opened as required. The
refrigerator can be used for keeping solutions cool, or it may be a
source of ice cubes when required. It is surprising how small a space
171
can be utilized for doing all one's developing and enlarging work,
so don't let the space problem worry you when you set up a place to
do your finishing work. J. Harlan Davis of Mt. Vernon, Ohio has
solved his space problem by constructing a "folding darkroom"
right in his library. He has constructed a wall cabinet which holds
all his equipment, and the door swings down to make the work table.
Fig. 123 "Darkroomette"
of John T. Moss, Jr., util
izing facilities of the mod
ern kitchenette
A Model Darkroom
In order that we may obtain a complete picture of what an
amateur darkroom should look like let's take the model darkroom
recently constructed by Lee Parsons Davis of New Rochelle, N. Y.
The accompanying photographs and drawings will 'give you com
plete information, even better than any long detailed descriptions.
Mr. Parsons based his plans upon a similar darkroom constructed
by Clifford H. Beegle of Beaver Falls, Pa.
The inside dimensions of Mr. Parsons' darkroom are seven feet
by six feet. Although this space may at first seem small it is sur
prising how much room there is to work and also how much space
there is for storing equipment and supplies. The secret of this space
utilization is that there are many storage drawers, and several shelves
for chemical storage. Space has been made for print drying racks,
172
Darkroom
ferrotype tins, and a large sink five feet long by sixteen inches wide
and one foot deep. The sink is constructed of California white pine
1*4 inches thick. The side and end boards are I2y2 inches wide, and
the bottom is one wide board. These boards were grooved to fit at
a planing mill, and set together without glue or nails, then bolted
on the ends and bottom.
There are three faucets over the sink, two of which are combina
tion faucets which permit the proper temperature regulation of the
water. One of the faucets has a small under valve which permits an
outlet for tray washing of prints as shown in the accompanying illus
tration. A removable drainboard for the sink provides for additional
working space when required. The 11 by 14 inch developing trays
will fit across the sink while the space below can be used for a larger
washing tray. Plenty of electrical connections, safety lights, as well
as the regular white lights are provided.
Finally, and one of the most important points to consider in the
darkroom is the ventilation. A fresh air inlet has been provided for
through the door of the darkroom, while the foul air is sucked out
through a light-tight duct by an electric fan. This permits constant
circulation of air, and when two or three people are working in the
darkroom at one time there is always plenty of good clean air.
Fig. 124 Interior of photographic
laboratory of Lee Parsons Davis
Fig. 125 Outside of Mr. Davis' pho
tographic laboratory showing posi
tion of exhaust fan.
Note light trap ventilator on door
173
Fig. 126 Elevation facing work bench showing enlarging table, cabinets
and cross-section of sink
Key to drawings (figures 126, 127, 128) :
No.
No.
No.
No.
No.
No.
No.
No.
No.
No. 10
No. 11
No. 12
No. 13
No. 14
No. 15
No. 16
No. 17
No. 18
No. 19
No. 20
No. 21
No. 22
No. 23
No. 24
No. 25
No. 26
No. 27
No. 28
No. 29
No. 30
Work bench and cabinet for print drying racks
Sink — lead lined
Wratten safe light, series No. 3, 40-watt Mazda bulb
Safe lights
Electric convenience outlets
Electric outlet for enlarger
Electric bright light
Electric exhaust fan
Fresh air inlet (light trap)
Foul air discharge duct
Cold water faucet
Combination hot and cold water faucet
Variable overflow drain pipe
Removable drain board
Sliding enameled developing trays
Towel rack
Light-tight door gasket
Air thermometer
Coat hook
Stool
Light-tight blind for exterior window
Storage shelf for chemicals, etc.
Storage space for solutions
Trimming board and cutter
Tray storage racks
Storage space
Equipment and supply drawers — full depth of work bench
Bench top and back board covered with acid and alkali proof Micarta 1/16" thick,
with chromium trim
Foul air outlet grille
Proposed recessed cabinet for books and film storage
174
(D
>©
©
@
(D
Z5,
Fig. 127 Elevation showing sink, exhaust fan, safe lights, drying racks, etc.
Fig. 128 Plan of Lee Parsons Davis' model darkroom
Stocking the Complete Laboratory
Naturally one's darkroom equipment and supplies will be determined
by individual tastes and requirements. Here is a list to consider when
stocking your laboratory with everything but the "kitchen stove."
Developing tanks for film . . . developing trays for paper enlarge
ments . . . enlarging equipment . . . film and glass slide contact printers
. . . illuminating control rheostat for use with photoflood bulb in en-
larger . . . paper cutter . . . safety lights for paper and films . . .
chemicals and chemical weighing scale . . . electric agitator for film
developing tank . . . thermometer . . . cotton and viscose sponges
. . . supply of bottles for keeping solutions . . . supply of beakers and
graduates for mixing and measuring solutions . . . small electric stove
for heating solutions . . . metal clips for hanging film to dry ... de
veloping glass drum for color films or reversing other films . . . supply
of enlarging paper . . . filing boxes for negatives which must be kept
free from dust at all times . . . and finally a small corkboard mounted
on the wall for tacking up formulas and special data which is often re
ferred to such as weight conversion tables, developing times at various
temperatures, etc.
A Two Boom Laboratory
Now let's study still another darkroom or laboratory which is a
little more elaborate and has the double room feature with a small
separate nook for the chemical mixing department. This darkroom
was designed by Clarence Slifer of Hollywood, California and de
scribed in the August 1934 issue of the American Cinematographer.
Mr. Slifer describes his laboratory as follows :
In keeping with the progressiveness that is so apparent in Miniature
Photography, herewith is presented a plan of a model laboratory. This
room in which photographic processing is carried on, is not called a dark
room, simply because that word is a misnomer. It is not dark, for at all
times, with the exceptions of when loading magazines or developing tanks,
there is an abundance of light: properly filtered light for printing and
daylight for other operations.
Removed is the stigma that the word darkroom has implied. This
model laboratory is not a poorly ventilated closet, under the cellar stairs,
but is a room planned for comfort, convenience, and practicability. All of
which are conducive to better photographic work and the full enjoyment
of miniature photography.
From the plan, it will be noticed the room is divided into two main
divisions; the laboratory proper and the study. The laboratory, to take
care of all photographic work from glossy prints to the advanced pic
torial processes. The study, to serve as a place for working out pho
tographic problems or as a place where you may argue with friends about
the gammas, the paraphenylenes, and the reticulations of photography,
without having your sanity questioned by other members of the household
or being relegated to that esteemed position now held by butterfly-chasing
professors.
The essential features of the model laboratory are:
1. A shallow wooden sink provided with removable slats for tray sup
ports. Its six-foot length easily handles three trays up to 16"x20" in
176
Darkroom
size. Swing faucets practically "cover" the entire sink. Above the
sink are shelves for stock solutions, etc. Below the sink, are racks
for trays, box for waste and space for miscellaneous equipment. In
the wall, above the right end or the sink, is a light-tight ventilator.
This ventilator withdraws all hpyo or chemical fumes arising from
developing or toning prints. Also at this end of the sink, is a light
fixture containing a day light bulb. The light from this fixture is
concentrated down upon the hypo or toning tray, and is actuated by a
foot switch. This permits examining prints for tone or contrast with
out drying the hands. The safe-light used for observing the develop
ing of prints, has two degrees of brilliance: dim and bright. The
bright light is controlled by a foot switch and is used only for limited
periods of print examination. For cleanliness, liquid soap and paper
towels are a part of the sink equipment.
2. A film developing bench especially equipped for miniature negative
developing. The importance of agitation in small film processing is
recognized by the inclusion of an electric agitation machine in the
laboratory equipment. Also provided is a negative viewing box (a
white light behind opal glass). Affixed to the glass are gamma films
of different densities for use in judging the progress of development.
An ice chest for cooling solutions may be placed under the bench.
3. A print washing machine preferably of the Kodak rotating type. This
provides a quick, efficient, and thorough means of washing prints with
little handling.
Fig. 129 Plan of two
room laboratory designed
by Clarence Slifer
•/CALEr 1POBJ- I— n '
177
4. A drain-board for prints after they have been removed from the
washer.
5. A holder for paper towels and a shelf for the radio (the companion
in the laboratory). Indicated here, is a stool, as much printing may
be carried on while seated.
6. A double, indirect safe-light for general room illumination.
7. A long cabinet of an exaggerated desk-like appearance, with shelf
or cabinet space above. Underneath the left end is a set of drawers
for keeping Bromoil brushes, paints, and other materials. Space is
provided for leg-room when seated before the portion of the bench
at the window. Here is an ideal place to work upon Bromoils, spot
or color prints, retouch enlarged negatives, etc. Underneath the right
end of the bench, are frames with stretched cloth-net for laying prints
upon, to dry.
8. A sliding light-tight shutter for the window.
9. A cabinet-bench for a miniature negative enlarger of the Leitz Foco-
mat or Valoy type. The enlarger is controlled by a foot switch, thus
leaving both hands free for "dodging". This freedom is further en
hanced by the use of a metronome for timing prints audibly, during
difficult exposures. At other times a large electric clock serves the
purpose. On the wall, back of the enlarger, is an Illumination Control
Rheostat for use with a Photo-flood lamp, when enlarging upon chlo
ride (contact) papers. Light-tight drawers are in the cabinet, for the
storage of photographic paper. To the left of the enlarger, is a print
trimmer. To facilitate print trimming, the edge of the print trimmer
is illuminated by a light, sunk in the cabinet.
10. An Il"xl4" contact printing machine, which is used for printing en
larged negatives and also strips of Leica film, for proofs.
11. A film loading and negative filing desk.
12. Chemical closet, for chemical storage and mixing. In the lower part
of the cabinet, is a bin for hypo crystals and a fixture for supporting
a five-gallon bottle of distilled water. Due to its location, chemical
dust in the laboratory is eliminated.
13. Light-tight entry to the laboratory, affording easy access and ventila
tion. The partitions fold back, whenever it is desirable-
14. Dry mounting press, for mounting photographs.
15. Bookshelves, for those indispensable photographic books and maga
zines.
16. A light-tight film drying cabinet, six feet high. Air is drawn in,
through silk screens, from the study, thus minimizing the nuisance of
dust. The cabinet may also be used for drying hyper- sensitized film.
17. A cabinet for camera equipment. Upon this cabinet is an easel for
holding prints to be admired or glared at. A conventional, picture-
illumination fixture is used for light.
18. A Bromoil transfer press and a cabinet for card stock, etc.
19. Desk-like drawing table with long fixture for diffused light above.
20. Long, comfortable window seat.
The plan of this model laboratory is based upon the knowledge gained
from a number of years' experience in many photographic "darkrooms".
So turn back and study the plan over, for perhaps you may find some ideas
for your Ideal Laboratory for Leica Photography.
178
ENLARGING AND CONTACT PRINTING
WILLARD D. MORGAN CHAPTER 9
After the Leica negative has been made the next step is to have
it printed, either by contact upon paper or film, or by direct enlarge
ment. The choice in printing really depends upon individual re
quirements. Some prefer to make paper contact prints of all their
negatives for reference purposes, while others would rather make
enlargements direct. In order to reproduce the finest qualities in a
Leica negative it is necessary to either mate positive film or glass
slides for projection upon a screen or to make enlargements upon
some of the various printing papers now available. We will discuss
the methods for enlarging first.
Making positive prints from Leica negatives offers many dis
tinct advantages.
1. There is the choice of many fine enlarging papers which may be secured
in various surfaces and grades of contrast. The chapter on enlarging
papers will give complete information on this point.
2. Enlargements may be shaded or dodged during the printing in order to
emphasize or hold back any portion of the picture. For example an
overexposed sky may be printed longer than the underexposed fore
ground.
3. The unattractive or disturbing parts of a negative may easily be omitted
to improve the composition of the finished picture.
4. The enlarging easel and the enlarger housing: may be tilted for correct
ing the perspective in a picture. This feature is especially valuable when
enlarging architectural pictures which have been taken close to the
subject with the camera pointed slightly upward or at a sharp angle.
5. The slow printing contact or chloride papers can be used when a photo-
flood bulb is placed in the enlarger.
6. Enlarging screens, gauze, special effect filters, and other accessories
may also be used with the enlarger for securing special effects in en
largements to please the various individual tastes.
7. The Leica enlargement of post card size or larger produces a picture
which can easily be studied by anyone.
Selecting the Enlarging Equipment
Before the actual enlargements can be made it is necessary to
select the proper enlarging equipment. A -good enlarger will last a
lifetime. By actually enlarging your own negatives you will learn
179
many things about your pictures. You will have a keener sense of
the proper composition, a better judging of correct exposures, im
proper focusing will show up instantly, and even when you are making
your original picture you may have in mind certain enlarging papers
for the subjects taken. So in order to gain these advantages let's
become more familiar with the actual working equipment available.
The Valoy Enlarger
The present Valoy enlarger is actually the outgrowth of the former
Piloy and Fylab enlargers. While these latter enlargers are still producing
excellent enlargements for those who still own them, the present Valoy
enlarger was constructed to give a few additional conveniences in handling
the negatives. This enlarger may be described as follows:
1. Baseboard 15% x 18 inches in size, for holding the paper easel and
the metal upright bar which supports the enlarger lamp housing.
2. Upright metal bar, 1^4 inches in diameter, available in 80cm and 120cm
lengths. Electric connecting wire passes through the center of the
metal upright. At the base of the upright is a grounding connection
marked "E" for attaching a ground wire if desired.
3. Lamp housing supported by an extension arm which clamps around
the metal upright bar.
4. Adjustable lamp base for centering and otherwise moving the enlarging
bulb into the best position to give an even illumination over the entire
negative area.
5. Removable condenser with adjusting lever for clamping Leica negative
into position for enlarging.
6. Space for accommodating- various masks for single frame, Leica double
frame, 3 x 4cm? and 4 x 4cm negatives. Hinged glass negative holders
also available for use with single negatives which have been cut from
the regular rolls.
7. Focusing lens mount will accommodate the various Leica lenses. The
50mm lenses are recommended for use in this enlarger.
8. The condenser may be removed for cleaning by turning the clamping
ring inside of the lamp housing, removing the spring, and then lifting
out the condenser. It is a good plan to remove this condenser fre
quently and carefully clean the surface with lens tissue or a clean
linen.
9. An intermediate ventilating ring and an intermediate diffusing con
denser are recommended for use with the Valoy enlarger when a photo-
flood bulb is used.
10. A small snap switch is attached to the baseboard of the enlarger for
making the exposures.
The Focomat Enlarger
The Focomat Enlarger is very similar to the Valoy Enlarger with
the exception of the automatic focusing features. The lamp housing,
movable condenser and method of inserting the film in the Focomat
Enlarger is just the same as in the Valoy Enlarger. The differences
may be mentioned as follows :
180
Enlarging
Fig. 130 Valoy Enlarger,
complete with easel, mag
nifier, orange filter and
negative masking carrier
plate
Fig. 131 Focomat Enlarger, complete with
easel and orange filter
1. As shown in the illustration the Focomat Enlarger has two extension
arms which attach the lamp housing to the upright pillar. The upper
arm holds the lamp housing, while the lower arm likewise holds the
lamp housing in a vertical position and at the same time makes the
changes in the focus of the lens.
2. The Focomat Enlarger can be adapted for use with any 50mm Leica
lens.
3. There are three different settings on the focusing ring of this enlarger.
These settings are used with the different film holders, such as, the
regular holder for receiving rolls of Leica film, the glass plate holder
for single Leica negatives, and the glass holder for 3 x 4cm negatives
which hold the film in a slightly different plane for enlarging.
4. A magnification scale is included.
5. On the upright pillar there are two holes. The upper one is for use
with the enlarger when the paper holding easel is in position. The
lower hole is used for marking the position of the bracket on the lamp
housing when the easel is not to be used.
The Focomat Enlarger is focused for one of the Leica lenses by the
photographer. This operation is quite simple. The enlarger head is first
raised to the highest position (lOx enlargement) and the image sharply
focused on the easel by turning the lens mount of the enlarger. For this
purpose a negative with a sharp, line image is best. When the image
181
on the easel is in sharp focus the first clamp to the left on the focusing
mount of the enlarger, is slipped under a spring catch and the clamp
secured by set screw.
The enlarging head is then brought down to its lowest position (2x
enlargement). A set screw near the automatic cam is loosened which allows
a screw with a knurled head to be moved. The latter is adjusted until the
image on the easel is extremely sharp and then the set screw is tightened.
The enlarger is now permanently adjusted for the particular lens. When
greater enlargements than lOx are desired the enlarger head is raised on
the upright and focusing done by turning the mount of the enlarger. After
the enlarger head is returned to its normal position on the upright the
focusing mount is turned to again bring the clamp under the spring catch.
Fig. 132 Focomat Enlarger which
accommodates all negative sizes up
to 2% x 3% inches
Fig. 133 Vasex Enlarger for use
with all negatives up to 2% x 3^
inches. Note counterweight for bal
ancing weight of enlarger
There are two holes in the upright to accommodate a special cross
pin for holding the enlarger arm at a fixed position., The upper hole
is used when the enlarger is adjusted for use with an easel, and the lower
hole is employed when automatic focusing is adjusted for the baseboard.
Any of the 50mm Leica lenses, with the exception of the Xenon f:1.5
can be used or the special Varob Enlarging Lens can be employed. The
Varob lens is really recommended because this lens can be left on the
enlarger continually and it will not be necessary to use the lens from the
Leica Camera.
The large Focomat enlarger accommodates negatives up to 6.5 x 9cm
(2% x BVs in.). This enlarger is used with two lenses, a 50mm and a
95mm. The latter is supplied with the enlarger, and in the case of the
50mm lens a special Varob Enlarging lens can be obtained with the en-
larger, or a 50mm camera lens (except the Xenon f :1.5) can be used. For
negatives up to 4 x 4cm the 50mm lens is used and the 95mm lens is
employed for the larger negatives. Enlarging range is 2 to 13x with the
50mm lens and 1-1/3 to 4%x with the 95mm lens.
Because two lenses of different focal length are employed there are
two different automatic focusing cams. The enlarger is supplied already
182
Enlarging
adjusted for the 95mm lens, so that only adjustment for the 50mm lens
is necessary, which is done in a similar manner as with the small Focomat
Enlarger. Below and in back of the lens mount there are two holes. A
cam roller on an axle is supplied, and when this is inserted in the upper
hole the roller operates the cam for the 50mm lens and when placed in the
lower hole it operates the cam for the 95mm lens. The negative carrier is
an optically flat sandwich plate similar to the one supplied with the Vasex
Enlarger.
Enlarger Accessories
There are various accessories for use with the Valoy and Foco
mat Enlargers. Masking plates for use with single frame, double frame,
3 x 4cm, and 4 x 4cm negatives may be used in these enlargers. Glass plate
negative holders are also available for enlarging single negatives. The
2% x 3% Focomat and Vasex Enlargers accommodate all film sizes up to
their maximum areas. Orange filters are also of value when making en
largements or glass lantern slides. A special attachment ring is available
for fitting to the Elmar or Hektor 50mm lenses. This ring permits the
operation of the iris diaphragm by turning a knurled ring with a special
calibrated scale on the side. In this way it is very easy to read the lens
stops from the side of the ring. As most enlargements are made with
the lens closed down at least two or three stops in order to reduce the light
intensity and compensate for any slight error in focusing, such a ring is
recommended. Preliminary focusing is done with the lens wide open.
If the Leica is used without the Adjustable Diaphragm Ring the
figures engraved on the lens mount represent the following ratios:
Relative Aperture: 1.9 (2.0) 2.5 3.2 (3.5) 4.5 6.3 9 12.5 18
Ratio of Exposure: 0.36 0.63 1 2 4 8 16 32
Fig. 135 Diaphragm Ring
available for Elmar 35mm
and 50mm, and for Hektor
_ 50mm lenses when these
Fig. 134 Offset arm for lenses are used on en-
making great enlarge- largers
ments
A special Offset Arm is also available for use with the Valoy and
Focomat Enlargers. This Offset Arm is of special value when making big
enlargements because the lamp housing is extended an additional 6 inches
away from the upright pillar. As the Offset Arm contains a short rod
itself, it is possible to raise the lamp housing of the enlarger about 18
183
inches higher than the top of the regular upright bar which comes with the
enlarger. Even when making huge enlargements up to 2 or 3 feet or
greater, this Offset Arm can be used very successfully in the horizontal
position. The arm may be moved vertically or horizontally by loosening
the set screw and turning the attachment in various positions. In the
horizontal position as shown in the illustration, the picture may be pro
jected upon a wall for making the huge enlargements.
There are two accessories available for correcting distorted lines in
the negative, due to tilting the camera. One is a metal frame which is
attached to the top plate of the film stage, known as the Distortion
Eliminating Device. Two small bars on either side of the device have
spring clips into which a hinged glass negative carrier containing the
film is slipped. These bars are so mounted that they may be pushed up
or down, or turned in almost any direction enabling the negative carrier
to be so positioned that the distorted lines in the negatives will be
straightened on the easel.
The extent to which the negative can be tilted through the use of the
Distortion Eliminating Device is limited so that in cases where it is not
sufficient to overcome distortion of lines in the negative it will also be
necessary to tilt the easel. This is facilitated through the use of an
Auxiliary Baseboard, which is a small rectangular board upon which is
mounted a ball-jointed tripod head. The latter has an adapter allowing it
to be attached to a paper easel. With the aid of the ball-jointed tripod
head the easel can be tilted in most any direction.
To overcome distortion of vertical lines, the negative and easel are
tilted in opposite directions, that is in V manner. This also serves to over
come elongation which would be produced if only the negative were tilted.
The Vasex Enlarger
The Vasex Enlarger is designed for enlargement of all sizes of minia
ture camera negatives. This enlarger will accommodate all film from
the single frame size of 35mm film to 2% x S1^ inches. Its optical system
is so arranged that the Leica interchangeable lenses can be used in it. As
standard equipment a 95mm lens is available. The focusing bellows is
adjustable for use with other interchangeable Leica lenses. The Vasex
Enlarger as well as the large size Focomat Enlarger have stationary con
densers. A special optically flat glass sandwich plate is used for holding
Leica films or cut films up to 2Vs x 3^4 inches, otherwise the method of
using the Vasex Enlarger is practically identical with that of the Valoy
or the small Focomat Enlarger.
Making the Actual Enlargements
Now let's suppose that the Valoy Enlarger has been selected and
we are ready to make our first enlargements. First, check up on the
darkroom equipment and make certain that the following materials
are available :
1. The Valoy Enlarger.
2. Developer, short stop, and hypo solutions as well as trays. The
trays can be selected for the size of enlargements which will be
made. A set of 5 x 7 and 8 x 10 inch trays are always of value.
3. Enlarging paper. (See next chapter on Enlarging Papers) .
184
Enlarging
4. Check up on the proper safe-light and other accessories for the
darkroom use. (See chapter on the Leica Darkroom).
After all, there is very little equipment required for making
Leiea enlargements. You can easily confiscate the kitchen sink and
drain board for this work after the windows have been covered with
a blanket or black cloth. The darkroom chapter will give you more
complete information about becoming a bathtub finisher.
Before placing the Leica negative into position in the Valoy En-
larger, make certain that there are no dust particles clinging to the
film. If there are, remove them with a soft brush or with a clean
lintless linen cloth. The movable condenser should always be in
spected for dust or dirt particles. These points are very essential
because small dust particles may spoil an otherwise perfect enlarge
ment if they are not removed beforehand. The Negative Viewer and
Marker can be used very successfully for picking out the best nega
tives for enlarging. With this attachment, it is possible to make a
small nick in the edge of the film. Then, while working in the dark
room, the negatives can be picked out very quickly by running a
thumb along the edge of the film.
When the correct negative has been selected, insert the film into
the negative carrier of the enlarger with the emulsion side down.
Snap on the light and move the film so that it appears in the frame
which is projected down onto the paper holder. This can be done
while the condenser is in the raised position. Next, move the clamp
ing lever forward in order to release the condenser and thus clamp
the film into a plane position. Now, raise or lower the lamp housing
and turn the focusing mount, into which the Leica lens has been
screwed, until sharp focus has been secured over the entire picture
area.
Some Leica workers secure critical focusing by placing special
negatives with sharp line drawings in the enlarger before the regular
negative to be enlarged is inserted. Then, when perfect focus is se
cured by projecting the lined negative onto the enlarger easel, the
focusing negative is removed and replaced by the regular film strip.
A black over-exposed frame can also be used for this purpose provid
ing a few fine scratches are made on the emulsion side of the film.
A hand magnifier or reading glass can also be used for viewing
the projected image on the enlarging easel. Sometimes this latter
method is very convenient for securing critical focus.
The enlarging easel should be set for the proper size of the enlarg
ing paper. The two adjustable masking bands can be moved for
185
making the proper adjustments. It is best to have a small white
margin around the finished enlargement. This white margin can be
varied according to requirements.
After the projected negative is properly focused and centered
on the enlarging easel, you are now ready to make an exposure test.
Select a small strip of enlarging paper and place it on the easel with
the emulsion side up. Stop the lens down to one or two diaphragm
stops. A small pencil flash light may be used to make the adjustment
of the lens diaphragm. This flash light can be covered with a piece of
red paper. "With the proper lens stop set you are now ready to snap
on the switch and expose the test strip. Two or three different ex
posure times should be made on this test. A small card can be moved
across the test strip at one or two second intervals, depending upon
the speed of the paper and also the density of the negative. With a
little practice it is very easy to count seconds without watching a
clock. There are various methods used for counting. For example,
seconds can be counted in this way: Thousand 1 — Thousand 2 —
Thousand 3 — . Or, if this may be too monotonous, try the following:
1 chimpanzee, 2 chimpanzee, 3 chimpanzee, etc. There are excellent
darkroom clocks with second hand dials for use in timing negatives
on enlarging papers.
The diaphragm stops on the enlarging lens can be more easily
seen if a small white card is placed just below the lens in order to
throw the reflection of the light back onto the lens. The card can be
bent in such a way that the light will even be thrown around to one
side of the special attachment ring in case it is used for adjusting the
diaphragm stops.
After the test strip has been exposed, place it in a developer and
develop for a full time of iy2 to 2 minutes in case of bromide papers.
If the slow chloride contact paper is used, the developing time will
probably be about one-half the time required for bromide paper.
After the test strip has been fully developed, rinse it in the fixing
bath for a few seconds and then turn on the white light and examine
the exposures. The correct exposure can usually be determined very
quickly. Now place a full size sheet of enlarging paper in the en
larging easel and snap on the light for the required length of time.
Remove the paper and place it in the developing tray. After proper
development, rinse the picture in the acetic acid short stop which is
made up as follows :
Acetic Acid (28%) V/2 oz. 48cc
Water 32 oz. lOOOcc
186
Enlarging
From the short stop the print is placed in the acid fixing solution for
about 15 minutes. See the next chapter on Printing Papers for in
formation about the acid fixing solution.
After the picture has been thoroughly fixed, it should be washed
in a tray in running water for at least one hour before placing out to
dry on blotters or in the special blotter roll which is now available.
Estimating Print Density
Some people have a very easy time turning- out excellent prints which
embody everything that is known as quality. Others have a hard time
making good prints. It is true that some people have a gift for such
work, having the ability to put quality into their prints by instinct or intui
tion, but even the average person who lacks that spark should be able to
turn out most satisfactory prints after once getting the feel of making
them.
Let's see what is involved -in the process of producing a latent image
upon a sensitized paper and subsequently converting that latent image
into a real image in terms of black and white and the intermediate tones
of these two colors.
Fig. 136 Getting a Lift
Elmar 35mm. 1/100. f:6.3. UuPont Superior Film
Willard D. Morgan
187
The emulsion of tlie paper coats the surface very similarly to that of
a coat of paint. Paint consists of a vehicle, which is usually linseed oil
or other more or less volatile substance, and tiny particles of pigments
suspended in the vehicle. The emulsion of the sensitized paper consists
of gelatine, the vehicle in which particles or grains of light-sensitive sil
ver bromide, chloride or a mixture of both are suspended. The emulsion
has a thickness. This thickness may vary with the different types of
papers. There are particles of sensitive silver salts that are near the
upper surface of the emulsion and some that are joined to the surface
of the paper. And there are particles of these salts scattered in between.
When light strikes the surface of the paper, after passing through the
negative, it strikes the sensitive silver salt grains. If little light reached
the surf ace of the emulsion, only those silver grains become affected by it
that are nearest the surface. The more light that reaches a certain point
of the paper, the deeper it penetrates into the emulsion and the more par
ticles of silver salts are affected by it. Obviously a certain minimum
amount of light must be admitted to the surface of the paper to affect
the lower layers of silver salts imbedded in the emulsion.
After exposure, the latent image produced upon the emulsion of the
paper must be developed through conversion of the silver salts into
metallic silver grains. When the print is immersed in the developer its
chemicals begin to react with the silver salts in the emulsion after the
water of the developer softens the dry gelatine. The particles of developer
gradually penetrate into the thickness of the emulsion until they reach
all the way through it to the paper proper. Obviously a certain minimum
of time must elapse between the time when the uppermost grains of silver
are developed and the time when the lowermost grains are converted
into silver.
This is the reason for the requirement of paper to be developed for
a minimum time before withdrawing it from the developing solution. In
most instances that minimum time for bromide and chlorobromide is set
at one and one-half minutes. That is the minimum time of development.
If after the printing has been developed for one and a half minutes, and
not less, it appears weak and flat, it apparently has been underexposed and
more exposure should be given. If it appears to be too dense it has been
apparently overexposed and the subsequent exposure should be shortened.
Longer development than the minimum of one and a half minutes is
frequently indicated. Some prints acquire a certain tone quality through
longer development. Thus it can be said that with certain developers
for instance after a minute and a half development almost all details
of the picture are available and the development is continued for another
half minute with very little apparent change taking place in the print.
But when finished and dry such print will have that quality and richness
which we always look for.
An excellent and frequently overlooked method of learning how to
make good prints consists of making some prints on lantern slides or on
positive cut film. The emulsion of lantern slides and positive cut film is
similar^ to that of bromide papers Lantern slides and transparencies made
on positive cut film have a greater brilliance and greater latitude than
bromide papers. This is only measurably true. Their emulsions being
almost the same, the difference of quality results from the viewing method
employed, slides being viewed by transmitted light while bromide prints
are viewed by reflected light. This difference will become quite apparent
188
© Co'nde Nast Publications, Inc.
Fig. 137 Keflection in Mirror Top Table
Suminar 50mm, 1/8, f:2.8, Super-X Film
Alfred Eisenstaedt
189
when one will visualize a cross-section of an emulsion similarly exposed.
Bromide paper emulsion and lantern slide or transparency emulsions of a
similar negative would show under great magnification that the densities
of the deposit of black silver grains are almost identical and they form
terrace-like recesses or slopes ranging from blackness merely at the sur
face of the emulsion to total blackness of the entire thickness of the
emulsion. It is easy to see that transmitted light penetrates through these
layers of different degrees of blackness with a different intensity, thus
forming degrees of intensity that can be likened to shades of gray. Light,
however, that is reflected from a black surface backed with white paper
can produce only a very limited range of tones of gray which would de
pend on the thickness of the black.
Thus if one would use positive cut film or lantern slide stock instead
of bromide or chlorobromide papers for enlargements or portions of en
largements one will begin to evaluate these differences of the thickness
of silver deposits. Lantern slides or transparencies must be viewed by
transmitted light. Viewing them in a developing tray will produce un
favorable, erroneous results. A transparency that may look fully devel
oped in the tray will look flat when viewed against a light box. And one
that looks totally black in a developing tray will show excellent brilliance
and contrast when viewed against an adequate light source. A dozen
lantern slides or pieces of positive cut film would be an excellent invest
ment and one will get more information from such experiments than from
a whole volume written on the subject. That is the only way to get the
feel of the matter and it cannot be recommended strongly enough. Later
on, after having made a number of prints in the form of transparencies
one may adopt the same method for judging prints: when they are devel
oped according to a standardized method and fixed, view them against some
strong source of white light, while wet, and if your print looks good that
way, it certainly will be good when dry and finished.
Prints should be wet when viewed through transmitted light, particu
larly those made on double-weight paper which may require a stronger
source of light than those made on single-weight paper.
Incidentally it should be remembered that lantern slides and cut film
transparencies can be developed in the same developers which are used for
developing of bromide or chlorobromide papers.
Printing Control During Enlarging
The enlarging of a negative permits much greater latitude in
the actual printing control as compared to contact printing. During
enlargement, it is possible to introduce soft focus lenses, special dif
fusion screens, and also use special paper masks or other means of
dodging the picture during exposure. While contact printing permits
very little variation in the finished print, a little shading is about all
that can be done above the negative during exposure.
Dodging may be necessary when printing a negative in which the
sky is considerably overexposed while the foreground may be normal
or even underexposed. The correct exposure is made for the fore
ground and then a cardboard is used to mask out the foreground while
190
Enlarging
Fig. 138 Tea Time
Morgan Heiskell
the sky is given a few additional seconds in order to bring out the
clouds or to keep the sky from printing white. With a little practice
and ingenuity the operator can devise various methods of dodging or
shading. For example, a large cardboard can be cut with a round
hole through which the picture may be projected as required for
bringing out certain effects in the print. Also, small cardboard
discs can be attached to a thin wire when it is necessary to hold back
certain portions of the picture during exposure. In case there is con
siderable dodging to be done on a print, the diaphragm on the enlarg
ing lens can be stopped down several stops more in order to give a
longer working time. During the shading process, it is quite essential
to keep the cardboard moving in order to prevent a sharp line from
appearing where different exposures are made. A little practise will
eliminate this trouble. Many enlargements can be shaded simply by
moving the hand below the enlarging lens and thus blocking out any
part of the picture which may be necessary.
Still other methods of control are possible by using a supple
mentary soft focus lens in front of the enlarging lens or a thin piece
of tulle may be mounted in a holder and moved around just under the
lens during the exposure. Also, special effects may be secured by
191
placing screens directly over the enlarging paper. Sometimes these
screens are printed on glass plates in order to give a small space be
tween the screen and the paper and thus permit a slightly softer
result. Still another method of obtaining special effects on the en
largement is by using a clear glass plate with fine sand sprinkled
around the plate where the background of the picture is to be held
back or diffused. For example, the backgrounds of portraits may be
printed by this method.
Although many people like to use these special methods of secur
ing certain results, the ideal way is to make the enlargement naturally
without diffusion or the use of special screens which only give a false
effect in an attempt to imitate etchings and lithographs. It is not
necessary to make the original Leica negative through a diffusion lens.
Once a sharp negative is available, it can be used for any purpose
thereafter.
Some enlargements may be greatly improved by skillfully using .an
ordinary flash light for overexposing certain areas, while the rest of the
paper is covered. In doing this, the orange filter is moved over the lens
of the enlarger in order to prevent exposure on the paper. However, the
projected red image will guide you in flashing the light over the areas
which are to be darkened. Thus a sky may be made almost black for spe
cial effects, or, the background of a portrait may be darkened or graded
off. Still another method of using a flash light is for making a small
narrow black margin around the printed picture while it is still in posi
tion in the enlarging easel. To do this, cut a sheet of cardboard slightly
smaller than the final picture will be. This cardboard is placed over
the sensitized paper in the enlarging easel. By moving the card into one
corner there will be two sides left with a margin of possibly % or %
of an inch. Slowly pass the flash light along this exposed margin. Then,
push the card into the opposite corner and continue around the other two
sides. When the paper is developed, the image as well as the black
margin will appear on this same print.
The Use of Photoflood Bulbs in the Enlarger
With the introdutcion of the photoflood bulbs, it is now possible to use
greater illumination in the Leica enlargers. With a photoflood bulb, the
slow chloride contact papers can be used very successfully. As these
papers require considerably longer exposure as compared to bromide papers,
the photoflood illumination is perfect for making the exposures. Very
dense negatives can likewise be used with the higher illumination available
from photoflood bulbs.
A rheostat or illumination control is recommended for use with the
photoflood bulbs. Such controls are available at your photographic dealer.
The Leitz Illumination Control is made for one photoflood bulb and contains
seven different stops for varying the intensity of the illumination. Also,
there is another illumination control known as the Variac manufactured by
the General Radio Company in Cambridge, Mass. The Variac Transformer
can be used for delivering voltages between zero and 130 volts from the
115 volt circuit. The Variac does not overheat if operated continuously
and this transformer will control any number of photoflood lamps up to
192
Enlarging
four. Such a method of controlling the photoflood bulb in the enlarger is
ideal because it^ is not always necessary to have the bulb burning at its
brightest intensity for making enlargements. By turning down the volt
age and using the bulb at less illumination, it is very easy to do all the
focusing of the negative and thus prolong the life of the photoflood bulb as
well. The Variac Transformer is designed for use on alternating current
lines only.
It^ should be noted that only photoflood bulbs especially designed for
enlarging purposes should be used. Ordinary photofloods have the manu
facturer's emblem at the tip of the bulb which will cast an objectionable
shadow upon the image. This emblem cannot be removed by ordinary
methods. Special enlarger photofloods are made with the manufacturer's
emblem placed along the bulb's neck. Subsequently a photo enlarger bulb
made by the General Electric Co. frosted inside and out for better diffusion
is known as the 200-watt, 105 to 120 volt photo enlarger bulb.
Occasionally a photoflood bulb may break or crack in the enlarger.
Therefore, it is a good plan to place a small square of clear class over the
movable condenser in order to prevent it from being scratched by a bulb
which may possibly break. Also, a special ventilating ring is available for
placing below the upper half of the lamp housing. This ventilating ring will
keep the enlarger from overheating when the photoflood bulb is burned for
any length of time for making the longer exposures. An additional diffus
ing condenser is also employed to insure even illumination when using the
photoflood bulb.
Frequently ^it is possible to make a number of interesting pictures
from one negative. In other words, a negative may contain two or three
different compositions of special interest. Individual portraits can be
selected from a group picture by greater enlargement of the negative.
Naturally when negatives are to be enlarged to any considrable size,
it is quite essential that they have fine grain development in their original
processing.
Reproduction of Leica Negatives by Projection
In the chapter .on Making Leica Film and Glass Positives, there
is special information about reducing Leica negatives, or, printing
Fig. 138 Lois
Joseph J. Steinmetz
193
Leica negatives In natural size. Considerable interest may be created
by preparing a series of Leica enlargements as well as a number of
Leiea reductions from the normal size of Leica negative. When making
the small prints, a 3, 6 or even 9cm Extension Tube may be placed be
tween the enlarger and the enlarging lens. In this way it is even pos
sible to reduce a Leica picture .to i/4 of an inch in diameter if neces
sary. Such small miniature pictures may be used for ring or locket
settings as a novelty.
Micro slides can be successfully enlarged by direct projection in
one of the Leica Enlargers. Many medical and professional workers
will find this method of enlarging micro sections of special value for
study and filing purposes.
Contact Printing
It is also possible to make your "contact" prints by projection.
Once the correct setting has been determined, the entire strip of film
can easily be printed within a few minutes after a few test strips have
been made. With a little skill it is also possible to print all these
test strips onto one large sheet of paper and then the entire sheet
placed in the developer. This method is recommended for filing pur
poses especially. The individual prints can be numbered and the
number of the roll as well as any other data may be placed at the top
of the sheet of paper. If desired, a master negative 8% x 11 inches
in size could be made for printing the numbers as well as the outlines
of the picture spaces before the contact prints are made on the sensi
tized paper. For this purpose, a special enlarging easel can be con
structed with notches or guide lines and the easel is thus moved
from frame to frame as the prints are made.
Actual contact printing1 is done by placing the Leica negative in direct
contact with the sensitized photographic paper. The emulsion, or dull side
of the negative, must face the emulsion side of the paper. In other words,
contact printing is really natural size printing where the printed picture is
exactly the same size as the original negative. While working in the dark
room one may be doubtful about the emulsion side of the paper. A quick
test can be made by touching the tongue at one corner of the paper. The
side which feels slightly sticky is the emulsion side which is also slightly
shiny.
The most elementary way to make a contact print is to place a strip
of photographic paper, emulsion side up, on a smooth surface. Then, place
the negative face down on the paper and force complete contact by pressing
a glass over both. This setting is naturally done under the usual darkroom
safelight for paper. The white light is turned on for making the exposure
on the contact print. The enlarger can also be used as a light source for
this purpose very readily. In case the enlarger light is too strong, one or
two sheets of tissue paper placed in the film plane of the enlarger may be
used to soften the illumination. After exposure the paper is developed.
194
Enlarging
However, most workers prefer a neat printer for making their contact
prints. Such a printer can either be made or purchased. The Eldia, Eldur,
and Kopat (formerly known as Laver) Printers supplied by the Leitz Com
pany can all be used for making paper contact prints as well as for con
tact printing on film or glass slides. The Willo strip printing frame made
by Willoughby's or the Agfa printer can also be used for printing single
frame and double frame negatives.
The chapter on Printing Leica Positives gives detailed information
about using the Eldia, Eldur and Laver Printers. These printers are also
illustrated in that chapter. In the Eldia Printer, the paper can be wound
around the spool with the negative. Then, the empty spool on the opposite
side of the printer is turned so that the paper and film both advance at
the same time. The exposures are made by turning on the enlarger light
or any other strong source of illumination. This same method of printing
can likewise be used in the Kopat Printer. The Eldur Printer and also the
Glass Slide Printing Attachment for the Kopat Printer can be fitted with ,a
small metal pressure plate for use when making individual contact prints
on 2 x 2 inch paper which has been previously cut for the purpose.
A number of Leica users have even made a contact printer by taking
two pieces of plate glass cut 5 foot strips and 35mm in width, or the exact
size of the film. One side is hinged with tape. With this printer it is very
easy to place a negative film in position and a strip of unexposed contact
paper over the film. The two glass plates hold both in perfect contact
during the exposure when the white light is turned on. Such a method
is very rapid although it is necessary to make a normal estimate of the
exposure for the entire strip of film.
Single contact prints or paper strips containing 4 or 5 exposures can
easily be developed in trays. However, when longer strips of 3 or 5 feet
are to be developed, it is necessary to use a special developing tray with a
roller weight at the bottom under which the paper strip is passed. During
development, the paper strip is quickly passed back and forth through the
developer in the tray. Such developing trays may be secured from your
photographic leader. These trays can also be used for developing film
strips if special care is taken. When using the Azo 35mm perforated or
unperforated paper which may be secured in 200 foot rolls, the developing
time will be approximately 45 seconds, when using the D-72 Eastman
Formula at a dilution of one part of developer to two parts of water. A
different developer and time must naturally be given when developing nega
tive or positive films in this type of tray.
Still another method of developing strip paper is by using the Correx
or Reelo Developing Tanks. The paper is wound into the reels similar to
the method used for inserting and developing film negative strips. When
development is complete, the reel can be quickly immersed in a short stop
solution for a few seconds and then placed in the fixing bath. If additional
paper strips are to be made, the paper must be unwound from the reel, the
reel and apron are then thoroughly washed in running water before using
again for development. The exposed strip of paper should be left in the
fixing solution for at least 10 minutes.
The Agfa Ansco Company supplies the fast Convira paper in perforated
35mm width for contact printing. The Azo paper supplied by the Eastman
Kodak Company as well as the Brovira paper may be secured in the
various degrees of contrast.
195
After the contact print has been made, the single prints can be
mounted for quick reference for indexing purposes on individual
cards or in a special photo album. Special mounting masks are avail
able for preparing the individual contact prints for filing. There is
also the Willoscope available for viewing single contact prints. This
little device has a magnifier and also a place to hold the single contact
print for viewing. This viewer also contains a space for the contact
prints and at the same time it can be folded in a very small space and
carried. in the pocket. The method of printing or mounting the indivi
dual pictures on a sheet 8y2 x 11 inches in size may be of great value
for filing purposes. In fact, contact prints could be used more gen
erally than they are, not only for filing purposes and keeping track of
negatives, but also for making attractive contact print albums. Con
tact prints assembled according to subjects and special layouts with a
few captions would certainly make an attractive album. It is sur
prising how much may be seen even in a small contact print.
Fig. 139 His Master Suffers
Sununar 50mm, f :6.3, Photoflash, Super X Film
196
Robert Disraeli
ENLARGING PAPERS AND PRINTING
ELBERT M. LUDLAM CHAPTER 10
The average user of a miniature camera has relatively little
difficulty in turning out negatives of reasonable quality. Exposure
meters representing but a fraction of the first cost of the camera have
eliminated the guess-work in negative making, particularly since
miniature negatives are developed uniformly for a given time at a
fixed temperature. Nevertheless, the prints of most workers do not
seem to satisfy them, and one is continually asked, "Why don't my
prints have life?"
The answer is fundamental to miniature photography. In order
to obtain a minimum grain size, we are using developers of very low
power and are developing only to some point of compromise between
normal contrast and the smallest grain. Photographers using larger
negatives develop in solutions of considerable power and carry
development much further. Consequently, the contrast of their nega
tives is considerably greater than that of ours. Tears before the
advent of miniature photography paper manufacturers recognized
the need for papers whose inherent contrast corrected for mistakes
in development and began producing papers in several degrees of
contrast (soft, medium, hard, etc.). It was found that a negative
of a certain contrast had become the accepted standard and the
manufacturers designated as normal, or medium, that paper which
produced the most pleasing print from a negative of this quality.
Since the formulas recommended by manufacturers in every pack
age of paper are based on this average negative, we must consider
our negatives in the class which manufacturers call weak or flat, and
accordingly must use the contrasty formulas or papers recommended
for such negatives.
Because of the misleading nature of the term normal or medium
as applied to papers, most workers in miniature photography believe
that they should not have to use any other paper if their negatives
have been correctly exposed and developed. Eather should the be
ginner, if he must follow a hard and fast rule, consider the use of
197
papers of greater than normal contrast as being the standard with
miniature negatives. In those cases where the paper is furnished in
only one grade the contrast formula recommended by the manufac
turer should be used. If this rule is followed, nine out of every
ten negatives which at present are unsatisfactory will become valuable
additions to the tyro's file.
Choice of Paper Stocks and Surfaces
Printing papers today are produced in so many surfaces that it
would be impossible to give any comprehensive list. Different manu
facturers use widely differing designations for papers of very similar
surfaces, so that the only satisfactory way of choosing some special
surface is through an inspection of samples. If the prints are to be
reproduced they should be made on glossy paper and ferrotyped
unless the reproduction is to be considerably smaller than the original,
in which case semi-matt papers are quite suitable. One of the most
beautiful surfaces is obtained by using a matt or rough matt paper
and waxing the finished print with a waxing solution obtainable in
any photo supply house.
The paper stocks most commonly used are white, cream and buff;
the most common weights being the single weight, generally used for
contact work, and the double weight or light card, usually associated
with enlargements. Prints which are not to be mounted in albums
or on regular mounts are much more satisfactory on double weight
stock, while prints for mounting, particularly in albums, are best
made on single weight stock. No hard and fast rule, however, can
be attempted. "With regard to the color of the stock itself, it should
be remembered that black and white prints are not satisfactory on
buff tinted mounts, nor are buff tinted stocks satisfactory on gray
mounts.
Tone Gradation
It is impossible to reproduce on paper every gradation of gray
available in the negative. This holds true of contact printing as well
as enlarging. The reason for this is the fact that a picture is seen
on paper by reflected light while a negative is examined by trans
mitted light. The white of the paper will not reflect more than 50
per cent of the light falling on it while the blackest part of the print
will still reflect at least 2 per cent of the light leaving a difference in
tone of perhaps 25 to 1 as compared with 60 to 1 in the negative, since
the densest part of a negative may only transmit one-sixtieth of
the amount of light which the clearest parts of the same negative will
transmit. Thus, for instance, if our subject has an extremely long
198
Enlarging Papers
scale, say the highlights (sky) reflect to the camera 100 times as
nrucli light as do the deep shadows, what will happen? First, our
negative material will fail to reproduce the tones at either end of
the scale. If we underexpose to preserve the clouds, we will have no
detail in the shadows and if we overexpose to get detail, the clouds
will be lost. On the other hand, if we expose so as to utilize the mid
dle tones of the subject, we will lose detail in the deepest shadows
and the brightest highlights. We must decide in taking our picture
in such a case just which detail can be done without or perhaps later
corrected in the negative.
"We then come to printing the negative on a paper whose reflect
ing power is only, say, 20 or 25 to 1 as explained above. The process
repeats itself. If we expose to print through our densest highlights,
we blacken the shadows until all detail is obliterated, and if we expose
for the shadows, the highlights have no detail. We compromise again,
losing some detail in both shadows and highlights and find ourselves
with a print having only one-fifth the tone range of the original
subject.
This, of course, is a rare case although we have all tried it, I am
sure. A picture of a woodland scene having a large area of sky show
ing through a break in the trees is a typical example.
We must learn then to anticipate this selection when we take
our pictures, remembering that our finished print will be a reproduc
tion of the subject before us with the exception that all objects which
are brighter than some limit will appear to be no brighter than the
limiting value, while all objects darker than a certain gray tone in
the subject will appear to be black. We can, to some extent, control
the point at which all brighter objects appear white by altering the
printing time but the difference between the brightest and darkest
object printed is determined by the limits of the paper.
This sounds very complicated, but it is fundamental. Unfortu
nately, it cannot be stated in any simple rule, but if the foregoing is
read over and studied and good pictures are studied from this point
of view, a new understanding of photography will be developed. Once
this has been mastered and we are producing good pictures on some
chosen paper in some particular developer, then we are ready to go
further and discover how to control those tones in our original sub
ject by reducing, making transparencies and paper negatives, etc., to
produce ever better pictures. But, we must first learn to make excel
lent pictures with the fundamental process of photography.
Generally the tone gradation scale is shortest in fast projection
papers and is longest in slow papers. It is claimed that the longest
199
scale range can be obtained in contact or so-called chloride papers.
Contact papers are available in as many as six grades of contrast
while projection papers only in two or three. Thus the choice of a
proper degree of contrast in contact paper will enable one to obtain
sometimes a better print on contact paper than on projection paper,
provided a suitably strong light is available in the enlarger. Although
I have myself recommended the use of contrast grades of paper at the
beginning of this chapter and again here, it must be remembered that
this is only for beginners. Normal and soft grades of paper produce
beautiful middle tones even in the contrast developers recommended
by the makers. Contrast, hard, vigorous papers etc. have not as
yet been perfected to the point where they can produce the full
tone scale of a medium grade paper. The more advanced worker
has found other means of building up the contrast, either in develop
ment of the negative or in later steps such as the enlarged negative
processes or by properly lighting of the subject. However the begin
ner will get very acceptable prints by following the simple process of
using the contrast grades of paper or the contrast developers.
Fast Projection Papers
Fast projection papers are commonly known as bromide papers because
silver bromide 4s the sensitive agent in their emulsions, in fact, the emulsion
is very similar to that of slower plates and films. Most of these papers are
made in several degrees of contrast as well as a variety of surfaces and
stocks as mentioned above. Some idea of the papers commonly used, which
fall in this class, can be obtained from the following list:
Brovira produced by the Agfa-Ansco Company
Velour Black " " " Defender Company
PMC Bromide " " " Eastman Kodak Company
Novabrom " " " Gevaert Company
Press Bromide " " " Haloid Company
Portrait Enlarging " " " Agfa-Ansco
Ilford Bromide " " " Ilford Ltd.
Wellington Bromide " " " Wellington & Ward Ltd.
Slow Projection Papers
Slow projection papers are known as chloro-bromide papers because
their emulsions are made up of both chloride and bromide of silver. Be
cause of the presence of silver bromide these papers are considerably faster
than ordinary contact papers whose emulsion is made up entirely of silver
chloride; they are therefore suitable for enlarging, the exposure in gen
eral being approximately four times that necessary for a regular bromide
paper. The long range of tones which can be obtained with these papers is
making them very popular for portrait and pictorial work as is also their
moderate speed which makes them available both for direct enlargements
and for contact prints from paper negatives. The papers most commonly
used, which fall in this class, are as follows :
200
Enlarging Papers
produced by the Agfa-Ansco Company
" " Dassonville Company
" " Defender Company
" " Eastman Kodak Company
n a it « n
" " Gevaert Company
" " Haloid Company
" " Ilford Ltd
" " Wellington & Ward Ltd,
Indiatone
Charcoal Black
Veltura
Illustrators' Special
Vitava
Gevalux
Projecto
Clorona
Mezzotint
Contact Papers
Contact papers are often called chloride papers because they depend
for their sensitivity on chloride of silver alone. Being very slow they were
seldom used for enlargements until the development of the photo-flood lamp
and its use in miniature enlargers. Proper selection of the contrast of the
paper will reward the user with very pleasing results. There are so many
contact papers available on the market today that any attempt to list them
would be wholly inadequate. However, contact papers manufactured by the
firms making the projection papers listed above are as follows:
Convira
Apex
Azo & Velox
Novagas
Industro & Nomis
SCP
produced by the Agfa-Ansco Company
" " Defender Company
" " Eastman Kodak Company
" " Gevaert Company
" " Haloid Company
" " Wellington & Ward Ltd.
Fig. 140 Liquid Diamond
Elmar 50mm, 1/60, f:6.3, DuPont Superior
J. M. Leonard
201
Development
The following tables give the formulas recommended by the paper
manufacturers for their papers most commonly used in enlarging. The
formulas have been grouped in three classes, soft, medium and hard as an
indication of their action. This table is given in this manner for the sake
of compactness. It is not recommended that different formulas and papers
be tried one after another, to get prints from poor negatives. Admit the
poor negative and take the picture over, improving the contrast by more
careful selection of lighting and filter.
SOFT PAPER DEVELOPERS
Metol
NvBr
Grains Grams
GVA
Grains Grams
29 2.1
350 25.0
42 3.0
280 20.0
14 1.0
32 Ounces
iggest using any
D64 Artura
Grains Grams Grains Grams
26 1.8 23 1.6
185 13.0 164 12.0
28 2.0 20.5 1.5
145 10.0 64 4.5
19 1.4 114- 0.8
Metric— 1000 cc
mixture between their softest
NvBrMed
Grains Grams
48 3.4
356 25.0
40 2.9
328 23.0
15 1.1
Sod. Sulphite
438 31 o
Hydroquinone
24 17
Sod. Carbonate
328 23 0
Pot. Bromide
15 1.1
Water to make
Avd.—
Novabrom really si
MEDIUM PAPER DEVELOPERS
&f& D73 Artura D5& Haloid V B
Grains Grams Grains Grams Grains Grams Grains Grams Grains Grams Grains Grams
Metd .••.; 9 0.6 13 3.0 12 0.9 11 0.8 12 0.9 16 11
Sod. Sulphite 131 9.3 193 14.0 178 13.0 164 12.0 176 125 164 120
Hydroquinone 35 2.5 32 2.3 41 2.9 45 3.2 48 34 48 J'J
Sod. Carbonate 197 14.0 365 27.0 136 10.0 109 7.7 176 125.' 273 190
Pot. Bromide 6 0.4 4 0.3 6 0.4 11 0.8 6 04 16 1?
Water to make Avd.— 32 Ounces Metric— 1000 cc
Soft Med.
Afffa Afffa NvBr D64 Wei
Grams Grams Grains Grams Grains Grams Grains Grams Grains Grams
pfsuiphi*-:::::::::^ ^ £ £ £ » » « » u
Hydroquinone 50 3.6 55 3.9 56 40 66 47 J« J'J
K $«.::::::: "! t! 3836 2ll *ll * i $ £ $
Water to make Avd.-32 Ounces Metric-1000 cc °'4
VIGOROUS PAPER DEVELOPERS
GVA DsV D64 Dll*
Grains Grams Grains Grams Grains Grams Grains Grams
Metol 21 1.5 24 1.7 13 10 14 in
Sod. Sulphite 350 25.0 328 23.0 277 20.0 1094 800
Hydroquinone 80 5.7 83 5.9 117 83 130 93
Sod. Carbonate 525 37.0 219 15.0 217 150 360 250
Pot. Bromide 15 1.1 31 2.2 25 1.8 70 50
Water to make Avd.-32 Ounces Metric-1000 cc
^^Z&ZZlS?. ^ " *"" * "- *» ** «° -tent ^** for ^
VvBr-Novabrom. GVA-Gevalux. V.B.-Velour Black. DsV.-Dassonville.
Several two-solution developers could be recommended for use
with papers produced in only one degree of contrast. The purpose
of separating the developer into two stock solutions is to permit the
contrast of the developer to be altered by altering the proportion of
the two stock solutions. It will be noticed, for instance, in the previous
tables that Eastman's D64 formula approximates the average in each
contrast group.
202
Enlarging Papers
For those who require plenty of developer for various purposes: en
larging, contact printing, making of lantern slides, positive films, slides,
copy negatives, transparencies, etc., a UNIVERSAL DEVELOPEK (Stock Solu
tion) is being offered. It will keep well, if stored in an amber-colored
bottle, filled to the neck and tightly corked. This developer is highly con
centrated, in fact it is almost a saturated solution. It must be prepared
strictly as outlined below.
Universal Developer (Stock Solution)
for Contact and Enlarging Papers, Slides, Positives, etc.
Water (at 125° F. or 52° C.) 28 ounces 850.0 cc
Sodium Sulphite (desiccated) 110 grains 7.5 grams
Metol 75 grains 5.0 grams
Hydroquinone 300 grains 20.0 grams
Sodium Sulphite (desiccated) 2*4 ounces 67.5 grams
Sodium Carbonate (monohydrated) 4 ounces 120.0 grams
Potassium Bromide 30 grains 2.0 grams
Cold Water to make 32 ounces 1.0 liter
When solution is cool add:
Alcohol (Methyl, wood) 4 ounces 125.0 cc
Dilute for use as follows: Stock Solution Water
For Bromide Paper, Lantern Slides, Positive
Film, Transparencies 1 part 6 parts
For Chloro- Bromide Paper, Velox Paper 1 part 4 or 5 parts
For Contact Papers 1 part 3 parts
Temperature of working solution should be about 70° F. (or 21° C.).
Above Stock solution contains the minimum amount of Potassium Bromide.
It is fully adequate for slower and contrastier papers. Different amounts
of Potassium Bromide are required for papers of different contrasts. The
more bromide is used in a developer the slower will be the action of that
developing solution, and the more "olives-toned the print. Thus when
developing lantern slides, positive films or faster negative emulsions or
papers add from 1-3 drops of 10% Potassium Bromide Solution for every
ounce (or 30 cc) of above Stock Solution used in preparing the working
solution. Working solutions should be prepared only as required and dis
carded after use.
10% Potassium Bromide Solution is prepared by dissolving 1 ounce (30
^rams) of Potassium Bromide in a small volume of water (distilled) and
adding enough distilled water to make a total of 10 ounces (300 cc) of
solution. Keep this solution in a "dropper" bottle.
Amidol Developer will give strong prints with excellent blacks, if used
without dilution. It will not keep, however, and should be prepared freshly
whenever required and discarded after use:
Water at 125° F. (or 52° C.) 24 ounces 750.0 cc
Sodium Sulphite (desiccated) 1 ounce 32.0 grams
Potassium Bromide 20 grains 1.4 grams
When dissolved add:
Amidol 80 grains 5.5 grams
Cold Water to make 32 ounces 1.0 liter
For Chloro-Bromide paper or colder blacks on bromide prints reduce
contents of Potassium Bromide to 5 grains (0.35 gram).
203
The staining of the fingers will not occur if the precaution of rinsing
the fingers every time they have been in solution is observed. This should be
done in all developing to avoid carrying back into the developer the oxidized
solution left on the fingers. '
Altering Developers
The amount of bromide given in the stock solutions is the mini
mum amount required to keep the highlights clear ; it may be in
creased from this point, increasing the warmth of tone, up to the
degree of warmth manifested in an olive brown tone. The maximum
is about 40 to 50 grams per 32 ounces of ready to use developer.
Aside from modifying the bromide content of developers, varia
tions can be obtained by adjusting the proportion of metol, hydro-
quinone and carbonate in any MQ developer. For instance, to gain
additional contrast, the Hydroquinone, Potassium Bromide and Car
bonate can be increased in equal proportion. The increase in bro
mide is necessary to prevent too vigorous action and will not appre
ciably alter the color of the print, the additional carbonate offsetting
this tendency as well as increasing the developing action. For softer
results the metol can be increased considerably if the hydroquinone
is decreased proportionately and, if extreme softness is required, the
carbonate can also be decreased. Decreasing the carbonate slows up
development and gives olive tones, whereas increasing the carbonate
increases the speed of development and gives very black tones.
So much for developers. Each package of paper and every maga
zine offers some variation of the foregoing with sufficient instructions
to cover their preparation and use. Because of the complex nature
of the developing process and the uncertainty of results, if different
developers are used, it is advisable for the beginner to definitely
choose one formula and stick to it until he has learned to produce
consistently satisfactory results with it, making only such modifica
tions as seem necessary to obtain greater or less contrast or colder
or warmer tones, as he becomes more familiar with its behavior.
Exposure
This brings us to the most difficult problem of all, determining
the correct exposure for the print.
It should be borne in mind that the final print density is the
result of both exposure and development, thus if a test were made
and the test strip developed for say two minutes, the subsequently
correctly exposed print should also be developed for two minutes.
However, having determined the exposure by these means, it is
still necessary to make one or more tests before the final exposure will
be decided upon. Most of us in making test prints attempt to conserve
204
Enlarging Papers
our paper by using a small strip, and find it extremely difficult to
decide from an inspection of the strip whether or not the exposure
really was correct. It has been my experience that if the test in
cludes the whole picture it could be extremely small (same size as
the negative) and still a very good estimate of the necessary varia
tion from the exposure given could be made; far better than from a
test strip the same size or larger comprising but a small portion of
an 8 x 10 enlargement.
Therefore, I prefer to make my test prints 2x3 inches in size
using the entire negative. From this slight enlargement (2x) a
critical examination can be made in bright light after the print has
fixed for a minute or two. Not only can the correct exposure be de
termined but the picture itself can be studied. By cutting an 8x10
sheet into four strips each two inches wide a total of twelve 2x3 test
prints can be made with very little waste of paper.
How to Judge Exposures
In examining test prints to determine if the exposure has been
correct, the appearance of highlights and shadow areas are the most
accurate guides. Study the highlight area for detail. If present, the
exposure has been sufficient, if not present, the exposure must be in
creased. If detail is not present in the shadow areas the exposure has
been too great. A correctly exposed print should show detail in all
but the smallest bright highlights and deep shadows.
If on the contrary, detail is present in both highlights and
shadows but the print has no sparkle or snap, looking sort of clouded
or muddy in appearance, the use of more contrasty paper is indicated.
If a good print cannot be obtained even then, study the best print
you can make, determine what was wrong with the picture when you
took it. Either the lighting was too flat or you used panchromatic film
on a subject sparkling with brilliant colors, which, of course, made
all colors come out in the same gray, and the snap was lost. Then go
back and take the picture over, don't waste time and energy trying
to improve a bad job.
If detail is lacking both in highlights and shadows, you are using
a paper too contrasty for that negative and a softer paper is indicated.
Sometimes the detail may be lacking in highlights and shadows but
the middle tones are just what we want. This calls for careful dodg
ing and manipulation, that is, while the exposure is being made in
the enlarger the hand or a torn piece of paper is held so as to shade
the shadow portions to prevent their getting too much light. The
exposure should be the same as for test print, and when complete the
205
highlights should be given a short additional exposure through a hole
in a large card to bring out detail,
All tests for an evening's work are made at one time and a
record of the correct exposures kept. Sufficient fresh developer must
be used so that it will not deteriorate appreciably. The correct
exposure for the final print is then determined by multiplying the
correct exposure for the test print by the necessary factor to com
pensate for the increased enlargement, as given in the table below :
Exposure Factors at Various Magnifications
SIZE OF ENLARGED
IMAGE OF FULL NEGATIVE
(Neg.lxl'/2in.)
1x1 % inches
2x3
3x4% "
4x6
5x7%
6x9
7x10%
8x12
9x13%
10x15
11x16%
12x18
13x19%
14x21
15x22%
// original
If orig
test print
test p'
w>as
wa,
lxl!/2in.
2x3
1
Vz
2
1
4
2
6
3
9
4
12
5
16
7
20
9
25
11
30
13
36
16
42
19
49
22
56
25
64
28
Multiplying Factor
// original
test print
was
3x4/2 in.
1
1%
2
3
4
5
6
7%
9
10
12
14
16
Another table which is very helpful and is given below : increase
or decrease of exposure with a proposed lens opening — for a known
exposure at some other opening used in making the original print.
RATIO OF EXPOSURE: FIRST STOP USED TO PROPOSED STOP.
Proposed Stop — f:
First Stop
Used— f: 1.9
1.9 1
3.5 1/3
6.3 1/10
12.5 1/40
18 1/100
25 1/200
2.2
1
1/2
1/10
1/30
1/70
1/100
3.2
3
1
1/4
1/15
1/30
1/60
3.5
3
1
1/4
1/10
1/30
1/50
4.5
6
2
1/2
1/8
1/15
1/30
5.6
8
3
3/4
1/5
1/10
1/20
6.3
11
3
1
1/4
1/8
1/15
8
38
5
2
1/2
1/5
1/10
9
22
7
2
1/2
1/4
1/8
12.5
40
13
4
1
1/2
1/4
18
90
30
8
2
1
1/2
25
170
50
16
4
2
1
A few examples I believe will suffice to show the use of these
tables.
First, supposing we have made a test print using the full nega
tive enlarging it to 3x4% inches. The correct exposure was 10
seconds at f :6.3. Our final enlargement is to be 11x14 losing only
a small portion of the negative at each end; i.e., the enlarged image
206
Enlarging Papers
Manuel Komroff
Harold Harvey
207
on the easel would measure 11x161/2 inches from a 1x1% inch nega
tive but we will use only an area 11x14 in size.
Consulting our first table we find that the exposure should be
9 times that required for our test print or 90 seconds.
Consulting the second table we find that if an exposure at f :4.5
is made it need be only % that at f :6.3, so we can open our lens to
f :4.5 and expose 45 seconds.
Similarly if we have made an exposure of 30 seconds at f :6.3
and we wish to double the exposure without increasing the time, we
find from the second table that f:4.5 requires % the exposure of
f :6.3, so we open to f :4.5 and use the 30 second exposure, getting
• the same result as 60 seconds at f :6.3 would have given.
One other problem frequently occurring is that when we have
made an excellent print 8x10 in size we wish to repeat it on 11x14
without wasting paper.
Consulting our first table we find that an 8x12 print requires
20 times the exposure of a 1x1% and that an 11x16% requires 36
times the exposure of a 1x1%. The 11x16% inch print would then
require 36/20 or 9/5 the time required for the 8x12. An exposure
double the exposure given the 8x12 would be close enough. This
ratio will hold true regardless of the amount of the negative used
providing the larger print includes the same proportion of the
negative as the smaller print did.
Fig. 142 Wickie and Suzanne
Summar 50mm, 1/100, f:6.3, Peromnia Film
Ed. Schaefer
208
Enlarging Papers
Comparative Speed of Various Projection Papers
Another bit of information which, each worker must determine
for himself, but which is invaluable, is the relative exposure required
for each brand of paper as compared with any others he may use.
This is particularly desirable if expensive papers are being used, all
preliminary work being done on the less expensive paper and the
final print being made at considerable saving.
Figures opposite each paper stand for UNITS of Exposure Time.
UNITS: seconds , minutes or counts.
These data are approximate only and should be used with caution as
papers vary greatly in their sensitivity to light:
Agfa
Brovira
Soft 1
Medium IVa
Hard iy3,
Extra Hard IVs
Portrait Enlarging. ... 6
India Tone 12
Dassonville
Charcoal Black 2
Defender
Velour Black
Soft 2
Medium 3
Medium Hard 5
Contrast 6
Veltura 12
Ivoura 2
Gevaert
Novabrom
Extra Soft 1
Soft 11/2
Gevaert
Novabrom
Normal ........... 2i/2
Vigorous ......... 4
Extra Vigorous .... 6
Gevalux ............. 15
Eastman Kodak
P.M.C. Normal
P.M.C. Medium ..
P.M.C. Contrast ____
News Bromide Soft.
" Medium
££ Contrast 2
Portrait Proofing... 12
Vitava Projection. . . 16
Vitava Opal ........ 16
Illustrators' Special. 15
Tuma-Gas ........... 20
1
2
3
1
Contact Papers 200-300
It should be borne in mind that there is a definite relationship
between the exposure time given a print and the time of develop
ment required to bring out as many details of the negative as pos
sible. Most of the developers used for papers are so compounded
as to produce a fully developed image in one and a half to two
minutes. Prints developed for less than that will lack richness in
the shadows, while those developed for longer are apt to appear
flat with veiled highlights.
209
Short Stop
After the print has been fully developed it should be immersed for
a few seconds (from 5 to 10) in a so-called short-stop bath. This bath is
indicated for two reasons. It instantly stops the developing processes of the
print, and it neutralizes the alkalinity of the developer, preventing the
carrying over of traces of developer into the acid hypo fixing bath. If this
acid rinse bath is used, it will fix out almost twice as many prints as
it would if no short-stop bath were used. One quart (one liter) of the
short-stop bath will process about twenty 8 x 10 prints or their equivalent
of smaller prints. Properly prepared, an acid fixing bath (one quart) will
fix out approximately thirty 8 x 10 prints or their equivalent in other sizes
if the short-stop bath is used between development and fixation or about
one-half that number of prints if only an ordinary water rinse is used.
A short-stop bath is prepared by diluting one and a half ounces of
acetic acid (28%) with 32 ounces of water (or 48cc to one liter of water),
if 28% acetic acid is not available, it may be prepared from glacial acetic
acid (a much more economical way) by diluting three parts of glacial
acetic acid with eight parts of water. It should be remembered that only
a short rinse in this short-stop bath is required (from five to ten seconds)
longer immersion (one minute or more) will degrade the tones of most
enlarging paper and may cause blisters and general disintegration of the
emulsion of the print.
Fixing
Fixation is of utmost importance, as upon its thoroughness depends in
a large measure the permanence of the photographic print. Preparation of
an acid fixing bath should be done as carefully as that of development.
Fixation is generally complete within ten to fifteen minutes, provided every
surface of the print has full access to the bath and the prints are not
allowed to stick together. It is best to keep turning over the prints while
fixing.
There are three ways of preparing an acid fixing bath: First, for the
workers who do not turn out great quantities of prints a very satisfactory
way of preparing hypo is by purchasing ready put up packages of powders,
which contain all necessary ingredients, and follow instructions on each box.
Second, for those who do more work and like to prepare their own,
the following formula is most satisfactory and generally used:
Water 64 ounces 2 liters
Hypo 16 " 480 grams
When thoroughly dissolved, add the entire quantity of the following:
Hardening Solution Separately Prepared
Water (at about 125° F.) 5 ounces 160 cc
Sodium Sulphite (dry) 1 ounce 30 grams
Acetic Acid (28%) 3 ounces 96 cc
Potassium Alum 1 ounce 30 grams
Dissolve the sulphite completely before adding the acetic acid. After
the sulphite-acid solution has been mixed thoroughly, add the potassium
alum with constant stirring. When the alum is dissolved entirely, harden
ing solution should be cooled after mixing and slowly added to the cool
hypo solution while stirring the latter rapidly.
The third method, for those who require large quantities of hypo to be
kept for considerable time, is to prepare an acid fixing bath by dissolving
210
Enlarging Papers
two pounds of hypo in a gallon of water and keeping it in a well stoppered
bottle. Separately a stock hardener solution is prepared as follows :
Water (at about 125° F.) 56 ounces 1700 cc
Sodium Sulphite (dry)
Acetic Acid (28%)
Potassium Alum
Cold water to make
8 " 240 grams
24 " 750 cc
8 « 240 grams
1 gallon 4 liters
Dissolve the chemicals in the order given, following instructions given
for formula above.
The fixing bath is quickly made by adding one part of this stock hard
ener to four parts of cool hypo solution.
Finally, a very effective and economical method of securing hypo for
prints is to provide a large bottle and to pour into it all the hypo that has
been used once and not more than twice for fixing of negatives. Such hypo
is good enough for prints and makes it more practical to use fresh hypo
for every film treated.
It would seem unnecessary to warn against the use of old worn out
baths, but somehow everybody seems to do it. Hypo, Acetic Acid, Alum
and Sodium Sulphite are cheap (even the water hasn't been so highly taxed
as some things as yet). Your time and effort in getting a print as you want
it are valued at your own price; a worn out bath can stain every print and
you. won't know it until you turn the bright lights on. Don't take the
chance! Another suggestion, thirty seconds devoted to moving each print
about in the hypo when first brought over will insure even fixing and prevent
unaccountable rings, and other marks from appearing during any later
treatment. One more, when a bath becomes milky, either through use or
old age, throw it away.
Washing
Having brought a print to this point with success, one looks for
ward to the prideful joy he will experience when showing it to
friends and then tosses it into a tray of water into which a dozen
other prints will be similarly tossed before the first is removed,
Fig. 143
Trotting Team
J. A. Latta
Summar 50mm,
1/200, f:6.3,
Agfa Superpan
211
supposedly completely washed. With the water running full force
a print cannot be thoroughly free of hypo if other prints have been
continually brought over from the hypo bath. Washing should con
tinue for at least a full hour after the last print has been brought
over, preferably rinsing each print as it is taken from the hypo and
frequently separating all prints while the washing is going on.
Washing cannot be stressed enough if permanency is desired, as any
trace of chemical left in the paper will discolor or fade the print,
perhaps not in the first six months, but a well washed print will last
for years.
Thoroughness of washing after fixing is just as important as
every other step in preparing a good print. A print insufficiently
washed will deteriorate just as a print insufficiently fixed. The
water used for washing prints should not be colder than 65° nor
warmer than 75 to 80°. Washing should be complete in an hour's
time if the prints are moved about and the water constantly changed.
The Eastman Kodak Company makes and sells an excellent tray
syphon which if used in accordance with instructions accompanying
it, makes a most ideal aid for thorough washing of prints. This device
is easily attached and is absolutely fool-proof and safe in its operation.
Hypo Test
It is highly advisable to apply a very simple hypo test to be sure that
the prints are completely washed.
The following Hypo Test Solution is recommended by the East
man Kodak Company and is known as Formula HT-la:
Avoirdupois Metric
Potassium Permanganate 4 grains 0.3 gram
Sodium Hydroxide (Caustic Soda) ... 8 grains 0.6 gram
Water (distilled) to make 8 ounces 250.0 cc.
To make the test, take 4 ounces (125cc.) of distilled water in a
clear glass and add x/4 dram (Ice.) of the permanganate-caustic
soda solution. Pour % ounce (15cc.) of this diluted solution into
a clean 1-ounce graduate. Then take six 4" x 5" prints or their
equivalent from the wash water and allow the water from them
to drip for 30 seconds in the % ounce of test solution. If a
small percentage of hypo is present the violet color will turn
orange in about 30 seconds and become colorless in about one
minute. In such case the prints should be further washed until
no color change is produced by the test which proves that the
hypo has been eliminated.
Drying
Drying the prints offers very little difficulty if a few points are
remembered. Curling is due to uneven drying more than anything
else. If the surface water is not wiped off, it will collect in pools
leaving, at times, dents in the print which, when finally dried out,
212
Enlarging Papers
shows strain marks in the gelatin. A print carefully wiped dry with
a viscose sponge and then dried on cheese cloth, face down, will
have so little curl as to flatten of its own accord when filed away.
Even when dried face up on a blotter, the curl is not objectionable.
The Eastman Kodak Company produce a print drying roll con
sisting of a long length of corrugated paper together with two similar
lengths of blotting paper, the one faced with a specially prepared
cloth to prevent sticking to the face of the print. The two lengths
of blotting paper and the corrugated paper are rolled over a card
board tube, forming a roll approximately 10" in diameter. Prints to
be dried are laid between the blotters facing the cloth. The roll
may be placed before a fan or left standing. When the prints are
dry they will be found to have a backward curl, quickly becoming
flat when removed.
Ferrotyping
There are two type of tins available for f errotyping prints requiring a
high glossy finish. The least expensive are black enamel tins. Slightly
more expensive but very practical are chromium plated tins. Either type
will produce excellent results indefinitely if they are well cared for. They
scratch easily and should be protected from rough handling, grit and dirt.
They should be carefully washed with a wet chamois or viscose sponge
directly after use. When stored they should be interlined with line paper or
wax paper, placed face to face. Do not allow your chemicals or solutions
to remain on your f errotyping tins for any length of time as they will eat
into the enamel eventually causing- blisters and corrosion, thus rendering the
tins useless.
Ferrotyping to produce really glossy prints is not a difficult matter if
a few precautions are followed. Glass, coated with paraffin or beeswax has
been suggested from time to time but is never really successful. Ferrotype
tins are too cheap to consider such substitutes. The tin must be thoroughly
cleaned with a soft cloth and a few drops of benzene or hot water every
time any particle is noticed to be adhering to the surface. The tin should
then be lubricated with a solution of paraffin in benzene (10 grains of
paraffin to 1 oz. of benzene, 1 gram to 50cc). A few drops of this solu
tion rubbed evenly over the tin and then polished gently with a soft cloth
is sufficient; this need not be repeated unless it becomes necessary to clean
the tin with hot water or benzene to remove particles stuck to the tin.
Normally it sufficies to polish the tin with a soft cloth each time it is used.
Only glossy paper, specially coated for ferrotyping during manufacture,
should be used. The print should be brought from the wash water, rinsed
under the tap, and without draining laid face down on the tin and squeezed
dry. Too much pressure may cause the prints to stick; insufficient pressure
and the gloss will be uneven because the print contact with the tin has not
been good. Little difficulty, however, will be experienced as the latitude
is considerable. The tins are then set aside to dry in any warm spot with
a current of air, such as a window. Drying should take an hour at least;
artificial heating is not good, causing sticking and uneven drying which
leaves strain marks. If, on the other hand the prints are left in a damp
place, or sufficient air is not allowed around them, such as setting one tin
213
next to another separated by only a fraction of an inch, the drying will
proceed from the edges in and a ring shaped strain mark will develop. When
dry, the prints fall off of their own accord or will peel off readily if
a corner is loosened with a knife. Brown stains sometimes appear on the
surface of ferrotyped prints, due to insufficient rinsing of the print or the
tin. A slightly damp cloth will wipe this dirt away without affecting the
gloss. Insufficient washing will leave hypo in the print which turns yellow
and cannot be remedied. Grains of dirt or bits of gelatine stuck to the tin
produce little holes in the print which cannot be remedied. Ferrotyping on
glass produces a waxy looking surface which is anything but desirable.
Cleaning with benzene, soaking in water, and referrotyping on a tin will
produce excellent results.
Toning
There are two relatively simple methods of sepia toning depending
for their action on the conversion of the silver image to silver sulphide.
By bleaching the regular bromide print in a solution of Potassium Ferri-
cyanide and then redeveloping the bleached image in Sodium Sulphide
very excellent sepia tones may be obtained. The bleaching solution will
keep indefinitely and is as follows:
Water (cold) 32 ounces 1 liter
Pot. Ferricyanide 200 grains 14 grams
Pot. Bromide 200 grains 14 grams
Liquid Ammonia 20 drops 20 drops
When prints have been fixed, wash thoroughly to remove any trace of
hypo; prints on rough surface papers should be thoroughly dried before
bleaching, others may be bleached without intermediate drying. Bleach
until the image is but faintly visible. Wash all the yellow stain away under
the tap and redevelop in the following:
Water 32 ounces 1 liter
Sodium Sulphide 200 grains 14 grams
Redevelopment takes but a minute, after which the print should be thor
oughly washed and dried. To obtain Brown-Black tones do not bleach com
pletely. Dilute the bleaching bath 5 to 1 to facilitate even bleaching and
rinse off when the image is about half bleached.
The second method depends on the action of alum on hypo to form the
sulphide. The bath is made up as follows:
Water 32 ounces 1 liter
Hypo 4 ounces 100 grams
Alum 1 ounce 30 grams
The above solution is milky in appearance and should not be filtered, but
before use it must be ripened to avoid bleaching the prints. Toning is done
between 90° and 115° F. taking from 30 to 60 minutes.
The bath may be ripened by toning three or four old discarded prints
or by the addition of the following:
Silver Nitrate 8 grains 0.5 grams
Common Salt 8 grains 0.5 grams
Water 2*4 ounces 70 cc
Toning may also be carried out in the cold solution, taking from 6 to
24 hours. An excellent plan is to keep the bath in the dark room at all times
and tone all discarded prints as well as those which it is purposely planned
214
Enlarging Papers
to tone. By using the cold solution the process is fool proof, toning being
even throughout the print if it is first moved about to insure even wetting.
The prints may be left in the bath almost indefinitely without harm. By
toning discarded prints, many unusual things will be discovered.
Those prints which it is planned to tone should be printed slightly
darker than is desired as the toned print is several shades lighter than the
black and white original. If the hypo alum bath is not ripened the first
few prints will lose their delicate details.
There are numerous other methods of toning to obtain different colors,
but their use is not recommended to the beginner. Many manufacturers
issue pamphlets, obtainable through their dealers, describing these processes.
Spotting
Miniature camera work requires great care and cleanliness in
every step of the process, including the storing of the negatives and
their handling during inspection or use. However, no matter how
much care is exercised, prints will show occasional dust spots and
more rarely, dark spots, due to pin holes or minute scratchings in
the film. The removal of the latter is difficult, being impossible on
glossy prints and requiring very delicate use of the retouching knife
on matt and semi-matt prints. Spotting the former is not so difficult
with a little experience.
Fig. 144 Water Lily
Yasuo Kuniyoshi
215
Enlarging Papers
The hardest part of spotting prints is to find a pencil, crayon
or paint which will match the print not only in color but also in
gloss. Pencils are effective only on a matt or rough surface where
the slight gloss of a pencil closely matches that of the paper. For
most papers with matt surfaces, the carbon type pencils, which have
almost no gloss at all, are very satisfactory. On the semi-matt papers
ordinarily soft retouching pencils are often quite satisfactory. For
sepia toned prints on semi-matt surfaces, sepia crayons can be used.
Fine spotting brushes with Chinese ink are very satisfactory if the
tones of the print are real black, such as obtained from contact
paper when very little bromide has been used in the developer.
For really good results on all kinds of papers, a medium such as
paint which is flexible both as to color and gloss is necessary. The
one drawback to paint, however, is the fact that for single prints
or even to spot less than say half a dozen prints at one time, it is
necessary to go to considerable bother in preparation. Some spotting
colors are available on glazed paper cards but the most satisfactory
method is to obtain artist's water colors, coming in tiny trays. Three
colors are really necessary, lamp black — dull, blue black — dull, and
burnt sienna — slightly glossy. For mixture with the above to obtain
the necessary gloss a tube of Talen's blackish and another of Talen's
brownish should be obtained. The total cost of the above, together
with a good spotting brush, would be about two dollars and would
last for many years.
Using a piece of opal glass for a palette, carry a bit of the
dull color on your wet finger to the glass. To this should be added
some of the glossy color, until, as mixed with the finger on the glass,
the color appears to be slightly more glossy than the print. Some
experimenting will be necessary before the right sheen can be recog
nized, but it should always be remembered that the dull paints have
less sheen than has the roughest matt paper, with the possible excep
tion of such special finishes as Gevalux. Moisten the brush with a
turning motion in a drop of water on the palette, wiping off any
excess water with the same turning motion on a bit of photographic
blotter, still turning the brush in the same direction, take up a bit
of the mixed color and apply to the print in very small dots. Do
not attempt to finish the job in one operation, keep the dots separated,
letting them dry while working on a different portion of the print
and then coming back, several times if necessary, to fill in the spaces
between the dots. If the brush is not too wet and if the minimum
amount of water has been used in mixing the colors, it will be found
that by very light strokes nice even dots can be made which will
216
Willett
Albert Simmons
217
not smear or vary appreciably in color when dry. The smallest pin
holes appearing in a print usually require about three of these fine
dots to be properly concealed. If it is attempted to put one large dot
in these holes, the paint will dry in a little lump which will usually
rub off after it has dried. In using an etching knife to remove dark
spots, such as are caused by pin holes in the negative, it will usually
be found most successful to carry the operation a shade beyond the
adjoining tones, spotting with the proper color so as to obtain the
right gloss, since on glossy prints any knife work leaves a matt
surface and on matt prints knife work leaves a semi-gloss surface.
Another method of spotting matt prints, particularly suitable
for portrait work, or where large areas are to be covered, such as
working in backgrounds or clouds, is the use of chalks. These can
be obtained in blocks from artists' supply stores. The only things
which must then be bought are stumps and pumice powder (used by
draughtsmen on tracing cloth for making the ink hold and obtainable
from most artists' supply stores). Excellent stumps can be made at
home after a little practice by rolling lengths of paper on a diagonal
so as to obtain different sized points. However, soft chamois and
paper stumps cost little.
The print is first rubbed lightly with pumice to eliminate any
possible grease and the chalk, mixed with a little pumice, is then
rubbed on and worked with a stump to the necessary shade. For
large areas, such as working in backgrounds or clouds, a ball of
cotton dipped into the mixture of pumice and chalk is used to cover
the area, the larger stumps then being used to work in the shading
and detail. In working in backgrounds a soft eraser can be used to
break the outline in long slanting strokes, a soft bit of clean cotton
then being used to soften the edges of the breaks and smooth out the
outlines. Some experimenting and a considerable study of studio
portraits will be necessary before really good work of this sort can
be done. To fix the chalk to avoid rubbing, etc., provide a large tray
of water. The tray should be considerably larger than the print and
should contain about 2 inches of water. Holding the print by both
ends, give it a considerable curve and in one movement draw it into
the water, to the bottom of the tray and out at the other end of the
tray. Allow the water to drain off one end and without shifting the
position of the print hang it up to dry. Streaks will appear in the
movement of the print through the water is jerky or if the print is
moved around while the water is draining off.
When Matte and Semi Matte Papers are used a light coating of
wax often lends a beautiful luster to the print. Waxing prepara-
218
Enlarging Papers
tions may be obtained from your dealer. In applying them it is best
to use a small pad of cheesecloth, to apply a little wax over the entire
print, then quickly rubbing off the excess with a clean cloth. Some
preparations require considerable time to dry; others can be handled
within an hour. The bottle should give all necessary information.
Presentation of the Finished Prints
One phase of photography which is almost totally ignored by
the average worker, is the presentation of his print. Not that the
frame is required to appreciate the beauty of a picture, but it does
help considerably. The average album of snapshots is undoubtedly
the best illustration of the worst method of presenting prints. If the
prints are to be mounted in albums, considerable thought should be
given to the size of the prints, the widths of their borders, and the
color of the stock in comparison with the size and color of the album.
Prints in black and white do not show up effectively on buff or ivory
stock nor are they as effective in an album the pages of which are of
buff or have a brown tone-. They should be mounted, preferably,
on white or gray. Similarly, buff prints or sepias look their best
against the background having brown or buff tones. The mounting
Fig. 146 Pila en la Merced
Antigua, Guatemala
Photo by B. Isfort
Elmar 35mm, 1/100, No. 1
Filter, Perutz Persenso Film
*•*£**
'. •<&**f^&'*£i£a£&miiiR
219
Enlarging Papers
of the prints in the album should be tasteful rather than convenient.
The use of tissue, black, brown or white, under the print and showing
a narrow edge, is very effective. After some experience, the amateur
with a taste for modern contrasts will learn to use tissues of such
striking colors as red or blue.
For prints to be shown separately, mountings on heavy stock
are to be recommended. The simplicity and taste which is shown in
the choice of the stoc'k and the method of mounting will be the key
note of its success, yet it is a relatively simple matter to prepare
such mountings.
Embossing Prints
The simplest of all is the embossed print. For this, it is neces
sary to carefully plan the print so that no trimming of the picture
is necessary. Sufficient border is left to properly frame the finished
picture, somewhat more at the bottom than at the top and sides. A
piece of card is then chosen, about the same thickness as the stock
or slightly thicker; this is trimmed the same shape as the picture
but a trifle larger. If a heavy glass plate is available a light is
placed under it, the card just trimmed laid on that and the picture
placed face down over the card and adjusted to leave an equal border
around the picture. With an embossing tool, the back of a tooth
brush or knife handle, the stock is rubbed equally all around the
edge of the card, causing the picture area, when viewed from the
face, to be sunk behind the border. Many variations will suggest
themselves to the imagination, such as headings, double borders, etc.
The print thus embossed may then be trimmed to equalize the borders.
The edges may be roughened by laying the print on the table with
the edge out to the table edge and scraping with a sharp knife.
In cutting the card so as to make window mounts, cut from the
back and against a hard surface so as to leave a smooth edge. To
cut on an angle, lay a steel or other thin ruler under the knife, hold
ing the knife firmly and keeping the blade of the knife and the nail
of the index finger firmly against the guide — thus maintaining a con
stant angle.
The final step in mounting, particularly for Christmas cards, is
the book or folder. The print may simply be placed in the folder,
or a card mount nicely embossed, or again a window mount may be
prepared and the whole placed in the folder. The folder preferably
should be of lighter material than the card used as a mount in the
last two cases, although like everything else, this is really a matter
of taste and individuality. A tissue paper fly leaf may or may not
be inserted. The cover may have some design embossed into it or
220
Enlarging Papers
may be printed with a linoleum or wood block. Any number of
variations suggest themselves and much pleasure will be derived from
making individual mounts.
One word about pasting. Library paste, homemade paste and
any glue will do the job. Some contain products which will injure a
photograph, but most are quite satisfactory. However, for a neat
and convenient, as well as reliable job, nothing is as satisfactory as
dry mounting tissue. A hand iron, kept nicely warm, or if of the
automatic type, set at a low heat, is just right for mounting pictures
up to 11" by 14" and the thinnest mounts will lie flat.
Eubber cement is probably the best and the cleanest mounting.
It should be spread with a large brush over both the mount and the
print and allowed to dry for more than a half hour. The print
must then be carefully adjusted to guide marks previously made on
the mount, for once placed it will be impossible to move the print.
Any excess cement around the edges can be removed with a soft
cloth. Do not get rubber cement on waxed prints as it removes
the wax. When using paste glue or cement the mounted print should
be placed under light pressure for a short while before putting in
a press or under heavy pressure for final drying. When transfer
ring from the light to the heavy pressure a careful inspection should
be made to be sure no paste or cement has oozed out at the edges of
the print.
Many advanced workers are using thin papers for paper nega
tives ; a beautiful result can be obtained by printing on the thinnest
papers available and carefully mounting on medium weight mounts.
This is particularly satisfactory for Christmas cards. Thin papers
must be treated carefully to avoid air bells in the developer and hypo.
And so a little has been said regarding many things. Perhaps a
first reading has confused some or led others to believe that the
whole matter is unnecessarily involved. I hope, however, that in
some way many who have read this chapter will become more keenly
appreciative of the importance of printing as one of the major steps
in producing a photograph; far too little has been said to date
regarding this angle of photography, each newcomer apparently be
ing expected to struggle along until somehow he succeeds in turning-
out one or two good prints from each package of paper he buys.
If, as has been stressed several times before, the beginner will stick
to one paper, one developer, etc., until he is turning out a fair aver
age of good prints, he should find that he has learned to do this
with very little waste of paper and time.
221
Fig. 147 A Dandelion Gone
to Seed. . .Photo by Wm. M.
Harlow
135mm Elmar lens, f:36, 5 sec
onds. Panatomic. Sliding Copy
Attachment used
Fig. 148 Sprouting Peas
222
J. M. Leonard
COPYING AND CLOSE-UP PHOTOGRAPHY
WILLARD D. MORGAN CHAPTER 11
Data Tables by Henry M. Lester
In ordinary use the Leica cannot be adjusted for photographing
objects at distances less than 3i£ feet without the aid of special sup
plementary front lenses or one of the copy attachments. Thus the
3y2 foot mark becomes the dividing line or norm for the Leiea user
who is interested in photographing large or small objects. Let us
step across the threshold of this 3y2 foot mark and explore the
wonders of the world of small objects. What a contrast! In the
large object field we were photographing people, buildings, moun
tains, and even the moon or sun far out into the space of infinity.
Yet in the small object world there is a universe in itself to be
explored by the inquisitive mind. Here a book page may be copied
or a micro-organism photographed on the Leica negative with a
2,000 times magnification. A truly amazing contrast from infinity
to 2,000 times magnification. The user of a Leica can readily span
this gap.
Intensive work in photographing the large object world has been
carried on for nearly a century. However it has only been in recent
years that small object or micro photography has become an essen
tial part of our daily living, mainly because of the important ad
vances in camera design. t The eye of the camera was made to peer
into the inner structure of the world. All the large hospitals and
educational institutions have elaborate photographic departments
equipped for the close-up micro photography "of specimens which
are invaluable for future reference by the medical and teaching staff.
Police departments use the camera for close up photography just
as nimbly as they use their guns. Industrial firms keep constant
photographic records of their products which may be used for refer
ence, sales, or advertising purposes. The visual education field is
an important user of close-up or small object photography for pre
senting thousands of different subjects on the projection screen or
by actual photographs to millions of students. Such examples show
223
us how immense and likewise important the field of small object
photography has become. Let us now learn how to use our Leica
camera for this type of work.
Practically everyone who uses a camera has had the occasion to '
make close-up photographs of objects. Such pictures may have been
more or less successful depending upon the camera and experience
of the operator. The copying possibilities of a camera should really
be looked upon as the visual note book which is indispensable for
keeping accurate records of any object, such as machine parts, draw
ings, manuscripts, geological specimens, medical subjects, or small
magnified pictures of insects. In fact it may be said that anything
can be copied that can be illuminated adequately for photographic
purposes.
If you are a student, the copy camera outfit can quickly be
applied for illustrating your, biology note book, or possibly you may
need references from rare books which can not be removed from the
library. In the latter case the camera can be utilized perfectly and
at a minimum expense. The developed negatives may be placed in a
projector or enlarger and read directly from the projected image.
Importance of Small Object Photography
This chapter on Small Object Photography should be studied
carefully because it is the basis upon which other chapters have been
prepared. A thorough knowledge of the copying equipment and
methods will enable you to grasp a complete understanding of the
following chapters which are so closely related to the present chapter :
A. The Leiea as an Ophthalmic Camera.
B. Miniature Camera for Miniature Monsters.
C. Making Leica Film and Glass Slides.
D. Dental Photography with the Leica.
E. Photomicrography with the Leica.
F. The Leica in Visual Education.
G. Historical Eeseareh with a Leica.
Close up photography of small objects really has a field and technique
quite different from the usual type of photographic work which is prac
ticed by everybody who can focus a camera and click the shutter. When
we start taking photographs of a butterfly, newspaper clipping, flower,
mineral specimen, or any small object, a number of special problems arise.
1. The camera requires additional equipment.
2. Focusing becomes more critical as depth of focus decreases.
3. Exposure factors change and are calculated according to the degree of
magnification required.
4. Proper illumination becomes an extremely important problem.
224
Copying
5. It is often necessary to use color filters in order to obtain certain re
sults.
6. The Leica camera and auxiliary equipment must be mounted on a rigid
base, free from vibration.
7. The proper film must be selected for use with, the various types of copy
work.
8. Even the specimens to be copied should be mounted or properly ar
ranged in order to insure a perfect reproduction on the negative. As
the final picture will be reproduced in black and white, or monotone,
it is important to select objects which will produce the best contrasts
and details required.
9. As most of us are not equipped with spacious photographic studios
our camera equipment shoud be small, light, and easily portable.
10. Even the developing technique is of great importance for films made
of small objects.
11. Once the proper equipment has been assembled for any type of close
up photography there will be many interesting objects to photograph.
In fact you will begin to see a new world in miniature.
Accessories for Close Up Photography
There are a number of accessories provided for covering every
possible demand which, may arise for the Leica user who wishes to
use his camera for copying. Each copy attachment will be indi
vidually described in order to present the features of each one in
such a way that the Leica worker may easily make the proper choice
to fit any special requirement.
Sliding Focusing Copy Attachment
Shortly after the introduction of the Model C Leica with the
interchangeable lens feature in the Fall of 1930, I
started experimenting with the use of various ex
tension tubes placed between the camera and lens.
These extension tubes actually take
the place of the familiar long exten
sion bellows to be seen on the larger
view cameras. My results for this
type of close-up copy work were
very encouraging and I saw the pos
sibility of developing a new field
for Leica users. Following the
work with the metal extension
tubes I designed the first Sliding
Focusing Copy Attachment which
has since been manufactured and . . . „_..,. _ . _,
-,. , .-, '-, , xi i » r • Fig. 149 Sliding Focusing Copy
distributed to thousands of Leica Attachment (Fuldy) Set-up in Po-
users during the last few years. sition for Copying
225
Basically the Sliding Copy Attachment, also known as the Fuldy
Copy Attachment, consists of two metal plates, one for attaching to
the camera and the other for holding the lens and extension tubes.
On the part which holds the camera there is a ground glass with a
masked out area equal to the size of the Leica negative. This ground
glass screen is in exactly the same plane as the film in the Leica
camera. Therefore when the image of the object being photographed
is in sharp focus on the ground glass it will also be in perfect focus
when the camera is moved into the same position directly over the
lens.
The Fuldy Copy Attachment has been designed for use in any
position required for photographing either horizontal or vertical sub
jects. A tilting top or Ball Jointed Tripod head may be used for
securing this attachment to a tripod for indoor or outdoor use. A
special bolt can be secured for inserting into the hole of the Sliding
Arm which is also used for holding the rod of the illuminating
bracket. When this bolt is in position the Leica or the copy attach
ment can easily be secured in a horizontal position for photographing
such objects as the human eye, maps on a wall, or mounted speci
mens. In fact after a little experience with the Sliding Copy Attach
ment it will be found that any photographic angle may be quickly
secured.
Around the focusing plate there is a clip mount for attaching the
special mangnifier which is of value when obtaining extremely critical
focus. Once the Leica is attached to the sliding plate of the Fuldy
accessory it can readily be reloaded at any time without removing
from this plate. A Wire Eelease must be used for releasing the
shutter in order to avoid any possibility of jarring the camera at the
time of exposure.
Description of Sliding Copy Attachment Parts
The accompanying illustration gives complete information about the
various parts of the Fuldy Copy Attachment. This copy attachment is
adapted for use with the various Leica models which have the interchange
able lens feature. Owners of the early Model A Leica can have their
cameras converted so that the lens will be detachable, for use on this at
tachment as well as for the Leica enlarger and projector.
1. Light shield to prevent stray light from entering camera opening while
focusing.
2. Threaded opening for securing the attachment to a tripod, extension
arm of the reproduction stand, or the Sliding Arm for use with the
upright pillar of the Leica enlarger.
3. Dove-tail groove into which the sliding plate (No, 8) moves while focus
ing and making exposures.
226
Copying
Fig. 150 Essential Parts of the Sliding Focusing Copy Attachment
4. Stop for use when changing from focusing to photographing position.
5. Leica lens screwed into position.
6. Clamping ring for holding the Leica camera securely to the sliding
base plate.
7. Key for turning clamping ring (No. 6).
8. Sliding base plate for holding the Leica camera, focusing ground glass,
and also the magnifier.
9. Focusing ground glass in exact plane with the film in the camera.
There is also a place to attach the magnifier when necessary.
10. Space cut from the sliding plate (No. 8) to permit the Model F or G
Leica camera to fit properly.
The Fuldy Attachment in Use
The Fuldy device may be set up as follows:
A. Attached to the Sliding Arm which is secured to the upright column
used for the Leica enlargers.
B. Mounted on the Collapsible Reproduction Stand.
C. Secured to a ball jointed or tilting top tripod head which in turn is
attached to a firm support such as a tripod.
Before the set up is complete the subject to be copied must be placed
into position and properly illuminated. Finally the correct focus is deter
mined by moving the camera close or away from the object. Fine focusing
is obtained by using the focusing mount on the lens, or in the case of the
50mm lenses the lens barrel is moved back and forth in its mount. Once
perfect focus has been secured on the ground glass the camera is slid into
position ready for making the exposure. Stop the lens down as far as
practical after focusing and before making the exposure.
227
When the regular 50mm Elmar lens is used on the Fuldy Attachment
directly without the use of additional extension tubes it is possible to
photograph any object which conies within the maximum area of 15 x 20
inches and a minimum area of 4 x 6 inches simply by moving the lens mount
in or out and setting the camera in the proper position. On account of the
sliding feature of the Fuldy Attachment, when greater areas than 15 x 20
in., up to infinity, are to be included the lens has to be collapsed so far that
it will interfere with the top plate being pushed over to the photographing
position. To avoid this the focusing collar of the lens should be set at
infinity while the actual focusing of the lens is accomplished in the usual
manner, by collapsing the lens in its mount. To enable the plate to slide
properly the focusing collar should be moved to the 3.5 position at which
point the sliding plate will move freely. With the camera in photograph
ing position the focusing collar should be moved back to the infinity mark.
The Extension Tubes
In order to secure proper focus at the higher magnifications it is
necessary to move the Leica lens away from the film plane. Instead of
using a cumbersome bellows similar to the larger view cameras for holding
the lens in proper position I designed the 12mm, 30mm, 60mm, and 90mm
metal extension tubes for this purpose. With such a set of tubes together
with one of the collapsible 50mm lenses, any combination can be secured
to obtain the proper magnification and focus upon an object which might
be as small as a pinhead. Such tubes are small and light and keep the
lens in a rigid position at all times.
When the Fuldy Attachment is used with the 30mm tube and the 50mm
lens, natural size or 1:1 pictures may be made. By pushing the lens barrel
into its mount additional areas may be covered. The 60mm tube is very
useful for securing slightly higher magnifications and also for use when
the Fuldy Attachment is used with the microscope. An unusually long set
up of extension tubes may be seen in the arrangement for insect photog
raphy illustrated in J. M. Leonard's chapter.
The introduction of the Sliding Focusing Attachment in connection
with extension tubes of various lengths greatly increased the Leica's use
fulness. Every day new fields are being reported where the application
of these accessories was at first found useful and later became indis
pensable.
Most of the information concerning the use of these accessories was
available for the 50mm lenses because they are the most popularly used.
It will be found however that lenses of longer focal length are extremly
useful for certain types of work. In order to facilitate and simplify the
use of these accessories with any of the Leica lenses and tubes the Editors
now offer a -special table and some basic formulas which will enable the
average worker to determine certain important factors for the different
lenses and extension tubes without resorting to tedious experimental or
mathematical work.
The table ^iven on pages 232, 233 was computed for the 55mm lenses
(either Elmar, Hektor, or Summar). This table should be consulted not
only for infprmation regarding the use of these three lenses, but also as
an example of information that can be obtained by the use of the few sim
ple formulas which follow.
It should be noted that the figures contained in this table referring
to the depth of focus are based upon the diameter of the circle of confusion
of .03mm (approximately 1/750 of an inch). This is the only part of the
228
Copying
table affected by the size of the circle of confusion. Should a smaller circle
of confusion be required, or a larger one be found sufficient, the data given
in the table should not be used, but other figures computed with the aid
of the formulas appended.
Use of Extension Tubes Directly on the Camera
Without Sliding Focusing Attachment
It is frequently desirable to use various Extension Tubes or
their combinations directly on the camera, without the use of the
Sliding Focusing Attachment. This is quite practicable. The tube
is simply screwed into the camera and the lens is screwed into the
tube. Such an arrangement sometimes can be used in lieu of auxil
iary front lenses. The focusing is then done to scale. Great accuracy
is an absolute prerequisite of success.
The following table is given for this type of work.
It is based upon the diameter of Circle of Confusion of 0.03mm.
Since it is impossible to compose the picture on the film visually
it is recommended to use a plumb weight whenever this method is
employed. Special plumb-weights are available, but any plumb-
weight will be found to work as long as it will be made so that it
will drop in a line with the optical axis of the lens.
Fig. 151 "Small Print" Manuel Komroff
Elmar 50mm with "Nooky" 2 sec. f:12.5 Panatomic film — Harvey Developer
229
WORKING DISTANCE, RATIO OF MAGNIFICATION, DEPTH OF
FOCUS, EXPOSURE FACTORS AND FIELD OF COVERAGE FOR
EXTENSION TUBES USED DIRECTLY ON LEICA CAMERA
(Without Sliding Focusing Attachment) with ALL 50mm Leica Lenses:
Elmar f:3.5 Hektor f :2.5 Summar f :2
Working:
Total
Length
in Milli
Extension
Tubes
Distance
(from
object
to Lens)
Depth of Focus
at f/12.5
Nearest Farthest
points in focus
Exposure
Factor
(Increase
in exposure)
Approximate
Field
Covered
Ratio of
Reduction
or Magni
meters
MM
in MM
in Millimeters
(Times)
in MM
fication
12
12
259
251
267
1.5x
96 X144
4:1
22
22
164
161.5
167
2.0x
54 X 81
2.25:1
30
30
133
131,3
134.7
2.5x
38 X 58
1.6:1
42
12+30
109
108.2
110
3.4x
29 X 43
1.2:1
60
60
92
91.6
92.7
4.8x
20 X 30
1:1.2
72
60+12
85
84.6
85.5
6.0x
16 X 24
1:1.5
90
90
78
77.7
78.4
7.75x
13 X 20
1:1.8
102
90+12
74.5
74.3
74.8
9.25x
12 X 18
1:2
120
90+30
71
70.8
71.2
ll.Sx
10 X 15
1:2.4
142
90+30+12
69
68.8
69.2
14.75x
9 X 14
1:2.6
150
90+60
66.6
66.4
66.8
16.0x
8 X 12
1:3
162
90+60+12
65.5
65.4
65.7
18.0x
7.5 X 11
1:3.25
180
90+60+30
64.0
63.9
64.1
21.0x
6.7 X 10
1:3.6
192
90+60+30+12
63.0
62.9
63.1
23.5x
6.25 X 9.35
1:3.85
Fig. 152 Writing Showing Shading Vari
ations in Pen Pressure and Grain of
Paper. Elmar 5 Omni Lens with Focusing
Copy Attachment
230
Fig. 153 Copy of Typewriting, .by Ira
Gullickson. Pica type. Ruled square on
glass over typing. Fine detail shows type
and kind of pacer. Printer's ink in dotted
line seen as being different from typing.
Fuldy Copy Attachment with Elmar 50mm
lens, 30 and 60mm tubes
Copying
Exposure Factors
Far ALL Extension Tubes When Used With Various Leica Lenses
and the Sliding Focusing Attachment
Tubes Lenses:
35mm
50mm
73mm
90mm
105mm
135mm
llmm
1.75x
1.5x
1.33x
1.26x
1.21x
l.OSx
12mm
1.8x
1.54x
1.35x
1.28x
1.24x
1.09x
22mm
2.65x
2.1x
1.7x
1.5x
1.46x
1.35x
30mm
3.45x
2.55x
2.0x
1.78*
1.65x
1.5x
60mm
7.5x
4.8x
3.3x
2.75x
2.45x
2.1x
90mm
12.8x
7.8x
5.0x
4.0x
3.45x
2.75x
This table of Exposure Factors for all tubes and all Leica Lenses will
be found useful for ascertaining the correct exposure factors:
1. when using extension tubes directly on the camera (without
Sliding Focusing Attachment), interposing them between the
camera and any lens.
2. when using- various extension tubes or their combinations in
connection with Sliding Focusing Attachments and any Leica
Lenses.
For the purpose of exposure factors the Sliding Focusing Attachment is
considered just as any other tube of llmm length. Every tube, depending
on its length, has its own exposure factor, which is constant for every lens.
Fig. 154 Sewer Construc
tion. Elmar 35mm at
f :6.3, Super X Film. Pho-
toflash used at the side
and at the camera level.
Photo by J. Winton
Lemen.
231
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Formulas
F
1. L = - = Diameter of lens
f
D2
2. T = - — Exposure factor (increase of exposure)
F2
O B — F
3. — = - = Ratio of reduction (As a function of the object or
I F magnification distance)
0 F
— = - — Ratio of reduction (As a function of the image
IF or magnification distance)
4. F2=(D — F) . (B — F) = (Relation between focal length, object
and image distance)
D . F
B = - = Working distance of object to lens
D — F
B . F
=r Distance of image to lens
B — F
5. Depth of focus at a given diameter of Circle of Confusion:
L . B . F
= Nearest point in focus
(L . F)
L . B . F
Z = - — — = Farthest point in focus
(L . F)— C(B — F)
Explanation of Symbols
M — Ratio of Magnification
R — Ratio of Reduction
0 — Size of Object (linear dimensions)
1 — Size of Image on film (linear dimensions)
B* — Distance of Object to the Lens
D* — Distance of Image to Lens
F*— Focal Length of Lens
f — Stop of diaphragm
T • — Exposure Factor (increase of exposure)
C* — Diameter of Circle of Confusion
L* — Diameter of Lens
A* — Nearest point in focus when lens is focused for B.
Z* — Farthest point in focus when lens is focused for B.
* It is important to express all units of length in the same system, either metric or linear
(inches) .
Practical Applications
1. Diameter of Lens :
F (Focal Length)
L = - or - •
f (Lens Stop(f))
Example:
What is the diameter of the aperture of a 50mm lens when it is
stopped down to f :12.5?
50
L = = 4mm.
12.5
234
Copying
2. Exposure Factor:
Increase of Exposure T = -
(Distance from lens
to film plane)2
-or-
F2 (Focal length)2
Example:
What is the exposure factor for a 90mm tube ^ohen used directly
on the camera in connection with a 90mm lens?
[90mm (tube) + 90mm lens]2
Distance from lens to film plane
180s
32.400
902
90 2 81.00
3. Katio of Eeduction or Magnification:
Distance from Object to Lens
Size of Object O B — F less Focal length of Lens
Focal length of Lens
Size of Image I F
Example :
Ratio of Reduction of an object 900mm from a S5mm lens:
900 — 35 865
= = 24.7 -f- 1;
35 35
say 25 -f- 1
or:
Focal length of Lens F I
D— F
O
Distance from Lens
to Film Plane — minus
focal length of lens
Example:
What is the ratio of Magnification obtained when using 60 and
90mm extension tubes in connection ivith a 73mm lens (tubes
directly on the camera — no S. F. A.) ?
[60 + 90 + 73 (lens)] = D = 223
F 73 73 1
= = == or 1 ~ 2
D— F 223—73 150 2.06
Fig. 155 Latent Finger Print
on Black Rubber Surface
Gray Finger Print Powder.
Photo by Ira Gullickson. Slid
ing Copy Attachment, used
with 30mm tube
4. Distance from Lens to Object or (B)
" Lens to Film Plane (D)
(knowing one how to find the other)
Basic Formula: F =(D— F) . (B— F)
D X F B X F
D =
D — F B — F
Examples :
What is the distance at which the object is to be placed when a
60mm tube and S. F. A. are iised with a 135mm lens?
(135 + 60 + 11) X 135
T> _ ,r-.. -
(135 + 60 + 11) — 135
206 X 135 27810
= - = - = 392mm
206 — 135 71
What extension tubes are to be used when a 50mm lens is avail
able and the object is 97mm from the lens?
97 X 50 4850
D = - =z - = 103mm 103mm — 50mm lens = 53mm
97 — 50 47
or 53mm = llmm (S. F. A.) + 12mm (tube) + 30mm (tube)
5. Depth of Focus:
The depth of focus for any lens at any opening or distance depends
on the diameter of the Circle of Confusion. In all standard Leica
formulas the diameter of the Circle of Confusion is taken to be
C = 0.03mm
L X B X F
Nearest point in focus: A =
(LXF) + C(B — F)
L X B X F
Farthest point in focus Z =
(LXF)— C(B — F)
Example:
What is the depth of focus of a 90mm lens at Stop f:9, focused
upon an object 5 meters away, assuming the size of the C. of C.
to be 0.01mm?
90
L = = 10mm; B = 5000mm C = 0.01
9
10 X 5000 X 90 4,500,000
A = — = = 4750mm
(10 X 90) + .01 (5000 — 90) 900 + 49.10
10 X 5000 X 90 4,500,000
Z = = rzz 5300mm
(10 x 90) — .01 (5000 — 90) 900 — 49.10
Depth of focus will result in everything being in sharp focus at
from 4.75 meters to 5.30 meters.
236
Copying
Avoiding Vibration During Copying
Usually most close-up copy work requires time exposures ranging from
V± second up to 5 minutes or even more. During such exposures there must
be no vibration^ in the equipment to cause a blurred image on the negative.
In order to avoid vibrations the following points should be observed.
1. Use a rigid support for copying equipment.
2. Release shutter with a Wire Cable Release.
3. In case you are working in a building which transmits the
annoying vibrations of passing trains, trucks, or a subway, a
sponge rubber mat might be placed under the baseboard of the
copying attachment in order to absorb the motion.
4. When all the extension tubes are in use have a support or clamp
to hold the combination rigid.
5. When vibrations cannot be avoided use more illumination on the
object, a larger diaphragm stop, fast film, and make fast
exposures.
Focusing
As the camera lens is placed closer to the object the focusing becomes
more critical. Naturally without perfect focus the object will be reproduced
on the negative as a slight or even complete blur. With the Leica camera
there are three methods of obtaining proper focus.
1. By actual focusing upon a ground glass in the Sliding Copy
Attachments.
2. By measurement and the use of the printed tables supplied for
the purpose.
3. By using the fixed focus attachments such as the Besum, Belun,
Behoo, etc.
Ground glass focusing is recommended in the majority of cases because
it is so easy to actually see the object projected upon the glass surface
which is in the same plane as the film in the camera. Special 5x magnifiers
(a regular and wide field magnifier) are available to help in determining
exact focus with the Sliding Focusing Copy Attachment. In case there is
too much stray light falling upon the ground glass, when the magnifier
is not in use, take a piece of black paper about 4x6 inches in size and
wrap this around the ground glass mount. Use a rubber band to hold the
paper shade in position around the base. You will now have a paper tube
which will keep out any stray light. When the magnifier is in position this
paper tube is not required.
The ground glass of the Focusing Copy Attachment looks grainy when
examined with the aid of a 5x magnifying glass. Considerable improve
ment of the clearness of the image is obtained by applying a drop of oil
(cocoanut oil is very good) to the ground surface of the glass. Rub the oil
in gently and evenly, moving the finger first in one direction, and then at
right angles to it. This method will eliminate the graininess considerably
and increase the luminosity of the image, permitting better focusing.
Critical Focusing and the Special 30x Magnifying Glass
A special 30x magnifier is available to secure critical focus for those
who require the utmost precision and accuracy. This magnifier consists of
a small eyepiece equipped with a tiny lens of the microscope ocular type
and quality. The lens with its mount slides in a collar which fits into the
237
half -rim clip on the ground glass of the Focusing Copy Attachment. This
magnifier cannot be used with the regular ground glass supplied with the
Fuldy Copy Attachment, be it ever so fine-grained. It would only magnify
the grain 30 times, but would not resolve the details of the image focused
upon the surface.
A special ground glass is available for use with this 30x magnifier.
It has a narrow strip of clear glass running across the center of the disc.
This clear strip is about 3mm wide. A millimeter scale is engraved in
finest hairlines upon the ground side of the glass disc, which corresponds to
the film plane in the Leica camera. The scale starts with 0 in the center
of the disc and continues to the right and to the left of the 0 in millimeter
markings.
The magnifier is placed upon the Copy Attachment just like a regular
5x magnifier. The eyepiece is then moved in or out until the scale en
graved upon the glass appears in perfect focus, sharp and clear. Then the
object or the camera is moved until the small portion of the object seen
through the magnifier appears in sharp focus. It will be found that the
image is clear and brilliant and permits the finest hairline adjustment.
This SOx magnifier works upon the principle of picking up the mag
nified image of the object from the air. The focal point of the lens of this
magnifier is so critical, that if the image is not exactly in the film plane, it
will appear unsharp until corrected. The focusing should be done with the
lens of the camera open enough to permit sufficient illumination to enter for
easy focusing. After correct focus has been secured, reduce the lens dia
phragm to the desired stop.
Coarse focusing, or the preliminary work in bringing the object into
fairly accurate focus upon the ground glass, is secured by placing the
camera closer or farther away from the object. In doing this the Sliding
Arm to which the camera and Copy Attachment are secured is raised or
lowered on the metal upright bar which supports the equipment. In case
the camera is in the horizontal position mounted on the Sliding Arm or on
a tripod it is only necessary to move either the object or the camera closer
or farther away until sharp focus is secured.
When using a 50mm lens, fine focusing can be secured by turning the
lens mount or by slowly pushing the lens barrel in or out of the mount.
If the 90mm or any other lens besides the 50mm lenses are used the fine
focusing is easily secured by slowly turning the focusing mount on each lens
until sharp focus is secured.
When working with small objects a convenient stage or mount can be
made with an adjustable rack and pinion arrangement similar to the stage
of a microscope. Sometimes such a stage can be picked up in a second
hand store for only a few dollars; it makes a perfect platform for adjusting
small objects. Such a stage is fully described in the chapter by J. M.
Leonard on photographing insects.
Focusing by Measurement
When the Leica is to be used without the aid of additional copy at
tachments accurate focusing may be secured by referring to the special
booklet of tables for the Front Lenses, which is available free for any
Leica owners who, use the Front Lenses in copying. This booklet of tables
gives the exact distance between the object and the film of the camera (not
the lens), the exact area covered by either one of the three supplementary
Front Lenses used, and also the depth of focus at the various diaphragm
stops.
238
Copying
When using the Leica with the Front Lenses it is necessary to have
the camera secured to the Sliding Arm or to a tripod or any other fixed
support, in order to keep the camera perfectly rigid.
Still another method of focusing by measurement is with the use of
the various Extension Tubes directly on the camera. When these tubes are
used singly or in combination it is not necessary to use the three Front
Lenses already mentioned. The Extension Tubes will enable you to use the
Leica at closer distances. For those who wish to use the Leica for copying
without the use of any copy attachment, a measurement table for use with
the Extension Tubes screwed directly into the camera has been prepared by
Mr. Lester. The Single Exposure Leica, described in the first chapter, can
be used very successfully for testing these fixed distances.
A special copying baseboard can easily be prepared to include the
various areas given in the table by marking out the rectangular areas in
ink or cut lines in the wood. Each rectangle should have figures giving
the area and also the Extension Tube and lens setting required to secure
perfect focus. Such a ruled board will be of great convenience for use
where many pictures are to be made of objects which are uniform in size.
Stopping Down the Lens
All copying should be done with the lens stopped down to f :6.3 or
smaller if possible. As the lens is stopped down the depth of focus in
creases, thus insuring perfect focus at all times even if a slight miscalcula
tion has been made when securing the original focus. When working with
high magnifications the lens should always be stopped down to f :12.5. A
special diaphragm Attachment Ring is available for use with the Hektor
and Elmar 50mm lenses, in order to adjust the diaphragm with side cali
brations and thus avoid the necessity of standing on one's head to read the
settings on the lens in case it is pointed down toward an object.
Fig. 156 Sea Urchin (Original Specimen 1% inches diameter). Series of
Four Pictures by Willard D. Morgan
Photographs made with Focusing Copy Attachment and various extension tubes to secure
different magnifications. Highest magnification made with a 21cm tube extension.
239
Fixed Focusing
The various fixed focus attachments such as the Belun, Behoo, and
Bazoo are of value for certain uses and when only a few areas are to be
covered. The Belun attachment is permanently in focus for making pictures
the exact size of the Leica negative or a 1:1 ratio. The Behoo and Bazoo
have extension legs with markings for special settings and areas covered.
Complete information about these attachments will be found in a special
booklet from the Leitz Company.
Securing Proper Illumination
The importance of proper illumination of objects to be photo
graphed at close range cannot be over-emphasized. Objects can be
flooded with strong light until they become flat, lifeless, and washed-
out reproductions on the negative. However with the proper type
of lighting the very same objects will take on a richness of tone
value which makes the final picture strong and at the same time a
perfect reproduction of the original.
One of the first methods of checking proper lighting is by per
sonal observation. Side, top, or back lights may be adjusted at
various distances from the object, diffusion screens can be used to
soften strong direct light rays, high or low power bulbs should be
used when necessary. In some cases it may even be necessary to set
up one or more flash bulbs for making the picture. In most cases the
lights can be adjusted visually.
The best way to check the intensity of the illumination over an
object such as a manuscript page, is by using an exposure meter.
When in doubt about the proper balancing of the lights this meter
provides a rapid means of checking.
For the majority of objects the ordinary side lighting with the
lights set at a 45° angle is sufficient. One or two lights are placed on
each side, depending upon the size of the object. When these lights
are placed at a 45° angle the strong light rays illuminate the area to
be photographed without causing back reflections which would ruin
the picture, or at least make it fall short of becoming a perfectly
illuminated reproduction.
A convenient lighting set-up consists of two ordinary desk lamps
with reflectors. Two frosted 75-watt bulbs are sufficient for illumi
nating all areas up to 12 x 16 inches. Beyond this area use four or
more lamps as required. Even such a rule may not hold for every
set-up, because it is possible to use two photo-flood lamps or two 500-
watt lamps in reflectors and evenly illuminate greater areas. If you
have a Kodalite, Solite, or similar lighting outfits they can be used
very successfully for copying. Usually the high power bulbs must
be replaced with globes of lower light intensity in order to avoid over-
illumination.
240
Copying
It is also possible to use normal daylight when convenient, al
though artificial lighting is more constant and easier to control.
Sometimes when copying in libraries it is not possible to carry in
extra equipment such as lights. Here is where it is necessary to use
natural daylight. "When photographing under such conditions the
full illumination from a window is sufficient. Avoid any cross light
ing from other windows which may cast shadows or otherwise cause
uneven illumination.
Strong lights are useful when photographing moving subjects
where short exposures are required. In some eases the strong lights
may cause too much heat or otherwise disturb the subjects. To avoid
this the focusing may be done with a small light, then when the ex
posure is to be made the full illumination is snapped on just before
the shutter is released. It may also be advisable to use stronger
lights when heavy color correction filters are used, thus reducing long
exposures.
Making and Using Film Copies
The Clerical Side
A system of filing and identifying negatives is an important
factor in putting a collection of film copies to the best account. Most
of us follow the line of least resistance and if there is a good deal
of bother about unwinding film and searching for the piece wanted
we are inclined to neglect the film copies, no matter how excellent
the photography may have been. The following plan fits my own
needs and might be adapted to the use of others.
The film strips are numbered and filed under headings that
parallel those in a general file of notes and documentary material
A record of the material copied is photographed in each case and
becomes part of the negative, serving as a label.
The first exposure on each strip of. film copies a large number
that can be read on the negative without a lens, and a good deal of
eye strain is avoided in identifying film strips by this large number
at one end. The numbered series serves as a check against the loss
of film in process or in use.
The second exposure copies a label, which contains the following
information :
a. title of document
b. filing designation
c. photographic conditions
d. number of pages copied
It is not necessary to use an entire frame for this label, as it may
241
be placed alongside a title page and photographed in that position.
After the entire strip of film has been exposed, the number of
pages copied may be noted on the original label, and if the document
has not been completed the label may be carried forward to the next
film strip. The original label is eventually filed in the general file,
with other notes, and serves as a cross reference to the film. In
special cases, as in copying a series of documents, it is convenient
to keep a list of the contents of the film strips, taken from the labels
before they are filed.
The most likely clerical errors are mislabeling of documents, or
skipping pages. The following device serves as a check on missing
pages, so that it is not ordinarily necessary to check them on the
finished negative.
I count thirty pages in the document and place a marker at the
end. If the camera counter, the frame numbers, and the marker in
the document coincide at the end of the strip, it is reasonably certain
that no pages were omitted. If an error has been made the best way
to correct it usually is to retake the whole strip. This avoids isolated
pages, taken at a later time, which must be spliced on to the film strip.
In copying material printed on thin paper it is necessary to inter
leave with white, to prevent the page underneath from showing
through. Where the ink on one side of the page shows through on
the reverse side I interleave with black, as this reduces the contrast
and may eliminate the show-through on the negative.
Lighting Medical Specimens
Macro photography of gross specimens is a term often heard
when referring to the copying of medical objects such as bone sec
tions, animal or human organs, or sections of tissues. Here is where
a knowledge of lighting is of special importance in order to obtain
good detail in the objects and also avoid glistening high lights or bad
reflections. In some cases the objects can be placed under water in
a large glass specimen jar, with the light directed from the sides.
Annoying reflections are thus avoided.
When a medical or any other subject is to be reproduced with
a plain white background there are three ways to do this.
1. Make the photographs and then opaque the negative by painting
around the object with opaque paint.
2. By using a white surface as a background for the object.
3. Produce a strong back lighting through an opal or ground glass.
Such a backlight will overexpose the background around the ob-
242
Copying
ject. The specimen is illuminated from the top in the usual way.
"When the paper enlargement is made from this negative the
background will reproduce perfectly white if the exposure is made
for the object only.
One of the most useful accessories for copy work is an illuminated
light box. "With such a box the under or back lighting is easily
controlled, because the lights may be switched on for only part of
the time while the exposure is being made for the specimen mounted
on top of the ground glass. Such a lighting also helps to eliminate
unnecessary shadows when necessary. The top lights are used for
illuminating the object.
When a jet black background is required for a light object it
may be obtained by using a red glass, or celluloid, or paper, in the
illuminated box providing positive or orthochromatic film is used
in the camera. The red does not register on this film, therefore when
the finished enlargement is made a rich black is secured for the
background. Black paper or cloth may also be used for a similar
purpose.
Crumbling of Newspaper Files
Declared Loss to Historians
• By The Associated P
, MINNEAPOLIS, Dec. 28.— "Tons ,
of history" are being1 swept up
daily from the floors of American
libraries because of the absence of
an economical preservative to pre
vent ruin of newspaper files* the
American Council of Learned So
cieties was told here today.
Wood pulp paper, with
most of the presses are fed, serves
the historian badly because it
cracks, tears and crumbles, threat
ening1 destruction of a primary
source of material for future in
terpreters of modern life, Dr,. Solon
J> Buck of the University of Pitts
burgh 3aid»
He suggested that cameras capa
ble of reducing facsimiles of news
paper pages to small size requiring
little space in archives might solve
the problem in part but that a low-
cost, adequate preservation which
would .insure the safety of original
;flte* was the greatest need. -
Fig. 157 Newspaper Clipping
Warns Against the Loss of
Valuable Records
Fig. 158 Cover of an Early Medical
Book Copied for Later Study
243
Still another lighting set-up which, produces a white background
without shadows can be prepared by mounting a clear pane of glass
about six inches or more above a plain white surface which is strongly
illuminated. By arranging the top lights at the proper angles the
shadows are cast out of photographing range while the illuminated
white surface produces an even background. This arrangement is of
value for photographing many objects besides medical specimens.
Pig. 159 Wide Field 5x Focusing Fig. 160 Copying Ring Illumina-
Magnifier tor for Uniform Lighting of Small
Objects
Exposure Time in Copying
As the camera is placed closer to objects and the lens is separated
farther from the film plane, the relative exposure time increases. Con
sequently the values of the diaphragm stops vary according to ^the degree
of reduction or magnification. For example, when photographing objects
in actual size on the Leica negative the diaphragm of the 50mm lens will
be 100mm from the film plane. In other words, when photographing objects
actual size on the Leica negative the distance between the model plane of
the lens and the film must be twice as great as the focal length of the
lens. With such varying conditions the actual value of the stop changes,
with the resulting changes in exposures. Once the correct exposure for a
given distance has been determined the exact factors for exposures at dif
ferent settings may easily be determined by referring to the tables.
The following six points must be observed before determining the
exact exposure time:
1. Intensity of the light used.
2. Diaphragm stop to be used. " "
3. Speed of the film. i
4. Multiplying factors of any filters used.
5. Character of the object to be copied, which may be dark or light, rough
or smooth.
6. The distance between the lens and the film, which determines the ex
posure factor for reduction or enlargement as given on page 232.
When photographing very small objects it will be found that it is dif
ficult if not impossible to get a reading on the exposure meter which
will be correct. This is due to the fact that the average meter usually
covers a much greater field than that occupied by the object. It will be
found helpful to get a piece of paper of about 5x7 inches or some other
244
Copying
material of a brightness or color .similar to that of the average color or
brightness of the object and get a reading on that by placing it approxi
mately in the plane of the object with relation to the light source. In the
case of insects or similar small objects it will be found most expedient to
color a piece of paper with water colors, giving it the average tint of the
texture of the insect.
The most accurate* method of determining exposures when copying is
to make actual test pictures with different exposure times. A short length
of film may be placed in the Leica magazine and exposed under varying,
lighting, filter, diaphragm, and magnification or reduction conditions. De
velop this film the proper time and then study the results and determine
the exact exposures to be given on the next roll of film which will be ex
posed under the correct requirements.
Even a single exposure can be made on a short piece of film inserted
directly into the Leica after the Film Magazine and Take-Up Spool have
been removed. To do this, cut a piece of film approximately four inches
in length and insert directly into the camera back of the shutter. Press
one end down ahead of the other to avoid catching the film edge on the
lower metal frame which determines the margin along one side of the
negative. Try loading in daylight first; the exact position of the film
will be quickly seen if the focal plane shutter is set at Time and held open.
As 35mm film is inexpensive this method of testing exposures will be a real
time saver and also help produce perfectly exposed negatives when the
good roll of film is used.
Fig. 161 Focusing
Copy Attachment Set
up with Illuminated
Light Box for Copy
ing X-rays, and Ob
jects which Require
an Illuminated Back
ground
245
The Single Exposure Leica, described in the first chapter, can also be
used for making single negative tests. In addition to this camera there
is a convenient single exposure film holder for use directly in the regular
Leica camera.
Always keep accurate written records of exposures and notes about
filters, diaphragm stops, illumination, etc., when copying. After each roll
of film is developed, mark the perfect exposures in your record. Then
after a number of rolls have been exposed and recorded a final master
exposure table should be made for future reference.
Films Used in Copying
When selecting a film for copy work it is very important to have
a thorough understanding about the various film emulsions and just
what to expect from each one used. You may have attempted to
copy a book page or an article from your daily newspaper with one
of the fast panchromatic films and then wondered why the finished
negative looked flat without much contrast after development. Or
you may have copied an original photograph, with a slow positive
film and wondered why some of the shadows disappeared and be
came black blotches in the negative or final enlargement.
Films for copy work may be roughly divided into four main
classes as follows:
1. Slow positive films.
2. Slow panchromatic films such as Micropan, Panatomic, Finopan,
Perp antic.
3. Orthochromatic films.
4. Fast Panchromatic films.
Positive film is contrasty and has an extremely fine grain emul
sion. This film obtains its name from the fact that it is used in the
motion picture industry for making positive prints from original
negatives for projection. Likewise this film is best for making positive
prints for projection in the Leica projectors. As positive film is not
sensitive to any color except blue and violet, it should not be used
when copying colored objects when correction filters are to be used.
Use Dupont Micropan for this purpose.
Use postive film for copying . . . printed matter such as books, news
papers, charts, maps, line drawings, and objects which may require extreme
contrast in the final negative and enlargement. As positive film is not
sensitive to red this color will not register and thus there will be a clear
portion on the negative which prints black when enlarged. This film char
acteristic can be put to excellent use when copying maps with red and
black lines, stamps printed in various red shades, or any other subjects
where the red lines should appear black in the finished paper reproduction.
As a filter is not required for this type of work, just use the positive film
for making the negatives in the Leica, and make the exposures in the
usual way.
246
Copying
Use the slow panchromatic films such as Micropan for copying . . .
multi-colored printed matter, blue prints, or whenever correction filters
are to be used for obtaining special effects or more contrasty results.
For example a snappy black and white reproduction may be required from
an old newspaper yellowed with age. How can we obtain the proper re
sults? To do this simply use Micropan film with a number II or III
yellow filter. In case still more contrast is required use a Wratten G or
even a light red (A) filter.
"When copying a miscellaneous collection of subjects which may re
quire some color correction along with others which do not require any,
Micropan film is recommended as the most practical film for all around
use. This film can be used without filters for the ordinary black and
white copying.
Use the orthochromatic films for copying . . . original photographs
and objects where a better gradation of values must be secured in the
final reproduction. The orthochromatic films are fine grained and are not
as contrasty as the positive emulsions. In case positive film is not avail
able it is possible to use one of the orthochromatic films for copying printed
matter and secure pretty good results, provided a contrast developer is
used. The Perutz Fine Grain Film is very good for this type of work
while the Agfa Plenachrome, Gevaert Superchrome, and others can also
be used.
Use the fast panchromatic films for copying . . . paintings, moving
objects which require fast films, and any subjects which require color cor
rection filters and short exposures at the same time. This film gives more
latitude, or in other words there is more gradation of values between the
highlights and shadows. This is of special value when copying paintings
which require faithful reproduction of the delicate color gradations.
Developing Films in Copy Work
Copy films are developed according to the results required just as
the proper film is selected for obtaining definite results. The usual tech
nique which is fully explained in the chapter on developing applies equally
well to the processing of copy films. The only important variation comes
when developing the positive or the Micropan films where greater contrast
is required and development can be prolonged if necessary.
After printed matter or similar subjects have been copied on posi
tive film one of the developers to use in finishing the negative is the East
man D-ll solution which is mixed as follows:
Contrast Developer (D-ll)
Water (about 125° F. or 52° C.) 16 ounces 500 cc
Metol 15 grains 1 gram
Sodium Sulphite (desiccated) 21/2 ounces 75 grams
Hydroquinone 130 grains 9 grams
Sodium Carbonate (monohydrated) 420 grains 29 grams
Potassium Bromide 73 grains 5 grams
Cold water to make 32 ounces 1 liter.
This formula used at 65° will give very good contrast in five minutes. When less con
trast is desired, the developer should be diluted with an equal volume of water.
Development of the positive film should be carried out for the full
time. If the negative becomes too dense during this developing time it
means that too much exposure has been given when copying the original
subject. Only the finest negatives result from perfect exposures and com
plete development. Of course one can watch the development of positive
247
film under a red safelight and slightly underdevelop the film if it is seen
that the exposures were too heavy. However the finished enlargements
from such negatives will not have the snappy quality which can be secured
by full development of a perfectly exposed negative.
In case extremely contrasty results are required on positive film a
caustic developer such as the Eastman D-9 will produce the correct results.
This developer oxidizes quite rapidly and cannot be used over again
after the first developing. Therefore it is best to make several short test
strips or even single negatives of the copy material and develop in a small
tray in order to determine the exact exposures before putting through the
full Leica film roll. Two rolls of positive film can be wound into the
Correx developing tank back to back and developed at one time if neces
sary, if the operator has sufficient skill in handling film in this manner.
Filters Used in Copying
For most copy work only two or three filters will be required.
Even then a considerable amount of copying may be done without
filters. The chapter on filters will give complete information; how
ever a few examples where filters may be used with panchromatic
films in copying may be tabulated as follows :
1. Wratten G filter . . . used for copying printed matter on yellowed
paper in order to produce a clear black and white reproduction.
2. Yellow number II or III filters . . . when copying paintings to secure
proper balance of color values in the black and white reproduction.
Colored maps may require one of these filters to bring out the proper
legibility. For example the names of cities may be printed in black
over a light red or orange background. With ordinary positive film
the color would turn dark and the contrast would not be sufficient. How
ever, by using the yellow filter the background is kept lighter so that
the names are readable, and yet there is a suggestion of the shaded
area. In case the red background is to be eliminated entirely use one of
the red filters.
3. Wrattan A (red) or similar filters . . . excellent for use when copying
blue prints to make the blue background reproduce black on the final
enlargement. Blue or violet typewriting reproduces black when the red
filter is used. This filter may be used in many ways for securing spe
cial results. For example the red design of a postage stamp will dis
appear entirely when this filter is used, thus leaving a black surcharge
in bold relief for special study.
The tri-color set of filters, Wratten A (red), B (green), and 05
(blue), is very useful for securing over corrected negatives when
certain results are to be obtained. When the colored object is viewed
through a filter it is possible to obtain some idea about the final
result. The eye looks upon objects and determines the differences
either by contrast in colors or contrast in dark and light. Nat
urally the reproduction of dark and light on the photographic film
creates new difficulties, and it is sometimes better to over correct one
color to get the proper contrast.
248
Copying
Fig. 162 Orange Stamp with Black Sxir-
charge. . .Green Filter used to Give Better
Black and White Contrast
Fig. 163 Same Stamp as Fig. 162. Red
(F) Filter Used to Absorb Orange Color
of Original Stamp, Permitting only Black
Surcharge to Register.
Fig. 164 Genuine Stamp. Note the clear
Design of this Stamp as Compared to the
Forgery Shown in Fig. 167
Fig. 165 Detail of Genuine Stamp. Note
Clear Detail and Individual Farts which
Differ From Forged Stamp Shown in Fig.
166. The Second Ray to the Left of the
Sprout Almost Touches the Ground
Fig. 166 Detail of Forged Stamp. Note
that the printing is not as Clear as the
Genuine. The Second Ray to the Left of
the Sprout Coming Out of the Ground is Fig. 167 Forged Stamp. A recent at-
Farther Away from the Ground tempt to copy original Latvia Stamp
Photographs made by Willard D. Morgan. . .using Focusing Copy
Attachment with 3 cm Extension Tube for full size stamps and 9 cm
tube for magnifications
249
A simple rule to follow when using the tri-color filters is to use
the filter which absorbs the color which is to be reproduced as black.
Thus if the green (B) filter is used for copying a map printed in
red lines or red typewriting, the result will be black lines or type
written letters on the white paper. In case a red filter was used the
red typewriting would be entirely eliminated and only a white blank
sheet of paper reproduced. There will be colored objects which re
quire certain compromises when using filters to show contrast or
gradation and detail as required.
The longer the focal length of the objective the more accurate
the filter must be for copying. This is why the 50mm lens is excel
lent because of its short focal length.
While traveling or when working in libraries or similar places the
complete equipment must be kept as light and portable as possible. For
this use, the Collapsible Reproduction Stand is available. This apparatus
consists of a number of tubes fitting into one another, two supporting base
bars, and the extension arm for attaching the Leica or the Sliding Copy
Attachment. As the upright is about 22 inches high the No. 2 and No. 3
supplementary front lenses can be used. The vertical and horizontal tubes
have graduated scales in fractions of an inch.
When the Leica is used with the Front Lenses a plumb weight is used
for determining the exact center of the object to be copied. Then by refer
ring to the lens table booklet, which is supplied with the lenses, the exact
focus and distance settings can be quickly made. A special light bracket
containing two lights is also available for attaching to the extension arm of
this outfit.
Fig. 168 Reproduction
Stand Equipped with Slid
ing Arm, Illuminator,
Leica with Wintu Angle
View Finder, Measuring
Tape, and Wire Cable Re
lease. The Collapsible
Stand is Smaller but a
Similar Set-up can be
made
250
Copying
Auxiliary Reproduction Devices
For certain types of close-up photography the Auxiliary Reproduction
Attachments are of value. These attachments provide a fixed focusing ar
rangement which can be applied for special areas from 1x1% inches up to
8% x 12V2 inches. The Belun Device is used with the Leica equipped with
the Elmar 50mm lens for obtaining 1:1 or natural size copies. This same
equipment is also available for the Summar 50mm lens and the Elmar
35mm lens. This equal-size reproduction device may be used for copying
portions of maps, coins, postage stamps, finger prints, handwriting speci
mens, small insects, plants, seeds, and any other object which can be in
cluded in the 1x1% inch area. The accompanying illustration will show
how this attachment is set up.
The Behoo Device is used for obtaining reduction ratios of 1:1%, 1:2
and 1:3 with the Leica. The greatest sizes of the objects at the three
different ratios are, 36 x 54mm, 48 x 72mm, and 72 x 108mm. As a com
plete direction booklet is available for this attachment as well as the other
Auxiliary Copy Devices it will not be necessary to make a reprint. The
Behoo Device uses three Extension Tubes for securing the three different
fixed focusing positions. When the No. 2 and No. 3 Front Lenses are used
there is an attachment known as the Beooy which covers areas from
3% x 5 inches up to 8% x 12% inches. Still another similar attachment is
known as the Bazoo which is a combination of the Behoo and the Beooy
Devices. The accompanying illustrations will give a good idea about the
way in which these copy attachments are set up.
Fig. 169 The Belun 1:1 Copy De
vice used for Making Actual size
Copies 1x1% inches
Fig. 170 Auxiliary Reproduction
Device for use with Extension
Tubes and Front Lenses directly on
camera
251
Fig. 171 The Shull Photo-Optical Bench Assembly. This optical bench
is now available for small-object photography with miniature cameras. As
the stage is mounted on a ball and socket joint the specimens to be copied
can be adjusted for various positions. Manufactured by D, Paul Shull,
Los Angeles, California
Special Rotating Copy Attachment
Still another type of copy attachment which has recently been made
available is the Rotating Copy Attachment which serves the same purpose
asTthe Sliding Focusing Copy Attachment already described. The Rotating
Device, as shown in the illustrations, can be used for copying all areas
similar to the Sliding Attachment. The booklet accompanying this Rotating
Copy Device gives complete tables and directions for operation.
A very convenient attachment for the Botating Copy Attach
ment is known as the Special Horseshoe Stand which can be used for
photographing small objects such as minerals, medical specimens, art
objects, photographs, or handwriting. This attachment (Fig. 172)
has a magnification range from 1:1 to 1:4 and focusing may be
secured by direct visual inspection of the ground glass or by using
the calibrated upright. It will be noted that there are three engraved
lines at the four different focusing positions on the upright. The top
line in each case is for use with the Summar 50mm lens, the second
line for the Elmar 50mm lens, and the bottom line for the Hektor
50mm lens. At the 1 :1 position the picture area is the same size as
the Leica negative or approximately 1 x li/2 inches, while at the 1 :4
point the maximum area covered is 3 4/5 x 5 3/5 inches. "When using
the calibrate scale of the Special Horseshoe Stand it is necessary to
use the intermediate rings recommended for this arrangement. Here
again it is possible to obtain from the Leitz Company a complete
252
Copying
Fig. 172 Eotating Stage Copy De
vice. Note 5x Magnifier on Device
and 30x Magnifier at Lower Left
Fig. 173 Rotating Stage Copy
Device as used in vertical po
sition
Fig. 174 Special Copy Device with
bellows extension. Note Ring Illu
minating Device used for Securing
Proper Illumination of Specimens
direction booklet and also a special chart giving the exact areas cov
ered with full information about intermediate tubes and the distances.
There is a special Sliding Arm available enabling the Eotating Copy
Attachment to be used in conjunction with the upright and base
board of an enlarger, as in the case of the Fuldy Attachment.
When using the Special Eotating Copy Attachment it is possible
to photograph objects 17 x 26 inches in size or minute objects only
1/10 x 3/20 inches ir size. When a microscope is added as shown
253
in Figure 176 one can obtain magnifications np to several thousand
diameters. A brief summary of the basic equipment for the Special
Botating Attachment as shown in Figures 174 and 176 is listed as
follows :
1. A 19 x 27 inch baseboard mounted on shock absorbing springs which
can be clamped rigidly or left in free suspension.
2. An upper and lower copying arm which can be moved as required for
focusing.
3. The upper arm is fitted with a clamping screw for holding the Rotating
Copy Attachment while the lower arm holds the lens mount and the
extension bellows.
4. A fine focusing- ring is provided at the base of the lower arm.
5. The upright pillar is 4 feet high, and 1% inches thick.
6. A ring illuminator with rheostat provides the maximum of lighting
efficiency.
7. The 5X and SOX magnifiers are used with this equipment in the same
way as required for the Sliding Copy Attachment.
Fig. 175 Photo of Herbarium Sheet by Carl B. Wolf. An example to
show the use of the Leica Copy Equipment in one particular photographic
subject
254
Copying
250 Exposure Leica Model FF
When many photographs are to be made of book pages or other sub
jects the 250 exposure Leica is valuable as a time saver. This camera can
be used on the regular Sliding Arm, on a tilting top tripod, or in connection
with a^ special ^ Sliding Copy Attachment. This camera can also be used
conveniently with the microscope for making many photographs in rapid
succession of still or moving objects.
Conclusion
As the subject' of copying is such a broad one an entire book
could easily be written in order to include the many interesting
methods and applications. However this chapter will give the essen
tials from which the Leica user can select the information required
for his own work.
Fig. 176 Sliding Copy Device equipped for use with the Model FF 250-
exposure Leica. Illustration shows camera in position for use with the
microscope
255
Friends
Elmar 50mm lens, 1/40, f:9, Panatomic film
256 •
Rudolf Hoffmann
MAKING LEICA POSITIVES FOR PROJECTION
WILLARD D. MORGAN CHAPTER 12
Undoubtedly the best way in which to view Leica pictures is
by projection upon a screen. In this way the projected image not
only has a large area, but it also yields more of a plastic quality
which closely resembles the original subject. Such pictures may
be projected in full natural colors, in various tones, as well as the
ordinary black and white film or glass slides. In these projected
pictures, a large group of people may be able to enjoy the same
picture at the same time. As most Leica pictures are made with
shorter focal length lenses, the negatives produce positives which
give an almost stereoscopic effect. This is due to the excellent depth
of focus in the Leica lens. In contrast to the projected positive, the
small 5 x 7 or 8 x 10 inch paper prints do not create the luminosity
and brilliance which are to be found in the projected picture.
One reason why a greater use and appreciation of the projected
image is not found is possibly because such pictures do not convey
the full interpretation of the original negative. This may be due to
the following:
1. The positive film or glass slide may lack contrast and brilliance.
2. The picture may not be composed properly on the slide or the
original negative may not have a pleasing composition.
3. The positive may be overexposed and thus be too dark on the
projected screen, or it may possibly be underprinted with the resulting loss
of detail and depth.
4. The projected picture may have pin holes, dust spots, finger prints
or other blemishes.
5. The center of interest may be lost in a maze of useless detail.
6. Possibly the positive may lack sharpness due to improper focusing
or uneven pressure in the case of contact printing1.
In many cases, an interesting Leica negative might be made into a
slide for projection instead of viewing the same picture on an 8 x 10 inch
enlargement. The projected picture presents a larger and more dramatic
effect. At the same time, the film or glass positive emulsion has a greater
latitude in the shadows and highlights of the image itself, as compared
to the paper enlargement. This is due to the fact that there is a light
illuminating the entire picture. In the projected image, even the blackest
shadows have illuminated details, providing the positives have been prop-
257
^ made, while in the paper print there cannot be such transmitted
luminosity.
What Makes Good Positives
Leica negatives can be prepared from many different subjects
which, later may be made up into film and glass slide sets. For
example, these sets of positives may include pictures selected from
your vacation, travels, photographs of children and pets, or, you may
have sets illustrating your particular hobby by photographing the
American scene, geological formations, architectural subjects, car
toons, wild-flowers, trees, insects and many other subjects which
lend themselves readily to photographic interpretation. After illus
trating such subjects, it is possible to use these pictures for lecture
and visual education purposes, or for your own personal entertain
ment. In the case of film slides, these pictures may be printed in
groups of twenty to forty on one strip of film. On the other hand,
the 2x2 inch glass slides may be made individually and added to the
sets at any time. There is something to be said for each method.
The film slides are made more inexpensively while the glass slides are
more permanent and may be re-arranged during projection. In
addition to using the film and glass slides for general purposes, they
are valuable in the commercial field for use in demonstrating sales
methods, new products, as well as in training workers and salesmen.
The new Kodachrome film is excellent for commercial, educa
tional, and for general subjects as well. This colorfilm produces a
very satisfactory result when projected.
One of the most important advantages of making Leica pictures
for projection is that these pictures require small storage space.
For example, twenty-five rolls of positive film slides may easily be
carried in a small container. These film rolls may include over 1,000
pictures. "With positive film costing only two or three cents per foot,
the film of 1,000 pictures would entail a cost of about $3.00, while
1,000 8 x 10 inch enlargements will probably come to over $60.00. A
remarkable difference! Even the 2 x 2 inch glass slides are quite
small and light in weight when compared to the standard 314 x 4
inch glass slides which are commonly used in the large projectors.
A thorough understanding of this chapter on the making of
Leica positives, along with the contents of the chapter on Visual
Education is essential. The two are closely related. In the same
way, all the other chapters in this book are likewise allied, directly
or indirectly, to the making of film positives. The making of the
original Leica negative is just as important as the fine technique in
258
Making Positives
the making of the final film or glass slide positive for projection.
In other words, a poor Leica negative will not produce a superb
Leica positive. On the other hand, an excellent Leica negative can
very easily be made into a very poor positive unless proper steps
in its preparation are carefully observed.
The Two Positive Printing Processes
There are two ways in which to make the Leica positive film or
glass slides. The most common method is by actual contact printing
which is accomplished by placing the Leiea negative directly in con
tact with the unexposed positive film or glass plate. The other method
is by placing the negative into one of the Leica enlargers and then
printing directly by projection. Here again, there are advantages in
both methods, the former possibly being completed a little more
rapidly and at the same time requiring only a minimum amount of
equipment, while in the case of projection, it is easier to omit por
tions of the image in case a negative must be balanced correctly in
printing. The projection method helps in eliminating dust particles
and also the best portions of the negatives may be utilized. Both of
these methods will be described in detail later in the chapter.
Contact Positive Printers
The Eldia Film Printer represents one of the simplest arrangements
for the contact printing of Leica negatives either upon paper or positive
35mm film strips. This printer will hold approximately eight feet of posi
tive film. The raw stock is wound upon one spool and unwound upon an
other take-up spool after each contact print has been made. . A ratchet
clicks for each space of three-quarters of an inch which represents the
single frame picture area. Two clicks of the ratchet represent the length
of the Leica picture. The Eldia Printer is supplied with the standard
frame size for the Leica negative. However, in case single frame nega
tives are to be printed, it is possible to secure a single frame window
which is interchangeable on the Eldia Printer. The accompanying illustra
tions will give a more definite idea about the appearance of the printer.
Fig. 178 Eldia Printer. For Making Contact prints on Positive Film
or Paper
259
When using the Eldia Printer, it is possible to print each negative in
its original sequence, or if necessary, important negatives only may be
selected and printed upon the positive film stock, which is later developed
and used in one of the projectors. In doing this, the negative is pulled
past the window of the printer until the proper negative appears. The lid
is then clamped into position and the exposure made. Do not wind the
film when the top lid is closed or the film will become scratched.
ooooqooooo oooooooooo o o o a a o ~"5
Fig. 179 Positive Film or Paper Passes over Ratchet Wheel and under
Take-up Spool at Right. Negative Film Passes Through Channel of
Hinged Cover
After a Day's Work.
Mt. Hood, Oregon. (11225 feet)
Taken from 11,000 ft. elevation A. Buchman
E. D. Jorgensen
Fig. 180 Contact prints on paper are very attractive and should be pre
pared before making enlargements. Neatly arranged and numbered, they
form an invaluable reference file and aid in subsequent composing of the
picture, when enlarging.
Directions for Operating the Eldia Printer
Use standard safety base or non-inflammable positive film stock.
This may be purchased in various lengths from any photographic
dealer.
1. When loading the Eldia Printer cut off about five feet of positive
film and wind it (emulsion side in) on the spool with the shorter knob.
260
Making Positives
The end of the film is tapered and inserted under the flat spring- in the
direction of the arrow, but the end of the tapered edge is not bent over.
2. After the film has been wound on the spool the end is tapered and
inserted underneath the flat spring of the spool with the longer knob —
emulsion side out. In this case the tapered end is bent over after being
inserted under the spring. The two spools are now placed in the Eldia
Printer as shown in the accompanying illustration (Pig. 179) the spool with
the shorter knob in the chamber next to the ratchet wheel, and the take-up
spool with the longer knob in the opposite chamber. The cover is then
placed on the Eldia Printer and the film transported by turning the take-up
spool in the direction of the arrow engraved on it.
3. Insert the Leica negative into the grooves which are to be found
on each side of the glass plate in the cover of this printer, the emulsion
side of the negative facing out. In other words, the emulsion side of the
unexposed positive and the emulsion side of the Leica negative must come
face to face in actual contact when the cover of the printer is closed.
4. After the printer has been closed, it is possible to judge the density
of the negative by holding the printer over a small light box, or in case
such a box is not available, hold the printer up in front of a low power
light bulb for a few seconds in order to estimate the density of the negative
through the red plate which is to be found at the base of the printer.'
5. One of the easiest methods of exposing each successive negative
when using this printer is by placing the apparatus under the Leica en-
larger. In case the light in the Leica enlarger is too strong, one or two
pieces of tissue paper may be placed in the position which "would ordi
narily be occupied by a negative for enlarging. This method provides bet
ter diffusion of the light. The projection lens in the enlarger should be
thrown out of focus.
6. After one exposure has been made, unhook the cover of the Eldia
Printer and pull the Leica negative to the next picture. At the same time
turn the positive film until two clicks are heard in the case of Leica films.
7. Make the exposure, after the density of the negative has been de
termined by flashing on the small light under the printer. Proceed with
this method until all the pictures have been printed.
8. Make certain that the vertical and horizontal negatives are printed
in the same way. In other words, do not reverse the negatives so that the
vertical or horizontal pictures show on the screen in different directions
when projecting. Also, remember that if the first picture is to start at the
beginning of the positive film, the print should be made in such a way as
to show it at the beginning of the roll and not reversed, which may be the
case if care is not utilized. Simply remember that the positive picture
is placed into the projector upside-down with the emulsion side facing the
projection lamp.
9. Before printing the full roll of Leica positives, it is best to make
a few test exposures of various negatives with varying densities. To do
this, cut up short two inch lengths of positive film and place directly into
the printer so that the emulsion side will come into contact with the emul
sion side of the negative when the cover of the printer is slipped shut.
Develop each test film in exactly the same way the full length of positive
film is to be developed. Three or four single exposure strips may be
easily developed in a small tray for the full time required for the devel
oper. After the test films have been cleared in the hypo, rinse for half
a minute in water and then examine them by actual projection in the en-
larger or, better yet, use one of the Leica projectors. The wet emulsion
261
will ^ very quickly melt if exposed too long to the heat of the projector.
Until you become an expert in judging the test exposures, it is .always
best to examine these test films by projection.
10. Make certain that the glass plate in the Eldia Printer is thor
oughly cleaned and also keep the negative and positive film free from
dust particles which may show on the finished positive film. Do not make
more than 36 pictures on one length of film, if it is to be developed in a
Reelo or Correx Tank.
11. After the completed strip of positive film has been exposed, de
velopment is carried out in the Correx or Eeelo Tanks in a manner similar
to that in which the Leica negative was developed. The only exception in
the process is that the film is developed in a special developer which ordi
narily takes about five minutes for complete development.
12. The Glass Developing Drum can also be used for developing the
positive films. This drum is quite essential for developing the Leica
Dufaycolor film also.
All positive films made for projection purposes should be thoroughly
hardened after development. One of the simplest hardeners is Chrome
Alum described in the Developing Chapter. After the film has been hard
ened, cleared in the acid fixing solution, washed, and then dried, it should
be rolled up with the emulsion side out if it is1- to be used in the Umino
or Umena projectors. If one of the Udimo projectors are to be used the
film may be wound with the emulsion side in.
Making the Leica Glass Positive
Glass 2x2 inch positives may be made in the Eldur Glass Slide
Printer very quickly by contact printing, as follows :
1. The method of inserting the Leica negative is shown in the ac
companying illustration. The 2x2 inch glass plate is placed with the
emulsion side down directly over the Leica negative. The top hinged
pressure plate is then clamped down to hold the glass plate in contact dur
ing exposure.
2. The Eldur Printer is then placed under the enlarger and the ex
posure made by turning on the enlarger light for the correct exposure
time, which may vary from 2 to 10 seconds, depending on the negative and
the stop used in the enlarger lens. Always use the same illumination
when making positives in order to help in making the exposure estimate
more uniform. A test slide should be made first by turning on the en-
larger light and then make four exposures of 2, 4, 6, and 8 seconds each
on the same plate, by moving a card across at each step. When developed,
the test slide may be projected and the best exposure quickly determined
for the next slide. Sometimes it is more convenient and also less expen
sive to use a Bromide paper which has approximately the same speed as
the plate for testing.
3. The glass slides are developed in the usual slide developer which
is given in the same package in which the 2 x 2 inch glass slides come.
The Gevaert Company supplies the -2 x 2 inch glass slides in a medium
as well as contrast grade. Barnet and Perutz slides may also be secured in
the 2 x 2 inch size. When making glass slides, it is best to have both con
trasts available, in order to obtain the best results from negatives which
may be contrasty or flat. Usually, the contrast grade will be used. After
exposing, developing and fixing the glass slide, it should be tested in the
262
Making Positives
Fig-. 181 Special Eldur Contact
Printer for Making 2x2 inch
(50mm x 50mm) Glass Slides
projector for correct exposure and development. While still wet, it may
safely be projected two or three seconds. After making thousands of glass
slides, I still recommend that each slide be placed in the projector and
flashed upon the screen for an instant since this is the only way in which the
finest glass slides can be produced. If the light of the projector is flashed
for only two or three seconds through the wet slide, there will be no effect
upon the positive. However, if the wet plate is allowed to remain in the
projector for a half minute or more, the emulsion will warm up and melt,
thus ruining the slide. It is very easy to have the projector in the dark
room for this purpose. A small image projected upon a white cardboard
is sufficient for determining the quality of the slide.
A good developer for use with the 2x2 inch glass slides is prepared
as follows:
GEVAERT LANTERN SLIDE DEVELOPERS
Soft working solution
(for contrast y negatives)
Contrasty solution
(for soft negatives)
Avoirdupois
24 oz.
Metric
750.0 cc
44 grains
15 grains
3.0 grams
1.0 gram
292 grains
20.0 grams
310 grains
21.0 grams
15 grains
1.0 gram
Avoirdupois
24 oz.
Metric
750.0 cc
22 grains
88 grains
1.5 grams
6.0 grams
366 grains
25.0 grams
628 grains
43.0 grams
15 grains
1.0 grams
Water (warm) . .
Metol
Hydroquinone . .
Sodium Sulphite
(desiccated) . . .
Sodium Carbonate
(monohydrated)
Potassium Bro
mide
All chemicals must be dissolved in the order named.
Lantern Slides should be developed for 1% to 2% minutes at 65 °F.
or 18°C.
Make certain that the exposure is such that the positive plate will
remain in the developer for at least two and a half to three minutes
without becoming overdeveloped. In case the image flashes up too
soon and the plate is removed at the same time from the developer, the
resulting positive will not have the rich transparency and brilliance
which occurs when the plate is properly exposed and fully developed.
This is where many workers make a mistake. Never under develop
a positive but on the contrary, carry the development to the recom-
263
mended length of time. Even a minute over this time will be better
than a minute under. The Universal Developer described in the chap
ter on Enlarging Papers may also be used for positive films or glass
slides.
Whenever more contrasting results are required on positive glass
plates, it is necessary to use a contrast developer. The Eastman D-ll
Developer produces good contrast, while the Eastman D-9 Caustic
Developer produces extreme contrast. The D-9 Developer is par
ticularly well suited for line work, where extreme contrast is desired.
Hydroquinone-Caustic D-9 Developer
For Process and Panchromatic Process Films and Glass Slides
For Tray Development
Stiock Solution A Avoirdupois Metric
Water (about 125° F.) (52° C.) 16 ounces 500.0 cc.
Sodium Bisulphite % ounce 22.5 grams
Hydroquinone % ounce 22.5 grams
Potassium Bromide % ounce 22.5 grams
Cold water to make 32 ounces 1.0 liter
Stock Solution B
Cold water 32 ounces 1.0 liter
Sodium Hydroxide (Caustic Soda) 1 3/4 ounces 52.5 grams
Dissolve chemicals in order given.
Use equal parts of A and B and develop for not more than two min
utes at 65° F. (18° C.).
Cold water should always be used when dissolving sodium hydroxide
(caustic soda) as considerable heat is evolved. If hot water is used, the
solution will spatter with violence and may cause serious burns if the
alkali spatters on the hands or face. Solution A should be stirred thor
oughly when the caustic alkali is added; otherwise the heavy caustic solu
tion will sink to the bottom.
Wash thoroughly after development and before fixing to prevent
stains and dichoric fog.
When using the D-9 Caustic Developer, mix a small amount in a
small tray or dish which is only a little larger than the 2x2 inch glass
plate. Use developer only sufficient to cover the plate. Upon mixing the
two solutions, the developer oxidizes quite rapidly and after eight or ten
minutes, at the most, the developer should be discarded. In the meantime,
the slides may be developed. As this is a strong and rapidly working
developer, make certain that the positive plates are not overexposed,
since fine details in a line drawing or a printed page will not show dis
tinctly unless correct exposure has been made. However, with the correct
exposure and the caustic developer, a brilliant contrast negative will result.
Using Projection Paper for Testing
When making film or glass slides, it is possible to use a bromide
projection paper cut into small sizes and used in place of the film or
glass plate for testing the exposures. A paper, such as the Agfa
Brovira medium, or contrast has a printing time very similar to posi
tive film or glass plate emulsions. With a little experience, the proper
ratio between the paper and the positive emulsions may be easily de-
264
Making Positives
termined for this paper, as well as any other make of Bromide papers.
Such a method of making tests is economical because a full glass plate
does not have to be exposed in order to find out the correct exposure
time. At the same time these contact paper prints may be used for
indexing purposes or for cross references after the slides have been
made. It is a good plan, in fact, to make a paper contact print of
every negative which is made into a positive for projection. These
paper prints are useful for classifying the pictures later. There is
a special metal pressure plate which may be placed over the square
rubber plate which is used in the Eldur Printer. This metal pressure
plate permits the making of paper contact prints in the Eldur Printer.
It is quickly removed when glass plates are to be made.
After each positive glass plate has been developed, it should be
rinsed for a few seconds in fresh water and then placed in the hypo
clearing solution for about eight to ten minutes. After clearing, the
slide is then placed in running water and washed for one-half hour.
When washing has been completed, wet a piece of cotton or use a wet
Fig. 182 Candid Photo
of a Candid Camera
Man by Willard D.
Morgan
Summar 50mm, 1/60, f:9,
Agfa Superpan
viscose sponge for swabbing off both sides of the plate which is then
placed in a drying rack in a location free from dust. A close-meshed
linen cloth may be laid over the drying rack in order to keep out dust
particles which may settle on the wet emulsion of the plate and later
show up on the projection screen.
When all the slides are dry, they should be projected before bind
ing in order to check on the quality. In case there are scratches, pin
holes or other defects, the slide must either be touched up or discarded.
Small pin holes and breaks in the emulsion can usually be eliminated
by spotting with a fine brush and black spotting ink. The Chinese
Ink stick, which may be purchased at most photographic dealers, is
very handy for this purpose. Some slides may require opaquing
around the principal object. This is easily done by painting with a
good opaque solution which dries quickly. Slides showing machinery
parts, and copies of irregular subjects which are to be shown without
a background, will require this method of opaquing before binding.
Mounting the Finished Glass Slide
After the glass slide is dry, secure a clear cover plate together with
a cut out mask and a package of lantern slide binding tape. The binding
tape can be cut into four lengths of two inches each, or if preferred, one
full length about eight and one-half inches long may be cut. Place the
cut out paper mask over the emulsion side of the positive in such a way
that the clear portions of the positive surrounding the picture are covered.
Next, place the clear cover glass, which has previously been washed and
polished dry, over the mat and the positive plate. Hold both plates to
gether and paste the paper binding tape around the edges. Make sure
that the emulsion side of the positive plate is always covered by the glass
plate. If the emulsion side is on the outside, it will quickly be damaged.
Film positives may be cut with scissors and bound between glass
plates if desired. Some Leica users prefer this method since the pictures
may be made at smaller expense. Two or three positives may be made
of the same negative in case there is any doubt about the exposure. The
best positive is then selected for binding between the two clear glass
plates with the paper mask between. The film positive should be attached
to the paper mask by one or two small pieces of the paper binding tape
in order to keep the picture centered while binding. This method is espe
cially recommended for the natural color films, such as the Agfacolor,
Dufaycolor and Kodachrome.
After the glass slide is bound, it should be spotted by placing a
small white square of gummed paper or photo cloth in the upper right
corner of the slide when it is in its correct position for projecting. In
other words, hold the slide before you so that it looks correct. That is,
the slide should appear in the same orientation as the original subject.
Then, turn the slide so that the subject is up-side-down with the emulsion
side facing toward you. Place white spot on the upper right corner of the
slide. When the slides are being projected, it is very easy to place them
in the projector in their proper position without difficulty, simply by watch
ing the reference spot.
266
Making Positives
All glass slides spoiled by wrong exposure, developing, or any other
cause, should be saved and used for cover glasses later. These discarded
slides may be soaked in hot water and strong soap in order to soften and
remove the emulsion. A razor blade is good for scraping off the emulsion.
Give the glasses a final wash in another soap and water bath and then
wipe thoroughly dry with a clean linen cloth. The glasses are now ready
for use in binding the good lantern slides.
Still another method of preparing film positives for projection is
by mounting three positive films between two clear glass plates which
measure 35 x 120mm. These plates are matted and bound, similar to the
2x2 inch glass plates. The Udimo Projectors have a special slide holder
for accommodating this longer sized plate. In the case of stereo positives,
this method of binding is excellent as the Stereo Viewer accommodates
the 35 x 120mm slide.
Making Film or Glass Slides by Projection
My favorite method of making film or glass slides is by using one
of the Leica enlargers. The negative is placed in the enlarger with the
emulsion side facing down as usual, while the unexposed film or glass
plate is placed on the baseboard after exact focus has been obtained
on another focusing plate. When unexposed positive film is used in
the Eldia Printer, the top plate of the printer is clamped shut as usual.
However, the picture is projected through the glass plate upon the
positive film. Before making the exposure, focus the negative upon
Fig. 183 Baseball Fan
John Shortridge
Elmar 50mm, 1/40, f:18,
Super-X
267
a white area the exact size of the Leica negative and also in the exact
plane of the film in the printer. A block of wood may be cut for this
purpose or two printers may be used.
Film positives may also be made by using the Leica camera loaded
with positive film without a lens. The picture is focused from the
enlarger directly into the camera after the focal plane shutter has been
set at time exposure. Once the correct focus and position have been
determined, the entire strip of film may be exposed. A thin block of
wood 3%mm thick (the exact thickness between the back of the Leica
and the face of the pressure plate) may be used for focusing the image
before the camera is placed into position. The face of the wood should
be painted white and the exact frame size of the picture ruled off in
black crayon for a guide when focusing.
A single frame 18 x 24mm film positive may be made by reduc
tion from the Leica size 24 x 36mm negative. The Bldia Printer
equipped with a single masking window may be used for this purpose.
The Leica Enlarger is equipped with a 6cm extension tube between
the 50mm lens and the focusing mount. In this way, it is easy to
reduce the Leica negative to single frame size. All Leica projectors
can be equipped for single frame as well as double frame projection.
As there are many projectors available for single frame pictures only,
this method of making positives will naturally be of great value for
such projectors.
When using the 2x2 inch glass plates, it is simpler to place one
of the undeveloped plates on the paper easel of the enlarger. The
plate may be pushed into the corner of the easel in such a way that a
second plate may be replaced after the image has been centered on the
focusing plate which contains a penciled outline 1 x iy2 inches in size,
representing the size of the Leica negative. If preferred, the picture
area may be made 3 x 4cm in size and later the picture masked off
by using the short strips of lantern slide binding tape. This 3 x 4em
size can be projected only in the Udimo projectors.
An orange filter is convenient to use while making glass slides.
Such a filter may be thrown across the projected negative image in
order to make certain that the unexposed glass plate is properly cen
tered before the exposure is made.
The important part of the Leica negative is easily centered upon
the glass plate. All unessential parts of the negative are eliminated
because the projected picture may be made larger or smaller in order
to eliminate certain parts of the negative. At the same time, it is not
difficult to shade part of the picture during exposure in order to bring
268
Making Positives
out certain parts of the positive, suck as, a dense sky, or possibly some
other portion of the negative may have a strong highlight which should
be printed longer. In fact the projection method of making glass slide
positives is the ideal way in order to insure the best results.
In some cases it is necessary to make 3*4 x 4 inch standard lan
tern slides for use in the larger projectors. Such slides are made by
using the Leica enlarger and following similar methods which apply
to the smaller 2x2 inch glass slides. If the original Leica negative is
developed properly, it is possible to make 314 x 4 inch glass slides
which will produce beauty and brilliance equal to slides made from
larger "negatives when projected.
When using the Valoy or Focomat enlargers for making film or
glass positives, it is necessary to use either a 3cm or 6cm extension
tube between the 50mm lens and the focusing mount of the enlarger.
When the 3cm tube is used, keep the lens barrel pulled out and locked
in position. However, in case the 6cm tube is used the lens barrel may
be pushed in as far as it will go. The correct focus is obtained by
turning the focusing mount of the enlarger. Naturally, other extension
tubes or any combination of tubes may be used depending upon the
results required. In case a longer working distance is required be
tween the lens and the positive, a 6cm tube and the 90mm Elmar lens
may be used very successfully.
Fig. 184 Kopat Combination Print
er. A complete Unit Easily Con
vertible for Contact Printing on
Paper, Paper Strips, Film or Glass
Slides
Operating the Combination Professional Printer
When a more universal positive printing outfit is required, the Kopat
Combination Printer is recommended. The important features of this
printer are listed as follows:
1. Single frame and double frame film slides may be made.
269
2. Single frame, Leica size double frame, 3 x 4cm and 4 x 4cm glass plate
positives may be made by using a supplementary plate printing attach
ment.
3. All metal construction, with enclosed lamp housing, containing a 15-
watt bulb for making the exposures.
4. Eheostat control for varying light intensity.
5. A small red light burns continually in the lamp housing in order to
show the proper exposure, or density of each negative.
6. Contact button for turning on the white light for making the exposure.
7. Slots on each side of the printer permit the insertion of a thin piece
of cardboard for use in shading parts of negatives during the ex
posure.
8. Film housing will hold up to 35 feet of positive film. The exposed film
may be cut off and developed as used.
9. On each side of the glass plate, under the negative, there is a small
line drawing, showing which way the negatives should be printed in
order to appear in the finished positive film roll in the proper upright
or horizontal positions.
10. When the positive film chamber is moved out of position, a metal plate
automatically covers the exposed portion of the positive film. Naturally
the printing should be done under a red safety light in the darkroom.
The positive film is loaded into the Kopat Printer by removing the
top portion of the film housing and rolling the film directly upon the
spool opposite to the ratchet spool, similar to the one in the Eldia
Fig. 185 Hello
Herbert H. Schoenlank
Summar 50mm, 1/60, f:9,
Agfa Superpan Film
270
Making Positives
Printer. Make certain that the film is wound with the emulsion side
out when loading and attach the free end to the take-up spool which
is wound in such a way that the film emulsion will be on the inside.
In other words, the film passes over the ratchet wheel and down under
the take-up spool. As the film is advanced, a distinct click will be
heard for each single frame space. Two of these clicks represent the
length of a Leica negative. After the film has been inserted, place
the upper part of the housing back into position.
The making of film and glass slides by contact printing is carried
out by methods similar to those previously explained.
In using either the film slide attachment or the glass slide attach
ment on the Kopat Printer, it is possible to see picture numbers or
special marks which may be made on the film margins for reference
when selecting the proper negative for making the positive printing.
Using the Belun Attachment
Still another method of making positives is by using the Belun 1 :1
copy attachment. For this set-up secure a light box for illuminating
the negative which is to be copied directly upon the positive film which
has been loaded into the Leica camera. A 15-watt bulb will be sufficient
for illumination. Set the Belun copy attachment over each negative
to be copied and make the exposures. A few test exposures should be
made before running through the entire film. A short length of posi
tive film may be loaded into the camera for making the test shots.
By using the Belun attachment sections of larger negatives can be
copied and made into positive film slides for projection also. Then
by using the Sliding Focusing Copy Attachment any sized negative
can be copied for positive film slides.
Fig. 186 Indian Children Fig. 187 Negro Children
271
-
Resettled to Alaska
Elmar 50mm, 1/60, f:6.3, Panatomic Film
272
Peter Stackpole
PROJECTING LEICA PICTURES
WILLARD D. MORGAN CHAPTER 13
After the positive film or glass slide has "been made, the next step
is to show the finished pictures on a projection screen. In doing this,
it is necessary to select one of the projectors described later in this
chapter.
By projecting Leica pictures you have an opportunity to show
one picture to a group of friends who may be assembled for the occa
sion. In this way, all can be united in viewing one picture at a time
and also in talking about each picture as it is shown. Thus, a very
profitable half hour or an entire evening may be spent. Bach pic
ture is thus presented in its fullest advantages of large size and with
its three dimensional effects which come nearest to interpreting the
original scene.
In the field of visual education and industrial selling, the use of
positive pictures for projection is of immense value. In the industrial
sales field, for example, it is possible to use the Leica Camera to
photograph actual manufacturing processes and later arrange these
pictures in slide form for projection. For example, there is a large
industrial firm which uses the Leica Camera very successfully by
collecting the latest developments and uses for their product from
different state managers. These pictures are then assembled and
printed along with appropriate titles on film strips. The duplicate
strips are later mailed out to the various branches for the regular sales
meeting of the district salesmen. Thus each district is kept in con
stant touch with all the developments throughout the country.
The Various Projectors Available
There are seven different Leica projectors available for showing
Leica positives. These projectors range from the small Umino pro
jector to the large 750-watt Udimo projector. In selecting the proper
equipment for your purpose, it is important to consider the various
specifications of each projector. Two of the most generally used
projectors are, the small miniature Umena Projector, and the Udimo-
100 Projector. The VIII-S (250-watt), Udimo400, and the Udimo-
273
750 projectors are of special value for use in projecting natural color
pictures and also for use in larger rooms where a longer projection
distance is required.
Fig. 189 Udimo — 100 Projector,
Shown Complete with Camera
Lens, Film Magazines and Trans
port Gate
The Udimo 100 Projector
The Udimo-100 Projector is considered to be the standard model
projector which is used by many Leica owners. The specifications
and directions for using this projector are given as follows :
1. Height, 9% inches, width of base, 5 inches, length of base, 7V2 inches.
2. Bayonet socket for holding- 100-watt pref ocused projection bulb.
3. Detachable heat absorption screen. When glass slides are being pro
jected, this heat filter may be removed, thus slightly increasing the
brightness of the screen picture.
4. The condenser of this projector is made up of three elements, the front
element being interchangeable for use with lenses of various focal
lengths. This system insures the full illumination of every picture
projected with the various lenses providing the proper front condenser
is in position. Complete information about the interchangeable con
densers is given later.
5. The top cover plate of the projector housing may be removed when the
tubular projection lamp is to be changed. When removing the lamp,
simply pull directly out of the socket. When placing a new lamp in
position, make certain that the filaments are parallel with the condenser
system.
6. The entire lamp mounting may be removed by turning the projector
up-side-down and removing the three large screws which hold the bot
tom plate in position. In case the central lamp housing is out of align
ment, proper centering may be done by adjusting the set screws on
the base plate.
7. The intensity of the projected positive is increased by means of a
mirror reflector mounted at the rear of the projection lamp.
8. The film slide attachment which is mounted on the front part of the
projector may be rotated in order to show horizontal and vertical pic
tures in their proper orientation. There is a small spring catch
mounted just above the revolving attachment. This catch may be re-
274
Projecting
leased when the attachment is changed to a vertical or horizontal
position.
9. The various slide masks may be used for showing film or glass slide
positives in various sizes, from single frames up to 4 x 4cm. All these
masks and slides are quickly interchangeable in the film or glass slide
attachment which is mounted in front of the projector and secured into
position with four knurled knobs.
10. All the Leica lenses with the exception of the 28mm and 35mm wide
angle lenses may be used with the projector as well as the VIII-S,
Udimo-400, and Udimo-750 projectors. There are also two special 80mm
and 120mm projection lenses available for the Udimo-100 projector. A
special base tube or receiving socket is used with the 80mm and 120mm
projection lenses for attaching to the projector. All the Leica lenses
are screwed into the film or glass slide attachment directly without the
use of any intermediate tubes.
11. When loading the positive film slide into the Udimo film slide attach
ment, proceed as follows:
a. While facing the projector from the front, remove the left film
drum and draw out the film transporting gate. Make certain
that this gate is thoroughly cleaned. The front plate may be
removed by lifting out from under the two springs which hold
it into place. At the same time, the lower glass plate may be
slid to one side and removed by slightly raising the spring band
which will be seen along the top side of the film gate. This
plate may be replaced by a plate with single frame window in
case single frame slides are to be used. Otherwise, clean
the original plate and place it back in position along with the
film transport gate.
b. When replacing the film transport gate, push it into its slide-
way as far as it will go. While facing projector, this gate is
pushed into position from the left side, the same side through
which the positive film strips are started.
c. Replace the left film housing and insert the positive film roll
into this housing with the beginning of the roll projecting
through the guide which opens directly into the film sliding
gate and is transported through this gate by turning the ratchet
wheel.
d. The turning knob of this ratchet wheel must be pressed down
each time the film is transported, otherwise, the film will not
turn. After the film has been transported, raise the turning
knob. In doing this, the glass pressure plate automatically
presses against the film and holds it in a perfect plane during
the projecting. When the turning knob is depressed, this glass
plate automatically separates at the same time the film is being
transported. This precaution prevents any possible scratching
of the film.
e. As the film is turned through the transport gate, it auto
matically enters the opposite film chamber on the right and
winds into this chamber.
f . Start the positive film through the transporting device with the
emulsion side facing the projection bulb, being sure that the
horizontal images of the film are inverted or upside down.
275
12. The Glass Slide Changer as illustrated is excellent for use when show
ing the 2 x 2 inch glass slides in the Udimo Projectors. This Slide
Changer may be used in the special glass slide holder, or it may be
used in the Film Slide Attachment after the two film drums and film
gate have been removed.
Interchangeable Condensers for Udimo Projectors
a. Interchangeable Condenser marked "5" for use with Summar, Hektor
and Elmar 50mm lenses for use with Udimo-100 projector only.
b. Interchangeable Condenser marked 5cm VIII K for use with Summar,
Hektor and Elmar 50mm lenses for use with Udimo-400 and 750 pro
jectors only.
c. Interchangeable Condenser marked "7.3-8-9" for use with Leica lenses
Hektor 73mm, Elmar 90mm and projection lens Milar 80mm.
d. Interchangeable Condenser marked "10.5-12-13.5-15" for use with
Leica lenses Elmar 105mm, Elmar and Hektor 135mm and projec
tion lenses Dimax 120mm and 150mm.
e. Interchangeable Condenser marked "20-25" for use with projection
lenses Dimax 200mm and 250mm.
Projection Lenses for Udimo Projectors
Milar 80mm, can be used with all Udimo projectors and must be used
in conjunction with a special Base Tube.
Dimax 120mm, can be used with all Udimo projectors and must be
used in conjunction with a special Base Tube.
Dimax 150mm, made for use with the Udimo-400 in conjunction with
regular film and glass slide attachments.
Dimax 150mm, (special type) made for use with the Udimo-400 and
750 projectors in conjunction with special film and glass slide attach
ments which have attached base tube.
Dimax 200mm, for use with the Udimo-400 and 750 projectors in con
junction with the special film and glass slide attachments.
Dimax 250mm, for use with the Udimo-750 in conjunction with the
special film and glass slide attachments.
Fig. 190 Udimo-400 Projector.
Illustration Shows Lamp Housing
Only
276
Projecting
All the film and glass slide attachments are interchangeable for
use on the Udimo-100, Udimo-400 and Udimo-750 projectors. There
are special film and glass slide attachments, provided with a base tube;
which are used in conjunction with the special Dimax 150mm and the
Dimax 200mm and 250mm projection lenses. The main differences in
these projectors are in the lamp housing. 100, 400 and 750-watt pro
jection bulbs are used respectively in each Udimo Projector. The
height of the Udimo400 Projector is 12% inches, while the width of
the base is 7^ inches and the length 13% inches. The Udimo400 as
well as Udimo-750 Projectors are equipped with a special water cool
ing jacket which should be filled with distilled water or glycerine
before using.
A special Elevator Plate may be attached to any of the Udimo
Projectors. There are two small threaded holes in the base at the
front of each projector for attaching the Elevator Plate. This Eleva
tor Plate may be attached to the base of either projector and set at
the proper position so that the projected picture is perfectly centered
on the projection screen . The film and glass slide attachments are
all interchangeable for the various projectors.
Fig. 191 Udimo-750 Projector complete with
250mm projection lens and special film transport
ing device which accommodates film lengths up to
50 feet
The Udimo-750 Projector
The Udimo-750 Projector is really a universal projector which
can be used for screen distances between 10 and 100 feet or more.
All the Leica lenses with the exception of the 28mm and the 35mm
can be used with this 750-watt projector. In addition, there are the
80, 1.20, 150, 200, and 250mm projection lenses to select from. The
high light intensity makes it possible to project color pictures upon
a large screen and still retain the brilliance required.
277
The Udimo-750 has a special heat filter and water jacket cooling
chamber to prevent the overheating of positive films during projec
tion. All the interchangeable accessories used with the other Udimo
projectors may also be used with the Udimo-750. A special film
attachment may be used which accommodates all film lengths up to
50 feet.
Lens
Elmar f :3.5 50m
Summar f:2 50mm
Hektor f :2.5 50m
Hektor f:1.9 73m
Elmar f :4 90mm
Elmar f:6.3 105mm...
Elmar f:4.5 135mm...
Milar 80mm
Dimax 120mm
Table showing screen areas for various projection lenses.
Screen Distance and Screen Areas in Feet
6ft. 9ft. 12ft. 15ft. 18ft.
21ft. 24ft.
2.7X3.9 3.9X6 5.4X8.1
Dimax 150mm
Dimax 200mm
Dimax 250mm
35ft
6X9
3X4.5 3.9X5.7 4.8X7.2 6X9
2.4X3.6 3X4.5 3.9X5.7 4.5X6.6 5.4X8.1
2.7X3.9 3.3X5.1 4.2X6.3 4.8X7.2 5.4X8.1
2X3 2.4X3.6 3X4.5 3.6X5.4 4.2X6.3
2.7X3.9 3.6X5.4 4.2X6.3 5.4X8.1 6.3X9.5 7.2X10.8
2.4X3.6 3.7X4.2 3.6X5.4 4.2X6.3 4.8X7.2
60 ft. 80 ft. 100 ft.
10 X14%
7%X11% 10X14%
6 X 9 8X12 10X14%
The VIII-S Projector
This projector replaces the Udimo-250. It is also a 250-watt model.
In general construction it resembles the Udimo projectors but embodies
many new features, which are as follows:
1. There are external adjustments enabling the lamp to be moved from
side to side or forward and backward so that it can be placed in correct
optical alignment.
2. To further insure maximum illumination, the lens carrier (which also
supports the film or glass slide gates) can be changed in its position
relative to the lamphouse, and is adjusted according to the focal length
of the lens employed.
Fig. 192 The VIII-S Pro
jector with Film Attachment
in Place
278
Projecting
3. There are three internal condensers (Nos. 1, 2 and 3) which are mounted
separately and are removable, providing more efficient ventilation. Con
densers Nos. 2 and 3 are used with 50mm lenses and condensers Nos. 1
and 2 are employed for lenses of greater focal length. As with the
Udimo projectors, various external Interchangeable Condensers are
supplied for use with lenses of different focal length.
4. It contains a built-in tilting device. Turning a screw to the left or right
raises or lowers the projector housing.
5. A new type of film gate is employed. The film is clipped to spools.
When the entire roll has been projected it is merely slipped off the
take-up spool. The pressure plates open by pulling back a bar on top
of the gate. The film is slipped on and the gate closed. The film is
transported by turning the spools. Over the latter lay bars which are
pressed forward when turning the spool. This action causes the pressure
plates to separate, preventing scratching.
Fig. 193 The VIII-S 250-Watt
Projector with Glass Slide Attach
ment in Place
Fig. 194 Photos showing the various parts and adjustments of the VIII-S
Projector as described in text
279
6. To interchange gates it is but necessary to turn a lever, enabling the
gate on the projector to be lifted off and another gate put in its place.
^ The VIII-S projector can be used with Leica lenses, and the following
projection lenses are supplied for it:
Hektor f :2.5, 85mm
Epis f:3.6, 80mm
Dimax f :45, 120mm
Dimar f :3.5, 150mm
Dimar f :4, 200mm
Another new projector is the Standard Projector, which is basically a
Udimo-100 but is provided with a built-in gate for 50 x 50mm glass slides
and therefore can only be used for the latter. It has a non-interchangeable
condenser front and can be used only with 50mm Leica lenses.
Fig 195 The Umino (50 watt) or Umena (100 watt) Miniature Projector
for Single and Double Frame Film Slides as Glass Lantern Slides
The Umino and Umena Miniature Projector
One of the simplest and most compact projectors available for
showing Leica film or glass positives is known as the Umino Projector
which contains a 50-watt projection bulb. This projector is so small
that it can easily be carried in a brief case along with a supply of
positive film or slides.
Titles for Film
Whenever possible, try to include printed titles in your film
strips. A few titles scattered through a film strip will give added in
terest as well as information to the people who are viewing pictures.
The strip can start with a special title and short description about
what the pictures will cover. Titles are easily made by using one .
of the copy attachments referred to in the chapter on Copying with
the Leiea Camera. Boards containing movable letters are available
for setting up titles.
280
5 in.
x 1
ft.
7
in.
1
ft.
7
in.
x 1
ft.
3 in.
7 in.
x 2
ft.
3
in.
2
ft.
3
in.
x 1
ft.
8 in.
10 in.
x 3
ft.
2
in.
3
ft.
2
in.
x 2
ft
5 in.
x 3
ft.
10
in.
3
ft.
10
in.
x 3
ft.
2 in.
x 4
ft.
8
in.
4
ft.
8
in.
x 3
ft.
6 in.
4 in.
x 5
ft.
6
in.
5
ft.
6
in.
x 4
ft.
2 in.
6 in.
x 6
ft.
3
in.
6
ft.
3
in.
x 4
ft.
8 in.
Projecting
UMINO AND UMENA PROJECTION TABLE
Distance in feet
between Umino or
Umena and Screen Image Screen Image
projection screen Leica size single frame size
6 2 ft.
9 3 ft.
12 4 ft.
15 6 ft.
18 7 ft.
21 8 ft.
24 9 ft.
If a title board cannot be secured, simply use a black slate and
letter the wording with chalk. Make the photograph and then erase
the lettering for the next sub title. In fact, titles might even be let
tered across actual Leica enlargements which may present an interest
ing background. With a lettering board many interesting titles may
be worked up for use with your film slides.
Storing Positive Pictures
All film slides and glass slides should be kept in containers free
from dust. Such containers may be secured from the regular photog
raphic dealers, or, if preferred, special containers can be made to cover
any individual requirements. The small metal cans with covers, on
which the titles of the film slides may be written, are excellent. These
tins may be purchased on the market. Another way to keep film slides
is by using the regular film storage boxes which contain cross-sections
with spaces for about 25 rolls of film. The glass slides are easily kept
in small boxes with hinged lids.
As your film and glass slide library grows, it will be necessary for
you to develop a special indexing system so that any picture may be
located instantly when desired. In the case of film slides, it is con
venient to make paper contact prints of every picture on a single
strip of film. These contact pictures are then mounted onto an index
card which contains titles, numbers and complete information about
that particular film roll. Contact prints of the individual glass slides
may also be made and mounted on individual indexing cards, along
with the proper title and descriptions. In the case of the glass slides,
it is very easy to group the subjects under various classifications, such
as buildings, street scenes, birds, boats, portraits, fiowers, or any other
subject. As the glass and slide collection grows, a valuable index and
cross reference system may be built up. The slides are then available
for instant use for showing in the home or in preparing special lec
tures or demonstrations.
281
Four Mugs
Summar 50mm, 1/100, f :9, Super-X Film
282
Mark Palmer
STEREOSCOPIC PHOTOGRAPHY
AUGUSTUS WOLFMAN CHAPTER 14
Our keen appreciation of realism in photography finds its fullest
expression in our fondness for color pictures and stereoscopic views.
The latter, known among graphic arts as three dimensional photogra
phy, is, for the time being the only method of rendering pictures so
that the subject looks round and plastic. It is unfortunate that at
present we are unable to lend this plasticity to single picture views
obtained by ordinary, two dimensional photography, which always has,
and still is endeavoring to assist our imagination to see things in pic
tures as we are accustomed to see them in life. By means of lighting,
suitable backgrounds and skillful placement of the object within its
environment, photographers are trying more or less successfully to
give their pictures the effect of roundness and depth. But so far,
photography has not been able to find a substitute for that lifelike
rendering of depth in anything but the double image secured by view
ing the subject from two points.
There is nothing new about a stereo camera. But the manner in
which stereo views are obtained with a Leica camera is a decided
departure from the old-fashioned methods of stereo photography.
Before the Leica made its entrance into this field, a stereo camera had
to have two lenses. In better cameras of this type these lenses had
to be of the matched type, synchronized as to lens aperture and shut
ter action. The stereo feature introduced by the Leica consists of
taking stereo pictures with one lens only.
The problem was solved with remarkable simplicity. Two prisms,
placed about 70mm apart along a horizontal axis are made to act as
small periscopes, bringing the two respective images together in front
of the regular Leica lens. Each of these two images enters the camera
and reaches the film plane through its respective half of the lens.
Thus two separate images are formed upon the film, each measuring
half of the Leiea frame: 18x24mm. There is no dividing line be
tween these two images : they merely join "each other, forming a nar
row fade into one another, thus using the maximum space available.
A negative thus formed is made into a positive transparency by
contact printing upon 35mm positive film without any of the customary
283
reversal of images. The positive is then viewed through a slightly
modified form of the same periseopie double prism, where the process
is reversed. Here the images are picked up from the double frame
separately, and carried to two eyepieces, thus giving full stereo effect.
Of course, if paper prints are preferred, they may be made just as
easily by enlargement to the size desired, and viewed with a stereo
scope.
The Stereo Equipment
The Stereo equipment consists of two units: the photographing unit,
which is placed over the standard 50mm lens, and held in place by means of
a small arm fitting into the camera clip; and the viewing unit, which has
adjustable eyepieces and a slotted channel for the film. The viewing unit
can be held in hand or attached to a convenient stand. The Stereoly taking
unit has its own view finder, which replaces that of the camera. Since
each of the two pictures obtained is only half as large as the regular
Leica frame, only half the area covered by the 50mm lens is available.
The Leica must always be held horizontally when used with the Stereoly,
which will result in two vertical images. The camera should not be used
vertically.
Taking Stereo pictures with the Leica is no more complicated than
taking ordinary pictures. The Stereoly is placed before the lens, given a
simple adjustment described in the instructions accompanying each instru
ment, and one is ready to take pictures. The exposure variation of the
Fig. 197 Stereoly Photographing
Unit for Stereoscopic Photography
with Hektor, Elmar, and Summar
50mm Lenses only
Fig. 198 Stereo Viewer,
on Stand, for 35mm Leica
Stereo Positives
284
Fig. 199 Stereo Slide Bar, for
Stereoscopic Photography when
making two separate negatives
Stereo
Stereoly is almost negligible, if one considers the latitude of modern film
emulsions. To be sure, the exposure factor is not constant. It varies from
the requirement of an exposure fifty per cent longer with the lens set at
f :3.5 to an increase of some ten per cent only, when the lens is stopped
down to f :12.5. As a matter of general practice, it is recommended to take
stereo pictures with the lens stopped down to f :6.3 or f :9. Lens openings
larger than these do not yield sufficient depth of focus for stereo pictures,
while those smaller than f :9 are apt to cause vignetting of images under
certain conditions. The Stereoly unit does not by itself cause any unsharp-
ness of picture, but to avoid pictures lacking definition and detail, so
important in stereos, all exterior glass surfaces should be kept scrupulously
clean at all times, and free from finger marks above all.
Filters for Stereo Photography
Filters may be used in connection with the Stereoly attachment if
they are in the standard Leica slip-on mount. They are simply placed over
the lens, and the Stereoly is attached over the filter. Since the aperture
of the lens cannot be changed nor can the filters be removed without first
removing the Stereoly from the camera, it is suggested that the lens be
operated always at the same stop when used for stereo pictures.
In certain instances where special filters used for definite effects are
not available in Leica mounts, and cannot be made to fit on account of
their excessive thickness, they may be used (if available in pairs) by being
fastened to the front part of the Stereoly taking unit in such a way that
they completely cover the two front apertures. It may not be amiss to
say that when this is resorted to, both filters must be identicaj.
Sunshades and Film
Experiments have shown conclusively that stereo pictures secured with
the aid of sunshades were quite superior to those obtained without them.
They seem to be sharper, clearer and more brilliant and have a better defini
tion throughout. The proverbial ingenuity of Leica users should find here
another field of application. The writers have used successfully two stand
ard Leica sunshades of the inexpensive kind fastened to each end of the
Stereoly unit by means of scotch tape. On another occasion, a 10 inch length
of IVs inch black scotch tape wound all around the front edge of the
Stereoly, protruding about an inch, served the purpose admirably.
Stereoscopic photography with the Leica is so simple that it may be
said that there is actually no difference between this form of photography
and any other form of Leica photography, except for the accessories re
quired. For this reason the selection of film, developer, filters, and other
factors should be made exactly as one would for any other form of work.
It is quite feasible to produce direct stereo transparencies on negative
stock by reversal. For this purpose, the newest Agfa film, the Reversible
Superpan is very much to be recommended. Generally, regular negative
materials of the modern type cannot be used for reversal on account of
their gray nonhalation backing. However, it should be realized that although
reversal is one of the simplest ways for securing transparencies, it is by
no means the most practical procedure: through reversal one loses the nega
tive, and with it the only way for making additional prints. All positive
transparencies should receive an adequate hardening treatment by any of
the methods described in the chapter dealing with this subject.
285
Stereo Color Pictures
As far as black-and-white photography goes stereo transpar
encies represent probably the most realistic form of reproduction.
But natural color transparencies for stereoscopic viewing mark the
goal (at least at present) of realism. With the advent of KODA-
CHROME, the new natural color film recently made available for
the Leica camera by Eastman Kodak Company direct color stereo
scopic photography with the Stereoly Attachment is not only prac
tical but extremely simple and easy. No color filters being required
for use with Kodachrome film, there being one type of film for day
light and another for work in artificial light— there is no longer any
impediment to simply attaching the Stereoly to one's Leica, stopping
down the lens and proceeding to photograph in natural color as one
would to make black-and-white pictures. Kodachrome Haze filters,
if one wishes to use them for distant views, should be used according
to suggestions 'made on the preceding page. The handling of Koda
chrome films is described in a special chapter of this volume.
Protecting the Stereos
Stereo transparencies of any intrinsic value that cannot be dupli
cated should be handled with particular care. Any stereo transparency
may be bound between two thin plates of cover glass and thus assured
comparative permanence and security from scratches, abrasion marks
and finger marks. This precaution would apply particularly to color
transparencies, where negatives are not available, since they are ob
tained by means of reversal. For this reason, color transparencies
should be bound in glass as soon as they are dry and ready for view
ing. One has the choice of binding them into individual frames, or,
better still, into strips of three frames each. Special cover glass plates
are available for this purpose, measuring 35mm x 120mm, and their
use cannot be too strongly recommended, not only for color transpar
encies, but also for any black and white pictures which are worth hav
ing. In such bound form they become comparatively permanent and
most convenient to handle and to file.
The Stereo Slide Bar
While the Stereoly may be used for all forms of stereo photog
raphy, both indoors and outdoors, it is primarily intended for work
without a tripod, for action pictures, landscape work, and all such
subjects as require rather short exposures. A somewhat simpler acces
sory is available for stereo photography of still life, table top photog
raphy, three color separation work, etc. This accessory is known as
the Stereo Slide Bar: a metal bar about 6 inches long with an en-
286
Stereo
graved scale and slide mounted upon it. By means of a set screw
the slide may be placed anywhere along the bar. The Stereo Slide
Bar is firmly secured to a rigid tripod either of the field or table top
variety. The camera is fastened to the slide and one exposure is made
with the camera at one end of the bar. Then the camera is quickly
moved to a predetermined position at the other end of the bar, and
the second exposure made. Thus, the set of stereo pictures is secured
upon two full frame negatives, which may be made either into trans
parencies or prints. This method, while not as universal in its appli
cation as the Stereoly, has certain advantages over the other. The
separation of the two shots may be adjusted to suit any special re
quirements, a separation up to 6 inches being available for special
effects. Any lens and any filter may be used for this type of work. The
two resulting pictures are larger than those available with the Stereoly,
but they cannot be viewed through the regular stereo viewing unit.
The Stereoly "unit should not be used for photographing objects
less than 5 to 7 feet from the camera. Close range photography in
troduces complications of parallax adjustment, since the optical axes
Fig. 200 Advertisement
Rudolf Hoffmann
287
of the two prisms of the Stereoly are theoretically parallel, intersect
ing one another at infinity. For this reason, photography of near
objects may better be accomplished with the aid of the Stereo Slide
Bar, into which the parallax adjustment may be introduced by careful
manipulation.
Making of Stereo Prints
Eegardless of whether the Stereoly attachment or the Stereo
Slide Bar, or the two-camera method has been used to make stereo
negatives, paper prints may easily be produced from any of them.
The prints may be of the contact type, but a much better job will be
secured by making enlargements.
Enlargements or negatives produced with the Stereoly attach
ment are made on one sheet of paper, for greater brilliance and better
detail. Before a print is made, the available stereo viewing equip
ment should be examined to determine the correct size of the finished
print. It will be found to be most practical and then trimmed to the
required size of the stereo viewing apparatus. Since there is no sharp
line of demarcation between the two halves of the print, they should
be cut in half carefully, or better still, left together unseparated, and
thus mounted on a piece of cardboard of a size conveniently accom
modated by the stereopticon.
In the case of two separate negatives obtained by the other two
methods, separate enlargements will be made. It is important that
both negatives be enlarged to identical size, with the enlarger in the
same position, using the same paper, developer and exposures. Fin-
Fig-. 201 Accessories for Projecting and Viewing Stereoscopic Pictures
288
Stereo
ished prints should be trimmed only after careful examination and
tests made in the stereoptieon.
Stereo Projection
Printing stereo negatives on positive film and viewing them with
the aid of the Stereo Viewer is an excellent method. The transpar
encies provide greater luminosity, brilliance and plasticity than
paper prints. It would, however, be more advantageous if the positive
transparencies could be projected so that the stereo picture could,
first of all, be viewed in an enlarged size and, secondly, a few individ
uals could see the picture at the same time.
Stereo projection has now become possible through the use of
the recently introduced polarizing filter, or pola screen. In order to
understand the workings of this method, it will be necessary to have
some idea of the characteristics of plane polarized light, which is
employed in stereo projection.
Theoretically, light consists of waves in a substance called
"ether" which, it is supposed, is spread through all space and matter.
The vibration of a light wave is not along the direction of the ray but
at right angles to it and in all possible directions; that is, up and
down, sidewise, etc. If a mechanical medium is placed in the path of
the light ray, which changes it so that it vibrates in one direction only,
the light ray is said to be plane polarized. This action is performed
by the polarizing filter.
Fig. 202 Stereoscopic Attachment with Polarizing Filters Mounted over
50mm Summar Lens on Udimo Projector
289
To visualize this let us imagine that we have a string stretched
tightly between two points, the string representing a ray of light. Then
consider that this string is vibrating in all directions, which are at right
angles to the length of the string. If the string were passed through a
vertical slit in a piece of cardboard, then the string would vibrate ver
tically, and when passed through a horizonal slit it would vibrate hori
zontally. In either case, the string would vibrate in one direction only.
This is analogous to the manner in which a pola screen plane polarizes
light rays.
The pola screen contains myriads of small rod-like crystals which are
all parallel to each other. These crystals act in a similar manner to the
slits in the cardboard.
In stereo projection a 50mm lens is placed on the projector and then
a Stereoly Attachment is fitted over the lens, in a similar manner as
when it is used on a camera. It will be necessary to construct a special
bracket that will hold the Stereoly Attachment in place. Polarizing filters
are now fitted over the windows of the Stereoly Attachment and again, in
this case, a special holder will have to be made for the filters. 30mm
diameter filters are sufficient for this purpose.
When these screens are fitted into the special mount, it will be necessary
to so orient them that one filter polarizes the light in one direction and
the other filter polarizes it in another direction — vertically and horizontally.
The observer wears a pair of spectacles containing pola screens which have
been oriented in the same manner as the filters over the windows of the
Stereoly Attachment. In this way one eye can only see one image and
Fig. 203
Blowing Bubbles
John B. Titcomb
Elmar 50mm, 1/60, f:3.5,
Agfa Superpan
Stereo
the other eye sees the second image so that the full stereoscopic effect is had.
The beauty and realistic quality possessed by these third dimension pro
jected pictures is beyond description, especially when color stereoscopic
pictures are projected.
In order to make proper allowance for the changed condition of the
projector system, it is advisable to use an Interchangeable Condenser for
an 80mm lens. At that, there is considerable loss of light through ab
sorption by the various accessories employed. The Stereoly Attachment
absorbs about 25% to 40% of the light coming from the lens and the
pola screens absorb about two-thirds of the light striking them, so that
the final amount of light reaching the screen is about 20 to 26% of that
originally leaving the lens. Therefore, a 750-watt projector is in effect
similar to a 90rlOO-watt projector used in normal projection. The loss in
light is, however, more than compensated for by the beauty of the
stereoscopic effect.
In the matter of screens, it has been found that they must be
made of a material which will not de-polarize the light. Ordinary
white (so-called " half -tone") screens are not satisfactory for stereo
projection but translucent and metallic surface screens, such, as
"silvered" screens will serve the purpose. The beaded screen, though
it enables the viewing of the projected image at a greater angle — de
polarizes the light somewhat. As this printing goes to press experi
ments are being conducted on a more suitable screen material for
stereo projection. This material will be announced in the near
future.
If a pseudoscopical effect is obtained — the opposite of the stereo
scopic effect, what is nearest appearing farthest — a turn of 90 degrees
of the polarizing filters of the viewing glasses or on the projector will
correct it.
Fig. 204 Tell Asmar, Iraq James H. Breasted, Jr.
Courtesy of Oriental Institute
Pay Day for the Iraq Expedition's, Native Workmen, Refer to Chapter 19,
Archeology and Exploration '*'
291
The Dive
Summar 50mm, 1/100, f:6.3, Super-X Film
292
Eric Schaal
NATURAL COLOR PHOTOGRAPHY WITH
KODACHROME FILM AND
WASH-OFF RELIEF PRINTS
HENRY M. LESTER CHAPTER 15
Probably every user of the Leica Camera has made or seen Koda-
chrome pictures. This marvelous color process, which has swept over
the entire world, provides Leica workers everywhere with the simplest
and least expensive method of making the best color transparencies
possible today.
Since its announcement, many improvements have been made,
both in the film and in processing. Likewise most of the users of
Kodachrome have learned much about color photography and the color
characteristics of light and lighting conditions, all of which tends
toward improvements in results.
The most significant news to Leica workers is the reduction in
price (in U. S. A.) of the 18 exposure Kodaehrome Films for Leica
Cameras from $3.50 to $2.50 per roll, which includes processing at
the Kodak Laboratories. This applies to both the daylight film K135
and artificial light film K135A. This means that natural color pictures
can be made for about fourteen cents each, possibly no more than the
cost of black-and-white enlargements.
For film speed and color rendition, no more could be desired.
The knack of obtaining the best results, however, lies in estimating
the exposure correctly, but this will be discussed at length further on.
Kodachrome is free from all grain, color fringing, and has no
screen pattern, all three of which tend to ruin true color rendition
and picture quality. The silver grains, after serving their purpose of
recording the original photographic image in the film, are removed in
the final stage of the process. The final color images are made up of
dyed gelatin so no grain remains in the final picture. The color separa
tions are all made on one film within the depth of the emulsion, so
the images are all automatically registered one over the other. Thus,
there is no color fringing, common in processes that are dependent
293
upon mechanical, optical, or manual methods of registration. This
method of separating the colors of the original subject does not re
quire a color screen pattern or lenticular surface on the film. This
provides sharp images of fine detail, lost in other color processes.
No filters are required for the separations because the film emul
sion is coated in three separate layers, each layer is sensitive to a
different portion of the spectrum. Each layer is separated by a thin
coating of gelatin. An enlarged cross-section of the film would re
semble a layer cake with the frosting left off the top layer. See
figure 206. Next to the film base is coated a red sensitive emulsion,
then, on top of that, a very thin layer of gelatin, next, on top of that,
a green sensitive emulsion, then another layer of gelatin, and finally,
on top, a blue sensitive emulsion. The gelatin on top of the bottom or
red sensitive layer contains some red dye so that nothing but red
light or light from red colored objects reaches the bottom or red
sensitive layer. With all five coatings the film is no thicker than
ordinary film used for black-and-white photography.
The two gelatin coatings provide two other important uses.
First, in coating the film they prevent the film sensitizing dyes from
wandering out of their proper layers. Secondly, in processing they
provide the safety factor necessary for the penetration of each dye to
its proper layer.
Additive and Subtractive Principle
There are two general types of processes of color photography:
namely, additive and subtractive. In additive color processes, three
pictures are made through three filters, red, green, and blue-violet,
and after the negatives are developed and printed, the positive
transparencies are projected through three filters, red, green, and
blue, very similar to the taking filters. The three pictures, when
superimposed in register on the screen, render a satisfactory color
picture of the original subject. In the subtractive processes, the sepa
ration negatives are made the same as in additive processes but the
positives are dyed with colored dyes of the complementary colors to
the taking filters. The red filter image is dyed blue-green. The green
filter image is dyed magenta, and the blue filter image is dyed yellow.
When all three images are superimposed and either projected or
viewed as a transparency, the result is a color picture.
Kodachrome is a subtractive color process. After development,
the bottom or red sensitive, or red filter image is dyed blue-green;
the middle or green sensitive layer is dyed magenta, and the top, or
294
Kodachrome
RAW FILM COLOR POSITIVE
ANTJHALATIGN
BACKING
BLUE SENSITIVE EMULSION ^^YEU-OW IMAGE
GREEN » IMAGE
IMAGE
SAFETY FILM SUPPORT
CROSS-SECTION OF KODACHROME FILM
Fig. 206 Cross-Section of Kodachrome Film Greatly Magnified Showing
Alternating Layers of Gelatin and Emulsion
blue sensitive layer, is dyed yellow. This remarkable feat is accom
plished in Kodachrome by the use of a series of dye-coupler devel
opers in the various stages of processing.
Daylight or Artificial Light
Since any color, film must be color balanced to the type of light
in which it is to be used, Kodaehrome is no exception. When we
make pictures in sunlight, we have the various qualities of sunlight
to consider. If there were no such things as atmosphere, clouds, haze,
etc., it would be a simple matter to always obtain good color results
out-of-doors. All of these things, however, do change the color, in
tensity, and color quality of light from the sun. Kodachrome Day
light Film is color balanced to noon-day sunlight, This same type
of light prevails from about 9:00 to 4:00 o'clock in summer, and
from 10 -.00 to 3 :00 o 'clock in winter. Before and after these hours,
the sun's rays are redder because of the greater amount of atmosphere
they travel through during these earlier and later hours of the day.
Therefore, pictures made early and late in the day will have a
yellowish to reddish cast to them. The light from a clouded over
cast sky or from a north sky when the sun is shining, is quite blue
295
when compared to sunlight and pictures made under these conditions
will have a bluish cast. These colors may be more apparent in the
Kodachrome picture on projection if the previous slide viewed was
made with light of correct color balance. Human beings as a rule
subjectively make some compensation for the effect of light on colors
in nature, whereas pictures thrown on the screen in rapid succession
do not allow sufficient time for the subjection processes to make these
corrections. A picture that may be quite badly off color, due to the
conditions under which it was made, will appear quite satisfactory
if it is viewed for two or three minutes, for the longer we view it
the better it looks, due to the subjective compensations made by our
mental processes. Similarly artificial tungsten light at night appears
white but when compared to daylight it is distinctly yellowish.
Type A Film
Because of the necessity of balancing Kodachrome Film to the type of
light used, it can be readily seen that for use with artificial light, an en
tirely different type of Kodachrome Film would be required. Since there
are many types of artificial light, each would require its own particular
type of Kodachrome Film. Since Photoflood lamps are highly efficient, in
expensive, and universally available, their color quality of light was chosen
as the type of artificial light to balance to the Type "A" or artificial light
Kodachrome Film. Photoflood lamps are an over-volted type of tungsten
light, radiating considerably more blue light than ordinary tungsten. So
with artificial light, the best color results will be obtained when Photo -
floods are used with the Type "A" Kodachrome. However, ordinary tungsten
lamps of the 500-watt projection type, while emitting less blue light,
will render quite satisfactory results. However by using 500-watt 100
to 105-volt lamps a closer match for Type "A" Kodachrome can be
obtained.
With arc lamps using white flame carbons, regular daylight Koda
chrome Film should be used because white flame arcs are very similar to
sunlight in their color characteristics.
Exposures in Artificial Light
With four No. 1 or two No. 2 Photofloods in Kodaflectors
at a distance of four feet from the subject, excellent snapshots
can be made at 1/30 of a second at f :4.5. 50% or y% stop more
exposures should be given to dark colored subjects and 50% or y2
stop less to light colored subjects. The light should be distributed
evenly over the entire subject and careful attention paid to the
distance of the light from the subject. Since the Photoflood operates
most efficiently on 112 to 115-volts, additional exposure should be
given if the line voltage is down to 100 or 108-volts.
The following exposure guide may prove useful, or one may reliably
follow the guide packed with the fllm.
296
Kodachrome
KODACHROME FILM TYPE A K135A
Artificial Light Exposure Guide for Photoflood in Kodaflectors
f:6.3 f:4.5 f:3.5 f:2
4 lamps at 4 lamps at 4 lamps at 4 lamps at
1/30 sec. 2% feet 4 feet 6 feet 9 feet
1/20 sec.
4 lamps at
Sy2 feet
2 lamps at
3% feet
4 lamps at
5% feet
2 lamps at
5% feet
4 lamps at
8 feet
2 lamps at
8 feet
4 lamps at
12 feet
With No. 2 Photoflood lamps in Kodaflector use half as many of them as in table.
If same number of No. 2 lamps are available use next smaller stop, or next faster shutter
speed.
It is advisable when possible to stop the lens diaphragm down one or
two stops and give a longer exposure accordingly. This will improve scenics,
still life studies and other subjects where there is no action or motion.
EXPOSURE TABLE FOR PHOTOFLASH LAMPS
Using Kodachrome Film (Regular) (K 135) with Kodachrome
Filter for Photoflood.
Adjust the Shutter for a Time Exposure
No. 10 lamp No. 20 lamp
Distance of lamp with Kodak handy with Kodak handy
from subject reflector reflector
12 feet f:2 f:2.8
9 feet f:2.8 f:3.5
6 feet f:3.5 f:4.5
4 feet f:4.5 f:6.3
EXPOSURE TABLE FOR PHOTOFLASH LAMPS USING
KODACHROME FILM TYPE A (K135A)
Adjust the Shutter for a Time Exposure
No. 10 lamp No. 20 lamp
Distance of lamp with Kodak handy Distance of lamp with Kodak handy
to subject reflector to subject reflector
18 feet f:2.8 24 feet f:2.8
15 feet f:3.5 19 feet f:3.5
12 feet 16 feet f :4.5
11 feet f:4.5 12 feet f:5.6
10 feet 9 feet f :8
8 feet 6 feet fill
If the Flashlamp is used without a reflector double the above indicated
exposure should be given.
NOTE:
It will be noted that the exposure table for Photoflash lamps, using- Kodachrome
Film. Type A presumes the use of a camera without a Photoflash Synchronizer. If a
synchronizing device is used with a Photoflash, the fundamentals of the exposure table
given above should be kept in mind in making any adjustment for higher shutter speeds
than those recommended in the table. To assure getting the most of illumination out
of the brief peak of maximum light intensity of a Photoflash bulb, it is suggested that
shutters be set for an exposure of not more than l/20th of a second nor less than 1/1 00th
of a second.
297
Photoflash Lamps
There are many occasions where it is not only desirable but convenient
to use the photoflash lamp for Kodachrome snaps with the Leica. In gen
eral the photoflash is not productive of the very best pictures because
large apertures must be used and the light is from one source and is con-
trasty. The preceding table indicates the limits of flexibility of the photo-
flash for general work.
Medical Photography
The Photoflash lamp is probably better suited to medical photography
than most other types of light sources.
While the photoflood type of lamp is ideal for most all Kodachrome
subjects and can be used satisfactorily for medical work, there are times
in recording clinical subjects where the subjects become impatient and
difficult, this is particularly true with children. Here the photoflash plays
an important part, the subject can be framed and focused in weak subdued
light, the camera shutter opened and the bulb flashed. The flash which
takes place in 1/70 to 1/75 of a second stops all average motion or slight
movements.
For eye photography the flash bulb can be brought within 8 inches
of the eye and the camera lens stopped down to f:16 with the No. 10
flashbulb and f :22 with the No. 20.
For medical pictures of this type the flashbulb should be placed in a
safelight fitted with a piece of clear glass instead of the regular red or
green safelight filter. This clear glass does not obstruct any light and
acts as a safety window in case the glass of the flash bulb should shatter.
In making medical pictures every precaution should be observed to in
sure the safety of the subject.
Film Latitudes
Kodachrome Film, like all other color films, does not have the
long exposure range or film latitude common to black-and-white films.
In other words, with black-and-white film, if 1/30 of a second at f :6.3
were the correct exposure, one could make the same picture 1/30 at
f:4.5, 1/30 at f:3.5, or 1/30 at f:8, or 1/30 at f:ll, and obtain
satisfactory prints from each of the negatives. With Kodachrome
this is not possible, assuming the correct exposure is 1/30 at f :6.3,
a 1/30 at f :4.5 or f :8 will be passable, the former a shade light and
the latter a shade dark but 1/30 at f :3.5 will be too light or over
exposed, and 1/30 at f :11 will be too dark or under-exposed. How
ever, many times the pictures purposely under-exposed render a most
pleasing picture from the artistic point of view.
The above is equally true for either the Daylight or the Type "A"
Kodachrome Film.
Daylight Exposures
If an exposure meter is used, it should be calibrated to the equip
ment and conditions under which the pictures will usually be made.
If no exposure meter is used, the -comprehensive DAYLIGHT
EXPOSUBE GUIDE on pages 300, 301 will furnish the most depend
able information, which, if followed intelligently will yield most
satisfactory results under all conditions.
298
Kodachrome Filters
Exposure Meters
If an exposure meter is used, the proper rating should be obtained from
the meter manufacturer. The speed of film may be changed from time
to time and there is a difference between models of meters of the same
manufacture. So to insure the best results the correct rating for any
photo-electric type of meter should be obtained from the manufacturer.
For general guidance the following table is approximate.
Scheiner0 Din0 H&D Western
14 7/10 159 3
15 8/10 200 4
16 9/10 252 5
17 10/10 318 6
18 11/10 400 8
19 12/10 504 10
20 13/10 635 12
21 14/10 800 16
22 15/10 1000 20
23 16/10 1270 24
24 17/10 1600 32
25 18/10 2020 40
26 19/10 2540 50
27 20/10 3200 64
Filters
While excellent Kodachrome pictures can be made without ever using a
filter, there are occasions where a filter will improve results. There are
three filters for use with Kodachrome Film ... an ultra-violet light
absorbing filter, a blue filter, and an orange filter.
In some localities, and under some conditions, a considerable amount
of ultra-violet light is present. This affects the top layer of the film and
reproduces as blue light in the finished picture. To absorb this, the ultra
violet light absorbing filter should be used. Since we cannot see ultra-violet
light, it is difficult to tell when to use it. However, it improves pictures
made on dull or cloudy days or in the shade, winter scenes when snow is
on the ground with a bright sun and blue sky also scenes in the tropics or
in high altitudes, or aerial views made from the air. Many Leica workers
leave this filter on for all exterior pictures. It does no harm, but is not
essential for all scenes.
The blue filter is. for use with regular daylight film when used for in
terior color photography with artificial light. Artificial light, photoflood or
regular tungsten, are both much redder than sunlight, therefore, the blue
filter absorbs some of the red light, thus giving a balance between daylight
Kodachrome Film and tungsten illumination.
The orange filter is for use with the artificial light Type "A" film when
it is to be used for daylight or out-door sunlight photography. The Type
"A" film is made extremely blue sensitive to color balance with Photofloods,
and, therefore, the orange filter is used to make daylight look like artificial
light to Kodachrome film.
Many Leica workers use only the Type "A" film. Thus they are always
prepared for an interior picture, and by merely slipping on the orange filter,
the Type "A" becomes balanced for daylight with no increase in exposure.
299
DAYLIGHT KODACHROME
"Basic" Exposure for Average Subjects
Bright Sun
Strong Shadows ;
clear blue sky;
Direct Sunlight.
1/60. . .f:6.3
Weak, Hazy Sun
No Distinct
Shadows cast;
Hazy skies.
1/60 . . . f:4.5
Cloudy but Bright
Overcast Skies;
No Direct Sunlight.
1/40
f:3.5
Cloudy and Dull
f Heavily overcast
skies — no sun;
•/ Medium to dark
clouds.
l/20...f:3.5
Figures 207—214 Four Types of Light Conditions
300
EXPOSURE GUIDE
„,,. ,Th\s 9uide should, be used for both kinds of Kodachrome Film, Regular and Type A.
With the Kodachrome Film, Type A, be sure to use a "Type A Kodachrome Filter -for
Daylight" in front of the lens.
This guide is for the hours from two hours after sunrise until two hours before sun
set; earlier or later, use a larger opening. Do not make Kodachrome pictures before one
hour^ after sunrise and after one hour before sunset, except when making pictures of the
sunrise or sunset.
In direct sunlight, a flat lighting (light falling directly on front of subject) is best.
indude dark foliase, deep-colored flowers, dark animals, buildings,
™-fKK include snow and beach scenes, light-colored flowers, subjects
with blonde complexions, light-colored buildings, and other subjects of a similar character.
Average subjects combine dark and light objects in approximately equal proportions.
Landscapes are best if taken in direct sunlight.
attJtton a hnw^Sid?h ^T? ** Allowed for both close-ups and distant views; special
or dark-or H^hlcolored S™n aS tO Whether the Subj"ects are of average tightness,
When in doubt, use basic exposure (see guide).
This guide is for both temperate and tropical zones.
Do not hold the camera in the hands for exposures longer than 1/20 second.
Before 9 or 10 a.m., or after 3 or 4 p.m.— % stop larger.
Winter months in north— % to 1 stop more.
Winter months in north, with snow—no allowance
* "^"^ °f ™™ to
Dark colored subjects
y2 stop larger
Light colored subjects
y2 stop smaller
Back lighted subjects
2 stops larger
Side lighted subjects —
1 stop larger
Figures 215—218 Four Types of subjects
301
In other words, the Type "A" Kodachrome Film with the orange filter
is the same speed to daylight as the Daylight Kodachrome Film. On the
other hand, when the daylight film is used with artificial light with the
blue filter, two diaphragm stops larger must be used. The filter has a factor
of about 4x with tungsten.
Projection
The finished pictures should be suitably mounted in the 2 x 2 inch
glass slides. This protects the film from surface scratches, saves ever
having to clean the film, and lengthens the life of the film indefinitely.
The dyes in the film are balanced to regular tungsten projection
lamps burning at rated voltage and so can be projected to a size relatively
proportional to the wattage of the projection- lamp. The only hazard
comes from leaving slides in the heat of the lamp for too long a period
of time. This is apt to cause fading or melting due to overheating.
A 500-watt projector can be used if the lamp rays are passed through a
water cell, but even with this, slides should not be left in for over a minute
or two at a time.
If too large a picture is projected for the wattage of the lamp, the
picture will lack brilliancy and appear yellowish on the screen. If too
small a picture is projected, it will appear too light or washed out.
The projection screen should be absolutely colorless. Old screens have
a tendency to turn brownish or yellowish with age. Often this will bleach
out if the screen is placed in the sun for a day or two. If a screen is
yellowish, the projected pictures will take on a yellowish cast. Blues will
appear greenish, flesh tints yellowish, etc.
All daylight or artificial light should be excluded from the projection
room. Stray light may dilute the projected colors of the slides.
Fig. 219 Japanese Puppet Theater
Summar 50mm, 1/8 sec., f :2, Super-X Film
302
Julien Bryan
Kodachrome
Fig. 220 Leopold Stokowski Conducting Rudolf H. Hoffmann
Black and White Enlargement from a Kodachrome Color Transparency
Courtesy Lord & Thomas for RCA Mfg. Co., Inc.
If the projection lamp is burning below its rated voltage, due to an
over-loaded line, the pictures will appear dim and yellowish. If this con
dition is usual, a lower voltage projection lamp should be used, or a
smaller picture projected.
Black-and- White Pictures from Kodachrome Film
Probably one of the most interesting things about Kodachrome
is the fact that the candid camera fan can snap a color picture and
virtually bring all of the great out-doors into his darkroom for
further experimentation.
Many times it is necessary when making black-and-white nega
tives to try and obtain a certain effect with filters. Often it is not
practical nor will time permit the making of several negatives with
several niters to produce the desired result. Also many times after
we've made a black-and-white with no filter we wished later that an
A, F, or G- filter had been used. Kodachrome Film offers a complete
solution to all of these problems. Make all Leica originals on Koda
chrome film. Then take the finished Kodachrome pictures into your
darkroom, enlarge them up to 4 x 6, 5x7 or even 8 x 10 on to
Panchromatic negative material. Make one enlargement with the A
filter, one with the B or one with the Gf until you obtain the desired
303
effect. The possibilities do not stop here for four or five enlarged
negatives can be made, and each one developed with a different fine
grain developer. There is plenty of fun to be had at night enlarging
Kodachrome to black-and-white. Eegular enlargements made without
filters will produce excellent negatives, sharp, and free from any grain
(because the silver grains are all removed from Kodachrome).
"With good Kodachrome originals and enlarging and filtering
facilities, it is only a step to making Wash-Off Eelief color enlarge
ment prints from Kodachrome originals.
Wash-Off Relief
To make Eastman wash-off relief color prints, three color separa
tion negatives are required. These can be made by contact or enlarge
ment.
The negatives are next printed onto wash-off relief film either by
contact or enlargement. In either method of printing, the exposure is
made through the base or support of the wash-off relief film and with
the light of a Photoflood and a number 35, violet filter. The films are
developed to positive silver images, the image, of course, being near
Fig. 221 Advertisement Rudolf H. Hoffmann
Black and White Enlargement from a Kodachrome Color Transparency
Courtesy Buchanan & Co., Inc., for Cafe Rico
304
Kodachrome
Fig. 222 Clematis Seed J. M. Leonard
Summar 50mm, 1/20, f:12.5, Sliding Copy Attachment, Sunlight, DuPont Superior
the film base rather than on the surface. The films are next bleached
in a bichromate bleach solution. This bleach hardens the gelatin
wherever there was a developed silver image and renders the gelatin
insoluble. Now, if the films are washed in warm water, 125° F., all
of the soft gelatin is washed away, leaving only a relief image com
posed of hardened gelatin, firmly adhering to the film support. The
films are now fixed in hypo and then washed and dried. The three
wash-off relief films called matrices are now dyed in the Eastman
three-color printing dyes, A, B, and C : blue-green, magenta, and
yellow or, since this is a subtractive process, the films are dyed the
same as outlined earlier in this article, viz., the red filter image is dyed
blue-green, etc. "When these dyed positives are dry, they can be
superimposed in register to form a three-color transparency, or the
dye in the matrices can be transferred to paper by imbibition transfer.
To transfer these to paper, a wetted paper coated with gelatin con
taining a dye mordant is prepared. The transparencies or matrices
are squeegeed on and transferred one at a time, to the paper; each is
left until there has been a complete transfer of dye from the film to
the paper the total time for transfer is usually about 25 minutes. As
the dye transfers it is precipitated by the mordant in the gelatin so
305
that finally the dyes from, the original are not in layers but all mixed
with each other. The resulting print in color is permanent.
Any good Kodachrome slide of good color quality, sharp, and of not
too high a contrast, will reproduce well. Contrasty originals have a ten
dency to show color distortion in either the highlight or shadow tones.
The soft color picture made with a flat, even lighting produces the best
results. .
For making the enlarged three color separation negatives from Koda
chrome originals, the miniature type of enlarger is satisfactory. A light
tight box should be built over the bed of the enlarger to prevent stray
light from affecting the Panchromatic Film. This should be provided with
a small hole on the top for the insertion of the lens or the light beam. If
the enlarger can be mounted in a horizontal position, a 5 x 7 or 8 x 10
camera can be used. The lens board is removed from the front of the
camera and the color picture focused directly on to the ground glass of
the camera. In this way the negative Panchromatic material, 5 x 7 or
8 x 10, can be loaded into film holders placed in the camera. A piece of
rubber focusing cloth can be fastened from the front of the camera to the
lens of the enlarger, thus providing a light-tight chamber for making the
separations.
As a light source, a 250-watt G 30 Mazda lamp with clear spherical
bulb, operated at or slightly below its rated voltage, will greatly outlast a
Photoflood lamp and provide constant illumination for a long time.
In placing the Kodachrome frame in the enlarger, a small strip of
film with a number of neutral density steps should be included along the
edge of the film. This strip should have steps of density about 3/16 of an
inch wide, eight steps ranging from 0 density to 1.5. This gray scale aids in
obtaining the proper balance of exposure, development time, and in color
balancing the transparencies.
Wratten Copy Board Chart
An almost indispensable accessory for color photography is a
Wratten Copy Board Chart, a very inexpensive but highly efficient
aid procurable through any dealer of the Eastman Kodak Company.
It is available in a variety of sizes and should be used either for the
actual Kodachrome photographs or for making of three color separa
tion negatives.
The chart consists of four easily separable portions and is in
tended to assist the photographer when making negatives for three or
four color printing:
1. To be sure that the exposure ratio is correct for each filter.
2. To identify easily the respective negatives.
3. To have plain register marks on each.
The graded steps of the neutral density scale in the center of
the chart is used as a check of correct exposure of the original subject.
This scale may be reproduced thin or dense, depending on the ex
posure required by the subject, but it should be the same in all three
negatives.
306
Kodachrome Printing
Three colors : Yellow, Magenta and Blue-Green are printed upon
the upper portion of the chart. Their purpose is to assist in identify
ing each of the three negatives with respect to the filter through
which each was made. Each color is identified by its name appearing
upon it in white letters. Above each name appears in brackets the
name of its complementary color (of which it is the minus color).
As the chart is photographed successively through the three color
separation filters: Blue- Violet (0-5), Red (A), and Green (B) each
inscription will appear best and most contrasty as it is photographed
through the filter of a complementary color. Thus the yellow color
will show its name best when photographed through the Blue- Violet
(0-5) filter, the magenta — when photographed through the Green
(B) filter, and the blue-green — through the Red (A) filter. In this
manner the white inscriptions will act as self -identification marks
upon the negatives and positives: the colors in brackets indicating
the color of filter employed to produce the negative, while the capital
ized words indicate the color of the dye to be used for making the
positive.
Thick and thin register marks available on the two halves of the
lower portion of the chart are given so that they may be used for
large or small reproductions. They should be placed at opposite ends
of the original as far apart as possible.
If this chart can be used in the actual photograph, the largest avail
able size of it should be used and two or more placed next to the subject
matter, in the plane of the sharpest focus but outside of the area required
for the finished photograph, however within the field covered by the
camera. Thus while they will appear on the original film they can be
omitted from the finished print.
For the making of three color separation negatives in the Valoy or
Focomat Enlarger it should be remembered that either of these enlargers
will accommodate a negative area up to 4 x 4 centimeters. For this pur
pose a hinged, double glass negative carrier should be used (code word
VOONR). The following procedure is recommended as preparatory to the
making of three color separation negatives.
1. Separate the four parts of the smallest size of the Wratten Card
Board Chart (3^4 x 4%) along their perforations.
2. With the Leica camera and any of the copying attachments (see
chapter on Copying) copy the strip containing the three color ink
patches: yellow, magenta, blue-green without filter, using photoflood
lights for illumination. The length of this strip, about four inches,
should be accommodated within the long dimensions of the Leica
negative which will reduce it on the negative to about 1% inch.
A number of exposures should be made and after development that
frame should be chosen which renders the colors best.
3. On the same supersensitive Panchromatic emulsion copy the central
portion of the same chart accommodating the netural density grada-
307
tion strip within the long dimension of the negative. This strip also
should be reduced to about 1% inch length.
4. A number of exposures should be made and after development that
frame should be chosen which contains definite gradations of each of
the eight steps of gray. Over and under exposed frames should be
discarded.
5. Separately copy the lowest portion of the chart containing the regis
tration marks. Similar procedures of several exposures should be fol
lowed but it is suggested that these registration marks be copied
upon positive film and developed for maximum contrast.
As these "accessory copies" can be used repeatedly, their making in the
most careful manner will be worth while, and their preserving in separate
envelopes for repeated use will repay the trouble in results and economy of
time.
As soon as these copies are available one may proceed with the making
of three color separation negatives by placing the Kodachrome trans
parency and the various pieces of film containing the copies of portions of
the Wratten Copy Board Chart within the hinged glass negative carrier
in the manner shown in figure 223.
WRATTEN COPY BOARD CHART.
Fig. 223 Wratten Copy Board Chart
Arrangement of material within the Hinged Plate Glass (code word VOONE) Negative
Carrier as required for making of three color separation negative.
Center — original Kodachrome transparency (emulsion side away from enlarger lens)
with perforations on both sides trimmed off;
Bottom — Negative copy of neutral density steps ;
Top — Negative copy of color ink patches;
Right and Left — Negative copies of registration marks.
It is suggested for making three color separation negatives that
the next larger size of negative film be used for the three color separa
tion negatives than the size of the finished negatives. Thus if 3% x 4*4
enlargement is contemplated a4x5or5x7 negative be used to
accommodate the auxiliary data furnished by the Wratten Copy
Board Chart. The importance of having th^se marks cannot be over
308
Color Separation
emphasized and will be realized by the worker only while he actually
carries out the job to completion.
Color Separation Filters
Satisfactory filters for the color separations are Wratten No. 29 red,
No. 61 green, and No. 49 blue. These are placed successively^ between the
slide and film in making the three exposures. As a negative material,
Eastman Safety Super Sensitive Panchromatic Cut Film is recommended.
However Eastman Portrait Panchromatic will produce satisfactory results.
In either case, film with the antihalation backing should be used.
For development of the negatives, Eastman DK-50 is recommended,
about five minutes for the red and green filter negatives, and seven and a
half minutes for the blue filter negatives.
Trial exposures can be made through the red filter and sufficient time
given to produce a veiling over of the shadow tones.
With the 250-watt, 115-volt G 30 Mazda, used with a heat absorbing
glass, the filter factors are as follows:
TABLE I
Filter Relative Filter
Exposure Factors
29 Red 1.0 5.3
61 Green 1.5 8.0
49 Blue 4.0 21.0
By way of example a Kodachrome Leica picture of average density and
contrast enlarged 6% times at a lens aperture of f :8 will require approxi
mately the following exposures :
29 Red 4% seconds
61 Green 7 seconds
49 Blue 18 seconds
The ratio of exposures and development for any light source, developer,
type of material or set of filters can be established using Table 1 as a guide.
A new method has been recently developed for making the wash-off
relief positives, called the Automatic Masking Method. The reason for this
new method is to provide the proper amount of color correction to each
relief print. The necessity of this correction arises from the fact that up
to the present time, no perfect set of three color printing dyes, pigments,
or inks have been invented. It is well known that each sub tractive printing
colored substance should absorb one of the three primary colors of white
light and transmit or reflect the other two. This ideal condition does not
exist, so the masking method was designed to correct for some of the in
efficiency of the dyes.
With the automatic masking method, the red filter negative is printed
on to wash-off relief film in the usual way. This is developed, carried
through the bleach wash-off, fixed, and dyed blue-green. After the blue-
green transparency is dry, it is superimposed in register over the green
filter negative. Another print is made onto wash-off relief film of the
green negative and the blue-green positive. This print is carried through
the process and dyed magenta. When this is dry, both the blue-green posi
tive and the magenta positive are superimposed in register over the blue
filter negative and the final print made on wash-off relief film carried
309
through the p'rocess dyed by a new dye, CK yellow. When the yellow is
dry, the three positives can be bound together as a transparency or all
three wetted and the dye images transferred to the prepared paper. When
making the positives by this method the violet 35 filter is not used.
A new paper is available, called Trade 867, which is gelatin-coated
and only needs to be bathed for 5 minutes in a solution of aluminum
sulphate, washed for 5 minutes in running water, then bathed for 5 minutes
in a buffer solution of 5 per cent sodium acetate.
The paper can be used immediately or dried for later use. It must
always be wetted and stretched before the transfers are made.
The color relief prints are now transferred to the paper, yellow,
magenta, and blue-green; the time required is about 5 minutes for the
yellow, 10 minutes for magenta, and 8 minutes for the blue- green.
Complete instructions can be obtained from the Eastman Kodak Com
pany. However, to show the steps necessary the following outline may pro
vide a clear picture of the procedure:
SUMMARY OF PROCEDURE
Three Color Separation Negatives
1. Enlarge Kodachrome picture on Eastman Safety Supersensitive Pan
chromatic Cut Film, Antihalation, through Wratten Filters No. 29,
61, 49. The exposure should be such that when properly developed
it will produce a density of about gamma 1.8 on each negative for a
diffuse white highlight under this developing condition.
2. Develop the red and green filter negatives in a tank of DK-50 devel
oper for about 5 minutes at 65° F. (18° C.) or sufficient time to
attain a gamma of about 0.8. (See page 138 about gamma.) Develop
the blue filter negative for about 7% minutes, or sufficient time to
attain the same gamma.
KODALK DEVELOPER (Formula DK - 50)
Avoirdupois Metric
Water (about 125° F.
or 52° C.) 16 ounces 500.0 cc
Metol 36 grains 2.5 grams
Sodium Sulphite, desiccated 1 ounce 30.0 grams
Hydroquinone 36 grains 2.5 grams
Kodalk 145 grains 10.0 grams
Potassium Bromide 7 grains 0.5 gram
Cold Water to make 32 ounces 1000.0 cc
Dissolve the chemicals in the order given.
Use at 65° F. or 18° C.
3. Fix, wash and dry negatives in the usual manner.
OUTLINE OF THE PRINTING PROCESS
Making the Relief Positives
A. Blue-Green.
1. Make a contact print by white light (the violet filter, Wratten No. 35
is not used over the light source in this method, which is known as
310
Wash-Off-Relief Prints
the semi-automatic masking) onto Wash-Off Relief Film. Expose
through relief -film support*
2. Process completely the print from the red filter negative:
a. Develop 5 minutes in Formula D-ll at 65° F. (18° C.)
DEVELOPER (Formula D-ll)
Avoirdupois Metric
Water (about 125° F.
or 52° C.) 64 ounces 2.0 liters
Metol 60 grains 4.0 grams
Sodium Sulphite, desiccated 10 ounces 300.0 grams
Hydroquinone 1 ounce 85 grains 36.0 grams
Sodium Carbonate, desiccated
3 ounces 145 grains 100.0 grams
Potassium Bromide 290 grains 20.0 grams
Water to make 1 gallon 4.0 liters
Use without dilution.
b. Wash 10 minutes in running water at no more than 70° F.
(21° C.)
c. Bleach completely (about 2 minutes) in Solution E-lOa, at 65° F.
(18° C.)
(Formula R - lOa)
WASH-OFF RELIEF BLEACHING SOLUTION
Stock Solution A
Avoirdupois Metric
Water 16 ounces 500.0 cc
Ammonium Bichromate 290 grains 20.0 grams
Sulphuric Acid C. P. 1 dram 4.0 cc
Water to make 32 ounces 1.0 liter
Stock Solution B
Sodium Chloride (table
salt) I1/-! ounces 45.0 grams
Water to make 32 ounces 1.0 liter
For use, take 1 part of A, 1 part of B, and 6 parts of water.
d. "Develop" relief for 4 minutes in water at 125° F. (52° C.)
e. Fix 1 minute in Bath F-24.
NON-HARDENING FIXING BATH (Formula F-24)
Avoirdupois Metric
Water (about 125° F.
or 52° C.) 16 ounces 500.0 cc
Hypo 8 ounces 240.0 grams
Sodium Sulphite,
desiccated 145 grains 10.0 grams
Sodium Bisulphite 365 grains 25.0 grams
Water to make 32 ounces 1.0 liter
f . Wash 5 minutes in running water.
g. (Optional) If necessary bleach brown stain by bathing 1 minute
in Permanganate Reducer R-2.
311
PERMANGANATE REDUCER (Formula R - 2)
Stock Solution A
Avoirdupois Metric
Water 32 ounces 1.0 liter
Potassium Permanganate 1% ounces 52.5 grams
Stock Solution B
Water 32 ounces 1.0 liter
Sulphuric Acid, C. P. 1 fluid ounce 32.0 cc
For use, take 1 part of stock solution A, 2 parts of stock solution
B, and 64 parts of water.
Important: When preparing stock solution B, always add the acid slowly to
the water while stirring the water rapidly. Never add the water to the
acid, or the solution may boil over and spatter on the hands or face, causing
serious burns.
h. (Optional) If above treatment was resorted to, finish up by
washing for three minutes in running water, clearing by replac
ing in Bath F-24 for 1 minute, then washing it for 5 minutes
in running water. Drying it is not necessary, though advisable
to avoid too high contrasts.
3. Dyeing the Relief.
Dye the Relief from the red filter negative in the BLUE-GREEN A
dye solution containing about 2.0 cc of 5% Acetic Acid in 500.0 cc of
dye solution, or sufficient acid to make the blue-green image appear
by reflected light almost as high in contrast as the Kodachrome
appears by transmitted light, when both are viewed through a No. 29
Wratten Filter.
4. Rinse the blue-green relief positive in 1/10 per cent (0.1%) of Acetic
Acid — and dry.
B. Magenta.
1. Register the BLUE-GREEN Relief Positive with the green filter
negative.
2. Make a contact print by white light from the masked green filter
negative onto Wash-Off Relief Film, giving it about 1% times the
exposure that would be given if no mask were present.
3. Process completely the print from the masked green filter negative.
(Steps as for Blue-Green Relief Positive: 2a - 2h before).
4. Dye the relief from the masked green filter negative in the Magenta
B dye solution containing about 6.0 cc of 5% Acetic Acid to give
good reproduction of the Kodachrome when the wet blue-green and
magenta reliefs are superimposed on a white tray bottom and both
the Kodachrome and the reliefs are viewed through a yellow filter
Wratten No. 12.
5. Rinse the magenta relief Positive in 1/10 per cent (0.1%) Acetic
Acid solution and dry.
C. Yellow.
1. Register both the BLUE-GREEN and MAGENTA Relief Positives
with the blue Filter Negative.
2. Make a contact print by white light from the doubly masked blue
filter negative onto Wash-Off Relief Film, giving about 2 times the
exposure required without the masks.
312
Wosh-Off-Relief Prints
3. Process completely the print from the masked blue filter negative
(Steps as for Blue-Green Relief Positive: 2a-2h).
4. Dye the positive relief from the masked blue filter negative in the
new CK dye solution so as to obtain a good reproduction of the
Kodachrome by light of daylight quality in the three wet superim
posed dyed reliefs. Add a small amount of 5% Acetic Acid to the
dye solution, only if necessary.
5. Rinse the yellow relief positive in 1/10 per cent (0.1%) solution of
Acetic Acid and dry.
Corrective Measures.
If necessary to increase contrast of Reliefs Dyed for transfer—all
three negatives should be intensified by identical treament with Chromium
Intensifier In-4.
CHROMIUM INTENSIFIER (Formula In - 4)
Stock Solution
Avoirdupois Metric
Potassium Bichromate 3 ounces 90.0 grams
Hydrochloric Acid C. P. 2 fluid ounces 64.0 cc
Water to make 32 ounces 1.0 liter
For use, take 1 part of stock solution to 10 parts of water.
Bleach thoroughly, then wash for five minutes and redevelop
fully (5 to 10 minutes) in artificial light or daylight in any
quick-acting, non-staining delevoper containing the normal pro
portion of bromide, such as Formula D-ll, diluted 1:3. Then
wash thoroughly and dry. Greater intensification can be obtained
by repeating the process. The degree of intensification can be
controlled by varying the time of redevelopment.
If the picture should appear too contrasty, the dyes should similarly
be removed from the reliefs by washing first in a 1% solution of strong
aqueous ammonia, and then in plain water.
1% Ammonia Solution
Add one part by volume of strong ammonia water to 100 parts
of water.
Making Imbibition Transfers to Paper.
1. Prepare paper in advance, or during dyeing of reliefs.
a- Bathe the gelatin-coated paper, known as Trade 867 for 5
minutes in the following Paper-Mordanting Solution.
Aluminum Sulphate Solution for Mordanting Paper (Formula M - 1)
Avoirdupois Metric
(A) Aluminum Sulphate 6% ounces 200 grams
Water to make 32 ounces 1 liter
(B) Sodium Carbonate, des.
1 ounce 145 grains 40 grams
Water to make 16 ounces 500 cc
Add B slowly to A, stirring well during the addition. A white
precipitate is at first formed, but this dissolves upon stirring. If
a trace should remain, it can be filtered out with a rapid filter
paper.
b. Wash for 5 minutes in running water.
313
c. Bathe for 5 minutes in the following buffer solution:
5% Sodium Acetate Solution
Dissolve Sodium Acetate, Anhydrous, 50 grams in 950 cc. water,
or dissolve Sodium Acetate, Anhydrous, 1 2/3 ounces in 32 ounces
water.
d. Wash for 5 minutes in running water and use wet.
2. Soak the dyed relief positives thoroughly in 1/1Q per cent acetic acid.
3. Rinse the yellow relief positive for 1 minute in distilled water and
then immediately squeegee it onto wet mordanted paper, known as
Trade 867, and allow to remain until the transfer of the dye is uni
form and substantially complete.
4. Squeegee the magenta relief positive onto the same sheet of paper
and allow to remain until the transfer of the dye is uniform and
substantially complete.
5. Squeegee the blue-green relief positive onto the same sheet of paper
and allow to remain until the transfer of the dye is uniform and
substantially complete.
6. Dry and mount prints as desired. Dry mounting is very satisfactory.
Transparencies
A set of reliefs can be used for a transparency, for which pur
pose a slight difference in dyeing is required. "When the three dyed
reliefs are dry they are registered and bound between two pieces of
glass.
For projection in a lantern they should be varnished before
Fig. 224 Tiger Beetle
See Chapter 20 for method of photography
J. M. Leonard
314
Wash-Off-Relief Prints
registering and binding them. Varnish Formula 1 will produce the
most satisfactory results.
Varnish Formula for Color-Film Transparencies (Formula V-l)
Avoirdupois Metric
Gum Sandarac 365 grains 25 grams
N-Butyl Alcohol 6^ fluid ounces 200 cc
Castor Oil iy4 fluid drams 5 cc
Oil of Lavender y4 fluid dram 1 cc
Warm the gum sandarac and butyl alcohol together until the
sandarac has been entirely dissolved. (Caution: Butyl alcohol is
inflammable, and should not be heated over an open flame.) Then
filter the solution through a fine, lintless cloth, add the castor oil
and the oil of lavender, mix thoroughly and cool before using.
The oil of lavender may be omitted if the odor of the castor oil
is not objectionable.
For convenience the following table of Dilutions of Acetic Acid
is offered, these various concentrations being required for the different
parts of the procedure.
Table of Dilutions of Acetic Acid
Concentra- Amount of Acetic Acid
tion in % Glacial Acetic Acid 28% Commercial Acetic Acid
1/10% 1 cc diluted to 1 liter, or 3.6 cc diluted to 1 liter, or
*4 fluid dram diluted to 1 fluid dram diluted to
32 ounces 32 ounces
Y2% 5 cc diluted to 1 liter, or 18 cc diluted to 1 liter, or
1*4 fluid drams diluted to 5 fluid drams diluted to
32 ounces 32 ounces
5% 50 cc diluted to 1 liter, or 180 cc diluted to 1 liter, or
13 fluid drams diluted to 5% fluid ounces diluted to
32 ounces 32 ounces
For those interested in making Wash-Off Relief prints it might
be pointed out that little or no difficulty is ever experienced in making
the three color separation negatives or the dye positive matrices.
Most of the errors are made in dying the matrices to correct
color balance. Particular attention should be paid to following de
tailed instructions on this subject available from the Eastman Kodak
Company. It is therefore suggested that before attempting above
procedure the following two booklets be secured from the Graphic
Arts Department, Eastman Kodak Company, Bochester, N. T. :
1. ''Making Color Prints on Paper from Kodachrome Films."
2. ' ' Color Printing with Eastman Wash-Off Belief Film. ' '
Making Separation Negatives in the Camera
The Kodachrome film is undoubtedly the quickest and simplest method
of obtaining the original color positive. Requiring no accessories "in the
field" it can be broadly applied to action photography, and photography of
315
mmm
living and moving: objects. At times, however,
it may be desirable and possible to make three
separate negatives of the same object. This is
done simply by making three exposures on the
same Panchromatic film, one exposure through
each of the standard Wratten three color separa
tion filters A, B and C-5. A set of these three
filters mounted in a rotating segment is produced Trichromatic Separation
,,.,„, ,-,•, ,-, x-rr TT ., i ^ jf XT niter for use on Cam-
and distributed by the Chess United Co. of New era Or Eniarger Lens.
York. This combination set is known as the
"Trichromatic Separation Filter," is mounted
directly over the lens and each of its three filters moved into taking posi
tion as required. (The same filter can also be used in connection with
making three color separation negatives by projection in the enlarger.)
The exposure factors of the three color separation filters vary depend
ing on the negative material used. They will be found in the filter factor
table on page 111. As a matter of convenience the following filter factors
for DuPont Superior Film are given:
Daylight Photoflood Mazda
A 954
B 5 6 6
C-5 6 10 13
It seems almost superfluous to point out that the camera must be rigidly
supported for the making of three color separation negatives. A neutral
density scale consisting of step gradations of white, grey and black, sharply
outlined, should always be placed in a corner of the picture (so as not to
appear later in the finished print but to appear on every negative). The
scale must be illuminated in the same manner as the subject and should
be sharply in focus to serve not only as a means of comparing the density
of the negative but also as a means for registering the three prints in
superimposing them. When the negatives are developed and dried they
should be marked along the edge with good water proof India ink as fol
lows: B for the negative taken through Red filter for blue color; R for
the negative taken through green (to be colored red); Y for the negative
taken through blue filter (to be colored yellow).
The color balance of the final prints will depend upon the care and
relative correctness of exposure used in making the original black and
white negative in the camera, or of the separations made from the Koda-
chrome positive. If correct exposure has been given the neutral density
scale referred to will have the identical tone value in each negative. If
the original negatives are not correctly exposed, it may some times be pos
sible to make a slight compensation by varying the exposure during sub
sequent manipulations, but the results will not be as satisfactory as those
originating from correctly balanced negatives.
The problem of securing proper balance of densities in the three-
color separation negatives requires considerable experience before satis
factory results are obtained and a good deal of experimental work will
have to be done before the proper technique is acquired. However, once a
set of satisfactory three-color separation negatives is available, one may
proceed to make color prints either by the Eastman Kodak Wash-off
Relief Method or by the Defender Chromatone Process.
316
DEFENDER CHROMATONE COLOR
PRINTING PROCESS
ROWLAND S. POTTER
CHAPTER 16
All manipulations involved in the Defender Chromatone Process
are very simple, and little difficulty should be experienced by the
Leica worker who is already familiar with the developing and toning
technique. The process is based upon the principles of three-color
photography of the subtractive type. Briefly, the process involves
the superimposition of three transparent positive prints: one toned
yellow, another magenta, and the third blue-green—all mounted upon
a white background, the finished product resulting in a picture in
natural colors. The original photograph may be taken either by direct
color film, such as Kodachrome or three separate negatives can be
made by direct photography through green, red and blue filters. When
the original color photograph has been made on Kodachrome, it will
be necessary to make three color separation negatives as described
above from which subsequently Chromatone color positives are made.
White light is a mixture of all known colors. White is not an
absence of color, but on the contrary it is the sum total resulting from
the presence of all colors. To show the presence of the components of
light we can pass a beam of this white light through a glass prism
with the result that the colors are separated into the spectrum : violet,
blue, bluish-green, green, yellow, orange and red. Bach of these
spectral colors is a true color which cannot be broken down or separ
ated into other colors by any known methods.
For practical purposes, the spectrum may be considered divided as
shown in the following diagram:
B
c
1
I A
1
1
i
1
Blue-
Violet
| Green
I
i Red
I
^00 50
0 _yV_ 6C
KD 709/
Bluish-Green Orange
. 226 A Photographic Division of the Spectrum
317
The color of any object is due to the color of that portion of the incident
light which is reflected from its surface. The other colors of the incident
light that are not reflected are absorbed by the object.
It is commonly known that any color can be reproduced by mixing
varying quantities of blue-violet, green and red colors. Therefore all
three-color processes are based on photographing separately the primary
colors: red, green and blue. In the case of Kodachrome this is accomp
lished within the body of one composite emulsion while in three color
separation negatives made in the camera, or by projection, this is done by
three separate exposures made through red, green and blue light filters
respectively.
Making the Actual Color Prints
The principle of color prints is based upon considering the whito
paper stock upon which the print is being built up as the light
source. This white paper stock reflects all colors of the spectrum.
From each of the three separation negatives secured either directly
through the camera, or by projection from a color transparency like
the Kodaehrome, positive prints are made upon a special stripping
film (Chromatone Print paper) which is exposed and handled simi
larly to projection paper. The collodion emulsions of the Chromatone
Print Paper are stripped off their base, toned to the proper color,
which is complementary to the color of the filter through which its
respective negative had been made, and superimposed over each other
upon the white paper backing. The complementary color of red is
blue-green; it transmits both blue and green, absorbing red, being
therefore white minus red. The complementary color of green is blue
red or magenta; it transmits both the blue and red, and is therefore
white minus green. The complementary color of blue is red, green or
yellow; it transmits both red and green, and is white minus blue.
When all color prints are superimposed upon the white mounting
paper, each print will thus subtract from the white of the paper all
the portions of the original which were not blue, green or red, accord
ing to the respective light filters through which its negatives were
taken. Such superimposed prints if correctly registered will give a
print in natural color.
The black and white Chromatone prints are thoroughly fixed and
washed for at least 15 minutes in running water. In the fixing bath the
gelatin emulsion can be stripped or separated from the paper backing.
The stripped emulsions should be handled with reasonable care to avoid
formation of kinks. The next step is to tone each film in its respective
Chromatone tonfng solution.
Toning the Separation Positive
The stripped off black and white positive films which are intended for
the Red and Blue images are placed together in one tray and the Red
and Blue toner-A made up according to the formula sheet accompanying
318
Chromatone Process
the materials is poured over. They should remain in the A solution for
at least 15 minutes thoroughly agitated until all of the black silver is
removed. When these prints are thoroughly toned they will appear as a
light greenish blue image. They are then placed in running water and
thoroughly washed for about 10 minutes. It is essential that hands be kept
clean at all times to avoid contamination of various solutions.
After this washing, the film to be toned is placed in the Eed toner B,
and allowed to tone for about 10 minutes. The solution is then poured off
for use a second time, and the print is immersed for three minutes in a
15% hypo solution (granular or rice hypo: 2% oz.) (70 grams) — distilled
water 32 oz. — (1000 cc.) (Do not use acid fixing hypo). It is then washed
for about 15 minutes in running water.
Similarly, the film to be toned Blue-green is placed in the Blue toner
B and allowed to remain for about 10 minutes, after which the toner is
poured off for use a second time, and the print immersed in a tray of
weak Hydrochloric Acid solution for about one minute. Use one part of di
luted solution Hydrochloric AcidCP: 16 oz. (500 cc.) — distilled water 48 oz.,
(1500 cc) with one part of water. The print is then thoroughly washed in
running water for about 10 minutes after which It is placed in a tray con
taining standard hypo solution (see above) until greenish tones have
changed to blue. It is then washed for 20 minutes in running water.
The Yellow toning solution (Yellow Toner A) is supplied in two solu
tions, equal parts of which are mixed for one. The print to be toned yel
low is immersed in this solution for about 15 minutes. This work may be
carried on simultaneously with the blue and red toning operations, sepa
rate trays being used. At the end of about 15 minutes the solution is
poured off into a graduate and lOcc (3 drams) of standard hypo solution
is added to every 50cc (2 oz.) of working solution, and thoroughly mixed.
Next wash the print for 2 or 3 minutes in running water, or in one com
plete change of water, return it to the tray and pour the solution back
on the print. This operation should be done quickly, and the tray should
•be vigorously rocked for about 1 minute to prevent any streaking of the
yellow image. The print is now allowed to remain in the solution for
about 3 minutes, after which the solution is discarded, the print washed
for a minute or two in clear water, and then immersed for about 1 minute
in a solution made up of standard hypo solution — one part, water three
parts. Do not keep the print longer than one minute in this solution as
the image at this stage Is slightly soluble in hypo and highlight detail
may be lost thereby. Wash the film immediately for not less than 20
minutes in running water. The yellow image, after thorough washing,
is immersed for about 2 minutes in Yellow toner B, and then washed in
running water for about 20 minutes. It is then ready for assembling.
The three-color images are now registered on a gelatin coated paper
(Chromatone Backing Paper) which has been previously soaked thoroughly
in water. Lay the backing paper gelatin side up, on a clean ferrotype
tin, clean glass or Masonite tempered hard board, or on any flat water
proof surface. The Yellow image is placed first on the paper and squee
geed firmly into place, emulsion side down, and allowed to remain for a
few minutes. The Red image is then placed on top of the Yellow, pushed
carefully into register, squeegeed lightly, the register checked, and ad
justed if necessary, and the Red image squeegeed firmly into place. If
at this point the two images do not appear exactly in register, the Red
sheet may be peeled off carefully, re-moistened and registered again. It
319
will be found easier to register the Red and Yellow images if they are
viewed through a light blue filter.
The Blue image is then superimposed upon the other two, precisely
as described above, completing the color print; all prints emulsion side
down.
The print is now allowed to remain in the air for about 10 minutes
until the surface dries to some extent. Next, the damp print should be
trimmed so that the edges of the collodion layers are flush. It is then
placed on a piece of rigid, hard waterproof material. Masonite Tempered
Hard Board is admirably suited for this purpose.
Ordinary Kraft gummed tape is moistened and the damp print
fastened to the board with this tape overlapping the print about 3/16" on
all four edges. Do not have the gummed tape too wet or the gum will
ooze between the print and the board, making it difficult to remove the
print.
The print will dry rapidly, stretched absolutely flat. It can be loosened
from the board when dry by carefully inserting a sharp knife through
the tape under the edge of the print and running it around the print.
Chromatone prints, ordinarily processed, dry with a high gloss and
great color brilliancy, which is considered desirable for illustrative and
commercial work.
A MATT finish can be obtained by rubbing over the glossy surface
with fine dry pumice powder. If the finished print is given a coat of good
matt lacquer applied with an air brush, varying degrees of matt finish
can be secured.
To obtain rougher surfaces, any of the regular rough textured papers,
such as Defender Veltura Q, can be used instead of the glossy base paper
when assembling the print. Simply fix the paper, without exposure and
thoroughly wash it.
The above described Chromatone Process of making color photo
graphic prints is one in which color images are formed on three
transparent media which are permanently superimposed upon paper,
forming a print consisting of a number of layers.
Condensed Routine for
Producing a Chromatone Print
An organized method for producing a Chromatone print is speci
ally detailed below. There are no lost motions. A finished print will
be obtained in less than one hour.
The set of three black and white Chromatone prints, having been
thoroughly fixed (see page 318), are taken directly from the fixing
bath, the paper backing discarded and the stripped films placed in
a clean tray (No. 1) filled with water in the order — Yellow, Blue and
Bed. They are then immediately transferred, one at a time, to an
other tray (No. 2) of clean water.
The first tray is then emptied, filled again with clean water, and
the films transferred back to it. This accomplishes the third change
of water. In like manner, two more transfers of the films are made
through trays filled with clean water. When this is done, all three
films are in tray No. 1. the yellow at the bottom and red on top.
320
Chromatone Process
Condensed Routine ior
Toning Chromatone Prints
1. WASH set of three developed Prints— after fixing and stripping
from backing paper— through FIVE changes of water in trays
1 and 2 — finish with prints in Tray 1 in this order: YELLOW
bottom— EED — BLUE top.
2. Place EED and BLUE prints in Tray 2, cover with Bed-Blue A
working solution. Bleach 15 minutes.
3. Drain water from YELLOW print in Tray 1, cover with Yellow
Toner A Working solution. Bleach 15 minutes.
4. Place BLUE print in Tray 3 — wash five or six changes of water
— cover with Blue Toner B.
5. Drain Ked-Blue Toner A from tray 2— discard solution — wash
EED print five or six changes of water — cover with Red Toner B.
6. Pour Yellow Toner A Working solution into graduate — add 10
cc. Standard Hypo — mix well — wash YELLOW print once —
cover with Yellow Toner A (plus Hypo), continue toning for 3
minutes. Discard Yellow Toner A — wash YELLOW print once
— cover with dilute Hypo solution (1 part Standard Hypo, 3
parts water) for one minute — wash YELLOW print through five
or six changes of water — cover with Yellow Toner B for 2 min
utes — pour Yellow Toner B back into bottle — wash YELLOW
print through five or six changes of water — keep in final wash
for later assembling.
7. Pour Blue Toner B from tray 3, back into bottle— flush BLUE
print with dilute Hydrochloric Acid (one part dilute acid to six
parts water) for one minute — wash print through five or six
changes of water — add Standard Hypo to cover, for five minutes.
8. Pour Eed Toner B from Tray 2 back into bottle — add Standard
Hypo to cover — for three minutes — wash EED print through six
changes of water — keep in final wash ready for assembling.
9. Drain Standard Hypo from BLUE print in Tray 3, wash print
through six changes of water — keep in final wash ready for
assembling.
10. Wash YELLOW Print in Tray 1 through six changes of water —
ready for assembling.
A very interesting detailed description of the Defender Chroma-
tone Process, its principles and practical application is offered in a
booklet that should be secured from the Defender Photo Supply Co.
of Eochester, N. Y.
321
PART II
LEICA IN SCIENCE AND EDUCATION
Resident, Shenandoah National Park
For Resettlement Administration, "Washington, D. C.
322
Arthur Rothstein
EDUCATION THROUGH THE EYE
ROY E. STRYEER
EDWIN LOCKE CHAPTER 17
Learning by Looking
There is no better way to get an appreciation of the camera's
possibilities than to pause and take an honest inventory of your
knowledge. Ask yourself what you know about geography, politics,
economics, or current events. Then ask yourself how much of this
knowledge is based on pictures you have looked at. Unless you have
been hidden away somewhere, out of reach of newspapers, magazines,
books, pamphlets and the cinema, you will find yourself recalling
image after image that was originally formed on a sensitized emulsion.
You will find that your grasp of things in this modern world would be
weak without the camera, which captures events, personalities or land
scapes and holds them for you to consider at leisure.
Because of the camera, an ever-increasing amount of our knowl
edge comes through visual experience. Educators today are aware
of this, and it is because of 'this awareness that a brief survey of the
possibilities of visual aids in education is presented here. We wish
to emphasize that this is directed not solely at professional educators,
but insofar as we all have responsibilities as teachers, to every owner
of a camera.
Sources
Visual material has three main sources :
1. Original camera work performed in the field.
2. Clippings from newspapers and magazines, posters, ad
vertisements, books, catalogs, letters, reports (much of
this material can best be made available for classroom use
by means of photographic copies).
3. Charts and pictographic material.
Original camera work by teacher and student may be general in
scope or laid down along the lines of some special interest. The
historian may use his camera solely for copying records and docu
ments; the scientist to record experiments and make field notes; the
Photographs, Courtesy Resettlement Administration.
323
sociologist to make an objective study of people and their environment.
The student, whether he works under close direction or is left free to
pursue a general photographic inquiry, not only brings a fresh view
point to the subject, but is benefitted directly through his active par
ticipation in the learning process.
Importance of a Shooting Script
"Whether the work is general or specialized . . . and this concerns
every camera user ... the first step should be the preparation of a
"shooting script. " Not only will time and materials be saved, but
in the very preparation of a script valuable considerations which are
likely to be overlooked in the field often arise. Thus a person taking
a dozen pictures with a clear idea of what he means to show in them
will have material of more interest than the maker of a hundred pic
tures who, instead of shooting squarely at his subject, shoots around it.
The preparation of a shooting script is a simple job if the follow
ing questions are borne in mind:
1. What do I want to show?
2. How can this be done in photographs?
3. Specifically what photographs do I need to make a rounded
job?
4. Where am I likely to find my subjects?
Note: (1) In realizing your shooting script with the camera, it pays
to be liberal with film. Unless you are unshakeably confident in your
self as a photographer, take your subject from various angles and
experiment with different exposures. You will find, on returning from
the field, that the extra material thus collected will often spare you
annoyance and regret. (2) It is well to realize at the outset that
there will be an inevitable divergence between your initial idea as
outlined in the shooting script and the final result as expressed in
terms of photographs. This is the fate of all outlines, and is more
often a good, rather than a bad sign, since it denotes a ferment and
development of creative ideas occurring between the plan and the
finished product.
Presentation
The effectiveness of visual material depends largely on its
presentation. The two most important methods of presentation for
classroom use are:
1. Flat prints (a term covering photographs, pages from books, maga
zines, catalogs, copies, clippings, etc.)
324
Visual
a. For individual study or to be passed around class or discussion
groups.
b. For wall or bulletin-board display (when placed on convenient
and well-lighted bulletin boards, flat prints may be briefly surveyed or
studied at leisure).
Note: The importance of good "layout," i. e., the placing of pictures
in groups so as to show their relationship to one another, cannot be
too greatly stressed. Good layout has a double function: integra
tion and interest. Some suggestions follow:
1. Use prints of varying sizes; the minimum effective size is
approximately 8" x 10".
2. Select a "theme" picture . . one which is highly significant and
dramatic . . . and focus attention on it by enlarging it and
placing it in a key position. A few good pictures, well ar
ranged, are better than many which are "just thrown to
gether."
3. Use neat, clear and' simple lettering for titles and captions.
There are several practical mechanical lettering outfits on the
market which make uniform and attractive lettering a simple
process.
4. Color can often be used to good advantage in the back
ground on which pictures are mounted.
5. Any device which will create interest without changing or
destroying meaning is a legitimate one.
c. Flat prints, especially photographs, when greatly enlarged give a
much more vivid experience than they do in small hand sizes. Big en
largements can be mounted on cardboard or composition panels which
are hinged, so that they may be folded up when not in use and con
veniently stored for future presentation.
d. Flat prints may be used in conjunction with three dimensional ob
jects and arranged to make realistic and interesting exhibits.
e. By means of a reflection projector, which utilizes mirrors and
lenses, flat prints of any sort can be projected on a screen. Most re
flection projectors accommodate flat material up to 8 x 10 inches in size.
2. Projection . . . the most widely used projection methods employ some
form of transparency:
a. Glass slides . . . there are two sizes of slides in general use:
1. Standard (3% x 4 inches) lantern slides.
2. Leica size (2x2 inches) slides. These are becoming increas
ingly popular because of a process by which individual slides
may be made directly from Leica negatives (see chapter 12).
b. Film strips ... a device whereby pictures may be projected in pre
arranged sequence. A film strip is similar in appearance to moving
picture film, having the same composition, size and sprocket-holes. In
a film strip, however, each frame has a different subject from adjoin
ing frames, so that in the projection there is no movement, except
the progression from one frame to another. The double-frame film
strip, the same sized frame which is used in film for miniature cameras,
is becoming more extensively used than the single frame, which is
the same size as motion picture frames. All new film strip projectors
325
are being made for double-frame strips. The double-frame strip gives
a larger area to project from, and hence gives sharper pictures. Also
it is possible to make contact prints directly from miniature negatives.
Note: Glass slides are more generally used than film strips because
they are more adaptable in use. A large central file of glass slides can
be drawn upon for selections and combinations to illustrate any given
subject. Slides last longer than film strips and can be used in any
desired sequence.
Film strips, on the other hand, make up for their lack of adapt
ability by their small bulk and convenience in operation. They should
not, however, be considered merely lantern slides in handy form. In
conjunction with a narrative given by the instructor from notes or a
script, or with a synchronized recorded narration, they can be made as
remote in technique from the old magic lantern-lecture combination as
the modern "talkie." (Film strip technique is discussed at length
farther on in this chapter.)
Notes on the Arrangement of the Drought Layout
The arrangement was made with a definite idea in mind: to show the
effect of drought on land and its human consequences. The pictures were
selected from about twice the number finally used. Every picture was
eliminated that was not essential to the story. Each picture was considered
as part of the whole. The choice was finally made on the basis of individual
interest in relation to the total effect. The pictures are so placed that the
natural movement of the eye follows the sequence of events.
Always use as few pictures as possible. Yet — one drought picture
would not have sufficed to give the effect of terrible widespread desolation.
Also, the repetition of automobiles emphasizes mass migration. The whole
series is finally brought together with the picture of the mother and its
challenge to action.
Modern layout, like all modern design, is built on order, simplicity and
the subordination of detail to the whole. Use words sparingly. Let the
pictures serve as the main vehicle of thought.
Keep lettering simple and legible. Be sure it does not in any way
detract interest from the pictures. In the present case, this is avoided
because, though large, the letters are thin and light in tone. Avoid any
suggestion of the bizarre.
This layout might be used for a wall display several feet in width with
running comment by the teacher. It might also be used as a double page
spread in a portfolio of similar subjects to be passed around to individual
class members. In this case the photographs would be accompanied by brief
captions. This arrangement is not a good example of layout for such a
small format as the Leica Manual. The pictures are too numerous and some
too small.
The pictures used are of different sizes for interest and emphasis. For
example: the large picture of the car against the horizon attracts the eye
to a new movement in the continuity after the sequence of drought pictures:
namely, mass migration.
Note: if you do not feel equipped to organize material into the rather
varied pattern shown, use simply rows and blocks of pictures similar to the
accompanying line drawing. Again: avoid complexity of arrangement.
328
Visual
Fig. 229 Diagram Showing Natural Movement of the Eye Across Layout
as Shown on Pages 326 and 327
Fig. 230 Diagram of a
simplified layout for use
when facilities for a more
complicated plan are not
available
DROUGHT
Uses of Visual Material
Visual material, especially the photograph, can be used to good
advantage in every branch of knowledge. For an example of its ap
plication in pure science, take the study of physics. Photographs-
taken of each step of an experiment and presented as lantern slides,
or film strips make it possible to supplant the more laborious and
329
expensive lecture table experiment. A series of laboratory photo
graphs can also serve to illustrate scientific monographs. Or consider
another science, such as biology, where the photomicrograph makes
possible interesting and highly significant visual material. In those
sciences where field work is involved, photographic field notes or
records are invaluable for later use in the classroom or for private
study.
In the "social sciences,77 (sociology, economics, government),
there is a boundless field for visual material. In these studies the
photograph can serve two valuable major functions: dramatization
and obj edification. In sociology, for example, well-taken photographs
supply a human interest that is often neglected in text. A good film
strip, by dramatizing a problem, can impress it indelibly in the mind
of the student. The study of economics and government can similarly
be enlivened by good visual techniques which take advantage of the
drama and objectivity inherent in the work of a capable photographer.
In addition to the picture, the inclusion of charts and pictographs,
cartoons and line drawings, and photographic copies of rare or
archival documents, will render any course of study more meaningful
and interesting.
A Project in Visual Education
Let us take a sample in visual education. Our subject is, let us
say, the Cotton Belt. We will work it out from its beginnings, as a
"shooting script,77 to its completion as a 15 minute film strip.
The first step in the preparation of our script is to ask ourselves
what we want to show. Each of us, according to our professional in
terests, will answer this differently. The teacher of geography, for
example, in considering the subject will want to show the extent and
nature of the cotton belt, and, if he is an economic geographer, the
different methods of cotton cultivation.
Fig. 231 GEOGRAPHY
Alabama Negro Tenant Farmer
and Part of His Family Hoeing
Cotton
Photo by Lange
330
Visual
The teacher of economics is concerned with the economic structure
of the area, its imports and exports, the price fluctuations in cotton;
the technologist with the manufacture of cotton and its by-products
and the operations of the various industries built around cotton; the
sociologist with the influence of cotton culture upon the people, planta
tion life and its peculiarities; the historian with the plantation sys-
em, the influence of cotton cultivation on politics and human events;
and so on, each considering the subject of the Cotton Belt in a differ
ent light, according to his interests.
Once we know what we want to show, we can pass to the second prob
lem: how to show it for visual presentation in a film strip? When we
have set down the solution of this problem, our various shooting1 scripts*
may look something- like this:
THE GEOGRAPHER:
1,... Copy of map showing- location of Cotton Belt.
2. Scene in sandy lowlands near the Atlantic coast.
3. ' sand hills of Carolinas or Georgia.
4. ' clay hills of Piedmont area.
5. * Black Belt of Alabama.
6. ' Black Land Prairie of Texas.
7. * Mississippi Bottom Lands.
8. Scenes in various seaports of Cotton Belt.
9. Shots of different methods of cotton cultivation.
10. Chart showing date when picking begins.
Fig. 232 TECHNOLOGY
Diagram by U. S. D. of Agr.
Fig. 233 TECHNOLOGY
Cotton Baling by Eisenstaedt
THE TECHNOLOGIST:
1. Shots of cotton gin showing main and by-products.
2. Shots of cotton oil plant operations.
SEots of operations in textile factories.
Shots of operations in rayon, cellulose plants.
Copies of charts, flow diagrams.
Photos of finished products.
3.
4.
5.
* It is to be understood that these scripts are merely suggestive and very incomplete ;
any one of these interests might be of such scope as to include material from all scripts.
331
Fig. 234 ECONOMICS
New Orleans Cotton Exchange
Photo by Eisenstaedt
Courtesy Life Magazine
THE ECONOMIST:
1. Photos showing physical nature of Cotton Belt.
2. Copies of charts showing imports, exports, price movements, etc.
3. Shot of cotton exchange . . . candid photos of members.
4. Shot of cotton broker's office.
5. Photos of workers picking cotton by hand.
6. Shots of mechanical cotton picker at work.
Fig. 236 HISTORY
Early Cotton Gin
Harper's Illustrated Weekly
Fig. 235 HISTORY
Diagram U. S. D. of Agr.
THE HISTORIAN:
1. Copy of diagram of plantation system.
2. Pictures of slave quarters.
3. Views of plantation house.
4. Photos of sharecroppers' shacks.
5. Copies of line drawings from old bound volumes of Harpers,
showing pre-Civil War cotton culture.
6. Map — Spread of the Cotton Boll Weevil.
THE SOCIOLOGIST:
1. Photos of sharecroppers and housing.
2. " of plantation owners and housing.
3. " of different aspects of planation life:
a. food.
b. shelter.
c. occupations, — planting, cultivating, chopping, etc.
332
Visual
d. transportation.
e. recreation.
f. customs.
4. Views of cotton fields.
5. Views of soil erosion.
6. Candid shots taken to show "human erosion."
F1G I THE AVERAGE CQTT0W PLANTATION <t934)
4
KINDS AND HOURS OF WORK "453
Fig. 237 SOCIOLOGY
Diagram A.F. 1660, WPA
Fig. 238 Copy of Book Page
Example to Show How Special
Reference Material Can Be Se
cured. From American Economic
Life, Harcourt Brace & Co.
*rnment
x to do
, it will
future,
roblems
eparate
govern-
>ken of
ind the
oitcerns
•n. For
ent. It
to be
rnmedi-
th;and
1. And
Jons.
A cartoonist's view of the controversy-
over child'labor regulation. It was in a,
cotton-mill town that Sarah Ckghorn wrote
the piercing lines around which the car
toonist has arranged his ironical picture.
('y 192H N- Y. Tribune Inc., Courtesy H. Y.
Herald Tribune,}
ind New York forbid all night work. In many
* hours per week. The following shows the
sveral states for contrast:
Fig. 239 SOCIOLOGY
Plantation Owner
Photo by Lange
Fig. 240 SOCIOLOGY
Home of Tenant Farmer
Photo by Shahn
333
Let us say that we have spent our vacations in the Cotton Belt,
realizing our shooting scripts as well as we could with the camera. On
returning we unmount our f :2 lens and set up our copying attach
ment (see chapter 11). Now we can reproduce for ourselves and for
our classes the necessary charts, maps, line-drawings, engravings, etc.,
to document our studies. And, if we find that the photographs we
have taken in the field are inadequate for one reason or another,
remember that except "for limitations imposed by copyright laws, we
can copy glossy or smooth prints or even half-tones of any photo
graphs which meet our demands.
We have all our material: at least one picture for every important
point in our story. "We are now ready to make our film strip about
the Cotton Belt. Bearing in mind the fact that once the film strip is
made it is impossible to change the sequence of frames, we set about
arranging our material in the order of its presentation.
A 15-minute film strip should have a minimum of 60 frames.
This allows an average of 15 seconds for presentation of each frame.
Some may be given less time, some more, according to their intrinsic
interest and importance in the continuity. It must be remembered
that the film strip can have and should have movement and dramatic
structure. Arrange your material so that you have definite climaxes
of interest. Give less time to frames which lead up to these climaxes.
Fig. 241 Cabin Interiors
334
Theodore Jung
For Resettlement Administration
Visual
As an example of climax within the scope of a few frames, a section
of a Cotton Belt film strip prepared by a teacher of agricultural economics
might look like this:
Examples of Film Strip Pictures with Descriptions and Suggested
Narration by Instructor or Synchronized Record
Fig. 243 Start the film strip with
photo of large cotton field, bound
less sea of white bolls. Then fol
lows picture of negroes — men,
women and children — picking cot
ton. Follow with white workers —
woman with sun-bonnet and child
— picking cotton.
Narration . . . cotton was cash,
cotton was the money-crop, every
where the land was covered with
cotton . . . first the slave, then the
sharecropper — men, women and
children formed the vast army of
labor which planted, cared for,
and picked the tremendous crop . . .
Fig. 244 Continue with cotton
bales in sunlight, row upon row
of them.
Narration . . . cotton was cash —
from Texas to the Sea Islands of
South Carolina, from Virginia to
the Gulf — wherever it would grow
it was planted almost to the exclu
sion of other crops — and com
pressed into bales which were
shipped to markets at home and
to many foreign countries . . .
Photographs by Shahn, Roth-
stein, Eisenstaedt, Evans, U. S.
D. of Agr. and Lange
Fig. 245 Mississippi steamboat
loaded with cotton bales continues
the film along with the suggested
narration . . .
335
Include a fine old plantation house
gleaming white in the sun, sur
rounded by spacious lawns and
tall trees . . . also add one or two
interior shots showing luxury of
pre-war South.
Fig. 246 Next we see a scene on
wharves of New Orleans: an
ocean-going freighter being loaded
with bales of cotton . . .
Narration . . . fortunes were built
upon it, a way of life was built
around it. The planter became a
legend for his hospitality, his cul
ture and fine manners. The life
of the plantation house was a
flower rooted in the land and
watered by the sweat of black and
white laborers . . .
Fig. 247 Next picture shows an
erosion gully into which adjacent
cotton field is crumbling . . .
Narration . . . then, drained of fer
tility at last by continuous culti
vation of the same crop, the
money-crop, cotton — the land gave
out beneath them . . .
Fig. 248 This picture shows the
crumbling remains of an aban
doned plantation house, once the
show place of Vicksburg, Miss.
Narration . . , proud plantations
decayed (the Pickens and Calhoun
plantations are now part of a gov
ernment preserve) . Crumbling
plantation houses and the wretched
shacks of sharecroppers show the
failure of the single crop system
in Southern agriculture . . . etc.
336
Fig. 249 This shows a crumbling
shack of a sharecropper set in the
midst of a cotton field that is
scored by water erosion . . . Other
pictures can be added to clarify
and expand the story of cotton.
The few pictures already shown
will give a basic structure upon
which to form the completed film
strip.
Visual
Synchronized Recording for Film Strips
The film strip in conjunction with a synchronized narrative is an
extremely effective method of visual presentation. Double-frame
strips are manufactured commercially for approximately 25 cents per
frame. If the instructor wishes to deliver the narrative from a script
at each showing of the film, a small projector costing about $15 may
be used. Captions or title frames may be devised simply by lettering
the desired text on a white background and then using the copying
camera to make a negative. If the strip is to be shown often, and
especially if it is to be routed among schools or discussion groups, it is
advisable to have a synchronized recording made of the narrative.
The narrative for a 15 minute strip film is recorded on a single disk
in which the narrator's remarks are punctuated by a signal which
notifies the operator of the projector when to change the frame on the
screen. The price for a master recording, exclusive of the service of
a professional narrator, is $50. Duplicate recordings can be bought
for $1.50 each.
A machine, which in addition to the projector has a turntable,
loudspeaker and amplifying apparatus for recorded narration, costs
about $100. If film strip work is to be done effectively and to any
extent, a machine of this type is indispensable. In addition to film
strip presentation it has other uses. "With the turntable revolving at
the speed used for synchronized narration (33 revolutions per minute)
the sound apparatus can be employed for the playing of electrical
transcriptions; at a faster speed (78 revolutions per minute) ordinary
phonograph recordings can be played.
A policy recently adopted by at least two large industrial con
cerns may make it unnecessary for occasional users of the film strip
to purchase the machine. These companies have placed film strip
projectors in each of their branch offices throughout the country as
sales promotion devices, but it is understood that they will make
these available to nearby schools.
In concluding this discussion two important points should be made re
garding the preparation of the film strip:
1. DO NOT MAKE ANY POINT IN THE NARRATIVE THAT IS
NOT MADE ON THE SCREEN.
2. SINCE THE FILM STRIP IS A FORM OF VISUAL PRESENTA
TION, SUBORDINATE THE STORY TO THE VISUAL MATER
IAL.
337
Summary
Since an adequate treatment of the uses of visual aids in education
would require hundreds of pages for its development, it has been
attempted to confine this article to a brief and suggestive survey.
Many of the possible uses of visual material have been left to the
imagination of the reader. The use of photographs to "warm up" a
class at the opening of a period is worth considering. Good photo
graphs are stimulating, they make one eager to learn more about the
subject upon which they bear.
How to obtain these photographs and other visual material? In
schools which employ the project method of teaching the building up
of a good visual file is not difficult. The collection of visual material
can be made a project in itself. The camera can be of great help
in building such a project if students are encouraged in the use of it
and instructed in the elements of photography. When a child is old
enough to understand the rudimentary principles of operating a
camera, he is old enough to take pictures, and it must be remembered
that children, with their freshness of viewpoint, often bring in sur
prisingly worthwhile results. In addition to camera work, students
should be encouraged to clip pictures, sketches and line drawings
from newspapers, magazines, books and catalogs. They can also be
taught to draw diagrams and charts, and otherwise to aid in con
tributing to the school's file of visual material. Any school interested
in having such a file, upon which all courses of study might draw,
would do well to get in contact with local camera clubs which are in a
position to contribute a good deal of interesting photographic ma
terial.
A Practical File System
A good deal of care should be exercised in setting up a file, especially
insofar as it consists of photographs. A school which has built up its file
by original camera work by students or teachers will have a great number
of negatives. Negatives must be sedulously protected from damage, yet
must be filed so that they may be easily found and identified when it is
necessary to make additional prints. The safest way to accomplish this is
to number them, place them in cellophane jackets which in turn are put
into numbered manila envelopes and filed in fireproof cabinets. Numbering
can be done with a fine pen and India ink in the border of the film on the
emulsion side. Miniature negatives are handled more easily both in filing
and in projecting when cut into strips of five frames. Cellophane jackets
are made to fit strips of this size. In this way, when numbering, it is only
necessary to give a number to the strip, since the frame wanted can be
identified by its position on the strip. A cardinal principle in the care of
negatives: apart from going to the laboratory for printing, they should
never leave the file. This should be a fixed rule, not only because a nega-
338
Visual
Kentucky Coal Miner
For Resettlement Administration
Ben Shahn
339
tive is irreplaceable when lost, but because even in careful handling finger
prints and scratches on the delicate emulsion surface are likely to result.
It has been said above that negatives should be numbered, but nothing
has been said about how to find them in the file. Location of negatives is
provided for, however, in setting up the print, or positive, file. Before any
negative is filed at least one print should be made from it and mounted on
a durable card. This card should bear the title and other data relevant
to the picture, as well as the number of the negative from which the print
was made. If these cards are kept in a separate file and classified according
to subject, they will not only serve as an index to the negatives, but also
as a reference collection. Because they are an index to the negative file,
they should be referred to in place only, and never carried- off.
A file of duplicate prints must exist to take care of all requests for
pictures. These prints, kept in whatever quantity seems necessary, should
be kept in manila envelopes which are given the same number as the nega
tive from which they are made. If this system is adhered to, there will be
no difficulty in finding the desired pictures, nor will there be any danger of
lost negatives.
Although in this survey the use of visual material in schools has
been stressed, it should be pointed out that it has its value wherever
knowledge is to be imparted. In discussion groups, in public forums,
in the pre-school education which the progressive parent gives his
children . . . everywhere that people gather together to learn, a visual
presentation of knowledge can be effective in creating interest. The
rapid growth in number and circulation of magazines devoted almost
entirely to pictures and the renewed interest in rotogravure pages
testify that there is a need, and consequently a demand, for the visual
presentation of events and ideas. Learning by looking is a modern
symptom, and is, if guarded against lapsing into mere superficiality,
a healthy and fruitful one.
Cotton Blossom and Plant
340
Visual
First Steps
Summar 50mm, 1/100, f:6.3, Du Pont Superior
Arthur Rothstein
341
SCIENCE . . . How Are the Bones and Fragments of a Prehistoric
Animal Assembled and Mounted? Photo by Dr. A. L. Lugn
Fig. 252 ECONOMICS ... The Concrete Mixer W. H. Friedrich
An excellent action picture which shows the mixer in actual operation
with humans to give the scale and a more personal quality
342
THE LEICA IN HISTORICAL RESEARCH
JAMES A. BARNES, Ph. D. CHAPTER 18
Modern scholarship demands of the research worker of today
impeccable evidence to substantiate his assertions. Such evidence can
very rarely be presented in the form of originals of historical mate
rial. True copies are therefore required. These not only must be
good and accurate reproductions; they must be obtained speedily and
effectively. The Leica camera conveniently fulfills these require
ments.
At one time the student spent the greater part of his day in
laboriously copying his finds or discoveries. Materials of the most
varied character — illegible letters, worn diaries, old faded news
papers, statistical tables, and intricate election returns — may be
copied. These records can be secured photographically far more effi
ciently and in incomparably shorter time. Subsequent ability to
enlarge to almost any size is an added advantage as it greatly con
tributes to the legibility of such records.
There can never be a question concerning the accuracy of repro
duction; not only the form of the original is retained in such a copy
but frequently even its spirit and intent.
The research worker, when he comes to writing, need not, as he
must when working from typed copies, wonder if the typist or the
original writer made the strike-over, the omission, the abbreviation,
the cancellation, the interpolation, or any of the peculiarities which
mark all human documents. The genuineness of signatures and hand
writing and even the character of the paper used may be easily
authenticated. There can be no doubt as to whether a letter was
handwritten, typed, or printed; that a letter was dictated and
signed in Ms absence is easily discovered. Such apparently trivial
but sometimes important points as whether the address given on a
letter was merely a printed name or a part of the written manuscript
itself are readily established. Quotations in the final copy for a book
may be checked against the original document.
A very important asset in copying by camera is inclusiveness.
An entire manuscript or document can usually be recorded as
343
cheaply and as quickly as it can be extracted. Seemingly insignificant
sentences in a manuscript may take on, at a later date, a meaning
not discerned at the time of copying. The mere fact that a letter
contains no mention of a current event or existing condition may
later prove of great value if one can be certain that the omission
was committed by the writer and not the extractor. Adjacent par
agraphs may give to a statement meanings or modifications not per
ceived at the time the research worker copied the document. By
recording the entire original, the camera retains the proper setting
of desired extracts.
The camera not only provides accuracy, speed, and inclusiveness
in copy work; it enlarges the field of research. No longer must the
scholar limit his labors to what seems at the moment important; as
already mentioned, he may copy somewhat lavishly without adding
perceptibly to the bulkiness of his material. Maps, charts, and graphs
may be readily copied in whole or in part. By use of the extension
tube the smallest section of a chart or graph may be lifted out
of its original setting and enlarged for particular study. The car
toon, most pungent expression of contemporary opinion, may now
make up an important and significant part of the files of the research
worker who uses the camera. The writer's collection of several hun
dred cartoons, gathered from every section of the country at small
reproduction expense, interpret the local attitude on economic and
financial questions in the period of the eighties and nineties more
poignantly, perhaps, than any other one possible type of source ma
terial.
Obtaining Complete Historical Record Pictures
But maps, charts, graphs, and cartoons do not complete the list
of new sources made readily accessible. Highway signs, terrains,
badges, handbills, broadsides, uniforms, machinery and implements,
deserted villages, abandoned mining camps, relics, ancient, medieval,
and modern inscriptions, and even flora and fauna, are readily and
accurately recorded by Leica miniature photography. "Whatever the
eye can perceive as source material, the camera can record and
preserve. My own files on the great depression of 1929 may in future
years prove richer because of their inclusion of photographs of silent
factories, of bread lines, of the unfortunates seeking warmth and a
place to rest in the St. Louis Public Library, of the bonus marchers,
of men and boys tramping the highways and riding the transconti
nental freights looking for work, and of many other evidences of
economic turmoil. The New Deal may prove more interesting because
344
Historical Research
of a photographic record of the inauguration, of closed banks, of
farmers plowing under cotton, and of emergency workers on govern
ment payrolls.
There are other advantages. The research worker often finds the
amount of time that he can spend at a given place limited. The
camera prolongs his stay in effect by enabling him to accomplish
more than he can by any other method of copying; it also permits
him to bring exact reproductions of the original documents to the
quiet of his own study for careful analysis and interpretation. This
is particularly important where translation is necessary. The scholar
who works in European archives on a summer's journey has not the
time (and often not the money) to spend hours puzzling over a
manuscript the chief difficulty of which is translation, when he may
project the writing in an enlarged form on a wall or screen in his
own home.
A university friend whose time for traveling was extremely
limited recently photographed enough of the literature of the Penn
sylvania Dutch in a few weeks to employ all his study hours for a
year. Transcription too sometimes presents problems. The writer
discovered a particularly valuable diary in Kansas; unfortunately,
Fig. 253 Books, Manuscripts, Cartoons, and Similar Subjects can be
Copied for Historical Research. Photos by James A. Barnes
345
it was written in a system of shorthand with which he was not
familiar. Its value was attested by the convenient fact that many
pages had been partially transcribed. The diary was photographed
quickly and cheaply and later consultations with expert stenographers
resulted in its complete transcription.
The Research Equipment
The entire camera outfit for traveling research is little bulkier
than a typewriter. I recently completed a twelve-months research
trip through the West and the South in which I collected more than
twenty thousand copies of manuscripts. My equipment consisted of
a Leica camera, Fuldy Copy Attachment, baseboard, upright and
sliding arms, two extension tubes, and two ordinary goose-neck lamps
fitted with one-hundred watt bulbs. It is well to carry also a develop
ing tank and some standard prepared developer. Films may easily
be developed each night and carefully cheeked for omissions. This
checking is made reasonably simple in my own case by the fact that
I keep a careful index of every photograph, recording the date, place,
person, subject, and collection or library from which the material is
obtained. The collection and library as well as an identifying num
ber are easily photographed with each manuscript. Identification
and number may be on a simple typed slip or a regular holder
with movable letters and figures. The size of the original may be
shown by established measuring marks on the baseboard. Each roll of
film also is identified by a number, photographed at the beginning and
the end.
A scientific knowledge of photography is not necessary in order
to use the camera as a research instrument. Careful observation of
results and some idea of the fundamentals of lights and shadows are
helpful. The research worker is primarily interested in obtaining
the best possible photographs in the least possible time. He may be
compelled to compromise between quality and quantity. He cannot
spend too much time on artistry. The perfect negative, however, is
worthy of attempt because of the possibility of enlarging it for future
use as illustrative book material. For the beginning photographer
of ordinary manuscripts the two fundamental things to remember
are: first, keep lights as uniform as possible over the field to be
photographed; and second, be sure that the camera is in focus. The
goose-neck desk lamps are conveniently carried, but care must be
exercised in placing them. Turn the shades so that the rays cross
over the manuscript. A magnifying glass is helpful in focusing, par
ticularly on newspapers.
346
Historical Research
The length of exposure in copying varies with the intensity of
the light used, the size of the diaphragm opening, the color of the
paper which is being photographed, and the nature of the film em
ployed. Practice alone can establish the best exposure for any par
ticular equipment. The use of a dependable exposure meter is highly
recommended. The f :9 diaphragm opening has proved the best in
my own work. It is small enough to give clear-cut lines in the photo
graph, and yet it permits enough light to ascertain whether the
manuscript is in proper condition, when using the Fuldy attachment,
without opening the diaphragm with each exposure. Where single
sheets of paper of somewhat uniform size are being photographed,
there is no need for repeated focusing.
The cheapest and perhaps best general film for ordinary repro
duction seems to be the regular positive stock. This film with the
f :9 opening and two one-hundred-watt bulbs photographs black and
white papers at an exposure of about one second; yellow newspapers
may run to three seconds. Allowances must be made for the difference
in intensity between direct and alternating current lights, and also
for extremely bright days. Filters are valuable, but longer exposures
must be made when they are employed. Panchromatic film such as
Du Pont Micropan should be used and especial care taken in copying
graphs, charts, and cartoons which are intended for illustrations in
books.
The most economical method of buying film is in bulk; the two hun
dred-foot lengths have many advantages. The traveling- research worker,
however, must learn to load both Ms cartridges and his developing tank in
darkness. Bathrooms and closets are most frequently pressed into service
as darkrooms, and one often finds that there is no place for attaching the
safety lamp. A little practice makes it possible to load in complete darkness
almost as quickly as with a lamp. An infallible test for determining the
emulsion side of the film is to touch it to the tongue because the tongue
sticks to the emulsion. Practice and observation, while they may not make
of the researcher an expert photographer, will soon lead to qualifications
sufficient for his work.
The student may use his material in two ways: either make enlarge
ments on regular photographic paper, or else use a projector. For concen
trated study enlargements on paper are preferred. Projection of the nega
tive film itself of that material which is to be used only a few times is thor
oughly satisfactory. The total cost per page when used in this manner is
only a fraction of a cent. If repeated projections are to be made, it is safest
to make them from positive prints. By carefully reading* the special chap
ters on developing, copying, making positives, and projecting, a thorough
understanding of this subject may be acquired.
347
Fig. 254 Abu Simbel, Nubia
Oriental Institute
A carved wall relief in the great temple of Abu Simbel (see fig. 256), showing Ramses II
slaying his enemies. Photographed by slow exposure, lighted by magnesium-tape flare,
on an 8 x 10 inch glass plate— one of several thousand taken between 1905 and 1907 by
the University of Chicago's Egyptian Expedition
Fig. 255 Northern Sudan in 1907 (page 849) Oriental Institute
Left to right: Dr. James H. Breasted, leader of the University of Chicago's Egyptian
Expeditions; Mrs. Breasted; the author, aged ten; and Mr. N. de Garis Davies, staff
member. The black granite rocks in the background form the treacherous rapids of the
Second Cataract of the Nile, which forced the Expedition to abandon boats in favor of a
camel caravan
348
ARCHEOLOGY AND EXPLORATION
CHARLES BREASTED
CHAPTER 19
From 1905 to 1907, a photographic enterprise called the Egyp
tian Expedition of the University of Chicago, led by the late ,I)r.
James Henry Breasted, made a photographic record of every known
ancient Egyptian inscription along the 1200 miles of Nile Valley
from Assuan in Nubia to Khartoum in the Sudan. Due simply to
the accident of birth, the writer was lucky enough, as a youngster of
eight, to be taken along on this unorthodox photographic adventure.
Sound reasons prompted such an ambitious undertaking, the
first comprehensive attempt to copy in photographs the tremendous
mass of widely scattered inscriptions cut in the walls of ancient tem
ples and tombs, or in the rocks and cliffs along a major section of
the most historically important river in the world. First, the inscrip
tions were known to comprise invaluable original historical source
material, eagerly sought by areheologists and historians; and second,
in many instances the originals were disappearing due to vandalism
or natural weathering and decay.
During most of its campaign the Expedition operated from
boats— in Nubia it travelled in a dahdbiyeh or native Egyptian
349
house-boat; in the Sudan it used giyassas or native cargo boats. The
latter had to be especially covered with a deck, and equipped with
living accomodations built of wooden framework covered with
palm-leaf matting and tarpaulins, excepting for the dark-room
which enjoyed the luxury of sealed boards (all lumber used in
Egypt and the Sudan is imported from as far north as Scandina
via). Nile water is full of silt, hence had to be filtered for dark
room use.
Roll films for smaller cameras were already being widely used
by 1905, but the principle of cut films had not yet been successfully
applied to the larger cameras which at that time were the only instru
ments capable of the photographic standard required for such expe
ditionary work. Hence the Egyptian Expedition had to take with
it thousands of 8 x 10 inch glass plates, packed in hermetically
sealed cartons, each enclosed in a soldered tin case. The latter was
opened at one end with a wire key, like the proverbial sardine tin,
or the tennis-ball tins of today. The soldering, done by hand, was
sometimes too heavy for the overlaid strip of tin which, in being
twisted off, would snap along with the photographer's patience
while he tried to complete the job without cracking the glass con
tents. But this was only a minor annoyance — there were many
worse.
For instance, there were the sand storms which would blow
incessantly for a fortnight at a time. There were what the natives
called nimitti, clouds of gnats as thick as tar smoke and so tiny
that no screens could exclude them. There were ferocious rats,
which defied capture or poisoning, and villainously attacked every
thing including the members of the party. There were scorpions
and tarantulas. At times the heat was so intense that the air bub
ble of the camera spirit level would actually disappear.
At the Third Cataract, the main giyassa, aboard which were
the dark-room and most of the Expedition's equipment including
the exposed and unexposed glass plates, food supplies, and instru
ments of all sorts, was driven onto a rock in a swirling current,
and the hold filled in a few minutes. The native crew dove for its
personal rags, was held to its duty at the point of Dr. Breasted 7s
revolver. A line was run ashore from the main mast-head just in
time to save the boat from turning on her side and being swept to
destruction in a deep, rock-filled current. The thousands of glass
plates were salvaged, the packing cases ranged on shore to dry.
So was the whole soaking supply of Triscuit, our only bread.
Whatever had been bought in Europe was usually properly packed
350
Archeology
for the tropics, but everything of American manufacture was well
permeated with Nile water. Suffice it that when the boat was re
floated, the rats which had mysteriously disappeared were with us
again.
The cameras were of the latest design of the day . . . imposing,
clumsy contraptions, with great leather bellows. Lenses were ex
cellent but slow. With plate-holders and incidental equipment, the
outfit required an unwieldy set of containers more like small trunks
than "carrying cases/7 The photographer always had to have a
crew of two or three Nubians.
The location of scenes or inscriptions to be photographed va
ried greatly. Sometimes they would be high up on some rocky
Fig. 256 Abu Simbel, Nubia
Oriental Institute
In 1906 the University of Chicago's first Egyptian Expedition took this picture of the
renowned temple which Ramses II carved out of a sandstone cliff, modestly adorned with
four gigantic statues of himself enthroned. The helmeted figure kneeling on the forehead
decoration of the right-central statue is Dr. James H. Breasted, taking measurements
(overall height of statues is 71% feet). The author is seated on the statue's right hand!
promontory overlooking a great stretch of the Nile, where some offi
cial of an ancient Pharaoh may have sat for many days, counting
his sovereign's cargo ships as they brought tribute or imports from
inner Africa such as ebony, ostrich feathers, ivory, captive animals,
etc. In his ennui, often mixed with vanity, he would carve an
inscription in the neat hieroglyphs of a practised scribe, giving
his rank and station, his honors, the year of his Pharaoh's reign
and the date when he sat thus counting the royal ships, and fre
quently a few casual comments or items of the greatest historical
significance. Though several thousand years had elapsed since he
went his way into oblivion, the inscription in such cases would
sometimes be as bright and clean as if cut the day before. To
photograph them, the photographer would frequently have to use
his portable scaffolding, his heavy camera mounted precariously
on flimsy " stilts".
Or he might have to spend long days in the suffocating black
ness of the inner chambers of rock-hewn tombs, or the windowless
storage rooms of temples. He would have to make all his adjust
ments by candle light (the convenient electric torch with its dry
battery was still unperfected). In such places the air was not
only insufferably hot, unchanged since antiquity, but stank un
speakably from untold generations of bats hanging in regiments
from sooted ceilings. The bats would beat out the candle's flame,
or fly into the burning magnesium tape during an exposure.
The camera crew of Nubians, an exceptionally intelligent race, in this
instance became so adept as to be able to focus the camera, change plates,
and perform skilfully many important functions both on location and in the
darkroom. They never ceased to derive childish enjoyment from watching
the brilliant glare and thick white smoke of the burning magnesium tape,
even though it entailed laboriously fanning out the smoke so that picture
taking could be resumed. They seemed to comprehend the practical prob
lem of properly placed lighting to bring out carved reliefs, and would
handle with remarkable judgment the shiny tin-covered reflectors built
by the Expedition to throw light on shadowed or hidden walls.
At the head of the long and treacherous rapids of the Second Cataract,
the Expedition had to abandon boats in favor of camels, some forty of them,
mostly laden with packing cases full of glass plates. For this stage of
the campaign a special dark-room tent had been devised, consisting of
two black lined tents, a smaller one within a larger, with the entrance to
the inner tent on the side opposite that of the outer. The passage between
the tent walls served as a "baffle". All water had to be brought in goat
skins from the often distant Nile and had to filtered.
By this time the hamseen, or 50-day wind, was blowing a 24-hour-a-day
sand blast. One awoke in the mornings literally buried in sand. It was
constantly in one's eyes, mouth, nose, ears — in the food, in one's water
tight watch. In the sweltering dark-room tent, the photographer winced
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Archeology
Fig. 257 Persepolis, Iran Oriental Institute
A Monumental Wall Relief of about 489 B. C. from the Courtyard of a building of Darius
the Great, portraying Darius the Great (seated) , his son Xerxes (standing behind throne) ,
receiving foreign emissaries
as he felt it crunching among his trays of glass plates. Camels would go
berserk, dash away into the desert with their loads of glass plates. Pegs
would give way, and tents would be blown away like balloons. Under the
howling, hissing, lashing of the witheringly dry wind, lips and corners of
the mouth would acquire permanent cracks, as would finger ends at the
nails, and wrists. Normally even temperaments became jumpy, prone to
carping resentments, and nerve ends became unendurably raw.
But the photographic project continued until as much of the Nile Valley
had been covered as funds permitted. The glass plates, of which very few
were broken, today constitute a unique photographic record, not to say
a monument to scientific courage and devotion. And, incidentally, with
one exception the writer is the only surviving member of the Expedition's
party.
It is almost saddening to realize how much time and travail could
have been saved had the Leica then existed. For with a fraction of the
weight and cubage, it could without question have accomplished as much
as, if not more than, the Egyptian Expedition's ponderous cameras and
enormously heavy glass plates. We should take stock of our blessings.
The Leica in Archeology
The field of modern scientific archeology is one of the very
best examples of the miniature camera's value as a scientific re
cording medium. It differs from most fields of scientific investiga
tion in that the " scenario" (of which more later) was written
long ago by humankind of past ages. In the Near East, where
civilization first arose, the story lies buried in the stratified wreck
age of ancient city mounds.
These mounds are like " layer cakes", each layer representing
a period of habitation, city after city having been built each upon
its predecessor after its destruction through war or natural decay.
353
The oldest layer, often containing the remnants of a Stone Age
settlement, is naturally at the bottom, and the latest is at the top,
exactly like sedimentary rock. Just as such rock enables the
geologist to reconstruct whole eons of the earth's development, so
an ancient city mound presents to the archeologist the raw mate
rial of history. Where index fossils enable the geologist to esti
mate the approximate date when different roc'k strata were laid
down, the archeologist can determine historical periods from the
broken pottery found in a given stratum. For strangely enough,
in every part of the world, each stage of early human development
has produced pottery utensils of similar design and finish.
Modern archeology began in 1868 with the excavation of Troy
by Dr. Heinrich Schliemann. Unfortunately no one at the time
understood how to excavate an ancient city mound. Under his
necessarily inexperienced direction, Schliemann 's workmen bur
rowed like dogs after a rabbit into the site which all his life he had
contended was Troy. As their helter-skelter diggings proceeded,
they unwittingly destroyed the very evidence which would have
proved to him, had he known how to interpret it, that this was the
Troy he sought. Photography was still a clumsy process, unavail
able for this sort of work, hence no adequate record was kept of
this superlatively important campaign. The excavation of Troy is
at once one of the major discoveries and one of the irreparable
losses of modern science.
Today such a site is carefully surveyed, and the entire area,
ranging anywhere from a few acres to twenty-five or more, is sub
divided by an invisible "grid" of 20-meter squares. Tall metal or
wooden pegs are driven in at every intersection point. This "grid"
remains unchanged throughout the excavation of the mound. It
simply travels downward with the descent of the clearance. A
record is kept of the provenance of everything which is uncovered,
always in terms of the square meter within the 20-meter square in
which it was found, and in terms of the level, i.e., period of
occupation.
Besides pottery sherds, the archeologist finds quantities of
other evidence which lack of space precludes our discussing here.
Suffice it that his fascinating quest demands a combination of exec
utive ability and scholarly training with the ability to interpret
circumstantial evidence with a proficiency worthy of Scotland
Yard. "We are concerned primarily with the part played by the
camera in his work of excavation.
354
Archeology
His complete dependence on an infallible photographic record
of every step in his progressive clearance of ancient houses, palaces,
streets, stables, market places, wells, temples, storehouses , garri
sons, libraries, worshops, etc., becomes evident when it is pointed
out that unavoidably he must destroy all this circumstantial evi
dence as he proceeds. For after the level of a city as it existed in
a given age has been meticulously recorded in photographs and
architectural ground plans, it is " peeled off", and the level imme
diately below it gradually exposed. The camera is sine qua non
in this process. The moment a skilled native digger's pick signals
the presence of some object close to the surface of the hard-packed
earth and debris, digging at this spot is intermittently suspended,
while the camera records the appearance of everything before and
during clearance and removal.
Every object discovered, be it a tiny bead, is also recorded in a field
register kept at the expedition headquarters. Each piece or group of
pieces receives a number; a brief description, the date of discovery, exact
provenance, and any other pertinent data, complete the entry. Here again
the Leica is invaluable: for whether large or small, all finds can be
photographed, and contract prints from each negative can be pasted in
the field register opposite the entry of the object. Scale is always in
dicated by including a metric rule when taking the photograph.
Fig. 258 Persepolis, Iran
James H. Breasted, Jr.
Courtesy of Oriental Institute
Scythian tribute bearers— a small segment of the Oriental Institute's tremendous find of
magnificent carved stone reliefs adorning the royal buildings of the Persian emperors
355
Fig. 259 Persepolis, Iran James H. Breasted, Jr.
Courtesy of Oriental Institute
From this stone carving of a lion attacking a bull, grew the legend of the lion and the
unicorn ; the sculptor thought of the bull's farther horn as being hidden by the nearer
horn, made them look like a single horn
During the dozen years following the photographic campaign of the
Egyptian Expedition, Dr. Breasted gradually evolved a plan for a great
research laboratory devoted to the study of how civilization arose and
developed. His contemplated organization, to be called the Oriental In
stitute of the University of Chicago, provided for a headquarters at
Chicago and a whole series of field expeditions in the Near East,
strategically distributed through Anatolia (Turkey), Syria, Palestine,
Egypt, northern and southern Iraq, and Iran (Persia).
By 1919, with Eockefeller funds, Dr. Breasted was able to found the
Oriental Institute, of which he was appointed director. In due course the
present writer was made responsible for the organization and practical
administration of what became one of the major scientific archeological
enterprises of the present day. It sent out some fourteen expeditions,
of which twelve were at times working simultaneously. Annual visits to
these units enabled the writer to follow closely the development of their
work, and on occasion to assist in solving new field problems as they arose.
Each expedition headquarters building has its complete dark-room
equipment, usually including enlarging apparatus capable of large sizes.
The major bases have electrical generating plants of standard make (32
or 110-volt), which greatly facilitate the photographic work. At the
Luxor Expedition, the electrical plant includes electric refrigeration.
The methods of excavation and of applying photography described
earlier, are those generally employed by the Oriental Institute's expedi
tions, and with some variations, by most such enterprises in the Near East.
The Leica has been used at various times by all the Institute units, usually
356
Archeology
in conjunction with the work of larger cameras. At present writing, its
Megiddo Expedition, excavating ancient Armageddon in Palestine, is rely
ing altogether on the Leica for its entire photographic work.
At its Chicago headquarters, the Institute is gathering a huge com
pendium of archeological data and information about the entire ancient
world, called the Archives Project. This is built chiefly on photographs,
for which the Leica is used exclusively.
Aerial Photographs
Air photography is of tremendous value to the archeologist.
With the sun at the proper angle, such pictures time and again
will reveal evidences of ancient cities and structures which can
not be discerned at all from the ground. For this purpose the
Elmar 90mm is admirable, yielding results which for practical
needs, vie with those of the larger cameras made expressly for air
photography. Only perplexing obstacle sometimes encountered by
the writer was the atmospheric distortion caused by the exhaust
gases from motors in planes with exhaust pipes cut exceptionally
short.
Fie. 260 Persepolis, Iran (Persia) James H. Breasted, Jr.
6 * Courtesy of Oriental Institute
This "Versailles" of ancient Persia was destroyed by Alexander the Great in 331 B. C.,
is today being excavated and restored by the Oriental Institute. The great terrace is 50
feet high, built of blocks sometimes weighing 40 tons
357
Fig. 261 Sumerian Statuette (left) Oriental Institute
Many of these figures depicting religious worshippers were found by the Iraq Expedition.
The eyes were inlaid
Fig. 262 Archeological Crow's Nest (right) James H. Breasted, Jr.
Courtesy of Oriental Institute
The late Dr. James H. Breasted, founder and first director of the Oriental Institute,
watching its Syrian Expedition excavating a city mound on the Plain of Antioch
Despite the proverbial prevalence of brilliant sunlight in the
Near East, the consistent absence of greenery necessitates longer ex
posures — much longer than the newcomer at first realizes. Shadows
are exceptionally black and, wherever reflectors are available, should
be softened. Otherwise, exposure should be made for the shadows,
just as in Mexico and other countries of extreme chiaroscuro. Green
and yellow filters must be used judiciously, for they seem to affect
definition somewhat more than in our own country. The Hither
Orient, as the Near East is often called, is a constant challenge to
the camera, but even the work of consummate artists can not escape
the subtle monotony inherent in its vast barren reaches, its dusty tan
deserts, its inhabitants clad to ward off the pitiless sun and dessicat-
ing winds. These brooding lands are moribund ... all past, with no
358
Fig. 263 Tell Judaidah, north Syria Oriental Institute
The Oriental Institute's Syrian Expedition has cut *a test trench into the side of a city
mound or "layer cake" of ancient cities to determine the age and civilization of each
level. The lowest level (oldest) may contain Stone Age relics
Fig. 264 Megiddo Expedition (ancient Armageddon) , Palestine Oriental Institute
Layer after layer of ancient cities is shot down this steel chute onto a vast "dump.*'
Every cubic inch of debris has been sifted. The load just going down is from a city
of King Solomon's time (Tenth Century, B. C.)
future . . . but in their very monotony resides a beauty which is
haunting and gets into the blood of archeologist and cameraman alike.
Technical Applications: Slides and Copying
A member of the Oriental Institute's scientific staf at Chicago,
Dr. Neilson C. Debevoise, who has for a number of years served on
the Near Eastern field staffs both of the former organization and of
the University of Michigan's expedition at Seleucia, on the Tigris
River in Iraq, describes his specialized uses of the Leica as follows:
" At the Institute I utilize the Leica chiefly for two purposes:
first, in the preparation of slides; and second, in copying such mate
rials as inscriptions, title pages of books, and other work where
absolute accuracy is essential.
"The negatives for the slides are made on DuPont Micropan,
developed in a soft-working glycin developer. The set-up for making
the negatives consists of a photostat book-bed for holding large
volumes open and flat, and the regular ground glass Leica copying
Fig. 265 (left) Alishar, central Anatolia (Turkey) James H. Breasted, Jr.
Courtesy of Oriental Institute
Native worlonen of the Oriental Institute's Anatolian Expedition are sinking a 20 metre-
square test shaft to the bottom of an ancient Hittite city mound. The Stone Age in
habitants of the bottom level may have lived ten thousand years ago.
Fig. 266 Ancient Sumerian Toy,
26th Cent. B. C. Oriental Institute
More than 4,500 years ago, a child in
ancient Babylonia pulled this pottery toy
wagon by a string tied to the eyelet in
front. It was found by the Oriental
Institute's Iraq Expedition at Tell Asmar.
50 miles from modern Baghdad
Archeology
Fig. 267 Archeological Air Photography (left) Oriental Institute
With a home-made box camera suspended from a large captive meteorological balloon, the
Oriental Institute's Megiddo Expedition makes an air mosaic of each level laid bare by
excavation. Shutter is electrically operated.
Fig. 268 Megiddo, Palestine (right) Oriental Institute
The* largest pre-Semitic engineering project yet discovered—a great shaft with a stairway
dScendS 120 ft. to a 165 ft. tunnel leading to a cave containing a spring which fur
nished Megiddo's emergency water supply during siege
. 22
a cave burial at the base of the mound
Fig. 270 Air View of Megiddo (right)
balloon is seen riding above it
361
attachment. Illumination is provided by two 250-watt lights set in
large desk lamps with reflectors. The slides themselves are made by
projecting from a regular Leica projector directly on the glass posi
tive. Standard size slides are used instead of the small ones, as a
matter of economy. The resulting slides thus made with the Leica
are in every way equal to those made from larger negatives, and
there is a great saving both in material and labor.
"In the course of my work I have occasion to borrow many
rare books. From these I make extensive notes, and I must have a
correct bibliographical reference if I ever desire to cite these in
print. I therefore photograph the title pages of these works, using
the same set-up as above described for lantern slides. Bibliographical
data thus secured are unquestionably correct. Similarly, in working
on inscriptional material, it is possible to photograph the inscription
as it appears in its published form and then to paste a print in one's
notes. This permits constant reference to the material without
return to the original volume which may be difficult to secure, and
does away with the errors attending hand copying."
Archeological Corpus
"The Leica was selected for work on the Archeological Corpus first
because of the rapidity with which negative and prints could be prepared,
and second because of the lower cost of preparing such negatives. Illus
trations from printed works, as well as actual antiquities, are photographed
with the same set-up used for making lantern slides, and the same developer
is used. It was felt undesirable to employ the Leica of extra large film
capacity (see Page 29) because frequent development affords closer con
trol over exposures and other variable factors. The strips are printed
in a regular Leica projector, and are then cut into 6-picture lengths which
are filed in glassine envelopes.
"To save labor, expense, and filing space, the pictures are printed in
approximately 2" x 3" size on 5" x 8" cards the whole surface of which
is sensitized. Data as to age, provenance, etc. of an antiquity are recorded
on the white portion of the card, which is then filed in a standard steel
cabinet file. Identification of negatives with prints is effected by the use
of small reference numbers which are photographed with the object, so
that cards may be filed in the same order as the negative strips."
The Seleucian Expedition of the University of Michigan
Through the courtesy of Professor Clark Hopkins, General Director of
the University of Michigan's Expedition at Seleucia, on the Tigris River in
Iraq, Dr. Debevoise has been permitted to describe an electric generating
plant evolved by the Expedition to facilitate processing of its Leica films,
as follows:
"The larger part of the photographic work of the University of Mich
igan's Expedition at Seleucia for the season of 1936-37 was done with a
362
Archeology
Leica which proved both speedy and efficient. To facilitate the develop
ment of negatives and the making of prints, electricity was deemed ad
visable. This was secured from a wind charger of the type used to charge
radio batteries in this country.
"The electricity generated by it was stored in three of the largest
automobile batteries available in Bagdad, and was run into the dark
room by means of a No. 4 wire. Dark-room equipment was standard in
every way, except that 6-volt bulbs were screwed into the sockets. These
can be obtained in 10, 15, 25, and 50 watts, identical in appearance with
the standard bulb and giving exactly the same candle power.
"Our chief problem in dealing with this arrangement proved to be
the large sized wire necessary to carry the low voltage. In a number of
cases we had to rewire apparatus, and auxiliary switches occasionally
had to be installed since the ordinary ones would not carry the high am
perage. There was never any difficulty in securing sufficient electricity to
operate printer, enlarger, and safe lights during the season, or even toward
its close when work sometimes went on from 8:00 A.M. until midnight,
with both printer and enlarger simultaneously in operation."
Archeology, Natural History, and Exploration
for the Amateur
Amateur or veteran explorer, archeologist, anthropologist,
ethnologist, botanist, geologist, naturalist, every stndent in fields
where constant note taking and accurate observation are indispensa
ble, needs the small film camera in his kit. It is one of the best note
books ever invented. Though, you may have eagle eyes, excellent
memory, wide vocabulary, a genius for freehand drawing, this little
servant will always surpass you. None of these attributes can com
pete with the versatility of Leica lenses.
The principles underlying the technical uses of photography in
certain branches of science as discussed in this chapter, apply to the
Fig. 271 Istakhr, Iran (Persia) Oriental Institute
Storage jars as uncovered by the Institute's Persepolis Expedition, excavating the capitol
of ancient Persia
363
amateur just as much as to the professional. The cardinal point to
remember is so obvious that you are apt to regard its re-statement
here as an affront to your intelligence: USB your Leica, have it
always 'round your neck, ready to "shoot"!
Whether you are a member of a small camping party, or on the
staff of an ambitious, long-distance exploratory expedition, be THE
one to capture pictorially every phase of an incident or continuing
process, when all your colleagues are preoccupied with the experience
itself. Photograph the packing of equipment before the party leaves
civilization, and later, its base. Take pictures of every stage of its
journey from start to finish. When climbing a mountain, remember
to photograph the peak! What may seem to you obvious or prosaic
at the time, will constitute the "connective tissue" for your complete
picture story of the expedition.
Constant alertness should enable you to secure the foregoing
general record. But remember that this is subordinate to whatever
may be the main purpose of the expedition. To insure getting maxi
mum coverage of everything it is setting out to accomplish, you
should beforehand write a scenario fully covering the objectives and
everything related to them of which you can think in advance.
Amplify this scenario as you go along. Have a copy always in your
pocket, study it each evening before turning in. Never leave a loca
tion or region without checking over your list of subjects to make
certain your sequences are complete. Eemember that you may not
re-traverse this particular terrain, and that retakes will be impossi
ble. Keep a "log" of everything you photograph, roll by roll, and
check this against your scenario and list of subjects. Guard these
records carefully: you'll find them invaluable on your return.
Suppose you live in the country and are interested, for example,
in making a picture story portraying the gamut of living organisms
inhabiting a nearby swamp. Here again a scenario is invaluable, to
help you in a logical presentation of the story and to guard against
omissions. From general views "establishing" your swamp, you will
begin to move up on the infinite life within it. The story will be
incomplete unless, like the archeologist, the amateur naturalist first
photographs his subjects exactly as he finds them, in relation to
their natural context. The importance of this can not be over-em
phasized. Then, after this has been carefully done, he can capture
his various subjects in containers, take them to his laboratory at
home, and record their life cycles and habits in microphotography
as described in Chapter 21.
364
Archeology
Fig. 272 Mosul, Iraq (left)
Old Iraqi type in a bazaar
James H. Breasted, Jr.
Persepolis, Iraq (right) Young Iranian girl
Whether yon are a student on an anthropology, geology or
botany field trip, the same photographic principles still obtain. Con
sistently good photography in any field is not a matter of luck, but
of infinite care and intelligent attention to details, combined with
pictorial imagination. As applied to science, pictorial imagination
doesn't mean the production of "pretty pictures", but the compre
hensible, logical, thorough presentation of the subject. If possible,
the pictures should in themselves be interesting, but frequently sci
ence pictures must lean on their captions for their significance. At
all times, the subjects you are photographing should be a challenge
to your ingenuity, and the resulting pictures should reflect the spon
taneity and freshness of approach which can only spring from your
own genuine interest and enjoyment in taking them.
Indirection Photography
Often a story can be more successfully told by "shooting"
around the subject, that is to say, by indirection, than by ordinary
logical progression. For instance, that gifted camera artist, Alfred
Eisenstaedt, told me that once toward the beginning of his camera
career, he was sent by an editor to cover an important wedding. He
365
Fig. 273 Egyptian Headquarters of the Oriental Institute
Air view of the Institute's largest plant. Combining photography with artists' draughts
manship, its work is to make facsimile copies of the historical wall reliefs and inscriptions
in the great temples of ancient Thebes (modern Luxor)
became so engrossed in photographing the preparations for the event
— the cake, the guests, the little human incidents — that he returned
from the assignment without taking pictures of the bride and groom !
The omission was easily filled because all the other photographers
had taken nothing else. His own coverage was unique. But it
taught him a lesson. Today he has become one of the ablest expon
ents of indirection through the photographic "essay'7, but as a pre
caution, he always takes the obvious pictures first !
Sometimes, however, the omissions can not be remedied. A well known
world traveler, hunter and explorer returned recently from a unique jour
ney to the Kingdom of Nepal as the guest of its King on the occasion of
the latter's twenty-fiftr* anmveisary (SHyer Jubilee) of his accession to
the throne. Impregnably aloof in the Himalayan fastnesses of northern
India, Nepal is forbidden to white men except at the King's personal invi
tation. The few fortunate ones thus honored must follow a prescribed
travel route, are constantly watched, may not venture outside Khatmandu,
the capital city. Automobiles are carried over the high mountain passes
on the heads of native bearers, the trails are steep and tortuous, the eleva
tions are incredible. Our friend carried a good camera with him, took many
pictures. But on his return to New York, when he submitted them to the
editors of a large weekly picture magazine, he was chagrined to find that
most of his pictures were long shots; he had neglected to secure photo
graphs of his caravan while on the move, or of heavy equipment being car
ried over the mountain passes on the heads of bearers. And the pictures
of ceremonial processions, and of the King riding in state on a bejewelled
elephant, were not snapped as they were approaching the camera but after
they had passed!
Also lacking were pictures of the striking geological formations along
the route, of the flora and wild life; unposed pictures of the Nepalese
natives engaged in their ordinary activities, or of interesting human
types, local customs, styles of dress, unusual signs, bridges, wells, or of
366
Archeology
the countless manifestations significant of the life of another people. Had
he been thinking pictorially, his camera might have captured not only the
coherent story of a unique experience, but also a record of great value to
students in several fields of science. He had prepared no scenario, taken
no notes.
This discussion has tried constructively to clarify the man-sized job
of first class scientific and explorational photography. Whatever has been
said is not simply theoretical but has been drawn from actual experience
and observation. The writer is frank to confess that had he himself
thoroughly understood years ago. the principles herein set forth either by
direct statement, implication or example, he would today possess a photo
graphic library of exceptional quality and contents.
Perhaps no one has better summarized the new significance of pictures,
or the task of the photographer today, than my friend Willard D. Morgan:
"For centuries human beings have been taught to read the printed page.
Now they must learn to read pictures with equal facility." The mushroom
growth of recently established picture magazines' circulation is sympto
matic of the public's apparently insatiable interest in photography, however
uneven in quality. In this situation, the responsibility for setting the pace
rests upon the photographer, for it is axiomatic that the instructor must
always be many jumps ahead of his pupils.
Ideally, the Leica is an extension of your own imagination. An audi
ence of millions craves good pictures. What are you going to do about it?
Courtesy of Oriental Institute
Fig. 274 Air View of Pyramid Excavations, Lower Egypt
James H. Breasted, Jr.
This pyramid and its temples, between Dasnur and Sakkara, about 25 miles from Cairo,
is being: excavated by the Egyptian Government. The long -"fingers" are debris dumps
367
Choice of Equipment and Its Care
Every one has his favorite Leica outfit to meet his special needs.
After about six years of personal experience, supplemented with
chronic questioning of other users, the writer has assembled an equip
ment which seems to him ideally balanced for expeditionary, explor
atory or general use. It consists of the following: A Model G
Leica; a Summar 50mm f :2 lens; a Hektor 28mm f :6.3 extremely
wide angle lens, with Special View Finder and Special Sunshade;
an Blmar 90mm f A lens; a Vidom Universal View Finder; Panchro
matic Green, Yellow II, and Infra Eed I filters; an Optical Short
Distance Focusing Device; an Adjustable Lens Sunshade; a "Wintu
Angle View Finder; a Weston Leicameter; a collapsible tubular tri
pod with universal para & tilt head; and an Everready Carrying
Case.
Excepting for tripod and Carrying Case, the entire outfit (in
cluding 6 or 8 rolls of film, plus extra space for small gadgets) is
stowed in a custom built case 13% x 7% x 3% inches. Selection of
portable developing, printing and enlarging equipment will natu
rally be determined by the prevailing field conditions under which it
will be used. Usually all of it can be carried in a good sized suit
case. Especially recommended are stout cases of fibroid composition
of proven immunity to extremes of tropical moisture and heat, and
to mildew and termites. To guard against sand or dust storms,
all lenses or other delicate, vulnerable pieces should be kept in
double-seamed chamois bags with draw strings rather than zipper
openings. Extreme moisture in the tropics is a difficulty which no
one has yet fully solved. But it can be minimized by wrapping
equipment in sheets of new, good grade rubberized silk. The pack
ing or films for the tropics is now standardized by the leading manu
facturers, who are always glad to offer the benefit of their experience.
With the outfit listed above, the range of your photographic
activity is limited partly by the extent of your technical experience,
but mainly by your ability to think in pictures.
The author gratefully acknowledges the permission of the
Oriental Institute and of his brother, James H. Breasted, Jr., to
reproduce in this chapter a number of the latter 's Leica photographs.
368
THE MINIATURE CAMERA FOR
MINIATURE MONSTERS
J. M. LEONARD
CHAPTER 20
Photographs by the Author
The photographer who is weary of portraits and pictorials or
who is bored by the discussions of purist versus creative may take
new hope. If he wishes to combine amusement and education with
a host of interesting photographic problems, he should explore the
world of miniature monsters which awaits him in his own backyard.
He will find a life as fascinating and as bizarre as any that ever
roamed the hot sands and the reeking swamps of prehistoric times.
Such an exploration, through the eye of the camera, will reveal
creatures clothed in bone, in feathers, and in hair; creatures with
from two to eight eyes, and from one to nearly thirty thousand lenses
or facets to each eye; creatures so weird in appearance that they seem
to belong to another age. These are the insects and the spiders.
Their variety of form is boundless; and in brilliancy of color they
equal if not surpass the most gorgeous flowers. Their habits and
their social conduct are of such absorbing interest that the insect
369
Fig. 276 Head of Wolf Spider Fig. 277 Head of Jumping Spider
Note How Eye Arrangement Differs.
photographer need not feel surprised should he suddenly find himself
more interested in studying the actions of the insects than in pho
tographing them.
Entomologists estimate that there are a half million or more
known species of insects. They constitute by far the largest group
of living creatures and greatly exceed the combined total of all others
on the earth, in the air, and under the water. Doctor Frank E.
Lutz of the American Museum of Natural History states that there
are approximately fifteen thousand species of insects to be found with
in fifty miles of New York City, and nearly eleven thousand species
within the state of New Jersey and these, bear in mind, are species
and not individuals. The photographer who takes up this branch of
work will never lack subjects. Also he will have a year around hobby,
for the insects may be photographed alive in the field or may be
mounted and saved for the long winter evenings.
Catching the Insects
Although insects are so numerous and so widely distributed, a
few hints as to where to look and what to look for might be helpful.
The collector doubtless needs no suggestions as to where to find such
household insects as the roach, silver fish, clothes moth, house fly and
370
Miniature Monsters
mosquito. These, however, constitute a very small percentage of the
thousands of varieties which lie beyond the screens and the front
door.
While many insects are much in evidence some of the most in
teresting ones prefer seclusion and their society must be sought.
Turning over an old board or a rock in a field may admit one to the
private lives of a few crickets, a family of sow bugs, or a miscellane
ous collection of beetles. Other insects will be found under bark, in
rotten wood, in flowers, among the roots of plants, and in fact, prac
tically everywhere that the careful collector cares to look. The chief
requisites of a collector are active curiosity, quick fingers, and nimble
legs. For the capture of moths, butterflies, dragon flies, or other
flying insects a net is essential. This may be purchased for a rea
sonable price from any dealer in entomological equipment.
While all insects are interesting photographically, there are a
few of the common ones which, because of certain outstanding points
of interest, should appeal to the beginner in insect photography.
The spiders — which by the way are not insects but are of the class
Arachnida, order Araneida — are interesting because of their ferocious
appearance and the number and arrangement of their eyes (figs. 276
and 277). The normal number of eyes is eight and all of the eyes are
simple : in none of them is the outer layer divided into facets as in the
compound eyes of insects. The normal arrangement is regarded as
two rows, each containing four eyes, but they may be found in three
Fig. 278 The Northern Centipede which Lives in Houses
371
Fig. 279 Grasshopper
Elmar 135mm lens, S. F.
Attachment, 60mm ext.
tube, 16 -seconds at f:18,
DuPont Superior Film
and even four rows. Grasshoppers are interesting because of their
smug expressions (fig. 279). Scutigera Forceps, the northern centi
pede which lives in houses, appears like a bleached carcass on the
desert when photographed on sand against a black background (fig.
278) . The larvae of many of the large moths such as Cecropia, Prom-
ethia, and Cynthia look like prehistoric dragons in the photographic
enlargements. The points of interest are endless but the experimenter
will soon find his own favorites.
The Camera Equipment
The camera used in photographing insects must fulfill several
important requirements if the best results are to be secured. Ground
glass focusing is essential because of the very small depth of focus
which is available when the object to be photographed is only an inch
or two from the lens. The equipment selected should be such that
the distance between the lens and the film may be varied sufficiently
to produce either photographic reduction or enlargment of several
diameters. The range in the size of insects is such that a fixed
amount of bellows extension will not serve for both the large and
the small ones. The image of a praying mantid would have to be
considerably reduced before it could be recorded on a 35mm film,
whereas a mosquito or a fly would need a corresponding amount of
enlargement to bring out any detail.
The Leica camera, which is used by the writer, fulfills all of the
essential requirements. The sliding focusing copy attachment provides
ground glass focusing, and the lens extension tubes which are used with it,
permit a wide range of photographic reduction and enlargement, particu
larly when used with lenses of different focal lengths. As an added ^ ad
vantage the copying attachment and camera may be mounted on a tripod
and used in the field for photographing live insects. The question of which
model of the Leica to use is significant only in one respect. Any model is
satisfactory but the Model F has the outstanding advantage of including
372
Miniature Monsters
speeds between 1 and 1/20 second, and it is in this range that many of the
insect exposures will be made.
The accessory equipment for this branch of work will vary with the
ideas of the individual and with the state of his pocket-book. A fairly
comprehensive list is as follows:
Sliding Focusing Copy Attachment and Magnifier
30mm, 60mm and 90mm Extension Tubes
Elmar 35mm lens Elmar or Summar 50mm lens
Lens Shade Wire Cable Release
Ball Jointed Tripod Head "Triax" Tripod
For field work the 50mm lens and the 30mm tube generally will be
sufficient. This combination in connection with the Copy Attachment will
produce a .82x magnification of the image which is about all that can
be tolerated when working with a live insect of average size. If greater
magnification is used it will be difficult to obtain critical focusing because
of the reduced depth of focus combined with the need for fast work when
photographing a live insect. The additional tubes and the 35mm lens will
be found useful for higher magnifications when the work is done indoors
under controlled conditions.
Photographing in the Field
Photographing the insects in their natural haunts will provide
the occasion for many a long and interesting walk. The woods, the
fields, and the shores of ponds and streams are teeming with life. The
close observer will find ceaseless activity and industry to an extent
unrivalled among living things. He will find every trait and char
acteristic that can be found in human beings and many others besides.
For field work, the equipment should include the sliding focus
ing copy attachment and magnifier, a 30mm tube, lens shade, tripod
with ball jointed head, and wire cable release. In addition, a can
of ether or carbon tetrachloride, a small glass jar and a medicine
dropper will be found useful.
A little experience in trying to photograph a live active insect
will soon show the difficulty of doing so. Some insects are easily
frightened and others appear to have a constant urge to go some
where. Usually by the time the camera is set in place and the some
what critical focusing has been done, the insect has succumbed to this
urge and is nowhere to be seen. The job will be made much easier
and the chances of a successful picture increased if the insect is
placed under better control.
The following method has been used with good results :
1. Select a twig, shrub, rock or any other place where you would
like to have the insect resting when it is photographed.
2. Focus the camera on the particular spot selected.
3. Next catch the insect and place it in the jar with a few drops of
ether or carbon tetrachloride. It should be carefully watched and
should be removed from the jar as soon as it appears stupefied.
373
4. Place it in the spot previously focused on, arrange its legs in a
natural position, quickly check the focus and take the picture.
If it has been etherized just the right amount it will be able to cling
to the twig or leaf but will not be able to crawl or fly away for a
minute or so.
Too much ether will kill it, and too little may enable it to leave before
the picture is taken.
The insect may be mounted in the field if desired and thus kept
under more complete control. About twenty years ago Dr. David
Pairchild of Washington, D. C., made a number of very interesting
insect photographs which were published in the National Geographic
Magazine and later in book form as "The Book of Monsters'7. Dr.
Fairchild describes his method of mounting as follows :
"Cover the top of a small block of wood with a thin, even coating of
paraffin or ordinary candle wax by letting the drippings of the candle fall
upon it. Pick a large leaf and turn its upper surface down upon the wax,
before it cools, and let it stick there; this will give a natural looking
ground for the insect to stand upon. Hold the insect over the block of
wood and arrange the legs in as natural a position as you can with a long
needle or fine dental tool. Then fasten each foot in place by heating the
needle in the candle flame and pricking a hole in the leaf just under each
foot so that the wax will come up through the leaf and hold it fast." The
insect is anesthetized just before the mounting operation is undertaken,
and is photographed immediately after it is mounted.
There are times when it pays to proceed with caution and to
observe closely what the insect is doing instead of immediately cap
turing and etherizing it. An interesting series of pictures may be
the reward of restraint and patience. The insect may be engaged
in an operation which is seldom noticed and less frequently photo
graphed. Careful scrutiny may show a cricket laying its egg through
a long tube which has been thrust into the earth, a jumping spider
dancing before its mate or a praying mantid depositing its egg mass.
An example of a seldom noticed phase of insect life is illustrated
in Fig. 281 which shows the courtship and mating of two mantids and
the thorough manner in which the female disposed of her mate after
she tired of him.
In observing this series the following action will be seen — the
male (the slender insect) pursuing the female; the mating; the female
pursuing and catching the male, and finally, the female devouring all
of the male except his head and neck, which in one picture is seen on
the ground with eyes directed upward toward the gruesome spectacle
of the remainder of his body being devoured. The head, by the way,
remained alive for twenty-four hours, exhibiting during this time
normal characteristics and reactions.
374
Miniature Monsters
Fig. 280 Cecropia Moth
Luna Moth (right)
While it may be possible to photograph such a series in the field
the chance of being in the right place at the right time is so remote
that success is very unlikely. It is better to bring the live insects
home where they may be under constant observation as was done in
this case.
Selecting the Correct Photographing Angle
In insect photography, as in any other kind, the position of the
camera in relation to the object being photographed is an important
factor in determining whether or not the picture will be interesting.
A photograph of a man or a horse taken from an elevation with the
camera pointing directly downward would not be particularly pleas
ing and would give little idea of what the subject really looked like.
Following this line of reasoning best results will be obtained if the
camera is in the same plane as the insect, or in other words, at insect
level, although this rule may be varied by angle shots from slightly
above or below the subject. This point is illustrated in figure 280
which shows two moths, one photographed from above and the other
from the side.
It is for the reasons given that the "Triax" tripod is suggested for
field work. It is one of the few that is so constructed that the legs when
spread out so that they are in one plane, cannot be raised above that plane.
When the tripod is placed on the ground with the legs spread in this
manner the camera will be only a few inches above the ground and will be
rigidly supported.
The proper exposure time can best be determined by means of an ex
posure meter, bearing in mind that a correction factor must be applied if
the extension tube is used. Using- the 30mm tube and the 50mm lens set
at infinity with the diaphragm at f :6.3 the exposure as determined by the
meter should be multiplied by 2.2. It should be remembered that when
375
Figures 281 to 288 Courtship and
Mating of Two Praying Mantids
Photos by J. M. Leonard
**•
Figures 289 to 297 Mantids Show
ing Final Disposal of the Male by
the Cannibalistic Female
Courtesy Life Magazine
377
an extension tube is used between the lens and the camera the f values of
the diaphragm do not mean the same as when the lens is used without the
tube. Moving the lens away from the film increases the size of the image
at the plane of the film and therefore a given amount of light coming
through the diaphragm aperture will be spread more thinly over the image
than would be the case with the lens in its normal position in the camera.
This is equivalent to reducing the f value and proportionately longer ex
posures will be required.
Field trips in search of insects will disclose other interesting
subjects for the camera. The hog-nosed snake, the neighbor's cat
and the praying mantid (fig. 281) are among the many trophies of
such rambles.
Bringing Home the Catch
If the insects are to be brought home to be mounted and photo
graphed at leisure, instead of being photographed in the field, small
straight sided bottles having large mouths and screw caps will be
found convenient for transporting them. A word of caution, how
ever, about properly segregating the occupants of the bottle: the
writer, on one of his collecting trips, found some magnificent speci
mens of huge black and red ants. He captured a half dozen of the
finest looking ones and placed them in a small cardboard box. He
carefully brought the box home and opened it to find a grand
collection of spare parts — legs, heads and bodies scattered about.
In the midst of the destruction was the victor — minus all six legs —
still waving avid mandibles, in search of more victims. A safe rule
is to have a separate container for each insect.
Moths and butterflies should be killed as soon as they are cap
tured. This may be done by carefully but firmly pinching the thorax
between the thumb and finger. If they are alive when placed in the
container they will thrash about and injure their delicate wings.
Mounting the Insects
Insects which are to be photographed at leisure must be per
manently mounted. This is a difficult job and, if naturalness is to
be achieved, calls for steady hands and endless patience. There
probably are many ways of mounting and the experimenter may wish
to develop his own.
A method which was adopted by the writer after many experi
ments is as follows:
Take a piece of cardboard measuring about 2x3 inches for the smaller
insects and proportionately larger for those of greater size. Cement to this
a piece of Dennison's gummed cloth mending tape with the gummed side up.
Place the etherized insect on this and putting each leg in turn in the proper
position, moisten the gum around the foot with a small pointed stick which
has been dipped in water. The events leading up to and following this op-
378
Miniature Monsters
eration are as important as the mounting operation itself. The live insect
is carefully studied until all of the details of one pose are firmly pictured
in the mind. This includes the position of the antennae and of each
of the six legs, the angle of the head and of the body, and the distance
between the under side of the body and the mounting surface. The insect
is then etherized. This may be done by inverting a water glass over it and
placing a few drops of ether under the edge of the glass with a medicine
dropper. Experience will show the proper amount, which varies greatly
according to the kind of insect. A few drops suffice for a fly while some
beetles and spiders literally must be bathed in it. Care must be taken to
remove the insect after it is properly anesthetized. Too much ether will
kill it, and the way the contracting muscles of a dying beetle will pull its
six legs into a tangle would discourage the most patient experimenter.
Place the insect quickly on the gummed tape and fasten each foot in the
position it assumed when alive. After this job is about half done the
chances are that it will suddenly come to life and pull its feet free so that
the whole operation will have to be repeated.
When all legs are in place the insect is blocked up to the proper height
by inserting under it small rolls of tinfoil or bits of cardboard. The head
is held at a natural angle in a similar way or by letting it drop into the
crotch formed by two pins which are stuck into the cardboard in such a
way that they cross just under the head. The antenna may be held sloping
upward to the front by a piece of cardboard so folded that one part of it
rests flat on the mount forming a base for the other part which extends
upward at the desired antenna angle. The antennae are carefully laid on
Fig. 298 A Mantid's Close-
up Portrait ...
Taken with Sliding Copy Attach
ment and Extension Tuhes
379
Fig. 299 The Insect Is Carefully Mounted as Shown and Left to Dry in
a Fixed Position
the sloping piece. Antennae which are carried in a horizontal position may
be held in place by a small block of tinfoil placed under them. Legs which
tend to buckle in the wrong direction are braced by pins stuck into the
cardboard mount. Ordinary pins may be used but those are not as satis
factory as the pins used by entomologists for mounting insects. This pin
is about 1% inches long and has a very small head and a sharp point.
After the insect is finally mounted and is blocked in a lifelike position it
should be killed. One of the most satisfactory ways of doing this is by
inverting a large mouthed cyanide bottle over the insect. The cyanide
fumes do their work in a very few minutes. The insect is carefully put
aside to dry and in four or five days the pins and blocking may be removed.
The insect will remain permanent in the position in which it was mounted.
Figure 299 shows a beetle which was mounted by the method just de
scribed. Figure 300 shows the same insect as finally photographed.
The supplies and implements for mounting are few and simple. They
are: a can of ether, a medicine dropper, some pieces of cardboard, a small
sheet of tin or lead foil, a roll of gummed cloth mending tape, a tube of
cement, one or two long flexible tweezers, some pins, and a few slender
pieces of wood with needles stuck in their ends. The needles are used for
arranging the insect's legs and antennae. One of them may be made more
useful by heating the needle point and bending it into a very short hook.
One more accessory which is almost a necessity is a binocular loupe magni
fier such as is used by oculists. Lacking this a reading glass may be used
but it should be mounted on a support so that both hands are left free to
work on the insect.
380
Miniature Monsters
Fig. 300 After the Mounting Pins Have Been Removed the Insect Takes
on a Very Life Like Position
The question has been asked many times as to how insectg
should be preserved to prevent decomposition. The answer is that
preserving is not necessary for the reason that the insect wears its
skeleton on the outside. The outer part of the insect's body is com
posed of a substance known as chitin. This is an organic chemical
compound and the parts of an insect's skin which contain it are
hard, tough and lasting. Spiders, however, require special treat
ment as otherwise the body will gradually shrink and collapse until
it is flat and unnatural in appearance. Before mounting a spider
the under side of its abdomen should be slit open and it should be
thoroughly cleaned out. It should then be stuffed with cotton until
it is filled out to natural size and appearance.
To prepare the mounted insect for photographing, a thin layer
of fine sand may be sprinkled on the cardboard mount to produce a
natural looking foreground. A piece of cloth or cardboard may be
placed a few inches behind the insect for a background. This may
be white, black, or some shade of gray, depending upon the color of
the insect and the photographic effect desired. For a dead black
background a piece of black velvet is excellent.
381
Lighting
Lighting a subject as small as an ant or a fly in such, a way as
to bring out the desired contrasts is difficult and requires much
experimenting. Almost any source of illumination can be used, but
the results obtained will be somewhat dependent upon the amount
of control that can be exercised in the application of the light. The
lighting originally used by the writer consisted of three 100-watt
Mazdas in goose neck desk lamps. "While fairly satisfactory results
were obtained with this lighting arrangement it was not all that
could be desired. The size of the light source was so large com
pared to the subject being photographed that it was difficult to
produce the desired effects. Photofiood lamps may be used if it is
desired to materially shorten the exposure time, but these too, have
the disadvantage of being much- larger than the subject.
The most satisfactory lamps so far used were improvised from old
style De Vry still projectors. This so-called projector really consists of only
a lamp housing with its support and a very good condenser system. Pro
jection originally was accomplished by clipping a De Vry camera in front
of the condenser and using the camera lens as the projection lens. The
camera however is not necessary in constructing the insect spot lights. The
first steps in adapting the projector are to remove the lamp housing from
its support, discard the support and the transformer which it contains, and
substitute a double contact bayonet socket for the single contact socket.
The double contact socket is standard and may be obtained in any automo
bile supply store. A 50 or 100-watt 115-volt projection bulb will fit this
socket and is the right size for the lamp housing. The housing should then
be mounted so that it may be moved up and down or may be tilted. This
requires only a little ingenuity and in figure 301 it is shown in use. It con
sists of a lead-filled lamp base, a rod with sliding clamp which ordinarily
is used to adjust casement windows, and a brass coat hanger for adjust
ing the position of the lamp when the housing becomes too hot to touch.
Fig. 301 Close-
up View of Pho
tographic Equip
ment Showing
Position and Con
struction of Spot
Light and Ar
rangement of In
sect and Lens
382
Miniature Monsters
Fig. 302 Sea Horse with Back Fig. 303 Sea Horse with Front
Lighting Effect Lighting Effect
A piece of ground glass clamped in front of the condenser lens to diffuse
the light, completes the outfit. This lamp produces a brilliant concentrated
spot of light % inches in diameter at about 2% inches in front of the con
denser lens, and a well di/used light at a distance of eight or more inches.
The light has a value of 1500 to 1800 candles per square foot in the % inch
spot and about 600 candles at the 8 inch distance.
In arranging the lighting in preparation for the exposure a good
general rule is to place lights on both sides of the subject with a
third light above and to the front of the insect. In order to avoid
flat lighting the lamps should not be equidistant from the subject,
but should be so placed that proper shadows are cast. Care should
be taken, however, to avoid multiple shadows. By changing the
position of one or more lamps, any desired parts of the insect can be
Fig. 304 Transparent Wing of Small Insect: Fig-. 305 Transparent Insect Wing, Cross-
Front Illumination; White Back-ground Illuminated Against Dark Back-ground
383
thrown into relief. A useful- combination of lightp consists of two
photoflood lamps with tracing cloth diffusing screens and a singlla
spot light. The photofloods are placed on either side of the subject
to give full and uniform illumination and the spot is used to bring
out the desired contrasts.
Back lighting produces interesting results and seems particularly
effective in the case of insects having semi-transparent wings. En
tirely different effects in wing photographs may be produced by back,
front or cross lighting. A beam from a single spot light directed
across the surface of the wing makes the wing veins stand out in
relief. In contrast to this, front lighting against a white background
silhouettes the veins. Interesting effects with other subjects will
result from varying the position of the lights as shown by the sea
horse in figures 302 and 303. In figure 303 lighting was entirely from
the front, while in figure 302 the lights were placed back of the sea
horse and below the level of its head with the beams directed slightly
upward.
Many pitfalls will be encountered. The smooth shiny body of a
beetle will reflect brilliant patches of light. Undesirable reflections
will be produced by the eyes. The under side of the insect will
appear on the print as a black area with no detail unless care is
taken to place one or more lights at the level of the insect's body or
slightly lower. Many other difficulties will be encountered which
can be solved only by experiment. In general, most of the lighting
principles which are used in portrait work apply equally well to
the photography of insects. The difficulty lies in the practical appli
cation of these principles. The subject is so small and the effects
of the lighting are, in consequence, so difficult to judge, that many
times it is only when the final enlargement is made that the correct
ness of the lighting arrangement is known.
Ultraviolet Light
If extreme resolution of detail is required, it will be necessary
to depart1 froin the usual sources of artificial light and take advan
tage of the short wave lengths of the ultraviolet region. An inspec
tion of the equation for resolving power of a lens will show that
decreasing the wave length of the light used increases the resolving
power.
The use of ultraviolet light for photography immediately sug
gests quartz lenses and quartz lamps, but these are very expensive
and are not necessary for ordinary work. The usual types of camera
384
Fig. 306 Eggs of Canker Worm Fig. 307 Same Section of Egg Mass
Photographed by Ultra- Violet Light Photographed by Mazda Light
The improvement in definition resulting from the use of ultraviolet light
is shown in figures 306 and 307. These are photographs of the eggs which
produce the inch or canker worm so destructive to foliage. The pictures
were taken on the same roll of film with the same lens so that all condi
tions except the light source were identical.
Increased definition is only one of the results of the use of ultraviolet.
Experiments conducted by Dr. Frank E. Lutz and others indicate that insects
see by ultraviolet rather than by the light to which our eyes respond. By
using the short invisible waves to photograph the insects we are able to
picture them as they possibly look to each other. Comparison photographs
of the same insect taken by white and by ultraviolet light will in some cases
reveal interesting differences in the marking. Figures 308 and 309 show
two photographs of a butterfly taken in one case by white light, and in the
other by ultraviolet.
The determination of the best film to use in ultraviolet photography
must be left to the reader to determine, as the writer has not yet had time
to make complete comparative experiments. DuPont Superior Panchromatic
with which the accompanying illustrations were made has given excellent
results, although possibly other films may be found which are better suited
to this light.
Equipment for Indoor Work
In preparing the photographic apparatus for indoor use, the
camera should be so mounted that the axis of the lens is horizontal,
and both the camera and the platform upon which the insect is placed
for photographing must be mounted very rigidly in order to elimi
nate vibration and consequent loss of definition. As the amount of
photographic magnification is increased this becomes a serious prob
lem and unless the whole structure is very rigid every nearby truck,
train or street car will cause noticeable vibration. Another matter
of importance is to support the extension tube at a point near the
lens. If this is not done the vibration will be excessive no matter
how firm the remainder of the structure may be.
One of the arrangements used by the writer is shown in figure 310. The
bed on which the equipment is mounted consists of two 5-ply hard wood
panels bolted together and weighing about 40 pounds. Sponge rubber
blocks are placed between the panel and the table top to absorb vibration.
386
Miniature Monsters
Fig. 308 Yellow Tiger Swallow-Tail But
terfly. Photographed by Mazda Light.
Fig. 309 Same Butterfly. Photographed
hy Ultra- Violet Light
The table itself rests on cork. The camera is attached to a tripod head from
an old German machine gun mount. These can be picked up in some of the
stores dealing in second hand war material. The various adjusting screws
on the tripod head make it possible to raise or lower the camera, to rotate
it from side to side, and to tilt it in any. direction.
The mounting bed carries a heavy walled brass tube which is strongly
braced and on which are two Leica sliding arms. The outside diameter of
the tube is 1^ inches which is the correct size to fit the sliding arms. A
small platform on which the insect is placed for photographing is mounted
Fig. 310 James M. Leonard and his Camera Equipment for the Photog
raphy of Insects
387
on one arm and the other is used to support the backgrounds. The platform
can be moved forward or back by means of a rack and pinion. A movable
support for the end of the extension tube rests on the mounting bed.
Photographing at Home
The insect to be photographed is placed on the platform and
the sliding arm is moved to get about the proper working distance
between the lens and the insect. The fine focusing adjustment is
made by means of the rack and pinion.
Having put the insect in place and arranged the lights all that
remains to be done is to focus, expose, develop and print. These few
operations, however, bring up some very interesting problems. For
example, the question of the proper diaphragm opening is a vexing
one and usually resolves itself into a compromise between depth of
focus and definition. Stopping down the diaphragm increases depth
of focus but in the case of some lenses it results in a loss of defi
nition. Opening it may increase the resolving power but gives
almost no depth of focus. A fairly wide open diaphragm may be per
missible when photographing an insect's head or other part which will
not include the foreground or the mount on which the insect is placed.
If, however, these are included in the picture the result will be far
from pleasing. The foreground will show a clean cut section which is
in sharp focus while everything in front of and beyond this section
will be completely out of focus. As the diaphragm is closed the sec
tion in focus will widen and the line of demarcation between it and
the out-of-focus area will grow less distinct. The optimum opening
is reached when the areas which are in focus and those which are
not blend into each other, the important parts of the insect being,
of course, in focus.
Some difficulty may be encountered in determining whether or
not the insect is sharply focused because of the small amount of light
reaching the ground glass when the diaphragm is partially closed or
when several sections of extension tube are used. Focusing will be
made much easier if the ground glass is given a light coating of oil.
Cocoanut oil is very satisfactory for this purpose. Place a drop on
the ground side of the glass and spread it with the finger, rubbing
lightly in one direction and then at right angles to that direction to
insure even distribution of the oil. Do not use cloth to spread the oil
because pieces of lint are likely to adhere to the gloss. Wipe the
surplus oil from the finger after each rubbing in order to reduce the
film to the right thickness. The proper amount remains when objects
several feet distant appear indistinct when viewed through the glass.
388
Miniature Monsters
Fig. 311 Amblicorypha Oblongifolia — A Relative of the Katydid
Exposure
The proper length of exposure can best be determined by the
trial and error method. An exposure meter will help, but the subject
being photographed is so small that the amount of light which it
reflects toward the lens is insignificant compared with the light re
flected by the mount or the background. About the only way to be
sure of getting a usable negative is to make four or five exposures
of each subject. The first exposure should be somewhat shorter than
the estimated correct time and each succeeding exposure should be
V/2 or 2 times the preceding one. A record should be kept of the
subject, the lighting used, the length of the extension tube, the dia
phragm opening, and the time of each exposure. A study of such a
record will soon enable the experimenter to make a sufficiently good
guess at the exposure time so that if not more than three exposures
are made as just described one of them will produce a negative of the
correct density.
The table on page 232 will be very helpful in determining the relative
exposure for any length of extension tube and includes other valuable ^ in
formation as well. Also consult the chapter on Copying and Reproduction,
389
Fig. 312 Fig. 313
The Life Cycle of the Spice-bush Swallow-tail Butterfly
Fig. 314 Fig. 315
by Willard D. Morgan, for information on other lenses and on depths of
focus.
Any reference to films and developers may seem unnecessary. These
subjects have been fully covered in many publications. A few personal opin
ions will be ventured, however, in the hope that they may help the beginner
in insect photography. If extreme definition is desired the order of pref
erence probably should be (1) positive film, (2) orthochromatic and (3)
panchromatic. If proper rendition of the colors is the first consideration
the order should be reversed. Many insects, particularly the moths and but
terflies are marked with red or orange and if the various gradations and
shades of these colors are to appear in the finished print the use of pan
chromatic film is essential.
The writer has adopted DuPont Superior panchromatic film and the
so-called Sease No. 3 developer for his own use. The formula for this
390
Miniature Monsters
developer has been published many times but will be repeated here for the
sake of completeness.
Sodium Sulfite 3 oz. 76 grains 90 grams
Paraphenylene Diamine . . 154 grains 10 grams
Glycin 93 grains 6 grams
Water 33 oz. 1 liter
Developer at 68° F.
Gamma in fourteen minutes * 0.54
Gamma in twenty-eight minutes 0.76
Gamma in forty-two minutes 0.86
Time to reach 0.7 gamma 24 minutes
While this developer has the disadvantage of requiring approximately
double exposure it has the advantage of excellent keeping qualities and of
producing fine grain. The writer has developed twelve rolls of film in a
liter over a period of months and the developer still appeared to be in good
condition.
It is hoped and believed that those who take up insect photog
raphy will find it a fruitful source of enjoyment and relaxation. The
use of a little imagination in departing from the usual procedure of
photographing the entire insect will produce interesting, and some
times amusing results. A collection of insect portraits may be made,
or individual parts of the insect, rarely seen in detail by the unaided
eye, may be photographically enlarged. Figure 311 is a typical insect
portrait, the subject, in this case, bearing a surprising resemblance to
the head of a horse. Figures 319 and 318, the egg case of a cockroach
with its zipper top, and the poison-sting which is the scorpion's
weapon of attack, are examples of parts of insects so enlarged that
their details may be seen. Caterpillars found in the garden or the field
may be brought home to develop their fascinating and mysterious life
Fig. 316 Portrait . . . Portion
of Fig. 313. Who is the Father
of our Country? • - -
391
Fig. 318 (left) The Poison Sting at the End
of a Scorpion's Tail
Fig. 319 The original Zipper Purse— The
Egg Case of a Cockroach
cycle within reach of the camera. Figures 312 to 315 show four
stages in the life cycle of Papilio-trotius, the Spice-bush Swallow-tail
butterfly. These few suggestions by no means exhaust the possibilities
of this interesting branch of photography. The field is limited only
by the bounds of imagination.
392
PHOTOMICROGRAPHY
WITH THE LEICA CAMERA
H. W. ZIELER CHAPTER 21
The Leica camera, the pioneer of miniature cameras, has opened
so many new fields to photography and has been used successfully for
so many different tasks where it replaced larger cameras, that it is not
surprising when it enters the field of photomicrography.
It has become well known that for certain types of photography
the miniature camera is directly essential, due to special optical condi
tions which are verified in this kind of camera. The combination of
high speed of the objective and depth of focus in the picture which
has been thoroughly discussed in the chapter on lenses, establishes the
necessity of miniature cameras for many special tasks such as candid
photography, photography of small objects, stage photography and
others. For these purposes the miniature camera is essential because
it does what no larger cameras can do. When trying to use the Leica
camera for photomicrography it may appear upon superficial con
sideration that something paradoxical is being attempted. If small
objects are to be photographically reproduced at a high ratio of magni
fication, it seems necessary to have a large negative, rather than crowd
ing the enlarged detail again into a small negative. The sceptic may
readily admit that photomicrography with a miniature camera is not
altogether impossible but he may consider it more or less useless or
unsatisfactory and, at any rate, not specifically advantageous. It is
interesting that a closer investigation of the optical principles proves
beyond doubt that for certain types of photomicrography the minia
ture camera is essential and it is only with its help that some ap
parently unsurmountable difficulties can be solved.
When to Use the Leica for Photomicrography
In order to fully appreciate why the Leica camera can be used for
photomicrography and why it may be the only means towards achiev
ing success, we must again dive into several intricate optical prob-
393
lems. Some of them have been thoroughly explained in the chapter
on Leica lenses and need only short recalling.
To begin with, we must realize that the very purpose of pho
tomicrography is to record minute detail which is so small that it
must be magnified in order to become visible. In the microscope there
are two lens components which participate in the process of magnify
ing, and in taking the photomicrograph a third factor enters to make
the process complete:
1. the microscope objective forms a magnified image of the object
under investigation
2. the eyepiece of the microscope remagnifies this image
3. the distance between the eyepiece and the negative on which the
picture is recorded determines the area which the magnified
image finally occupies in the photograph.
It is interesting and important to know, that only the first of
these three stages of magnifying is capable of revealing finer detail.
The function of the eyepiece and the projection distance in recording
the image on the negative is comparable to an enlarging process. , In
the enlargement we find the same detail which was- in the negative but
stretched over a larger area to bring it within the limit of visibility of
the eye. Every single detail which we find in the enlargement was
also in the negative, only it may have been so close together that the
eye could not see it.
In photomicrography we find all revealable detail in the first
magnified image which the objective produces. In this image, how
ever, the detail is crowded into such small space, that considerable
enlargement is possible before it is fully detectable by the human eye.
"We could place the negative in the plane where the objective has
formed the first magnified image and simply enlarge this negative
with a regular enlarging apparatus. In doing this we would meet with
some technical difficulties. In the first place the grain size of the silver
deposit in the finished negative would limit us in producing greatly
magnified enlargements. And then, as was mentioned in the chapter
on lenses, there is always a certain loss of detail in recording the image
on the turbid emulsion of the film. The light, in penetrating through
this layer, is scattered and thus the rendition of detail is slightly
decreased.
Therefore it is advisable to call for the assistance of another opti
cal unit to participate in the process of enlarging the image which the
objective has formed. ' But although we can let the eyepiece carry the
394
Photomicrography
entire burden of the enlarging process so tkat in the original negative
we find the detail separated far enough to make it visible for the eye
(in which case a contact print could be made from the negative) we
may, with equal justification, divide the task so that for instance in
the negative the detail is still four times more crowded than is per
missible for the eye to see it. In this case we simply enlarge the neg
ative again four times in our regular enlarger.
The realization is of utmost importance. We must not forget that
any process of magnifying is naturally connected with a reduction of
the light intensity in a given area. In fact, the light intensity de
creases with the square of the size of the negative so that for instance
in taking a photomicrograph on a plate of 5x7 inches we require an
exposure which will be 25 times as long as that which a Leica negative
(1 x 11/0 in.) requires if it is placed so much closer to the eyepiece, that
Fig. 321 Wool HOx
Fig. 322 Silk lOx
Emil Keller
the same area of the object is reproduced on it. There are many occa
sions where a short time of exposure in a photomicrograph is essential
because the specimen under the microscope may be living and moving
around so that it can only be photographed by instantaneous exposure.
Often it is not possible to increase the intensity of the light by selec
tion of a stronger light source because the enormous concentration of
light in the plane of the object may quickly destroy the delicate struc
ture of the specimen. In these cases there is just one solution : the
miniature camera. It is not surprising that it was the important field
of photomicrography of living objects which came to its full prac
tical significance only through the miniature camera.
But, whereas the miniature camera is indispensable for this type
of photomicrography, it can also be used with great convenience for
many tasks of general photomicrography without serious disadvan
tage. Whenever a great many photomicrographs have to be taken
under identical light conditions and magnification, it is, of course, a
395
great convenience to have the Leica with its great film carrying ca
pacity, its inexpensive negative material and the great variety of
film emulsions. General Photomicrography with the Leica is eco
nomical and convenient. Only in rare cases will it happen that the
requirements for recording even the very minutest detail, are such
that the method with the small negative may show slightly inferior
results when compared to photomicrographs on larger negatives.
Photomicrography of living objects and general photomicrography
are of great importance for the scientist. But also the amateur can
become interested in it and he can derive an infinite amount of pleasure
from it. So we have a rather popular field of application for the Leica
camera in photomicrography as a hobby.
To summarize, we can form three groups and this classification is
not arbitrary but has quite an important influence upon the selection
of the best equipment:
1. Photomicrography of moving objects : the Leica is a necessity,
2. General photomicrography : the Leica is an economical convenience,
3. Photomicrography as a hobby: the Leica is a source of pleasure.
How to Adapt the Leica Camera to the Microscope
In describing the technique of photomicrography with the Leica
camera we must, of necessity, give preference to those details which
relate specifically to the camera. The problems pertaining primarily to
microscopy must be treated more briefly, because we wish to condense
the information into a chapter rather than into a library. Therefore
we shall, for the present, consider the microscope as one unit, and the
Leiea camera as another one and then describe the best method of com
bining these two units for the various purposes of photomicrography.
Among the accessories offered for the Leica camera, there are
devices which permit three different ways of adaptation of the camera
to the mircroscope. Which of these three devices should be used,
depends again upon the type of work which we want to do.
Fig. 323 Daphnia Pulex
c- G. Grand
2x Objective, 8x Eyepiece
396
Photomicrography
Photomicrography of Living Matter with the
Micro Ibso Attachment
When using the Micro Ibso attachment, the regular Leica lens
must be removed from the camera. That means that this attachment
cannot be used with Leica
Model A. The attachment,
shown in figure 324, is to be
adapted to the camera body
like a regular Leica lens. At
its lower end it is equipped
with a microscope eyepiece.
This eyepiece has a magnify
ing power of lOx when used
for visual observation. Used
in connection with this device,
however, this power is not
fully developed because the
Fig. 324 Micro-Ibso Attachment with syn- Small negative Of the Leica
chronized cable releases : one activating: the Com- „ -IT i ,
pur Shutter, the other throwing the prism out Camera IS placed SO ClOSC to
of the path of light rays ^ eyepieee> T^Q microscop.
ist knows that only if the negative is placed 10 inches from the eye
piece, the magnification of the latter in photomicrography will be equal
to that which prevails in visual observation. With the Ibso attachment
the eyepiece does only one-third of its performance for visual observa
tion. But this is just enough to spread the detail conveniently over
the area of the Leica negative. That means that a Leica negative,
enlarged to the size of 3 x 4*/2 inches, will represent a photomicrograph
with the same magnification as that which prevailed if the same ob
jective and eyepiece would have been used for visual observation.
The eyepiece can be removed from the Ibso attachmnt by un
screwing the knurled adapter ring with which the entire device is
clamped to the microscope tube. It is not abvisable to use eyepieces
of different magnifying power. It
must be realized that the field seen
through the microscope is circular
whereas the shape of the negative is
rectangular. On the other hand we
find in photomicrography that it is
Fig. 325 Leica Photomicrograph
made with the Micro-Ibso Attach
ment
397
often next to impossible to have the entire field appear uniformly
sharp in focus. Especially at higher magnification the outer portion
of the field is more or less out of focus. The eyepiece with which the
Ibso attachment is equipped has such magnifying power that the most
valuable portion of the field is utilized. How the image of the speci
men fills the frame of the Leica negative is shown in figure 325.
Fig. 326 Micro-Ibso Attachment with Leica camera
placed upon Microscope — ready to use
The middle section of the Ibso attachment contains a beam-
splitting prism which can be removed from the course of rays by
operation of a wire release. So that this prism may also be held
outside of the course of rays, the wire release is equipped with a clamp
ing screw. A certain portion of the light which has passed through
398
Photomicrography
the microscope is reflected by the prism into a side telescope where the
micro image can be visually observed and focused. The balance of the
light passes onto the film. Above the telescope there is a Compur
shutter with which the actual exposure is made. A conical housing
is attached to the middle section and this is of such length that the
image will fill the negative as shown before. This housing also con
tains a lens system for the purpose of correcting the passage of the
rays so that at this short distance a sharp image can be produced.
It is the beam-splitting prism and the side telescope which make
the Ibso attachment so valuable for photomicrography of living
objects, "When the specimen is in motion it is essential that we
have a method of observing and focusing continuously until the very
instant before the exposure is taken and these two features enable us
to do so.
And in order to shorten the time of exposure as much as possible
we do not only benefit from the small negative size of the Leica but
also from the fact that during the (general instantaneous) exposure
the beam-splitting prism is removed from the course of rays, thus con
veying the entire available amount of light onto the film.
The side telescope is equipped with an adjustable eyelens. This
is an important device which is often overlooked. When focusing
visually we must realize that there are differences in the eyesight of
different observers. When the image appears in focus for one ob
server, it may not be sharp for another ; yet the image must always
be sharp in the plane of the film. These differences are compensated
by the adjustable eyelens. In looking through the side telescope a
cross hair ruling is visible. Before focusing the microscope the ob
server must turn the mount of the adjustable eyelens until the cross
hairs appear in perfect focus. Only when this is done should the
microscope be focused with the coarse and fine ajustment. In this
case there will always be coincidence of focus in the side telescope
and in the plane of the film. If a different observer looks through
the side telescope and finds the micro image out of focus, the cross
hairs will likewise lack in sharpness. But simply by turning the
mount of the adjustable eyelens crisp focus can be established for
both, the image and the cross hairs.
It may appear strange that a Compur shutter is required to
take the photo inasmuch as the Leica camera has a focal plane shutter.
This shutter, however, when released, moves in a direction which
would create a lateral momentum and cause vibrations which would
affect, the sharpness of the picture. The Compur shutter avoids this
399
danger. But since the transporting of the film is coupled with the
winding of the Leica shutter, the procedure of taking successive
photomicrographs is somewhat complicated and the photomicrographer
will have to accustom himself to the following sequence of manipula
tions.
1. Remove the lens from your Leica camera and adapt in its place the
Micro Ibso attachment to the camera body of Leica models C, D, E,
F, FP, or G.
2. Remove the regular eyepiece from the microscope tube, set the tube
to the correct mechanical tubelength prescribed by the manufacturer
(some microscopes are equipped with draw-tubes, others have sta
tionary tubes; the manufacturers have different standards as to the
length of the tube and when the microscope is equipped with a draw-
tube, this must be correctly set) and place a rubber ring or metal
clamp around the draw-tube so that the weight of the camera with
Ibso attachment will not change the tubelength. A rubber ring is
supplied with the Ibso attachment.
3. Adapt the Ibso attachment with Leica camera to the microscope by
inserting the eyepiece of this attachment into the microscope tube.
Then tighten the clamping screw on the knurled ring at the lower end
of the Ibso attachment.
4. Fasten the two wire releases to the Ibso attachment. The one with
clamping screw is for the beam-splitting prism, the other one is for the
Compur shutter.
5. Attach the regular wire release to the Leica camera. Wind the focal
plane shutter of the Leica camera and set it for time exposure.
6. Adjust the eyelens of the side telescope so that the cross hairs appear
in sharp focus.
7. Focus the image of the microscope with coarse and fine adjustment
while looking through the side telescope.
8. Set the Compur shutter for the correct time of exposure.
9. Press the wire release of the Leica camera and clamp the wire release
in this position so that the focal plane shutter will remain open. You
are now ready to take the exposure by pressing the wire release of the
Compur shutter. If you wish to have as much light as possible for
the exposure, you can also swing the beam-splitting prism out of the
course of rays. Thus you will have to operate two wire releases simul
taneously. But you must also operate the fine adjustment of the
microscope continuously and since we have only two hands, you may
wish to make^ use of an automatic release attachment which permits
with one motion to swing out the prism and immediately afterwards
to take the exposure. This attachment is likewise shown in fig. 326.
10. After the exposure has been taken, loosen the clamping screw of the
Leica wire release, thus closing the focal plane shutter. Wind to the
next frame, press the Leica release again, clamp it in this position
and you are ready for the next picture.
Whereas the Ibso attachment can, of course, be used for every
task in photomicrography with the Leica camera, regardless of
whether the object is moving or stationery, other devices may be pre
ferred in the latter case. The Ibso attachment, after all, is not inex
pensive and other Leica accessories may be used equally well, having
the added advantage of the possibility of other applications.
400
Photomicrography
General Photomicrography with the Sliding Focusing Attachment
Excellent photomicrographs can be taken with the Leica camera
adapted to the sliding focusing copy attachment when the latter is
attached to the extension arm on the upright of the Valoy enlarger
(or other models) and is provided with an extension tube of a certain
minimum length. Also in this case, Leica Model A cannot be used
because the camera body alone must be attached to the focusing at
tachment. The general set-up is shown in figure 327. After having
removed the lamp housing from the upright of the enlarger, the spe-
Fig. 327 General set-up showing how a Sliding Focusing Attachment is
used with the Leica for Phot omicro graphic work
cial arm which holds the focusing attachment with the Leica camera
is fastened to the upright. An extension-tube of 6cm should be used
attached to the sliding focusing attachment. The arm carrying the
entire Leica equipment is lowered until microscope tube and extension
tube just overlap. A light-proof connection can easily be established
by wrapping a piece of black paper or cloth around the lower end of
the extension tube.
401
It is, of course, possible to use extension tubes of any length. The
total length of the tubes used will determine the magnification of the
image in the plane of the film and therefore also the area which the
image occupies. A tube of 6cm has been suggested for definite rea
sons. When this tube is used, the image will occupy about the same
area as that shown in fig. 325, when an eyepiece of lOx magnifica
tion is used, as in the case of the Ibso attachment. It is also possible
to use eyepieces of different magnifying power. When these eyepieces
are used for such short projection distances they do not yield their
total magnifying power which would prevail in visual observation.
Only if the total distance from the rim of the eyepiece to the plane of
the film is 10 inches will the eyepiece yield the same magnifying
power as in visual observation. For shorter distances this power
decreases correspondingly. When the total distance is only about
3 1/3 inches (as it will be be when the 6cm tube is used) the eyepiece
magnification is also reduced to 1/3 of its full value, which corresponds
to that which we use when taking photomicrographs with the Ibso
attachment.
For those who want to proceed in strictest accordance with cor
rect optical principles it may be mentioned that when taking photo
micrographs with the focusing attachment, they may use eyepieces
with adjustable eyelenses to compensate for the short projection dis
tance. The principle involved is too complicated and the benefit de
rived too minute to require special explanation. The reader who is
interested is referred to literature about microscopy.
The procedure in taking photomicrographs with this equipment
is as follows :
1. Before placing the focusing attachment with Leica camera and exten
sion tube in position, focus the microscope roughly for visual observa
tion so that the microscope tube will not have to be displaced too much
in vertical direction after the light-proof connection has been estab
lished.
2. When the microscope has been focused visually, lower the arm on the
upright until the extension tube overlaps the microscope tube and make
the light-proof connection. Tighten the clamping screw on the exten
sion arm when the image on the ground glass appears as shown in
figure 327 (provided a lOx eyepiece and 6cm tube were used).
3. Attach the wire release to the Leica camera.
4. Focus the image sharply on the ground glass by means of the fine
adjustment of the microscope and slide the Leica camera into position.
You are now ready to take the photomicrograph.
When the focal plane shutter is released there is no danger of vibra
tions affecting the sharpness because the Leica camera is held rigidly in
the focusing attachment.
402
Photomicrography
Obtaining Critical Focus
Critical mieroscopists may resort to a simple trick in order to
avoid any error in focusing on the ground glass. A small piece of
thin clear glass, such as a cover glass, used for protection of micro
slides, may be pasted to the ground glass with a small droplet of cedar
wood oil. The covered area will become transparent and the aerial
image may be focused with a special 30x magnifier (a special ground
glass with a clear strip and calibrated scale is also available). This
magnifier, however, must also be focused to the plane of the cover-
glass. Therefore, before attaching the coverslip, a small pencil mark
should be made on the ground glass. The magnifier may be raised or
lowered in its mount until this pencil mark appears in sharp focus.
Then the fine adjustment of the microscope must be operated until
the micro image also appears in sharp focus.
The results which can be obtained with this equipment are so
satisfactory that for many purposes of general photomicrography it
finds more and more extensive use. As long as stationary objects are
to be photographed it is often preferred to the Ibso attachment be
cause it seems easier to obtain a critical focus although with some
training the other method yields equivalent results.
There is another method of photomicrography with the Leica
camera which requires less equipment. This method may be sug
gested to the amateur who may not wish to go too deeply into this type
of work.
Amateur Photomicrography with the Micro Adapter Ring
When using the Leiea camera with the micro adapter ring the
lens must be left in the camera. Therefore it is also possible to use
Leica Model A for this type of photomicrography. The micro adapter
ring is slipped over the tube of the microscope and its upper part is so
shaped that it can be adapted to the rim of the Leica lenses of 50mm
focal length like a light filter.
The method of focusing is as simple as it is interesting. Focus
the microscope for visual observation, focus the Leica camera inde
pendently for infinity and then place it over the microscope into the
micro adapter ring where it is held in place by tightening the clamp
ing screw in the upper part of the adapter.
This method of focusing is so interesting because it reminds us of
the fact that the human eye is really a very small miniature camera,
perhaps the most remarkable miniature camera in existence. The
403
human eye is equipped with a lens which forms images on the retina.
But this lens has no focusing mount and yet it can be focused. It is
certainly a wonderful creation. Since nature preferred not to pro
vide our eyes with bellows or focusing mounts which would permit
changing the distance between the lens and the retina, the lens in
the human eye focuses itself automatically by changing its focal
length according to the distance from which we look at the object.
When this distance is small, the lens increases its curvature (con
trolled by a most ingenious mechanism of muscles) to shorten its
focal length until the image is sharp on the retina. If the object is
farther away the muscles relax and decrease the curvature to increase
the focal length just enough to have again a sharp image on the
retina. And this complicated mechanism works so perfectly that we
operate it unconsciously and instantaneously as soon as we open our
eyes.
Nevertheless it is a strain for the eye when it looks at an object
at close distance whereas it relaxes as much as possible when it
looks at an object which is infinitely far away. And since the
microscopist must often look through the instrument for long pe
riods at a time the scientists designed the optical equipment of
microscopes so that the eye can be as much at ease as possible. In
other words the lens in the eye focuses itself as if it would have to
look at an object at infinity. And if we replace the human eye by
another miniature camera (or, for that matter, by any photographic
camera, regardless of size) the lens of this camera must likewise be
focused to infinity.
Not every observer has perfect eyesight. Some are near sighted
others are far sighted. That means that their focusing mechanism
is out of order. Such defects may happen to the focusing mechanism
of other miniature cameras. But as long as we deal with manufactured
cameras we can send them to the manufacturer for readjustment. He
can determine the amount of the error and can either place an inter
mediate ring under the objective mount or he can shorten this mount
until the images are always in focus if we operate the focusing
mechanism with the rangefinder. Unfortunately there are no similar
repair shops for our eyes so that we must content ourselves with a
correction of the discrepancy by adding front lenses which we call
spectacles, to the lens of the eye. And everybody who must wear
eyeglasses for correction of defects of his eyelenses, should always
leave them on when focusing the microscope visually before taking
pictures with the Leica and Micro Adapter Ring.
404
Photomicrography
Before adding the weight of the Leica camera with adapter ring
to the microscope it is also advisable to attach a rubber ring or a
metal clamp to the draw tube of the microscope at the correct length.
The distance between the Leica camera and the microscope is
now so small that the magnifying1 power of the eypiece is still
further reduced to only one-fifth of its power for visual observation.
In other words, if the Leica negative is enlarged five diameters the
final print will represent a photomicrograph which has the same mag
nification which would have prevailed in visual observation with the
same objective and eyepiece. Figure 329 shows the relation between
the Leica negative and the area covered when taking a photomicro
graph with the micro adapter ring, using an eyepiece of 12x magnifica
tion. Eyepieces of different magnifying power can also be used, but
sometimes it will be difficult to avoid internal reflections within the
optical system.
Fig. 328 Placer Gold. Photomi
crograph by R. E. Head, made with
Ultropak and Leica
Fig. 329 Leica used with
Micro Adapter Ring and
12x Eyepiece covers area
shown
The procedure of taking photomicrographs with the Micro
Adapter Eing can be summarized as follows :
1. Set the draw tube of the microscope to the correct length and fasten a
rubber ring or metal clamp so that this tube length will be maintained
when the Leica camera is placed into the Micro Adapter Ring.
2. Detach the black lacquered upper part of the Micro Adapter Ring from
the lower metal part, withdraw the eyepiece from the microscope tube,
fasten the lower part of the ring to the tube and tighten the clamping
screw.
3. Insert the eyepiece into the microscope tube and attach the upper part
of the Micro Adapter Ring.
4. Focus the microscope for visual observation.
5. Focus the Leica camera independently for infinity. Attach the wire
release and wind the shutter which must subsequently be set for the
correct time of exposure.
6. Attach the Leica camera carefully to the upper part of the Micro Adapter
Ring and tighten the upper clamping screw. You are now ready to take s
the photomicrograph.
405
Those who possess an enlarger and an extension arm may prefer to
attach the Leica camera to this arm, place the microscope with the adapter
ring on the baseplate of the enlarger and lower the arm until ^ the Leica
lens mount connects with the upper part of the Micro Adapter Ring. ^ Thus
the weight of the Leica camera does not rest on the microscope. This has
not only the advantage of avoiding the danger of vibrations when releasing
the shutter but also that of affecting the accurate focus, especially at high
magnifications.
This method of photomicrography with the Leica camera, incidentally
is optically the most correct one because the microscope retains the same
focus as for visual observation and the correction of ^the entire optical
system of the microscope is at its best under these conditions.
How to Select the Microscope
For Photomicrography of Living Matter
Whereas prepared microscopic specimens are generally mounted
on glass slides as thin sections and can be observed by sending light
through them, living organisms or unprepared objects are mostly
more or less opaque and of irregular shape. They not only require
a microscope stand of special design but also special illumination
arrangements. These illumination devices also influence the design
of the microscope.
As long as these opaque objects are to be photographed at low
magnification the illumination offers no difficulties. Under these con
ditions the distance between the front lens of the microscope objective
and the object is comparatively long. (This distance is generally
called working distance, a term which should not be confused with the
focal length of the objective) . The light emitted by a suitable micro
scope lamp may be concentrated by a so-called ~buWs eye condenser
and may be so guided that it falls obliquely upon the surface of the
specimen. But as the magnification increases the working distance
decreases so rapidly that even at moderately high magnification there
is not enough clearance between objective and specimen to squeeze
the light between the two.
Microscopists who examine the surface structures of metals use
a device known as vertical illuminator. It is attached to the lower
end of the tube. The light, entering laterally, is reflected into the
direction of the optical axis of the microscope and passes through the
objective which simultaneously acts as a condenser, to concentrate the
light in the plane of the object. From the surface of the object the
light is reflected and passes again through the objective which now
acts as an image forming unit.
This method of illumination, which yields satisfactory images of
the highly reflecting polished and plane surfaces of metals, fails if
406
Photomicrography
applied to the illumination of rough low reflecting and uneven sur
faces of organisms or other materials. As the light passes through
the objective on its way to the specimen, partial reflections occur
at the surfaces of the different lenses which produce a haze thus
greatly reducing the contrast in the image. This haze may even
obliterate the detail completely.
The situation can be compared with one which you undoubtedly
have often observed : a picture hanging on the wall may be covered
with a glass plate. Under certain light conditions the glare produced
through reflections of light by the glass plate may be so strong that
you cannot see the picture at all.
Another illumination method was developed for observation of
objects of low reflecting power which avoids the double passage of
light through the objective and can be used even at the highest mag
nifications. The device used for this purpose, the Leitz Ultropak,
was introduced only a few years ago and it has pioneered this im
portant and utterly fascinating field of microscopic observation and
photomicrography of opaque objects with surfaces of low reflecting
power at high magnification. The illuminator is shown in figure 330.
The light, entering horizontally, is reflected by a ring-shaped mirror
and passes through a condenser system which surrounds the objective.
This condenser collects the light so that it illuminates the object with
highly oblique rays. From the rough surfaces of the object the light
is diffusely reflected, passes through the objective, a central hole in
the ring-shaped mirror and forms the image.
— Sector diaphragm
Slit for filters
Ultropak with
illuminating apparatus
screwed on
Fig. 330 Diagram showing
path of rays of Ultropak
407
The Ultropak is attachable to every standard miscroscope tube.
It is equipped with a small incandescent lamp which is satisfactory
for visual observation but not strong enough for instantaneous photo
micrography. In such cases a more powerful light source such as an
arc lamp must be used. A special lens system can be attached to the
light entrance tube of the Ultropak to concentrate this light. The
complete equipment assembled for photomicrography with the Ibso
attachment is shown in figure 331.
Fig. 331 Micro-Ibso Attachment with Microscope and Arc Lamp for
Photomicrography of living matter
This arrangement makes a special type of microscope almost im
perative. Generally a microscope is focused by raising or lowering
the tube which, for this purpose, is equipped with a coarse adjust
ment by rack and pinion and a fine adjustment by micrometer screw.
The arc lamp, however, not being attached to the tube, would not
follow these focusing motions and the horizontal beam would not
always pass through the condenser lens which is attached to the
Ultropak. In other words, the operation of focusing the microscope
would throw the illumination system out of alignment. This diffi
culty can be overcome by using a type of microscope where the
coarse focusing is done by raising or lowering the object stage.
Microscopes of this type provide for much space between the tube
and the stage so that even comparatively large objects may be placed
on the stage in their entirety. These models are recommended for
408
Photomicrography
photomicrography of objects which make the method of illumination
by Ultropak or vertical illuminator necessary. They are of such
design that substage illuminators for photomicrography by transmit
ted light can be attached to them.
For General Photomicrography
As mentioned before, specimens which have been specially pre
pared for microscopic observation are generally mounted as thin sec
tions on glass slides and they are illuminated by sending the light
through the thin layer of the object. The structures may allow only
certain colors of the light to pass through, whereas others are absorbed.
These structures will become visible in those colors which could pass
through them. It may be that other structures absorb all colors
equally, either completely or partly, and those structures will appear
black or any shade of gray against the lighter background. In other
words, the structures become visible because of partial transmission
of light and the illumination method for these objects is generally
called by transmitted light. The variety of microscopes available for
this type of work is considerable. Essentially all models are built on
the same principle although the various features may differ in regard
to completeness or design. They consist of an illumination apparatus
which guides the light through the object, a stage plate to support
the object and an observation system with focusing facilities.
For the selection of a microscope which is to be used for photo
micrography a few hints may be of value :
The Illumination Apparatus
The mirror which guides the light from its source through the con
denser should have one plane and one concave surface. The condenser
should be of the divisible type so that the front lens can be removed when
taking photos at low magnification. The illumination apparatus should be
equipped with an iris diaphragm to regulate the intensity of the light.
There should be a rack and pinion movement to raise or lower the con
denser. It is also advisable to have the condenser mounted in a centering
adapter. When the photomicrographs are taken at high magnification and
microscope lamps with, concentrated filaments are used for this purpose, a
centering adapter is of essential importance.
Object Stage
It is convenient, though not essential to have a device for the mechan
ical displacement of the specimen. Such devices are known as mechanical
stages. They can be obtained either separtely or built into the object stage.
Observation System
It has become general practice to classify the ranges of magnification
as follows:
409
low power (requiring objectives from 40 to 16mm focal length)
medium power (requiring objectives from 10-4mm focal length)
high power (requiring objectives of less than 4mm focal length).
For,high power microscopy a type of objective is used which is known
as immersion system. Regarding further details about objectives the reader
is referred to the current literature of microscope manufacturers.
The microscope may be equipped with a revolving nosepiece accom
modating either two, three or four objectives. The objectives of 16mm and
4mm are most popular. For higher magnifications oil immersions of about
2mm are generally used whereas for the lowest' magnifications objectives
of 40mm, 32mm, 24mm or thereabout are almost equally popular.
Contrary to general opinion it is not necessary that a microscope for
photomicrography be equipped with a tube of large diameter. A wide tube
may only be of advantage if it is intended to use a microscope for that type
of photography (not photomicrography) which the Leica user can do with
the sliding focusing attachment and the regular Leica lenses. In this type
of work an eyepiece is not required.
It may also be mentioned that it is not advantageous to take
photomicrographs without the eyepiece. Sometimes one meets with
the erroneous opinion that under such conditions sharper images can
be obtained. This is not true. The apparently greater sharpness is
simply due to the lower magnification. Actually such pictures lack in
sharpness because the objective is not used at the correct tube-length
and thus a certain amount of spherical aberration is introduced.
As to the magnification of the ocular, it has been mentioned before
that for general purposes an eyepiece of lOx magnification is most
satisfactory. Variation of magnification in the final print can always
be obtained by varying the ratio of enlargement of the negative.
Only in the ease of photomicrography with the micro adapter ring
may an eyepiece of 12x magnification be recommended.
For Amateur Photomicrography
The rules given for the selection of a microscope for general
photomicrography or that of living object can likewise be applied to
amateur work. Only in this latter case a simpler microscope will often
be fully satisfactory. In this case it is best to see what the manu
facturer has to offer.
Magnification and Resolving Power
It was explained at the beginning of this chapter that the ob
jective of the microscope alone is responsible for the revelation of
minute detail and that the eyepiece simply stretches this detail to
occupy a larger area. The power of the objective to reveal detail is
called resolving power and is limited. It is possible to determine for
each objective the magnitude of the finest detail which it is capable
of revealing. And since we can also determine the total magnification
410
Photomicrography
of the image in tlie negative, we are able to find out how much
space the smallest revealable detail will occupy in the plane of the
negative. This information is important because, as we know from
the chapter about Leica lenses, the human eye can only distinguish
detail if it is at least l/100th inch apart (provided we refer to detail
in a photograph which we view at a distance of 10 inches). Thus
we will finally be able to answer the question: How much can we
enlarge the negative of a photomicrograph taken with the Leiea
camera without creating the impression that the enlargement will
lack in sharpness?
The maximum resolving power of the objective can easily be
expressed quantitatively by the magnitude of the smallest detail which
the objective can resolve. But in practical photomicrography this
maximum resolving power can seldom if ever be verified, because it
requires certain optical conditions for the illumination of the object
which are detrimental in other respects. Therefore in practice the
obtainable resolving power will mostly remain below this maximum
value.
In the books about microscopy we find that the resolving power
depends upon the light collecting power of the objective and the
wavelength of the light with which the specimen is illuminated. The
light collecting power is generally expressed by a term numerical
aperture. Its meaning is not identical to the relative aperture or
speed of a photographic lens, but has close relation to it. We need
not go into detail about the correct interpretation of the term
numerical aperture because its actual magnitude is generally en
graved upon the mount of the objective and is also listed in the
catalogs of the manufacturers. We only have to realize that the
higher the numerical aperture of an objective, the better is its
resolving power.
As to the wavelength of the light, we know that in the spectrum
of visible light, the colors toward the violet end of this rainbow
have the shortest wavelength. But whether we can use these rays for
the illumination of the object, depends entirely upon the colors of its
structures. Further information about the color of the light to il
luminate the object can be obtained in publications regarding the
application of light filters for photomicrography. For the present
we must only realize that the relation between the resolving power
and wavelength of the light is such that an objective of a certain
aperture will yield the best resolving power if the wavelength of
the light which illuminates the object is as short as possible.
411
But there is a third factor which influences the resolving power
and which is often neglected in consideration. It refers to the direc
tion of the light which illuminates the object. As you know, the
intensity of the light which passes through a photographic lens is
regulated by opening or closing the iris diaphragm with which these
lenses are equipped. In a microscopic objective there is no iris dia
phragm. But we find this iris in the substage of the microscope,
directly below the condenser. If we close this iris diaphragm the
object will be illuminated only with a small central beam of light.
By opening it, the intensity of the illumination increases. But at
the same time the resolving power of the objective also increases.
Still, the resolving power may be increased without opening the
iris diaphragm. We only have to displace it laterally so that the
small beam which illuminates the specimen will not pass through it
centrally, that means, in the direction of the optical axis, but obliquely.
When to increase the resolving power by opening the iris and
when to displace the iris laterally depends entirely upon the nature
of the structures of the specimen and upon the quality of the objec
tive. An objective of good quality can be used with the iris diaphragm
comparatively far open whereas in an objective of inferior quality
those misbehaviors of light about which we learned in the chapter on
lenses will make themselves felt too much.
By opening the iris diaphragm we render the illumination more
diffuse and there may be detail which with such illumination will be
obliterated. The surface of a piece of paper may appear smooth in
diffuse light, but hold it in the beam of a powerful searchlight so that
the direction of this light meets the paper surface at grazing inci
dence, very obliquely. Every little unevenness in the surface will
throw a deep shadow and the little hills and valleys will appear most
strikingly.
These few remarks should indicate that the method of illumina
tion has a great influence, not only upon the visibility of detail which
may be so small that the highest possible resolving power is necessary
to reveal it, but also because this detail may be of such shape or nature
that special tricks must be applied to render them visible even if they
are large enough to require only little resolving power.
To summarize we may say that under normal conditions the iris
diaphragm of the substage should rarely be opened more than % to y2
of its greatest opening and as to the color of the light we shall learn
presently why a green filter will find most frequent application.
Under such conditions it is safe to assume that the magnification re-
412
Photomicrography
quired to separate the detail until it is about l/100th inch apart, is
about equal to 600 times the value of the numerical aperture of the
objective used.
From the catalogs of the manufacturers we learn the initial mag
nifications and numerical apertures of the current objectives. We
know that the eyepiece lOx yields about 1/3 of its full magnifying
power when used with the Leica camera as described before and with
this information on hand we can determine how much the Leica
negative of a photomicrograph can be magnified without losing the
aspect of a sharp picture. The following table contains these values
for some of the most popular objectives and may be of help in photo
micrography.
This table has been prepared for Leitz objectives but by com
paring the figures for focal length, initial magnification and numerical
aperture with those constants of the objectives of other manufacturers
it will become evident that the figures can be helpful also to users of
other objectives.
Magnifi-
Enlargement
Initial Mag
cation on possible to
Type of
Focal
nification of
Numerical
Leica
separate
objective
length
objective
Aperture
negative
detail 1/100"
Achromat
40mm
3.2x
0.08
10.5x
4.6 x
(dry)
tl
32mm
4.3x
0.15
14.3x
6.3 x
((
24mm
6 x
0.20
20.0x
6.0 x
tt
16mm
10 x
0.25
33 x
4.5 x
Apochromat
16mm
12 x
0.30
40 x
4.5 x
(dry)
Achromat
13mm
14 x
0.40
46.5x
5.1 x
(dry)
l(
9mm
20 x
0.45
66 x
4.1 x
Apochromat
8mm
23 x
0.65
71.5x
5.5 x
(dry)
Achromat
4mm
45 x
0.85
150 x
3.4 x
(dry)
Apochromat
4mm
46 x
0.95
153 x
3.8 x
(dry)
Apochromat
3mm
65 x
1.32
216 x
3.66x
(oil immersion)
Achromat
2mm
100 x
1.30
333 x
2.35x
(oil immersion)
Apochromat
2mm
92 x
1.32
306 x
2.6 x
(oil immersion)
2mm
92
1.40
306 x
2.75x
Thus we should conclude our chapter on photomicrography be
cause the problems pertaining specifically to the miniature camera
have been covered. But there are so many questions pertaining to
413
microscopy which the miniature camera owner would like to have
answered that at least some of them shall be briefly discussed.
Light Sources
It is difficult to recommend one definite light source because so
many different types are suitable and yet each of them has special
advantages, depending upon the work which has to be done.
For photomicrography of living objects, for instance, a great
deal of light is required because the image is formed only by that
small portion which is reflected from the surfaces of the object. The
effective intensity of light sources for microscopy, however, is not
measured in terms of total candlepower and it is very important
for the microscopist to understand why we need another measure.
Actually we can compare the power of microscope lamps only in
regard to their intrinsic intensities. This will become evident if we
compare a lamp for 110 volts and 550-watts with one for 6 volts and
30-watts. The only difference is to be found in the length of the
filament, that of the lamp for 110 volts being about 18 times as long
as that of the lamp for 6 volts. In both cases, however, the filament
is fed by a current of 5 amperes and pieces of equal length of the
two filaments emit the same amounts of light. Of course with the
110 volt lamp we could illuminate an area having 18 times the square
contents of that which, with the same condenser system the 6 volt
lamp will illuminate. But the condenser systems are designed for
rather small light emitting units because it happens that among these
we find the light sources of greatest intrinsic intensity.
Of the two light sources mentioned above the one for 6 volts
should of course be preferred because, although it offers the same in
trinsic and therefore effective intensity, it consumes only 1/lSth of the
amount of energy. The fact that these lamps must be used with a trans
former (or a rheostat, if d. c. is available) should not be considered as
a disadvantage because the lamp fulfills an optical purpose and its
performance in this respect is the only important thing.
The intrinsic intensity of a light source increases in proportion
to the temperature of the light emitting area. A filament, heated to
incandescence can never become as hot as, for instance the crater of
an arc lamp where the carbon is heated beyond the point of incan
descence so that it is actually consumed. Arc lamps have a compara
tively small sized crater and in order to enable the microscopist to
take full advantage of this important type of lamp, the condenser
systems of microscopes are so arranged that this small light emitting
414
Photomicrography
unit will illuminate the entire field under observation. These arc
lamps are often the only type of light source which will make in
stantaneous photomicrography of opaque living objects possible, even
with the small Leica.
For photomicrography in transmitted light we may not require
these strong light sources. In the first place, the entire amount of
light which is concentrated by the condenser, passes through the
microscope and is only partly absorbed by the structures of the object
which in the photograph will appear darker than the background.
Furthermore, these objects are generally not moving and longer ex
posures are permissible. In these cases a regular desk lamp with an
inside frosted bulb, possibly a photoflood bulb, will give satisfactory
illumination. Clear glass bulbs, showing the filament, should not be
used, unless a ground glass is interposed.
It is not possible to explain here, how, for every magnification,
uniform illumination can be obtained. The reader must try to obtain
such information from microscope manufacturers or text books. He
will find, that by following definite rules he can avoid the rather un
certain method of trial and error, but these methods would require
too much space in this chapter.
Light Filters
The application of light filters in photomicrography is another
problem which requires thorough study. The reader is referred to
current literature. The Eastman Kodak Co. published a booklet, en
titled " Photomicrography ? ? from which valuable information can be
derived.
In the vast majority of cases where stained preparations are to
be photographed, a green filter, such as the Wratten B filter will be of
great help. Not only are most of the stains, used in practice, of such
color that a green filter will produce the best contrast and differentia
tion, but the light transmitted by this filter is of that range of wave
lengths for which the correction of microscope objectives is most
favorable.
As to the best place to insert the filter, no special advice is
necessary since it can be inserted at any place between the lamp and
the microscope. It may happen however, that the filter is at a place
where any dust spots or impurities on its surface would show in the
field under observation because the condenser may form an image of
the filter in the plane of the object. If such dark spots are visible,
415
it is easy to find out whether they are produced by the filter or by
impurities on the lenses of the eyepiece. Suppose- we move the filter
laterally and the spots follow the motion, they are caused by dust on
the surface of the filter. But if, upon rotation of the eyepiece in the
microscope tube, the spots follow this rotation, they are due to im
purities on the lenses of the ocular. In both cases, the surfaces
should be cleaned, but if the filter gave the cause, it can also be moved
closer to the condenser.
Films
In photomicrography it is often not necessary and even detri
mental to use panchromatic film of high sensitiveness. The panchro-
matism of the film is not required when a green filter is used. As you
know, the only difference between orthochromatic and panchromatic
film lies in fact that the latter is also sensitive to red light. But if
the filter has prevented all red light from passing through the micro
scope, this extra sensitiveness is of no value. On the other hand,
panchromatic films are generally less sensitive for green light (that is
why green safelights can be used in the darkroom for their develop
ment) so that their general high speed does not exist for that range
of light color which is transmitted by the filter.
Finally we must realize that these superspeed films really do not
yield that same fine detail which we obtain with slower films. It is
true that the development can hold the grain size down but for rea
sons which are too involved to permit explanation at this place, it is
really true that the slower films with inherently finer grain produce
finer detail.
To sum up, any modern orthochromatic film is perhaps most suit
able for photomicrography. Where speed is essential, the faster emul
sions are to be preferred, where detail rendition is of primary im
portance, the slower emulsions are better. Only in cases where living
objects are photographed with the Ultropak or a darkfield condenser
and if in these cases no filter is used, a fast panchromatic film will
have its place.
In exceptional cases positive film may be used. But we must not
forget that this film is not sensitive to green light. Used when the
Wratten B filter has been interposed in the course of rays, a photo
micrograph on positive film would only yield a blank space. Without
a filter, the positive film in itself will perform what a blue filter would
have done with orthochromatic film. This fact may be helpful in
416
Photomicrography
photomicrography of diatoms where the utmost in detail rendition is
aimed for. But this task is perhaps one of the very few, where the
miniature camera actually does not offer anything but disadvantages
over the larger size cameras.
Exposure
Help in gauging the exposure for a photomicrograph is perhaps
most urgently needed and it is unfortunate that just in this respect it
can hardly be given. The exposure depends upon too many different
factors. There is the intrinsic intensity of the lamp, the size of the
filament, the opening of the iris diaphragm in the substage, the mag
nification of objective and eyepiece, the numerical aperture of the
objective, the color of the light filter, the density of the specimen, the
sensitiveness of the film to the color which the filter transmits and
there are many other factors.
The best way out of the difficulty is to take test photos under
standard conditions, varying the actual time of exposure. After
development of a test film and if the exact data for each exposure
have been recorded, the correct time can easily be determined.
Place the light source at a definite distance from the microscope,
select the filter, record the position of the iris diaphragm in the sub-
stage of the microscope, the magnification and numerical aperture of
the objective, the color and density of the specimen, the magnifying
power of the eyepiece, the type of film used and then take several
exposures, varying the time in wide limits. You can easily find the
best negative. Now maintain these standard conditions for this ob
jective and only if a specimen of great density is under observation,
lengthen the exposure. Of course, if a different filter is used, new
tests have to be made, unless you know the relative filter factor for
the particular film brand used.
This standardization will undoubtedly be the shortest way to
success and since a microscope equipment will generally not contain
more than three or four objectives and, at the most two or three
filters, the work involved is really negligible, not to speak of the value
of having gone through an experience of this type.
417
Pig. 3'32 Dental Operating Room of A. Laurence Dunn, D. D. S., Santa
Barbara, California. Photographed by J. Walter Collinge
(Dr. Dunn is left-handed and the equipment is arranged accordingly)
418
DENTAL PHOTOGRAPHY
A. LAURENCE DUNN, D.D.S. CHAPTER 22
Dentistry offers one of the finest fields for the Leica camera in
scientific work. "With it the general practitioner, the specialist, and
the research worker alike will find the opportunity to make records
of a remarkable quality.
To show the many uses in dentistry and in photography of all
small objects, and to explain how the pictures may be obtained with
a minimum of trouble, a simplified yet highly efficient technique is be
ing offered. The work is divided into three sections dealing first with
the equipment necessary, second the photography itself, and third a
system of records.
Equipment Required
1. Leica camera of any of the later models, and one of the
50mm lenses such as the Elmar f:3.5, Hektor f:2.5, or
Summar f :2 and a cable release.
2. Fuldy sliding focusing copy attachment.
3. Camera support and reflecting board.
4. Magnifying viewer.
5. Two extension tubes, 12mm and 22mm.
6. Photoflood lamp in reflector.
7. Leicameter.
8. Yard stick.
9. Cardboard backgrounds (black, gray, white, etc.).
10. Eecord pad and pencil.
One piece of apparatus that greatly simplifies photography at the dental
chair is the camera support, a home-made device. The one shown in figure
333 may serve as a suggestion of what can be constructed to meet individ
ual needs. Roughly, it consists of a pipe welded onto an old automobile fly
wheel. Being mounted on casters, it is moved easily, yet stays in position
solidly. It is rolled in place by hand and minor adjustments for position are
made by foot, with one foot on the base.
As the photograph shows, the apparatus is adjustable for every height
and position. The horizontal arm can slide freely on the upright pipe and is
controlled by a thumb screw.
To overcome vibration there are three upright rods welded both to the
flywheel and the upright pipe. The reflecting board is made of an aluminum
419
Fig. 333 Home-made Port
able Camera Stand sup
porting Leica camera with
Sliding Focusing Attach
ment and Reflector. The
outfit is readily available
for use at the dental
chair. Both Camera and
Reflector are easily ad
justable, providing excep
tional flexibility and ri
gidity.
cookie sheet. One side of it is kept with a high polish for strong reflections
while the other is dulled slightly by a very fine sand paper or by sand
blasting.
The camera is attached to the horizontal arm by a Leica Ball Jointed
Tripod head. I have found nothing that will take the place of this device in
holding the camera solidly in all positions. Figure 3'33 shows the construc
tion of the entire support. It can be made very simply and inexpensively.
The Fuldy copying attachment is described in Chapter 11. It is the ideal
piece of apparatus for accurate viewing and focusing in close work. The
proposed image is seen very clearly on the ground glass back. However, for
the most careful focusing, I strongly urge the addition of the 5x magnifier
and viewer.
420
Dental Photography
For close-up work at least one and preferably two extension tufeesssfee- ••
needed. A serviceable arrangement is to have the 12mm and the 22mm
tubes.
Needless to say, the Weston Leicameter is indispensable. To attempt
to photograph numerous objects under varying light conditions is too haz
ardous without some means of measuring the light value scientifically.
The Photoflood lamp should be mounted in some handy^ holder and
reflector. If possible it should be set up close by, to be swung into position
on a moment's notice. At least one spare bulb should be in reserve at all
times. One ingenious way of saving the Photoflood, which burns only two
hours, is to wire it through a Leitz Illumination Control which has seven
degrees of measured light intensity. Thus the light can be reduced ^ to
mild brightness for focusing and brought to the desired degree of intensity
for the actual exposure.
Finally, with a yardstick, pencil, and the record pad described in the
third section of this chapter the equipment is ready for use.
A picture of the apparatus set in position is shown in figure 332. When
not in use the outfit is pushed back to the wall and the lamp swung to
the side of the unit. Notice particularly how the camera support with its
camera and reflecting board, and the. lamp, are all adjusted in working
position with no interference to the operator. For work in the laboratory
or elsewhere in the room the camera support can easily be rolled into any
position desired.
Making the Photographs
To illustrate the diversity of uses of photography in dentistry
we start first with a series of pictures at the chair, then a series taken
in the laboratory, in research, and in the preparation of papers or
clinics. Many of the ideas presented in this chapter apply equally
well to medicine and surgery and to the photography of all small
objects.
The largest object photographed at the chair is the patient's
face, both front view and profile. This provides a general record, par
ticularly where any change is to be made in the front of the mouth.
The main uses are in the young and the old, the children needing
orthodontia and the elderly patients requiring full dentures. Such
Fig. 334 (left) Full face
view, made with Fuldy
C. A. at 22", one second
at f :18
Fig. 335 Profile, same
case, data as above
421
a picture will give an accurate record of the conditions to be repro
duced or eliminated and will serve as a means of comparing the
finished results with the original. Moreover, I feel it to be a very
wise procedure, in this age when so many faces are disfigured in auto
mobile accidents, to take full face and profile photographs of all
patients.
^ For these pictures the ideal distance of the camera from the subject is
30 inches, using the 50mm lens. For orthodontic purposes, however, the
90mm lens is to be preferred.
In most offices the full face picture (fig. 334) can be taken without
electric illumination, daylight being sufficient. Formerly, I used one Photo-
flood with a reflecting board but now seldom use either in the full face
picture. In the profile, help the lighting with one Photoflood and use a black
cardboard to serve as a background (fig. 335). Whenever using the alum
inum reflecting board, adjust first the Photoflood light and then the reflect
ing board. Place the latter in position to reflect the rays from the Photo-
flood so that this secondary illumination will brighten the surfaces not struck
directly by the Photoflood. The technique of adjusting the board is exactly
the same that a small boy uses in annoying the neighbors with a penny
mirror on a sunny day.
The Fuldy copying attachment is indispensable for work in dentistry
and close-up photography. In using the Fuldy copying attachment at a
distance beyond 37% inches, difficulty will be encountered from interference
of the collapsible lens mount. This can be overcome as follows: With the
focus lever set at infinity, work the lens into precise focus by sliding it in
and out. Then swing the focus lever down to the opposite limit, 3.5 for
instance. Next slide the camera across, swing the lever back to infinity,
and all will be in proper focus and adjustment.
The next closest picture is that of the anterior teeth (figs. 336-
339). For this put on the 12mm extension tube and bring the
camera up to approximately nine and a half inches. The distance
from the subject always means the distance measured from the sub
ject to the back of the camera or the film, and not to the lens. In
this and closer work on patients the Photoflood should be used. Fig
ure 336 shows a picture in stronger lights and shadows, while figure
337 smoother lighting and less, contrast.
A handy retracting device is shown in figures 337, 338. It is first
formed as desired in wax and then converted into vulcanite. The method
of use for the molar region is shown in figure 338.
Finally where a single tooth, or a group of two or three is desired,
use the 12mm and 22mm together, obtaining a 34mm extension
tube. Place the camera approximately eight and one-half inches from the
subject. Study page 231 on the decrease in light value with the use of
extension tubes and plan your timing accordingly.
Focusing for Close-Up Objects
Figure 339 is an example of close-up photography. Notice not
only the form and detail of the tooth as reproduced here, but also the
bit of gauze pressed against the right central incisor. Here is an
example of how a great deal of time and tension can be saved in the
422
Dental Photography
Fig. 336 22mm Tube at 9%", one Fig. 337 22mm Tube at 9", one
second at f: 12.5 second at f:18
careful focusing for close-up work. First cut a small square of gauze
from a dental napkin or other loose fabric material. Next select that'
position of the field most desired to be in accurate focus. If the field
is flat it will be simpler. If it has considerable depth, and you have
computed what can be gotten into focus, locate a spot which will be
two-fifths of the way from the front limit toward the back limit.
Place the square of gauze on the selected spot, wherever it may be,
and focus on the gauze instead of any other object in the field. You
will then be focusing on a hair-line instead of a flat surface.
The preceding pictures have shown how the field can be pro
gressively diminished and the size of the teeth relatively increased.
Study the usual attachments, distances and lighting for each type of
picture, and with but little practice you will soon develop a standard
routine for each.
Placing Light and Developing Form
Lighting of small objects can be controlled by using one main
source of illumination and a hand mirror, as shown in figures 340
to 342. Shadows can be placed and form developed through proper
directing of this supplementary light. However, a larger mirror
than that shown should be used.
Fig. 339 12 and 22mm Tubes at
S1^", one second at f:18
Fig. 338 12mm Tube at 12", one
second at f :18 .
423
Fig. 340
at 10", 5
f:18
12mm tube
seconds at
Fig. 341 12mm tube at
24", 3 seconds at f:18
Fig. 342 12mm tube at
10", 5 seconds at f :18
Transilluminotion oi Teeth
Figures 343 and 344 show the effect of transillumination of an
anterior tooth. Here we are confronted with the double problem of
two lighting systems in use simultaneously. This should not be at
tempted until you have established a standard system of lighting
337 and 339. When that has been worked out to your satisfaction
you are ready to run a series to determine the correct strength for the
trans-illuminating light. First, reduce the main or standard lighting
approximately 30 per cent below normal. I use the Eitter transillu-
minating lamp of the antrum type, as pictured in figure 356. Adjust
it so that it has mild brightness and place it as shown behind the
tooth. Eecord all factors, and particularly the number shown on the
Bitter rheostat. Then photograph. Next increase the light of the
Eitter lamp by one point and take the next picture. Keep increasing
the voltage one point at a time for approximately five pictures, being
certain to keep accurate records. From the finished results you can
select the one which is to serve as your standard for future pictures,
for your own office which will give you results such as in figures
Fig. 343 12mm Tube at 17", half
second at f :18
Fig. 344 22 and 12mm Tubes at
10", 1 second at f :18
424
Dental Photography
Fig. 345 12mm Tube at 17", 1/20
second at f :5.6
Fig. 346 22mm Tube at 10%*
half second at f :18
The next two pictures, figures 345 and 346 are also examples of double
lighting, although in these cases the transilluminating light is not shining
through the teeth to be operated on but upon them, a distant view and a
close-up. Here again the same routine must be worked out as in the pre
ceding paragraph, a series run to determine the correct balance of lights.
The main thing to bear in mind here is that it must be the Bitter light
and not the standard light that has the correct brilliance. In other words,
the transilluminating light must be such that it will neither over-expose nor
under-expose the negative, while the standard lighting must definitely under
expose. And let me save time and money for you by again repeating that
effects like these can be obtained only by running a series of exposures and
keeping records.
The extent to which the depth of focus can be increased by stopping
down to a small aperture is shown in figures 343 and 345. The former was
taken with the diaphragm closed to f :18, while the latter was opened to
f :5.6. Notice particularly the clearness of the fingers. It is because of
the increase of precise focusing on unimportant details that I prefer to
close the aperture as much as possible. Having selected 18 as my standard
aperture for most work, I can focus through the Fuldy attachment with
the diaphragm wide open at 3.5, then swing the lever to the opposite ex
treme, or 18, entirely by the sense of touch. Eliminating the necessity of
getting around and viewing the diaphragm reading in close quarters is a
great convenience, and obtaining greater depth of focus is an advantage not
to be overlooked.
Fig. 347 12mm Tube at 10", half
second at f :18
Fig. 348 22mm Tube at 11", 1 sec
ond at f :18
Photographing Reflected Images
Another variation from the usual photograph is the one taken
in the mirror. Figures 347 and 348 are two examples. The first is a
picture of the entire vault of the mouth, with an inflamed mueosa
irritated by a full vulcanite denture. The second shows by direct
view and reflection the application of a temporary appliance. There
are two precautions for this type of picture. First, the lighting must
be studied very carefully to make sure that the area reflected in the
mirror is as well illuminated as the surrounding non-reflected areas.
It is the latter rather than the former that will determine the light
value reading, so be careful. Second, the focusing must be done on
the reflected image. It must not be done on the non-reflected front
surface of the object, nor on the glass of the mirror, but on the image
shown in the mirror. With careful holding of the mirror this can
be done as accurately as in the usual pictures.
There is nothing that will take the place of the photograph in
explaining the technique of many operations. "Where subject matter
is being prepared for lecture or publication, visual education should
be the first considered. An example of this is shown in the two pic
tures, figures 349 and 350, where a fixed bridge is being seated with a
rubber dam in position, showing the case before and after the
operation.
In figure 351 an interesting method of eliminating background
shadows is shown. Apparently the vulcanite bridge, a Dunn Tempo
rary Partial Denture, is suspended in mid-air. The effect is obtained
by supporting the object on plate glass and placing the cardboard
background six inches or more below the glass.
At this point it might be well to refer to backgrounds. Strong
cardboards should be on hand for use at all times, including black,
dark gray, light gray, and white surfaces. Often the background
Pig. 349 12mm Tube at IB", one Fig. 350 12mm Tube at 13", one
second at f :18 second at f :18
426
Dental Photography
Fig. 351 12mm Tube at 9", four
seconds at f :18
Fig. 352 22mm Tube at 10", four
seconds at f :18
proves to. be the salvation of the picture, especially with the smaller
objects.
Other types of cases are illustrated in succeeding pictures. An unusual
emergency denture repair is pictured in figure 352. Here the points of sig
nificance from a photographic standpoint are the reproduction of the round
ness of the porcelain teeth, obtained by a proper lighting, and the great
depth of field, obtained by stopping down to a small diaphragm and timing
accordingly.
Figure 353 illustrates how photography is an aid in the instruc
tion of cavity preparation. Figure 354 shows plaster models of a case
before and after orthodontic treatment.
Determining Exposures
One is likely to be deceived as to the true light value of small
objects, particularly where they are very light in color. This is well
demonstrated in the case of these three plaster models. Placed on
a black background, the greatest light value they would record was
slightly toward 0 from 1. With the Leicameter set for a film with
a speed of 23, the correct camera adjustments were shown to be 13
seconds at aperture 18. However, this was felt to be far beyond
the correct timing.
To determine the correct exposure a large white card of approxi-
Fig. 353 12mm Tube at 12", two
seconds at f :18
Fig. 354 12mm Tube at 17", two
seconds at f :18
427
Fig. 355 22mm Tube at 10", four Fig. 356 22mm Tube at 12", one
seconds at f :18 second at f :18
mately the same degree of brilliance as the plaster was held in place
just in front of the models and a reading taken of the card. Instead
of slightly less than one, the light value now proved to be 1/6 and
the adjustments this time were changed from 13 seconds at 18, to
iy2 seconds at 18. The picture as shown was made with the latter
adjustments.
In your initial work on each new type of case, you will save
time by running a series of pictures, all of the same subject. For
instance, figure 353 was obtained first by finding that the light value
was probably 1/6. Then a small diaphragm, f :18, was chosen in order
to have maximum depth of focus. Finally a series was run starting at
1 second, then 2, 3, 4, 5, and ending with 6 seconds, but without the
series of pictures I could not have been certain. As originally com
puted with the aid of the Leicameter reading of the white card, the
2 second exposure proved to be ideal. Again let me urge you always
to run a series of exposures in undertaking a new type of work, then
select the best and use that as standard from then on.
Occasionally there will be a case where the arranging of objects
and studying their most desirable positions is difficult. All of the
plaster models were such examples. The slight turning of one would
throw certain lines in and others out, and the reduced image as
viewed on the ground glass of the Fuldy attachment made adjust
ment difficult. In such a case place the object in general focus and
approximate arrangement, then slip the camera off of the copy at
tachment, quickly unscrew the lens and you have an open hole
through which to view. Using it as a frame for your picture, do the
final arranging of the object, then replace the lens and camera and
complete the photography. This aid is seldom needed but can be of
great help in studying arrangement in difficult cases.
428
Dental Photography
Fig. 357 Photograph of a slide shown during a scientific meeting
1 second at f:3.5
Photographing Photographs
At conventions many of the finest ideas presented to dentists
are in the form of pictures projected on the screen. These can be
carried home as more than hazy recollections by photographing them,
whether they be still pictures or motion pictures in black and white
or in natural color. Figure 357 portrays such an example. For
best results sit in the front row and directly in front of the screen,
and in general give the limit of exposure.
Putting Movies on Paper
Leica shots can be made concurrently with the creations of a
professional motion picture whether dental or medical. If made
Fig. 358 Step-by-step views of a
procedure, used to illustrate a
scientific paper
429
purely as a movie the film cannot be successfully published or viewed
other than by projection. If however, the important step-by-step
shots are caught with a Leica they can be used to accompany the
text of the scientific paper, thereby spreading its usefulness beyond
the confines of the projection hall, as well as creating a permanent
record (figure 358).
In lecture work, if planning to project from glass slides, by all
means refer to Chapter 11 on Making Leica Positives for Projection
and discard the old fashioned method of using the so-called "standard
slides."
Other objects which can be photographed are such things as radio
graphs (Fig. 355), collections of interesting dental appliances, the oper
ator's hand demonstrating a certain technique (fig. 356), and so forth.
The high magnification that can be obtained by the use of extension
tubes is shown in the typondont of gold foil work (figs. 359-360, typodont by
Dr. E. D. Shooshan, Pasadena, Calif.). The picture of the gold foils in the
upper right first molar, the single tooth and the typodont, are all enlarged
to the same degree from their original pictures. The relative enlarging was
done in the photography by means of the tubes, and not in the printing.
The color record of the light pink of condensite material is shown in
this typodont. The color record which vulcanite will give is shown in figure
352. The anterior portion was gum pink and the posterior portion maroon.
Figure 351 also shows maroon vulcanite. No color filters were used.
In the photographing of small inanimate objects I prefer the soft light
of daylight rather than the artificial illumination of electricity. Figures
351, 353, 354, 361, 359 and 360 were all made without artificial illumina
tion. The objects were placed on a small stand close to one window. There
was one other window in the room which was used to help modify the
shadows.
Some objects, however, require stronger highlights and shadows. These
can be illuminated best with a Photoflood serving as the spotlight, and day
light providing the floodlight. Figures 352 and 356 are examples of this
type. The lighting of figure 355 was obtained by placing the radiographic
film on a radiographic viewing box.
Fig. 359 12 and 22mm Tubes at Fig. 360 90, 60, 22 and 12mm
8%", six seconds at f:18 Tubes at 12%", twelve seconds at
f:22
430
Dental Photography
Fig. 361 12mm Tube
at 9", four seconds at
f:18
Fig-. 362 Record stamp
Fig. 363 Print
record on back
with
Importance of Keeping Accurate Records
The photographer who is interested in reproducing rapidly any type
of scene must work out a systematic routine based on accurate records.
This is particularly true of photography in any phase of science, where
close-up apparatus is used and slight variations are of great importance.
Here the subject is frequently a patient and time must be conserved for all
involved.
Following is a routine which will permit check-up and reference:
1. Prepare a pad of paper. With a record stamp (fig. 362), stamp all
sheets on the pad.
2. Place subjects as desired, adjust camera and lighting.
3. Use Leicameter. Determine light value and select correct aperture and
time.
4. Now STOP — and
RECORD EVERYTHING
5. If planning to take more than one shot of this subject (possibly experi
menting with varying apertures and timing) record (on chart fig. 363)
EVERY shot in that series, BEFORE TAKING A SINGLE PICTURE.
6. Then photograph AS PLANNED.
Following the development of the film, study it through the Leica film
viewer and marker. By means of this device clip a notch on the border of
the film to designate each picture to be enlarged.
Another method of choosing the pictures to be enlarged is to make
strip prints from the entire film and then make your selection. If you use
this routine be sure to mark the small prints in some suitable manner and in
addition return to the film and clip the notches. This is particularly im
portant where you have taken a number of test exposures of the same
subject.
Numbers are to be found marking each picture on some brands of
film, while others are blank. Those that are blank should now be numbered
431
on the film in ink to correspond with the numbers on the last line of the
record chart. Those films which have numbers on the border, will seldom
be found labeled 1-36, but are more apt to be numbered 22-36, 1-21, or 14-36,
1-13, etc. Therefore, these numbers which appear on the film must be re
corded on the next to bottom line on chart.
Now, devise some filing system for both the contact prints and enlarge
ments as well as the films. For mine I have chosen to paste all pictures on
9 x 12 inch sheets of heavy yellow paper that is supplied with a Wilson-
Jones sectional post binder, top locking, number 24140. 1 have strip (contact)
prints- made of the entire film and paste those for one film on one piece
of paper. For quick reference they are printed with the margins broad
enough to expose the individual frame numbers. Any picture selected
for enlargement may there be checked. Any enlargement when pasted in
the album may have its individual data recorded beneath it.
It seems a bit safer not to cut the negatives but to store them in the
metal film box. Here they are ready for instant use by referring to the
strip prints.
The result of the above will be a systematic record of all factors in
volved in obtaining every photograph. When you have a new photograph to
take you can very readily pick out from your file the print most closely
resembling it and proceed by duplicating the recorded factors.
Above all, remember this." Any record routine that is developed
along systematic lines will prove invaluable to anyone anxious for
scientific results. It can be a routine very different from the above
and still be a system. It is not important to copy this one, which
I know works in a highly satisfactory manner and saves time and
money. It is important, however, to develop some routine which is
systematic, accurate and complete.
432
Teaching the Deaf to Speak
Summar 50mm lens, f:2.2, 1/3, E. K. Super X film.
J. Winton Lemen
433
Normal Eye
Keratoconus
(Conical Cornea)
Keratoconus
(Conical Cornea)
A. Marfaing
Fig. 364. Placido Disc Eeflections
in Normal and Abnormal Eyes.
Courtesy Institute of Ophthalmology, New York City.
434
LEICA AS AN OPTHALMIC CAMERA
HENRY M. LESTER CHAPTER 23
Photographs in this chapter reproduced by Courtesy
Institute of Ophthalmology Columbia Presbyterian Medical Center New York City.
Photography of anterior segments of the human eye for scien
tific and medical purposes presents problems peculiarly its own. A
photographic camera directed at an eye actually faces another camera,
and a well designed one too, to say the least. Besides this our camera
faces one of the most sensitive and delicate centers of the nerve
system, a very delicate and accurate optical organ and a convex
mirror, photographically speaking: a wide-angle reflecting surface.
Eyes that come before an ophthalmic camera are usually diseased
or abnormal; they are frequently extremely sensitive to light, easily
irritated by prolonged exposure to air. Often they are in almost con
stant motion and, were it even possible to immobilize them for a
moment — the iris would never remain unchanged: the movement of
this remarkable living diaphragm cannot be controlled at will, the
size of the aperture, the pupil, is constantly changing as the iris con
tracts or distends. Strong light, such as is required for short ex
posures is almost invariably unbearable to the eye, causing irritation
accompanied by lacrimation, nervous movements of the eyeball and
of the entire head.
To produce photographs of an eye one needs a good camera with
an optical system as flexible as possible. One needs suitable illumina
tion capable of delivering the light required for short exposures with
out unnecessary strain to the eye. One needs fast films with broad
latitude of emulsion and with a full color correction.
An Outfit for Ophthalmic Photography
It is essential that equipment for photography of anterior seg
ments of the human eye possess definite features which would qualify
it for this exacting work. Flexibility coupled with simplicity of
operation and certainty of results should be its keynote. The Leica
camera has always been an excellent instrument for ophthalmic
435
photography. But only since an accessory, known as the MIRROR
BEFLEX HOUSING became available for it — did the camera develop into
a full fledged outfit for the photography of the human eye. The
Mirror Keflex Housing is actually a part of Leica 's latest lens, the
200mm Telyt Telephoto. Disconnected from its original lens, and
placed between a 73mm or a 50mm lens it converts the camera into a
real reflex camera which permits observation of the subject through
the actual ;< taking" lens up to the very moment of the exposure. The
advantages of this arrangement are so important that all previously
developed methods were immediately abandoned in favor of this new
one.
A Leica was mounted upon a heavy compound base of a binocular
ophthalmic microscope. The base, equipped with cross-slide adjust
able movement was particularly well adapted as a support for the
camera; while extremely rigid it permitted free and fully controlled
Fig. 365 Using the Leica
as an Ophthalmic Camera
Henry M. Lester
436
Ophthalmic Photography
"Fig. 366 Details of the outfit assembled
from Standard parts and accessories
Henry M. Lester
movement of the camera in every desired direction for adjustment
and focusing. Thus mounted upon the base the camera was placed on
a heavy adjustable instrument table equipped with an elevating gear
and an adjustable head-and-chin rest. The entire outfit, very heavy
and rigid, permitted accurate and dependable control of the equip
ment at all times without being subject to vibrations. The illustra
tions show the arrangement as used in detail.
The photographic outfit as shown in figures 365 and 366 was
assembled from the following units :
1. Leica Camera, Model GL
2. Eapid Winder (SCN'OO), replacing the camera's standard
base plate.
3. Mirror Eeflex Housing with the double cable release.
4. Hektor 73mm f :1.9 lens with its own sunshade.
5. Ball Jointed Tripod Head.
6. Compound Binocular Microscope Base.
7. Instrument Table with Adjustable Head and Chin Rest.
A Spirit Level was used to obtain better alignment of the camera with
the optical axis of the eye to avoid distortion.
437
The Ball Jointed Tripod Head was connected to the compound
base by means of a brass key which fitted into a groove in the head of
the base. A set screw tightened the connection rigidly. This arrange
ment rendered the camera outfit easily interchangeable with the micro
scope, thus permitting the use of either at will. It also assured utmost
rigidity and freedom from play and vibration, the importance of
which cannot be over-emphasized.
The Hektor 73mm f :1.9 lens was deliberately chosen for this
work because of its speed, its excellent color correction, definition and
resolving power. Its focal length is such that at the close range at
which this work is being done it offered better depth of focus, and a
more convenient working distance than the 50mm lens. The Eeflex
Mirror Housing used with the 73mm lens converts the unit into a real
reflex camera, where focusing and adjustment of the fully visible
image are accomplished under actual observation until the very
moment of exposure. The 5x Magnifier of the Mirror Reflex Housing
renders a conveniently enlarged view of the image, at all times
screened from extraneous light.
The Mirror Eeflex Housing, when placed between the camera and
the 73mm lens becomes an extension tube of 62mm, an ideal length
for this lens. With it an image of almost normal size is projected
upon the film plane, the ratio of the size of the object to that of the
image being 1 : .85, if the lens is set at the infinity mark, or 1 : .9 if
the lens is set to the 5 foot mark.
The use of the 73mm lens is also advantageous because the work
ing distance between the lens and the eye is very convenient, rang
ing from 10.5cm to 11.5cm, when measured from the eye to the edge
of the lens shade.
Exposure Factor and New f: Values
It must be remembered that by interposing an extension of 62mm
between camera and lens the f : values of the latter are no longer
the same. The factor of increased exposure for an extension of
62mm for a 73mm lens is approximately 3.5x, which means that ex
posures indicated by an exposure meter must be increased 3.5 times.
This increase can be effected either foy a suitable adjustment of the
shutter, or by a correspondingly larger diaphragm opening. The f :
values of the 73mm lens, as marked on the lens mount, assume ap
proximately the values indicated below, when the lens is used in
connection with the Mirror Reflex Housing (with the lens set at
infinity) :
438
Ophthalmic Photography
When the 73mm Hektor lens is set to :
f: 1.9 2,2 3.2 4.5 6.3 9.0 12.5
a 62mm extension changes its f : value to
f: 3.2 4.0 5.6 9.0 12.5 18 22
The new f : value should -be applied only as a factor in deter
mining correct exposure, and it is not to be assumed that it im
parts either greater sharpness or greater depth of focus. Thus, for
instance, if the lens is set to f :4.5 — its light transmitting value will
be that of f :9 but its depth of focus will remain that of f :4.5.
Factors of film, lens, extension, tube, and illumination being
known, it is a simple matter to arrive at the correct exposure by
means of a reliable photoelectric exposure meter, like the "Weston.
The lens stop should be decided upon first, depending upon the
depth of focus required. This can be either calculated (see tables in
chapter 11), or, which is more practical, and made possible by the
use of the Mirror Reflex Housing, determined visually, by stopping
down the lens while looking through the Eeflex until every part
of the picture seen is sufficiently sharp. The stop upon the lens
mount is then converted to its actual value (see table above) and
the proper exposure obtained from the exposure meter scale.
Illuminating the Eye
The eye acts as a wide angle mirror-like reflecting surface (con
vex) . Not only will it reflect the light source, but, under certain condi
tions, the camera and its operator as well. Photographs of the eye,
therefore, should be made in a room free from illuminated objects or
light sources other than those used for the direct illumination of
the eye. There should be no light entering through the windows,
no skylights, nor ceiling lights. Lights used for illumination should
be placed as far as possible from the eye to render their reflections
small and inconspicuous. Total lack of reflection in the eye is not
desirable, because these reflections lend the picture of the eye that
spark of life, that roundness and fullness which distinguishes it from
a dead eye.
It is difficult to illuminate a normal eye sufficiently for an instantane
ous exposure of a small lens aperture. Prolonged exposures are not desira
ble because of the ever-present possibility of movement of the eye. But
there are abnormal, diseased eyes, with all kinds of lenticular, retinal,
corneal involvements, which actually abhor light. There are cases of Photo
phobia (which does not mean that they abhor photographers, although, they
actually do!); light, even daylight, hurts them. Their eyes must be shielded,
protected from light, and not exposed to it.
439
Thus, although, the entire process of photographing anterior
segments is sufficiently standardized to a sort of routine, the matter
of handling, selecting and arranging lights has to be treated differ
ently in each and every individual case. It has to be made to suit
not only every patient, but the condition of each eye as well; for
there are cases where one eye is entirely different from the other.
Before the patient is placed before the camera, the reaction of his
eyes to light has to be definitely and carefully determined by the
attending physician.
Illumination of eyes not over-sensitive to light is easily accomplished
with one or two ph.otof.ood lamps in reflectors mounted on goose-neck sup
ports. Exposures of fractions of second are easily possible both for black-
and-white and color photography. Where one lamp would suffice for black-
and-white photography . . . two may be required for short exposures of
color photographs. Whenever one lamp is used, a white reflecting surface
should be provided for the opposite side of the patient to produce a better
roundness and modeling of the subject. Frequently, if the outfit is used
near a light wall, it will act satisfactorily as a reflector.
For continuous work it is suggested to connect two photoflood lamps
through a switch wMch will permit their operation either in a "series" or
"parallel" connection. The connection "in series" is recommended for focus
ing and adjustment of patient and camera, with the lights at half their
intensity, while the connection "in parallel," giving maximum illumination,
may be established for brief moments of the exposure. Such, arrangement
is extremely practical because it is much easier on the eyes of the patient
as well as the operator, and will extend considerably the useful life of the
photoflood lamps.
Flashlight Eye Exposures
In the case of eyes particularly sensitive to light, the most
satisfactory source of illumination is the PhotofLash bulb. The bulb
should be placed in the reflector of a goose-neck type floor lamp. A
diffusion or glass screen should be placed before the photoflash bulb,
because these bulbs occasionally crack or break when flashed. The
tiny, thin fragments of glass would be dangerous to the eye of the
patient, and one cannot be too careful in protecting it. The reflector
should be placed some two to six feet away from the eye, slightly
above its level and to one side of it. On the other side of the eye a
white reflecting surface should be provided for even illumination,
thus imparting roundness to the picture. Actual focusing can be
done with the light of a 15-watt bulb, placed conveniently near the
camera. The shutter of the camera should be synchronized with the
switch of the bulb.
In most instances the patient is barely aware of any light sensa
tion in connection with the flash, which lasts only about l/50th to
l/75th of a second— too short to register any intensity upon the
440
Ophthalmic Photography
Fig-. S67 Ectopia of crystalline lens
Henry M. Lester
retina of the eye. To be sure of critical focus, it is at times necessary
to use a special head-and-ehin rest for the patient. The rest is pro
vided with a small piece of flat wood, attached crosswise. The
patient is asked to hold the wood firmly between his teenth during
focusing, retaining the assumed position for the exposure.
The Photoflash bulb was used successfully not only to illuminate eyes
affected with Photophobia, but in some cases where great intensity of light
was required from a certain direction. There was one patient with the rare
case of ectopia of the crystalline lens (dislocation of the inner lens). The
edge of the lens was plainly visible, appearing like a crescent across the
pupil when the iris was distended in the dark, but only when the angle
of incidence of the light illuminating it was approximately the same as the
angle of reflection. The best way to observe it was in the light of a match,
with all other lights out. But you could not photograph it in that light!
In bright light, the iris contracted so much that the edge of the lens inside
of it ceased to be visible. A photoflash bulb in a reflector, shielded with
tracing cloth, was held in the hand about two feet away from the eye. The
room was darkened entirely, except for the faint glow of a flashlight bulb
with its battery run down. A red filter was placed over the lens to cut
down the light intensity. With the camera focused, and the lens stopped
to f :12.5, the correct location for the Photon1 ash was determined by illumi
nating the edge of the crystalline lens with the weak light of the flash-light.
The reflector was moved into position and the bulb flashed. The accompany
ing illustration, figure 367 shows the photograph that was thus secured. In
order to obtain a faint outline of the crescent-like edge of the crystalline
lens inside the pupil, the remainder of the eye had to be overexposed.
The technique of illuminating the human eye may have to be varied
depending on conditions, type of patient, and frequency with which photo-
441
graphic records are required. Thus for instance, the illumination methods
outlined above may be substituted by a standard surgical spotlight equipped
with a 1000-watt bulb placed behind the patient and directed upon the
photographer's head. The person operating the camera may wear a head
mirror of the kind used by nose and throat specialists, and the beam of
light from the spotlight can be directed upon the eye of the patient for the
brief moments required for the exposure.
Then again the same spotlight could be provided with a compur shutter,
placed opposite the patient's eye and the exposure could be made, with the
camera shutter open and the spotlight opened and closed for any length of
time required for a full exposure. Compur shutters are available for spot
lights, permitting exposures of 1/50, 1/25, 1/5 or any other portion of a
second.
Color FUters
Unless there is a specific need for a color filter its use should be
avoided as much as possible in ophthalmic photography. Modern pan
chromatic emulsions used with, artificial illumination, such as photo-
flood lamps, will give very satisfactory monochromatic rendering of
average ophthalmic subjects. Only where definite color conditions call
for it, should color filters be used. An example of such condition is
offered in figure 368. This photograph showing a case of a congenital
coloboma of an eye was made with a Wratten (A) Eed Filter to in
crease the contrast between the dark brown iris and the black pupil.
The same photograph made without this filter showed no appreciable
difference between these two parts of the eye.
The selection and use of filters should be governed by actual
requirements, and never by a general impression that a filter -will
improve a photograph. The nearer the color of the subject to that of
the filter used, the lighter will that color appear in the photograph.
Thus, for instance a photograph of an eye reddened by external
hemorrhage taken through a reddish filter, like the No. 23A will
render the sclera white and clear. Not only will the reddening of the
Fig. 368 Congenital
Coloboma
Henry M. Lester
Elmar 50mm, 30mm Tube.
Photofiash exposure at
f:12.5, Du Pont Superior
film. Red (A) filter
442
Ophthalmic Photography
sclera be absent in the photograph, but every dark part of the eye will
stand out better and clearer. However with the reddening of the
selera the entire structure of capillary blood vessels, which are red
too, will also disappear. If one wishes to secure a particularly good
and contrasty outline of the capillary blood vessels upon the sclera
the use of a blue-green filter is recommended, which, being £< comple
mentary" to red, will bring out best the contrast between the red
lines upon the light ground of the sclera.
Natural Color Photographs of the Eye
While appropriate use of color filters has its definite place in
Ophthalmic Photography their application should be held to the
minimum. Instead, fullest advantage should be taken of all possibili
ties offered by the Kodachrome Film for direct photography in natur
al colors. Its speed having been increased to the point where it re
quires but a little more light than is necessary for black-and-white
photography, its price having reached a reasonable level — it has the
added advantage of being available in two types, one for photography
in daylight, another with artificial illumination, rendering the use of
filters quite unnecessary.
Dr. Eamon Castroviejo of the Institute of Ophthalmology, Co
lumbia Presbyterian Medical Center, New York, whose cooperation
with the author made this chapter possible, has developed an interest
ing technique of recording photographically his work and research
in the field of surgery of the eye. Using the outfit previously described
he confines himself exclusively to photography of the eye in natural
color on Kodachrome Film. His finished color transparencies serve
many purposes. Bound between glass . . . they grew into a
priceless collection of lantern slides for lectures, demonstrations and
teaching. A black-and-white negative is made from each by the simple
and easy method described below. From these black-and-white prints
are made as required to be used as illustrations for scientific papers,
as case-history records, etc. Black-and-white lantern slides, either of
standard size (814" x 41/4") or of the "miniature" size (2" x 2"),
which are rapidly gaining in popularity, are also being made as,
when, and if required.
The advantages of concentrating upon natural color photography
are many. Broadly speaking Kodachrome transparencies will give
everything black-and-white photographs will, in addition to brilliant
color — which is so invaluable in medical photography. Moreover
color photography renders unnecessary the use of color filters, because
correctly exposed Kodachrome transparencies give excellent and natur-
443
al rendering of colors. These, in turn, when properly used for making
of black-and-white negatives will give excellent monochromatic ren
dering of all color values involved.
Figures 369-380 were made from black-and-white prints made from
Kodachrome transparencies by way of an intermediate negative. The
excellent color correction which can be secured by this method can be seen
by comparing figures 369 and 370 one of which is a photograph of a normal
brown eye, the other of a normal blue eye. The difference is striking and
very instructive.
Exposures for natural color photography on Kodachrome Film are not
difficult to adjust. The only requirements for correct color rendering being
that the light be placed as flatly in front of the subject as possible and not
to one side of it. This requirement can be readily met if the one light used
be placed directly above the lens facing the subject, or if two lamps are
used, that they be placed at equal distances from camera and eye on both
sides of the camera. While the use of exposure meters will greatly facil
itate standardization of exposures, one should definitely follow suggestions
for correct exposure of Kodachrome Film outlined on page 297.
Making Black-and-White Negatives
From Kodachrome Transparencies
Black-and-white negatives can readily be made from Kodachrome
transparencies by projection or by contact. However in order to se
cure best possible color correction upon the black-and-white negative
as well as fullest gradation of detail only high-speed panchromatic
negative should be used for this purpose. This requirement makes the
production of black-and-white negatives by means of an enlarger or
contact printer somewhat difficult because high speed panchromatic
material must be handled in complete darkness with all extraneous
light carefully excluded throughout all operations.
The most satisfactory method of producing black-and-white negatives
from Kodachrome transparencies quickly and efficiently is by simply copy
ing them with the aid of the well-known BELUN (Fig. 381) Auxiliary
Reproduction Device, which is the ideal outfit for copying- things in actual
size (1:1). With it, it is extremely easy to copy frame by frame of Koda
chrome transparencies either in strip form or mounted between glass. All
that is necessary to make any number of black and white negatives from
Kodachrome transparencies is to load the Leica with some Supersensitive
Panchromatic Film, attach to it the BELUN device and placing the Koda
chrome transparencies upon a transilluminating device, similar to an
X-Eay viewing light, arranged in a horizontal plane, and after making a
number of test shots — determine the correct exposure. If all data pertain
ing to the exposure can be recorded, subsequent production of additional
black-and-white negatives should be very simple and easy. After exposure
the film is developed as usual in a fine-grain developer, and becomes a
black-and-white negative like any other.
Frequently it may be found that copying Kodachrome transparencies
will give more satisfactory results if they are photographed through a
suitable filter. Little experimentation will yield surprisingly interesting
results. Sometimes a monochromatic rendering of a Kodachrome may be
444
Ophthalmic Photography
Fig. 369 Normal Blue Eye Fig. 370 Normal Brown Eye
From a Kodachrome Leica Transparency. Ramon Castroviejo, M.D.
made better, or more interesting through the use of a filter. Filters can be
used for correction of the original for over or under correction. The same
principles govern the use of a filter for copying Kodachrome transparencies
as that for ordinary photography. If the transparency has a reddish cast,
or if the light source is reddish — a pale red, or orange filter will correct
that defect very easily. If the case be purplish, or bluish — a light or dark
blue filter should be used to lighten the general effect. If the slide is too
pale, tending to be somewhat flat as a result of overexposure its contrast
can be improved by one of the yellow or green filters.
Photomicrography in Ophthalmology
It is frequently desired to secure an extreme close-up of a portion
of the eyeball, such as a portion of the iris, or details of the capillary
blood vessels of the sclera. Visual inspection of such portions of the
exterior aspect of the eye are usually made through the binocular
ophthalmic microscope, which gives a stereoscopic aspect of the area
under observation. It is upon the compound base of this instrument
that the previously described outfit is mounted.
To secure Photomicrographs of anterior segments of the eye the
binocular microscope is mounted upon its base and a Leica camera is
Fig. 371 Corneal Opacity
From, a Kodachrome Leica Transparency.
Fig. 372 Corneal Opacity
Eamon Castroviejo, M.D.
445
Fig. 373 Extraocular Injury Fig. 374 Intraocular Injury
From a Kodachrome Leica Transparency. Ramon Castroviejo, M.D.
connected to one of its eye pieces through the Micro Ibso Attachment
(MIKAS), a device which is so useful and handy for standard photo-
microphy (see Chapter 21). The Micro Ibso Attachment gives an
initial magnification of 1/3 on film, and depending upon the combina
tion of eye-piece and ocular chosen it will give magnifications on film
from lOx to 50x. Figure 382 shows such a photographic outfit in use,
figure 383 a closeup of its details, and figure 380 a photograph show
ing a 24x magnification of portion of the sclera with its capillary
blood vessels upon it.
The illumination for this unit is supplied by a small lamp, ap
pearing as a long tube mounted by means of a ball-and-clamp con
nection to the binocular microscope. This small lamp emits an intense
beam of light of a " spotlight" character. It is known as Shahan's
Slit Lamp (Dr. "W. E. Shahan, St. Louis, Mo.), and represents an
inexpensive, yet entirely practical instrument for the examination
of the cornea, lens and anterior vitreous. The closer to the eye, the
Fig. 375 Cornea! Opacity
From a Kodachrome Leica Transparency*
Fig. 376 Transparent Corneal
Graft in an opaque cornea
Ramon Castroviejo, M.D.
Ophthalmic Photography
Fig. 377 Tumor of the Eye Fig. 378 Tumor of the Eye
From a Kodachrome Leica Transparency. Ramon CEStroviejO, M.D.
smaller field its beam of light will cover, and the more intense its
luminosity. The bulb in the lamp is of the inexpensive 6 volt variety,
easily available from any automobile supply source. The Slit Lamp
should be connected through a suitable resistance or rheostat to make
the intensity of its light independent of the distance from the eye.
The binocular microscope outfit with the Slit Lamp attached to
it as shown in figure 383 is also used for the photography of the
angle of the anterior chamber. For this type of photography a special
contact glass is applied to the eye to get the angle into view. Without
this contact glass the angle would be hidden by the opaque structure
of the eye. Both black-an-white and natural color photographs had
been obtained with the aid of this outfit.
Infra Red Photography
Photographs of certain aspects of the anterior segments of the
eye by infra-red radiation made on Inf ra-Ked Film will present detail
which escapes ordinary photographic emulsions. If the iris is ob-
Fig. 379 Pterygium
From a Kodachrome Leica Transparency.
Fig. 380 Vessels of the eyeball
magnified 24x (on film)
Ramon Castroviejo, M.D.
Fig. 381 BELUN Auxiliary Reproduction
Device for copying Kodachrome Leica Trans
parencies . . . making of Black-and-White
Negatives (1:1)
soured by a leueomatous cornea, its aspect will reveal itself clearly
in an infra-red photograph. Most tissues transmit infra-red radiation
more freely than visible light. This ability of infra-red^rays to pene
trate tissues is extremely useful when visual examination of an iris
is rendered impossible by the turbidity of the cornea.
Fig. 382 Using the Leica
for Photomicrography of the Eye
Henry M. Lester
448
Ophthalmic Photography
Fig. 383 Arrangement of the Leica camera Henry M. Lester
in connection with a Binocular Microscope
for Photomicrography of anterior segments of the eye
It should be remembered, when taking infra-red photographs with
the Leica that most of its lenses have a focusing mark (E) engraved
upon it to provide for the difference of focus resulting from the ex
clusion of visual light. This mark, and not the regular indicator mark
should be used after focus is established visually; all focusing must
be done before the red filter is put over the lens, as the true Infra
Red Filter excludes all visible portion of the light, rendering visual
focusing impossible.
The most satisfactory light source for Infra-Bed photography
is offered in the 500-watt bulb, one or two of which will have to be
placed in reflectors to provide adequate illumination. No definite in
dication of exposure can be given, except that, depending upon the
type of film and filter used an increase of from 16 to 64 times the
exposure required without the filter will have to be given.
Use of the Placido Disc
Photographs are frequently required of eyes with deformities of
the cornea. The cornea (the outer transparent part of the eye-ball) of
a normal eye is spherical, forming a segment of a sphere slightly
smaller in diameter than that of the eye-ball itself. It is smooth and
glossy. Its roundness and smoothness enable it to act as a convex
449
reflecting surface. In some cases the cornea assumes, shapes different
from normal, sometimes resembling a cone, in other cases it develops
deformities of the outer surface, irregularities of the curvature,
wrinkles, etc. All of these deformities result in distorted and defec
tive vision. Some of them are very slight, however, barely visible to
the eye. The fact that a normal cornea acts as a convex mirror had
been utilized in the detection of these irregularities and in their ac
curate measurement. A white disc (known as the Placido Disc),
some 18 to 24 inches in diameter, upon which are drawn concentric
black circles about 1 inch wide and about 1 inch apart, is placed in
front of the eye. Through an aperture in the center of the disc one
can observe the reflection of this disc in the eye. A normal cornea will
reflect a true reduced image of these concentric black and white
circles, rendering fully their roundness, relative spacing and concen
tricity. A malformed cornea will reflect a distorted image, from the
nature, shape and direction of which the character of the malforma
tion can be diagnosed and measured.
To obtain photographs of corneal reflections of Placido Disc in
normal and anomalous eyes the same Leica outfit can be used as shown
in Fig. 366, or one which is based on the use of the Sliding Copying
Attachment (FULDY), a useful accessory which is described in chap
ter 11. The illumination, however must be different. Two 500-watt
lamps or two Photoflood lamps in reflectors are placed slightly behind
the patient, their light being directed at the Placido Disc. The light
reflected by the white portions of the disc serve to illuminate the eye.
The lights must be so arranged with respect to the camera that no
direct rays of light strike any elements of its lens.
The series of photographs shown as figure 364 represent an out
standing and striking example of photography of corneal reflections
of Placido Disc. They are the work of Mr. A. Marfaing of the In
stitute of Ophthalmology, Columbia-Presbyterian Medical Center,
New York City, where an ingenious and efficient unit was developed
and assembled for this purpose. The outfit is shown in figure 384.
Its most notable feature is that it is self contained as to illumination.
Instead of having the concentric circles drawn upon a white card,
which could be illuminated as previously described, this Placido Disc
is painted upon a large sheet of opal glass, which is mounted over a
vertical light box, containing a number of lamps, emitting uniform
and diffused light.
An opening is provided through the center of the glass panel and
the light box, through which the camera lens obtains complete cov-
450
Ophthalmic Photography
Method and procedure developed at The Institute of Ophthalmology, New York City.
Fig. 384 Arrangement of Patient, Placido Disc and A. Marfaing
Leica Camera for photography of Corneal Anomalies
erage of the eye under observation. Figure 384 shows the arrange
ment of the front as well as of the rear of the panel, a Leica camera
being used for this particular purpose in connection with the Sliding
Copying Attachment. Regardless of the method used or photographic
outfit preferred it is important to remember that to secure any degree
of accuracy in the finished photograph the center of the Placido Disc
should coincide with the optical axis of the eye as well as that of the
camera lens.
Portraits of Patients
The flexibility of this Leica outfit makes it possible to use it still
for another purpose. By simply removing the Mirror Reflex Housing
from between the camera and lens, and by placing the 73mm Hektor
lens directly onto the camera — the outfit is converted into a portrait
camera. Portraits of patients are wanted for case histories and other
records. Progressive stages of conditions under treatment or before
and after surgery make almost invaluable material. It is frequently
of interest to show the marked difference of facial expressions result
ing from improved or restored vision. The tired, haggard and tense
expression, typical of a patient during early examinations is usually
superseded by an expression of ease and contentment after successful
treatment. For such purposes photographs are wanted which include
the head and a portion of the shoulders. The 73mm lens is ideally
suited for this work.
451
Smoke Box Photography
The usefulness of this Leica outfit does not end after the com
pletion of photographs of anterior segments and portraits of patients.
In explaining the principles underlying the construction and design
of various spectacles used as aids to eyes affected with subnormal
vision it may be desired to show how a beam of light is refracted in
passing through the medium of a lens, what happens to it when it
enters the eye, and how the path of this beam of light can be con
trolled to produce an image upon the retina by making it pass through
certain media before entering the eye. One aspect of such procedure
is outlined in the hope that it may suggest analogous solution when
required.
A schematic model of the eye was built of glass. Also a special
"smoke box77, consisting of a wooden box, painted with dead black
coating inside. One of the sides of the box was fitted with plate glass,
which enabled observation from the outside. At one of the ends an
Fig. 385 Smoke Box photograph Henry M. Lester
showing behavior of bundle of rays after passing through convex lens. Elmar 50mm lens.
Three minutes at f:18. DuPont Superior film. Bed (A) filter
opening was made through which a beam of light could be admitted.
An optical bench was placed inside the box, and various lenses, slits,
prisms, pin-holes and similar media were mounted upon it aligned
along the same optical axis. A strong source of light was placed on
the outside of the box with the beam of light entering the box through
the side opening. The bunch of rays entering the box was made as
nearly parallel as possible. When the box was filled with smoke the
path of rays became plainly visible in a darkened room. The rays
were made to pass through lenses, prisms, slits, pin-holes, etc. and
as a result were made to converge, disperse, change direction, in
tensity, etc. At the end of considerable experimentation to produce
452
Ophthalmic Photography
Fig. 386 Smoke Box photograph Henry M. Lester
showing behavior of bundle of rays after passing through simple "telescope", entering
model ot eye and forming image upon retina. Exposure as in Fig. 385
the desired results this turned out to be an interesting and quite a
dramatic spectacle. Although, a very strong source of light was used,
its actinic value was slight. Because what we saw was, of course, not
light itself, but merely the illuminated minute particles of smoke,
which reflected less light the farther away they were from its source.
To intensify these illuminated particles, a bit of powdered chalk was
shaken into the smoke box just before each exposure was made.
The Leica was used to photograph these set-ups. The camera
mounted upon its rigid support described previously was as free from
vibration as possible. This was important because very long exposures
were required: with the lens stopped down to f :18 and with a red
(A) filter used to retard the brightest light, and to bring out some
detail in the shadows of the set-up and equipment inside the smoke
Fig. 387 Smoke Box photograph Henry M. Lester
showing bundle of rays entering model of eye rendered defective by simulated corneal
opacities. No image formed upon retina. Exposure as in Fig. 385
,: , ; - :jy:..- • •' , «%....;>, : •;: ^; >•,,:.,.
; . .. . ' •- ' :.,
box — the exposures ranged from 2 to 5 minutes ! The following illus
trations show these actual photographs obtained in this manner.
These photographs had to be made in a darkened room. All
those present in the room had to remain motionless throughout the
long exposures. To prevent vibration caused by street traffic and
subways the actual exposures were made between 2 A.M. and 5 A.M.
Correct exposures for these photographs were obtained by the
tedious but infallible method of trial and error. Exposures varied
with every set-up because of various light intensities resulting from
the use of various media through which the light was made to pass.
The preparation of each set-up was so tedious that some three to six
shots of each were made : just to play safely.
Many other applications can be found for the various possible
arrangements of the Leica camera and its accessories. New achieve
ments of the miniature camera in the field of science are being con
stantly reported. A book could be written on the various useful ap
plications of the small camera in ophthalmology, clinical photography
etc. It is hoped that these few examples of the camera's usefulness
will suggest new regions for photographic explorations.
The series of photographs on the opposite page (Fig. 388), is shown
here as an example of usefulness of the MIRROK REFLEX HOUSING. All these,
photographs, except the two Microphotographs were taken with the 135mm
Hektor lens (in short focusing mount) and the Mirror Reflex Housing.
They were made during the actual performance of the biopsy. Exposure:
1/30 second at f:4.5. Dupont Superior Film.
The two Microphotographs too were made with the aid of the Mirror
Reflex Housing. A 60mm extension tube was connected to the lens end
of the Housing and slipped over the ocular of the microscope. A piece
of black cloth served to make a light-tight connection. Exposure: Vz
and 1 second on Eastman Kodak Panatomic Film.
454
1. Anaesthesia (Novocaine in skin)
3. Insertion of needle
Fig. 388 Aspiration Biopsy upon Breast Henry M. Lester
Courtesy of Dr. Hayes E. Martin and Edward B. Ellis, Memorial Hospital, New York City
2. Nick skin with scalpel
4. Aspiration of tissue under negative pres
sure
5. Ejection of tissue upon glass slide 6. Producing 'smear" by firm pressure of
two slides
7. Non-malignant tumor (Fibro-adenoma) 8. Malignant tumor (Carcinoma)
455
Lightning Striking Empire State John P. Gaty
Ehnar 90mm, — Time Exposure, f:4, DuPont Infra-D film, Wratten C and F filters
456
INFRA-RED PHOTOGRAPHY
JOHN P. GATY CHAPTER 24
Photography by means of light beyond the ends of the visible
spectrum offers many, interesting possibilities to the experimenter.
Ultra-violet photography, using shorter wave lengths than those trans
mitted by optical glass, requires expensive quartz lenses and filters
which are not available to the average photographer. The invisible
light of the extreme red and infra-red region, which consists of
longer wave lengths than the visible red light, can be utilized for
photography without the aid of expensive auxiliary equipment. A
minimum investment in this type of experiment would be the pur
chase of a roll of infra-red sensitive film and a red gelatin filter.
The ordinary Leica lens of any type will work perfectly, although the
Elinar series should be set at a scale reading of 100 feet in order to
focus the infra-red rays from distant objects: The Hektor series
requires slightly less compensation, while the latest Summar lens is
provided with a special index mark on the mount for the purpose
of focusing with infra-red.
If close-ups are required, adjust the lens to the true distance
and then subtract the same amount of angular rotation as was re
quired to move the lens from the true infinity position to the selected
infra-red infinity position. This amount of angular rotation is
measured on the circular edge of the focusing ring. In all cases
the infra-red scale-reading will be less than the panchromatic scale-
reading, by a very slight amount. Images formed by infra-red rays
focus slightly further back of the focal plane formed by visible light.
To compensate for this generally slight difference, the lens should be
racked out by something like 1/200 of its focal length. Thus, if a
50mm lens is used for infra-red photography, it should be racked
out about 14mm. In most cases the correction for close-ups is un
necessary, due to the depth of focus- of the lens.
It is rather difficult to visualize the nature of infra-red rays. The
fact that the word red is made part of its name should not be taken
to imply that these rays are colored red. The name of these rays
implies merely that they can be located in the spectroscope in the
457
region adjoining red. Because the human eye is not sensitive to
infra-red rays it should not be even taken as light. They can be
most accurately described as invisible rays. It is quite possible to
describe infra-red rays as heat rays.
The use of infra-red light for photography is not new. Almost
one hundred years ago Herschel made infra-red photographs by in
direct methods which are still used to explore the infra-red regions
beyond the range of response of our most modern emulsions. Herschel
discovered that an emulsion which has been exposed to blue light
will show a diminution of exposure wherever it is exposed to red
or infra-red rays. A film which has been uniformly fogged by blue
light will then show a positive image of a subsequently made infra
red exposure, when it is developed. Patience and careful control
are required to make this system work effectively, but it offers great
possibilities for research in regions otherwise beyond the reach of
photography.
Infra-Red Films
Modern infra-red photography dates from about 1910 when the
experiments of Professor E. W. Wood were announced to world
famous scientific organizations. For a time popular interest lagged,
due to the difficulty of obtaining suitable emulsions. Eecently, great
progress toward perfection of infra-red sensitive materials has
brought the amateur photographer stable and fairly sensitive emul
sions suitable for the purpose. Those available for the Leica are
Agfa Infra-Bed film, DuPont Infra-D film and Eastman K film. The
DuPont Infra-D and the Agfa Infra-Eed films are especially spooled
for the Leica and are available from all dealers. It is extremely im
portant to use, whenever possible, extremely fresh material that is
sensitized to infra-red light. Fresh films will be found more sensitive
than old.
The special applications of infra-red photography depend on
two main characteristics of infra-red light. First: it has unusual
power of penetration of atmospheric haze and certain materials
which are opaque to visible light. Second: many substances show a
reflective power to infra-red light which has no apparent relation
to their relative power to visible light. The full range of wave
lengths of infra-red light is considered to be about three thousand
times as great as the full range of the total visible spectrum from
violet to deep red. In other words, if the total visible color spectrum
were considered as a piano keyboard, with each note representing
a different wavelength band, or color, it would take a piano with
458
Infra-Red
three thousand progressively arranged keyboards to contain all the
notes or colors in the infra-red spectrum. Photographically, only
the very beginning of this composite keyboard has been explored to
date, since most experimenters have failed to reach further than the
top of the fourth standard keyboard length above the visible spec
trum. The films already listed reach approximately to the top of the
first standard keyboard length above the end of the visible spectrum,
but in this region alone there lies a complete gamut of invisible colors
(if such a thing can be). Since these cannot be seen, their effect on
the infra-red sensitive film must be determined by experiment.
For illustration: some black, green, olive, blue, and violet dyes
will photograph as light gray or almost white under certain wave
lengths of infra-red light. Other dyes matching exactly in visible
color will photograph by the same light as dead black or dark gray.
This fact may lead to adoption of specialized infra-red and heat re
flecting dyes for summer clothing. The cloth would appear to be
dark to the eye and would not soil readily, but would be as cool to
wear as a white garment.
Differences in Infra-Red Values
These two fundamental characteristics of atmospheric penetra
tion and unusual tonal response are the causes of the peculiar effects
depicted in landscapes when they are photographed by infra-red
light. On a clear day there is a total lack of atmospheric perspective,
or the demarcation of various planes in the distance due to the sepa
ration of tones by atmospheric haze. The foliage of most trees reflects
infra-red light perfectly and the sunlit trees appear in the photo
graph to be covered with silver leaves. This effect is greater in the
case of broad-leaved trees than it is with the firs, pine trees and hem
locks. Since the infra-red light penetrates the atmosphere without
much scattering, that part of the spectrum comes directly down from
the sun without illuminating the sky by diffusion. The sky shows a
total lack of scattered infra-red light and thus appears as dead black
unless it contains clouds or atmospheric vapor of a tangible kind.
Since the sky is free of diffused infra-red light it cannot act as a
source of light to illuminate the shadows of the scene. The shadows
will therefore photograph as dead black, unless some object on the
ground acts as a reflector. White sand or a green lawn will do this,
and the point should be remembered when attempting to compose a
landscape. The infra-red pictorialist must think in infra-red pho
tographic values only. Otherwise, his pictures will provide surprises
continually.
459
The haze penetrating power of infra-red light has produced some
remarkable results in aerial photography, but a distinction should be drawn
between atmospheric haze, or intangible particles of moisture suspended in
air, and actual clouds composed of water drops large enough to wet a sur
face passing through them. Clouds perfectly reflect all the photographically
available wave lengths of infra-red light and it is obvious therefore that
photographs cannot be made through clouds by infra-red light. It is unsafe
to say that at some future time an emulsion will not be produced to record
spectrums of unknown bands of infra-red and thus perform accomplish
ments now impossible. Present research, however, has shown that the
first keyboard of the infra-red above the visible spectrum is the most use
ful for haze penetration. At the lower end of this range, near the visible
light, a 1% inch layer of distilled water is almost completely transparent,
while at the upper end it absorbs about 90 per cent of the light directed
upon it. There is a slight decrease in absorption of light near the begin
ning of the second keyboard and then a rapid increase, until at the upper
end and thenceforth to the limits of exploration the water is completely
opaque. This interesting fact explains the surface heating of large bodies
of water in summer since the longer wave lengths of infra-red are inti
mately associated with heat. It also explains why a drop in temperature
is felt when a cloud passes across the face of the sun. The infra-red and
heat waves are reflected back into space or absorbed by the cloud and can
not reach the earth. Since heavy fogs are simply clouds at rest on the
ground, there does not seem to be much hope for the so-called fog cameras.
The type of atmospheric haze and light mist penetrable by photographi
cally available infra-red light hardly offers a serious menace to navigation.
The penetrating power of infra-red light is selective. Some
woods such as certain pines, sycamore, balsa and beech transmit
infra-red freely through layers up to % inch. Other woods of the
same thickness, such as teak, oak and walnut transmit little or no
infra-red light. Eubber is a material that is a good transmitter of
infra-red.
Human skin transmits infra-red light to such an extent that
certain limited medical applications have been found for this type
of photography. Subsurface details that are invisible to the eye
sometimes can be seen in an infra-red photograph. This fact makes
infra-red portraiture disappointing, since the subject always appears
unnatural. A man's clean-shaven face often photographs as though
heavily bearded with stubble, and the natural facial contours are
changed in appearance.
Infra-red photography is very effectively being employed in the
field of medical research. Eemarkably clear images of subcutaneous
structures of blood vessels appear clearly when photographed upon
infra-red film either through a filter placed upon a lens or with filters
placed upon the light source. Very interesting photographs have been
made of the development of varicose veins long before they were ap
parent to the naked eye. In the field of dematology the application
460
Infra-Red
of infra-red photography should be of particularly great interest : cer
tain skin diseases result in a crust-like coating of the skin which
does not permit an observation of the condition of tissues beneath the
crust. Photographs on infra-red film would reveal the condition of
tissues and cells beneath that crust with comparative simplicity.
Infra-red portraiture sometimes can be applied to people with
unusual skin defects which may actually disappear in the photograph.
Deeply pigmented skin often appears white when taken upon infra
red film,
In the field of criminology infra-red photography repeatedly has
proved its ability to differentiate between pigments which were vis
ually the same in altered documents or forgeries. There also have
been cases where paintings photographed by infra-red light revealed
the presence of lower layers of paint constituting a different picture.
Extremely interesting results had been obtained by the use of infra
red photography for revealing detail in old documents, which were
either stained or deliberately deleted by censors with black inks.
The same applies to faded inks, fabrics, records or parchment, wood
and leather. One of the many available methods of examining and
testing paintings of old masters consists of photographing those
paintings on infra-red film, which will reveal the slightest traces of
lower layers of paint. It is sometimes possible to read a letter in a
sealed envelope by photographing it on infra-red film through the
envelope from both sides and subsequently arranging the different
aspects for legibility.
In photomicrography interesting experiments have shown that
infra-red light is capable of revealing hidden details of structure.
This application is a recent one and offers considerable possibilities
for experimentation. It depends on the property of infra-red rays to
penetrate certain substances while being reflected by others, quite at
variance with the action of visible light. It is successfully employed
in rendering invisible details of cell structures beneath the outer cov
ering of insects' bodies which is composed of a substance known as
chitin. It is frequently found that a black or dark colored beetle
or insect just as easily can be trans-illuminated with the aid of infra
red rays as a wing of a grasshopper with ordinary light.
Infra-red photographs through a miscroscope are not by any
means easy or simple because of the extremely small depth of focus
available at such great magnifications. The infra-red rays focus in
a different plane from that of visible light, and it is almost im
possible to make the two foci coincide. One has to take several ex-
461
posures with different settings of the indicator of the micrometrie
adjustment of the microscope and after developing and examining
the film determine which is the correct setting for a given exposure.
Celestial photographs by the aid of infra-red have shown details
of planets which otherwise were veiled by the planets' own atmos
phere, and have depicted stars beyond some of the nebulae. Here,
again, the exceptional penetrating power of the rays is of advantage.
One of the most popular applications of infra-red photography
was developed in the Hollywood studios for securing night scenes
and moonlight effects in broad daylight. As previously mentioned,
blue skies are rendered black when photographed on infra-red film.
Thus, if a photograph be taken on a clear, cloudless day, the land
scape would show a black sky. Considerable experimentation must
precede any definite application of infra-red film to such effects.
Exposure and Filters
The standard exposure with the Leica and the films mentioned
in this article should be from 1/10 to 1/20 at f :3.5, when using a
filter of a density approximately a Wratten No. 25 (cherry red).
These exposures are for a bright, clear day in full sunlight. It is
impossible to set up a standard for a cloudy day, since experiments
have shown that the infra-red light intensity seems to have little
relation to the intensity of the visible light, as measured by an ordi
nary photometer. It may be proportionally more or less, perhaps
Fig. 390 California Sunshine John P. Gaty
462
Hektor 50mm lens, 1/20 second at f :2.5. DuPont Infra-D film. F Filter
(Note reflection into shadows of upper part of house from roof below)
Infra-Red
depending on the wetness or particle size of the water vapor in the
clouds. The only method of determining proper exposures under
artificial lighting is by experimenting with the light source used.
Under-exposures should be avoided at all times. It is best to always
give a full exposure and thus provide a margin of safety for low
density development. The resulting negative will show less grain
and will possess better shadow detail, although the shadows must
depend for their illumination upon reflective surfaces.
Fig. 391 California Landscape
John P. Gaty
Summar 50mm lens, 1/20 second at f:2.2, DuPont, Infra-D film, Wratten
F filter (Clouds are not printed in nor retouched. Infra-Red always
renders clouds unusually well)
Combinations of gelatin filters can be used for selecting the
longer wave lengths of infra-red and the exclusion of most of the
extreme visible red. Such combinations could be a No. 29 (F)
Wratten gelatin plus either a No. 45H, a No. 46, or any of the C
series of blue Wratten gelatines. Study of the absorption curves
in the Wratten filter book will suggest other combinations.
A very interesting special application of infra-red to landscape photo
graphy is to enlarge the photograph and tone the enlargement blue. If
properly composed and toned, the photograph will then show white clouds
against a deep blue sky, white trees and grass, and various gray tones for
buildings and pavements. The addition of oil coloring to the trees and
grass and other parts of the picture will produce a surprisingly good imi
tation of a natural color photograph. The light tones of the foliage and
buildings allow the colors to stand out with a brilliance never found on
an ordinary oil tinted photograph where the colors must be laid over fairly
dark gray areas. The sky is natural and the clouds possess all the detail
that they should, and not the unnatural indefinite appearance found in the
463
California Church
John P. Gaty
Summar 50mm lens, 1/20 second at f :2.3, DuPont Infra-D film, Wratten F filter. (Note
shadow detail, aided by reflection from sidewalk)
464
Infra-Red
usual tinted photograph. The shadows must be selected carefully in the
composition and if not too deep, their bluish tone will add naturalness to
the result. The stunt is well worth trying.
If the film is too slow for action photographs it can be speeded up by
hypersensitizing by mercury vapor treatment fully described in chapter
six. An increase of 50 to 100% in speed can be expected.
It should be stated at this time that some of the effects obtain
able with infra-red filters are not confined to film specially sensitized
to infra-red rays such as were mentioned before. Any good pan
chromatic (red sensitive) film will in a greater or lesser degree enable
the application of a red filter and sometimes will yield results com
parable to those confined to pure infra-red photography.
The field of infra-red photography lies open, with boundless pos
sibilities for original experimentation. There are chances to do serious
investigation as well as to produce interesting and striking photo
graphs. They constitute a challenge to the inquisitive and original
photographer.
465
PART III
THE LEICA IN SPECIALIZED FIELDS
Bird's Eye View
J. Winton Leraen
This picture can be classed as a stunt or angle shot, and Is good because of the novelty of
the viewpoint. It was made from the top of a 225 foot flagpole. The Elmar 35mm lens
was used, focused at 30 feet and stopped to f:6.3. In the upper left corner my own legs
and feet are seen. The camera was held and shot with one hand only— I was holding on
with the other hand
Elmar' 35mm, 1/100, f:6.3, Agfa Superpan
Courtesy Life Magazine
466
CANDID. STAGE. AND NEWS PHOTOGRAPHY
I WINTON LEMEN CHAPTER 25
CANDID is the biggest word in photography today . . . CANDID is
the everlasting cry of editors, photographers and camera makers.
Get on the band wagon and make your pictures the CANDID way if
you want to keep up with the parade. Candid pictures have invaded
every field of photography with the possible exception of Photomi
crography. The candid way has so completely invaded the field of
news and stage photography that we are covering all three branches
under this one heading.
Candid pictures, in the very meaning of the term, are true to life;
they are in step with the tempo of our time; they are full of expres
sion, spirit and verve. Their interpretation of life today is of such
widespread appeal that candid pictures are sweeping the entire field
of topical illustration, magazine covers, society pictures, scientific
assignments, and sports jobs. Even the usual carefully posed, lighted
and retouched fashion illustrations have succumbed to the lure of the
free, natural, and spontaneous style known as candid.
Candid pictures are the end . . . not the means. The subject
matter is candid or it is not candid. The camera that makes the nega
tive is not the determining factor. This is somewhat contrary to the
claims made by some manufacturers that their camera is a candid
camera . . . actually any camera may be used in a candid manner.
Some cameras are eminently suitable for producing this popular
type of picture, while others are not. After twelve years' experience
photographing with all kinds of equipment, from vantage points as
unstable as a 225 foot flag pole and the brink of Niagara Falls, I have
been forced to the conclusion that the qualifications for candid photog
raphy are compactness, ability to make many photos in rapid suc
cession, the availability of ultra speed and long focus lenses, and
range finder focusing. These features come complete only in the
miniature camera.
467
The Sequence Picture
In current demand by the "Press," are pictures in strip form
which tell a story in four or more shots giving a time element to still
photographs. Photographs of this sort fall into two classes. First,
those telling a story over a long period of time; as the eviction of
tenants, where we show the arrival of the sheriff, the piling of the
furniture on the sidewalk, with a closing picture of the family's com
plete distress. The second type analyzes a single action; for instance,
a handball pitcher winding up, a high jumper or vaulter going over
the bar, etc. Here the miniature camera offers the possibility of a
large number of shots from which the most effective may be chosen.
And with the rapid winder we get the fast action necessary to catch
the story-moment . . . that fleeting second when the whole action is
dramatized, for instance that split fraction when the ball leaves the
pitcher's hand . . . only in cameras of this type can we get the wind-
up and delivery of the pitcher. An accident in an auto race only
happens once but the editor wants to see why it happened . . . how
the driver skidded and where he hit. Get it !
The production of pictures for a daily newspaper and for the syndi
cates requires the turning out of pictures in the quickest possible time.
We must be economical and above all, our quality must be as near per
fection as conditions will permit.
Fig. 394 Blasting at Niagara
Falls
J. Winton Lemen
Summar 50mm, 1/1000, f:3.5, Pan-
atomic Film. When making pic
tures of blasts, don't press the re
lease the instant of the explosion,
but wait a fraction of a second
until some of the loose material gets
into the air
468
Candid and News
Fig. 395 Jim Londos, world's champion wrestler with head lock on Dick
Steele (Pete Sauer) at the Auditorium, Memphis, Tenn. on December 23,
1934, Charlie Pentrop, referee. Photo by Joseph J. Steinmetz
Suxnmar 50mm, 1/20, f:2, Agfa Superpan film
During the past two years, our editors have marked an ever-increasing
number of our assignments, "candid pix," or, "use the candid camera."
Such notations are not always quite accurate, and cannot always be fol
lowed to the letter, because some assignments just aren't the kind where
candid pictures can be made — but it means that editors definitely are
leaning toward the informal, and unposed-appearing, off-guard photos.
Miniature camera pictures taken with fast lenses can present a scene in its
natural surroundings, whereas the flashlight photo invariably produces
black, empty backgrounds. The fast miniature camera without a photo-
flash will present the main subject against its real background and in all
its rich tonal quality, and thereby depict the scene with its proper depth
and perspective.
On the other hand, many of our assignments, as a result of public
acceptance of the miniature camera, specifically state: "Use the Leica —
flashes not allowed." This brings to mind another thought . . . the photo-
flash lamp has permitted photographers to enter many places from which
they were previously barred, such as hospital wards, weddings, and court
proceedings, and other similar events. But even with such improvements,
the blinding flash of light is frequently annoying, disturbing, and other
wise out of place at dignified and orderly ceremonies. Yet it is really
rare that any objection whatever is raised against the use of the miniature
camera without flashlamps . . . more and more frequently this camera
is welcomed so that the event may be fully recorded in a pleasing pic
torial manner.
Our audiences of newspaper and magazine readers are curious to
know what is going on in the world, and just as curious to SEE how
these things look. Consequently, candid and truthful photography is
469
highly important today, and is putting camera reporting on an even more
accurate and therefore more important basis in the topical press.
My News Photo Technique
My methods of working are not particularly unusual. For the
most part, I follow those rules which have been laid down as standard
practice, though there are a few short cuts which I have found help
ful. These short cuts are not necessarily considered good "form" but
are necessary to us who are producing news photos under the pres
sure of time limitations, and I pass them along for whatever they
may be worth to others.
I am a firm believer that the candid or news photographer is not,
for the most part, a thief. He should not, excepting under certain
conditions, "steal3' pictures. Consider your circumstances and the
rights of others. Obtain permission to take the pictures you want, but
take them while the subject is not especially aware of being photo
graphed.
Don't be a nuisance; don't get in the way any more than is
necessary, and don't make a spectacle of yourself . . . you will defeat
your own purpose if you attract too much attention. Avoid having
cumbersome equipment which looks ludicrous and consequently draws
unwanted attention.
At the Office
If you want candid pictures of an individual in his office or home,
here is a method that will frequently help you to obtain natural and
unposed results : get someone to accompany you, preferably someone
known to the subject, to engage him in conversation. Try to get the
subject to do a lot of talking by plying him with questions in which
he is interested. While the questions are being answered, go ahead
and shoot. Change your position to get a variety of angles. At first,
the subject will be just a little conscious of the fact that you are
shooting him, but I usually have found that after about fifteen ex
posures have been made, he will relax, and from then on you will get
really swell shots. I have followed this method on many occasions
and have obtained many fine character-portraying photographs.
Weddings and Churches
In the case of a society wedding, contact the family of the bride,
explain what you want. They will usually be so pleased to be able
to have the actual ceremony recorded that little further trouble will
470
Candid and News
be encountered. Then, if possible, attend the rehearsal so that you
will be familiar with everything that goes on and will be able to locate
a suitable spot to shoot from. Sometimes you may find a place at the
side of the altar where you will be out of sight; at other times, it may
be necessary to be seated in the family pew in the front row of the
church. Find out how the families are dressing so that you may
dress accordingly and not appear out of place.
Churches are usually so dark that it will be necessary to use the
slow speeds of y± to one full second in conjunction with either the
f :1.5 or the f :2 lens at full opening and the fastest pan film. This is
a case where hypersensitizing (see chapter 6) the film would help to
shorten the necessary exposure. Many times you will be able to get
some shots during the rehearsal which will suggest correct exposures
for the actual ceremony. If possible, use some sort of an inconspicuous
tripod so that the camera will be steady. By all means, don't create
a scene or make undue noise.
Recently a new Eoman Catholic bishop was installed in the ^ local
diocese. This ceremony was considered big news and was played up in all
the local newspapers. The installation ceremonies attended by nationally-
known dignitaries were very colorful. We had to get complete coverage of
the procession going into the cathedral as well as a full set of pictures of
Fig. 396
tion
Wedding Recep-
Photo by Morgan Perlette
A candid picture of the groom
wiping smeared lipstick from his
bride's mouth.
Summar 50mm, % sec., f:2,
Super-X Film, No Artificial
Lighting
Fig. 397 Consecration of the Mass
Summar 50mm, % sec., f :2.2, Super-X Film
J. Winton Leme
the actual mass and the installation ceremony. Naturally, the outdoor pic
tures of the procession could be made with any camera, but the pictures of
the mass, the celebrities attending, and other highlights were perfect
material for the miniature. Because of the importance of the occasion
and the tremendous public interest, the news photographers were allowed
to shoot a few flashes, but the very nature of the ceremonies made the
cameramen use their flashes sparingly. On several occasions a priest
specifically requested photographers not to use flashes, but turning to
me he would say: "You can go ahead — you have a candid camera!" As a
result, I shot four rolls of film and got a much more complete picture
story of this historic event for publication in our paper than the opposi
tion was able to get with their larger cameras.
Such important and solemn parts as the "consecration of the mass"
were all recorded on my film. The flashlight pictures that were made with
larger cameras could not compare with the Leica shots. In the flashlights
all the background of the church and beautiful altar were lost in inky
blackness where the flash didn't penetrate, while the Leica pictures pre
served the rich tonal values from foreground to background and thereby told
a more complete and accurate story.
The light in the cathedral was quite dull and my average exposures
were ^4 second at about f :2.2. On two occasions, during the "installation"
when the principals were moving I had to use a speed flash; it was the
only way these particular shots could be secured.
472
Candid and News
Covering Conventions
Conventions frequently offer great possibilities for true candid
pictures. Usually the delegates are very mucli at ease and while they
are listening to the program or looking at the various exhibits you
will be able to get many interesting candid shots. Again I should like
to repeat that you should work in an unostentatious manner, so that
you will not draw undue attention to yourself and thereby defeat
your purpose. If you should find that you have been spotted by your
subject, move along to another part of the room and work on some
body else, then return to the first subject. You will be repaid for your
trouble with good, interesting and natural facial expressions.
Most national organizations have trade publications which would
pay quite well for a good set of candids made around the convention.
Contact the editor in advance, if possible, and you can be even more
certain of a sale for your pictures.
Fig. 398 Mass J. Winton Lemen
Patrick, Cardinal Hayes, kneeling before the High Altar of St. Joseph's
Cathedral, Buffalo, N.'Y.
Summar 50mm, % sec., f :3.2, Super-X Film
Artificial Illumination
Photoflood lamps can be used very profitably on some occasions. Look
over the situation and determine if you need more light; if it can be used
without creating a disturbance, go ahead and place your lamp or lamps
where they will be most useful. I have found that there are few occa
sions when flood lamps can be used while making candid photos. Photo
graphing a man in his office, or some similar subject, may, of course, be
an exception and then flood lamps can be located to be used in addition
to any available daylight. Interesting and brilliant lighting effects fre
quently result from lights originating at different angles.
I have found good use for a pair of the number 2 flood lamps in
reflectors when covering play rehearsals and similar events. Two lamps
will give ample light, even in a fairly large place, so that you will be
able to shoot fast enough to stop average action.
Fig. 399 Faust Frank Marshall Moore
Summar 50mm, 1/20, f:2, Super-X Film
Films and Exposures
I have found that the Agfa, DuPont, and Eastman fast pan films are
suitable for all candid, stage and general news photography with the
miniature camera. We have not used any of the slower fine-grained films
for several years because we obtain a sufficient fineness of grain in the
ultra speed films to allow us to make clean 16 x 20 or larger glossy prints,
and more than that we cannot ask for. We usually need all the speed
we can get so we use developers that give full emulsion speed.
474
Candid and News
The new DuPont Superior film seems particularly good; its speed is
certainly as fast, if not a little faster than anything previously available,
and the gradation is quite soft, a feature that will be useful when work
ing under trying conditions, and one that will help pick up detail 'way
down the scale in the shadows. The Eastman Super-X film works just a
little more brilliantly than the Superior and will be useful when this char
acteristic is desirable. The Agfa Superpan seems to have even more snap
than either of the other two, and is slightly finer grained, although it is
a trifle slower than the others mentioned.
In candid work you will often find light so dim that a photo-electric
exposure meter won't even show a reading. But I highly recommend the
use of an exposure meter, such as the Weston, whenever possible. Develop
your ability to estimate the exposure, however, because often you may not
have the opportunity to use the meter. Sometimes, in dark interiors where
the meter will not record the dim light, it is possible to get some idea of
the light strength by holding a piece of white paper in your hand and
aiming the meter at this paper held a few inches away. If you can get a
reading in this manner you will at least know how much light is being
reflected from pure white, and you will be able to get some idea of an ex
posure.
Normally, I hold the meter about six inches away from and pointed at
the back of my hand to take a reading; this method seems to be less
awkward than poking the meter almost in the face of the subject. How
ever, your hand should be illuminated in the same manner as the face of
the subject.
Fig. 400 Actual Stage Performance Photograph
Summar 50mm, 1/30, f :2.2, Agfa Superpan
475
Fig. 401 Fiddles— Please (left)
- J. Winton Lemen
The two photoflood lamps used on this
picture were too close to the camera to
give any modeling to the lighting, but
nevertheless the pose and expression of
the subject made an excellent candid
picture. Photograph made during a
symphony rehearsal. Conductor Lajos
Shuk.
1/100, f:3.2, Super-X
Fig. 401a Courtroom Scene (lower left) Mark Palmer
A remarkable candid study made under difficult courtroom conditions.
Summar 50mm, 1/20, f :2, Super-X Film
Fig. 402 City Councilman (top right) J. Winton Lemen
This action shot taken during a debate was made by the natural lighting within the City
Council Chambers. Summar 50mm, 1/20, f :2, Super-X Film
Fig. 403 Charity Director (lower right) J. Winton Lemen
A "candid interview" picture of Kev. William Meegan, Director of Catholic Charities.
Summar 50mm, 1/30, f :2.8, DuPont Superior Film, Photoflood lamp in ceiling fixture
476
Candid and News
Film Development
The developer we use is one known as a compromise type and
contains paraphenylene-diamine, glycin, metol and sulphite. The
formula for this developer can be found on page 146 of this volume.
I prepare the developer with distilled water, a gallon at a time,
Usually it is mixed six weeks to two months before it is used. For
development, I keep a 32 ounce bottle composed of 8 ounces of used
developer and 24 ounces of fresh developer, mixed and filtered through
cotton into the 32 ounce bottle. This 32 ounces is used on the average
for developing five or six and never more than seven full rolls of film,
then a new batch is mixed. Finer grain can be attained after several
rolls have been developed, but even with an increase in development
time, we seem to loose some of the finer shadow details so I do not
overwork the developer.
Another consideration with us is speed and any prolonged de
velopment time works to our disadvantage. I find that with a fresh
bottle of developer an average time of 16 minutes at 65 degrees gives
a negative of normal density on the high speed pan films and all the
contrast I want. The average negatives from this development will
enlarge nicely on medium papers, thus saving the harder papers for
poor or flat negatives. Speaking of short-cuts, here is one: our de
veloper, rinse, and fixing solutions are filtered only once rather than
each time used and that is at the time that the fresh 32 ounce bottle
is mixed. I don 't necessarily recommend this as the best practice, but
I have never noticed any spotted or marked negatives or other bad
effects from following this time-saving step.
A chrome alum and bisulphite rinse, formula on page 149, is used
between developing and fixing. We consider the use of this rinse
indispensable. This solution is mixed fresh every day and 32 ounces
seems to work satisfactorily on six to ten rolls of film. The fixing
bath is the usual Eastman F-5 formula (see page 149) and 32 ounces
of this fixer will do a good job on five or six rolls of film. I throw
away the fixer and renew it just as soon as its action appears to be
slowing up.
Speed Gained by Enlarging Wet Films
Naturally, time saving and speed are important in news photog
raphy : frequently the film is washed only for one minute after it is
fixed, then its surface is dried with a viscose sponge, and if time
permits, is hung in the breeze of a fan for about two minutes, then
directly into the enlarger.
477
Here is a place where the simplicity of design of the Valoy or
Pocomat enlarger will be fully appreciated. The wet film can be
handled almost the same as though it were dry, and can be inserted
in the enlarger with the emulsion side down as usual, or, if reversed
prints are required, as they frequently are in a newspaper plant to
save time in the engraving department, insert the film with the emul
sion side upward against the condenser lens.
There is no need, when using the Valoy Enlarger, to go to the
trouble or the mess of making glycerine sandwiches (the method of
placing a film covered with glycerine between two glass plates) when you
want to print from the wet film. The prints made from wet film in the
manner I have described are much cleaner than the glycerine method, and
certainly less trouble to make. Naturally, you must work quickly, not
keep the light on too long when focusing, so that the enlarger head and
condenser won't get too hot and injure the film. Barely have I damaged a
film by this method. The Valoy lamphouse is well ventilated, and on many
occasions I have printed as many as a dozen different negatives in rapid
succession without overheating the enlarger to the point of damaging the
wet negatives.
Printing and developing by this method will turn out finished enlarge
ments in about thirty minutes from the time you reach the dark room.
We have found that the Valoy with the regular 75 -watt Nitra opal
lamp gives ample printing speed even for 11 x 14 and 16 x 20 inch enlarge
ments. Our enlarger is fitted with a 120cm upright column and an offset
arm. This latter accessory is the only one that we have found necessary.
A bolt fastens the baseboard of the enlarger to the bench, and the extreme
top of the column is braced to the wall to help eliminate any possible
vibration, particularly when the enlarger head is placed high up on the
column.
With the 120cm upright and the offset arm which gives a little addi
tional height we are able to make enlargements 26 x 39 inches with the
regular 50mm enlarging lens. Of course, we don't use paper larger than
16 x 20 for our prints, but we do often want a small portion of the negative
blown up to 16 x 20 and this equipment allows us to do this easily.
Glossy paper is almost universally used when making prints for repro
duction. I make use of two brands of bromide paper in order to get five
varying degrees of contrast. I have found Eastman News Bromide, Normal,
to have the softest emulsion of any bromide paper that I have tried, so
I use this grade in conjunction with the four regular grades of Agfa
Brovira. The Brovira Extra Hard is a paper of extreme contrast and will
yield prints from many a negative that really looks hopeless. I find it to
be very convenient to have five grades of paper to choose from. It makes
it possible to produce a set of evenly balanced prints even though the
negatives may have been made under varying conditions. Naturally, we
aim to develop most of our negatives to fit either the soft or medium
Brovira leaving the other degrees of contrast to take care of the nega
tives which are either too contrasty or too flat.
Film Development Enroute
Another short cut that I have found to be quite a time saver is develop
ing and fixing the film enroute from the assignment to the office. This can
478
Candid and News
only be done, of course, when you are prepared in advance, but it does
save many minutes. It is useful anytime when your assignment is at
least 25 or 30 minutes away from the dark room.
I have a small case in which I put a Eeelo tank, a changing bag,
and three one-pint size vacuum bottles. Before leaving the dark room I
fill the three bottles with developer, rinse, and hypo, all at proper tem
perature; a few degrees warmer in cold weather and a few degrees cooler
in hot weather. Then when I have finished making the pictures I open
out the changing bag on the shelf in the trunk of my car or any other
convenient place, transfer the film to the reel, close the tank and take it
out of the changing bag.
Then ... in goes the developer which has been keep at approxi
mately correct temperature in the vacuum bottle; a couple of shakes and
the tank goes on the floor of the auto as I drive to the office. Occasional
hand agitation along with the rocking motion of the machine produces very
evenly developed negatives in normal time. When the time is up I pull over
to the curb, pour the developer off, pour the rinse in, let this stand a
minute or two, drain it off and pour the fixing solution in. Then I con
tinue to the office, and the rush film will be ready for a quick wash as
soon as I arrive and then into the enlarger. Usually, finished enlarge
ments can be ready within seven to ten minutes from the time I reach the
office . . . much greater speed than could be ordinarily expected.
The Miniature Camera in the Courtroom
Courtroom photography will call for a considerable amount of
cleverness on the part of the photographer, particularly when the
subjects are unwilling, or when the judge has issued orders that no
photos are to be made. In either case it will be well to go into the
courtroom with the Leica in your pocket or suspended by the neck
strap beneath your coat under the pit of your arm. You may or may
not be able to use the range finder to check the focus, because to do
so might disclose you to the subjects or the court officers. If you
can't use the range finder then you will have to estimate the distance
to the subject. Exposure also may have to be estimated . . . shoot
at as high speed as the light will allow.
Courtroom exposures will vary all the way from y% to 1/60 second
at f :2. You may have to keep the camera resting in your lap — hidden
under your hat until just the moment when everyone is interested
in the proceedings, and then carefully raise your hat enough to un
cover the lens, trip the shutter and hope that your lens was pointed
in approximately the right direction to get the subject on the nega
tive without cutting off his or her head, or something equally bad.
Just about this time you will be very thankful that your Leica shutter
is very quiet. Even as quiet as the shutter is, it will probably sound
like a trip hammer to you under these conditions.
If you get away with the first shot alright, then, keeping the
camera concealed as well as possible, try to make a duplicate or two as
479
Fig. 404 Strikers
Meeting
by J. Winton Lemen
The sun rays- streaming
through the smoke filled
atmosphere lends a pic
torial quality to this
otherwise ordinary pic
ture
Summar 50mm, 1/20,
f:3.2. Super-X Film
a matter of protection against subject or camera movement and incor
rect focus. Sometimes courtroom pictures are somewhat simpler to get
than this, but it will always pay you to know how to get them the
hard way if it really becomes necessary.
Where to Find Picture Subjects
Candid possibilities will really be found all around you, but
some of the outstanding opportunities for good candid pictures will
be found in club gatherings, theater stages and dressing rooms, night
clubs, school functions, street cars, department stores, busses, trains,
railroad stations, boxing and wrestling bouts, other form of athletic
contests such as baseball, football, tennis, the zoo, the city council
meeting, in fact any place where people gather, where things are
doing or where history is being made. One thing to remember is that
frequently the main action of an event will not provide you with
your best pictures. More often the* best shots will be made of the
people on the sidelines, those watching and getting excited or falling
asleep or being amazed or thrilled.
The candid photographer in school will find excellent material in
graduations, registrations, class shots, in the library, at dances, play re
hearsals, locker rooms, gym classes, club, fraternity meetings and all such
.similar events. Always try to get pictures of the spectators too ... they
furnish the really interesting shots that will make your set of pictures of
the event complete.
Department stores, particularly during the holiday season, will give
you a lot of excellent material. The shoppers looking at the merchandise,
the kids with their rapt expressions watching the electric trains, talking
to Santa Glaus; the tired shop girls, the floor men and maybe youngsters
480
Candid and News
pressing their faces against the toy display windows. Usually department
stores have quite uniform illumination, bright enough for about 1/8 second
exposure at f:2.
At athletic contests of all sorts, the spectators' faces showing excite
ment, pleasure, thrills, disgust will make many good candid shots. At
wrestling and boxing matches, if. you are down front near the ringside, you
can get both the spectators and some shots of the battle of the century or
whatever it may be. If you can "chisel" a working press ticket from one
of the newspapers you will be in the press row and then you will be able
to get real closeups of the expressions on the faces of the fighters, and
don't forget to get a shot or two of the seconds as they are cheering and
giving instructions from the corner of the ring. Most rings are well enough
lighted so that you can shoot action at 1/60 or faster at f :2. Some rings in
bigger cities are lighted well enough to shoot as fast as 1/200 at f :2.
When you are looking for candid material don't forget the kids at the
zoo, and their parents too. Expressions on the young and old will be quite
a study in contrasts. Speaking of the zoo brings to mind the circus, and
remember, that lots of oldsters are just as interesting subjects as the kids
are. Shots of the performers can easily be made from most any seat under
the "big top."
Then, the politicians, or city fathers, at the city council meeting will
make excellent subjects if you can get a seat somewhere near to the mem
ber who is most likely to blow up ... get the camera set and wait for
him to blow off then start to crank the old camera for a set of good action
candids.
Big Personalities: while doing something out of ordinary, or during
their off-guard moments.
Major Catastrophies : train wrecks, airplane crashes, building explos
ions where a loss of life occurs, shipwrecks, fires and other similar types
Fig. 405 Pierre and Lamont DuPont at the Senate Munitions Hearing.
Photograph by Thos. D. McAvoy, Summar 50mm lens at f:2.2, DuPont
Superior film
481
of tragedies. Concerning fires and auto accidents: most of them aren't even
worth opening up your camera, unless they are quite out of the ordinary.
A fire, unless there is a considerable volume of smoke, or a lot of flames
which will show in your negative, is usually quite worthless from the
standpoint of a newspicture.
Auto accidents are usually worth only about a dime a dozen, unless
you are right on the spot in time to get the car or cars in the exact
position where the accident occurred, and then only if the cars show con
siderable damage or are in an unusual position, as on their top or side, or
hanging over the edge of a bridge, or some similar position.
Acts of God: tornadoes, floods, earthquakes are always in great de
mand by the press.
Violence: strikes with their attending riots; murders, particularly those
arising from sex motive, and other like types are much in demand by the
press of today.
Action: most any type of action picture, provided that it is unusual,
is quite acceptable to the editors in general. It is worth considerably more
if the subject is one that is "in the news."
Speed is most essential in the delivery of prints to editors. Just re
member that a picture which is "Spot News" today is only "History", to
morrow. Use the fastest means of submitting pictures to editors if you
wish to make a sale. When possible use the air mail, special delivery;
or air express which is even faster than air mail.
Print Quality desired for reproduction by either the halftone or the
rotogravure process is not what you have always heard about. Many edi
tors, and even some photo-engravers will tell you that they want contrasty,
black and white prints — this is not so.
Make your prints clean and brilliant, but not contrasty. Make them
with a nice even, full scale of tones ranging from deep black, which should
not be "inky" to the pure highlight, which should not give a "whitewash"
effect. Remember that a photo- engraver can't put detail into a print that
isn't there. By this, I don't intend to infer that your prints should ,be soft
and mushy.
Stage and Action Photography
Theatre and stage photography offer many opportunities for in
teresting photos. Theatrical photography can be a most fascinating
hobby or a profitable sideline for many an amateur. Many lovers of
the theater will want to capture the high spots of their favorite plays
or actors for their own albums, and for the sheer pleasure of making
these interesting pictures under the somewhat difficult conditions
encountered with action and stage lighting. Others of you may want
to commercialize this new aspect of candid photography and sell your
pictures to the local newspapers, national magazines, or to the per
formers themselves. A number of theaters in the metropolitan sections
are using candid pictures exclusively for lobby display rather than
482
Stage
the stiffly posed studio still pictures previously used for lack of any
thing better.
The stage of an average good motion picture theater where stage
shows and revues are presented is usually well lighted. The footlight
illumination bolstered up by the light from the high intensity arc
spotlights in the booth above will usually allow you to make exposures
as fast as 1/200 second at f :2 when all the white lights are on. Even
pale pink and yellow lights don't materially slow up the light. Other
colors such as greens, reds, blues may require you to shoot as slow
as 1/40 second.
Best position for photographing this type of stage performance
is usually from the front row just a little off center so that you will
not be working with all the light directly in back of you, but will
get just a little shadow relief which will give character and modeling
to your picture. One difficulty encountered in this type of stage
photography is a featured player in a brilliant spot and the other
actors less brilliantly illuminated. The alternative under the circum
stances is either to sacrifice completely the secondary players and
shoot fast enough to get correct exposure on the principal actor, or to
compromise on the exposure and allow the bright part to be almost
over-exposed, then correct the balance of the negative by local control
in printing.
Fig, 406 Katharine Cornell in "St. Joan"
Summar 50mm, 1/20, f :2, Super-X Film
J. "Winton Lemen
Along this same line, because stage lighting is usually very contrasty,
figure to give your negatives only normal development, because to prolong
development will usually increase the contrast so much as to make the
negatives practically useless.
The legitimate stage, where dramas are offered, is for the most part
poorly lighted as compared with the vaudeville stage. However, even here
you will usually find enough light on the average to shoot at 1/20 to
1/30 with the lens at f :2. Variations in the lighting will vary your ex
posures all the way from % second to 1/40 second. The best location will
depend upon the layout of the theater. I have found that either a front
row seat to one side of the center, or an upper front box seat are excellent
locations to shoot from.
When you find it necessary to shoot at slow speeds, be sure to brace
Fig. 407 Candid
Camera Night at
College Inn
by Frank Marshall
Moore
Summar 50mm,
f:2.2, Super-X
1/40,
484
Candid and News
your elbows on the arm rests of the seat so that the camera will be steady.
Watch for those momentary pauses in the action of the play before you
shoot, thereby giving yourself a higher percentage of good negatives. Be
sure to shoot enough film, because there will be many negatives spoiled by
movement. Always take an extra magazine or two of film along . . .
chances are that you will need it before the second act is over.
Night clubs are usually poorly illuminated. The floor show will prob
ably be lighted brightly enough so that you can get some action shots, but
the cash customers at the tables will often present a problem because of
the dim illumination. Sometimes the flare of a match lighting a cigarette
will help a lot and you can get a shot of the faces close by at % or Va
second at f :2.
Interesting night club shots can often be taken at the bar . . . but be
careful who you shoot, the wrong husband might be out with the wrong
•wife or some such embarrassing situation.
Some night take a ride around town on some of the owl cars, you will
be repaid with a series of good candid pictures of late workers, stay-outs,
and similar characters. Exposures will vary from V& to 1/20 at f :2.
Equipment Recommended
The equipment that I would recommend for these three closely allied
branches of miniature photography would be a Model F or Model G Leica,
preferably the Model G because it has the fastest and quietest shutter.
Remember, though, that most of the time- the slow speeds will be of more
use to you than the fast speeds. For the tough spots and for all general
work choose either the Xenon f :1.5 lens or the Summar f:2 lens; both are
excellent 50mm focus lenses and will be the backbone of your lens equip
ment.
A wide angle lens such as the 35mm will find a lot of use for getting
angle shots and for work in crowded quarters. Choose one or more of the
telephotos to complete your battery of lenses. The 73mm Hektor is a great
lens for stage and for a lot of candid work where speed is essential and yet
you can't approach your subject as closely as you would like to. A general
purpose telephoto is the Hektor 135mm. This lens cuts the distance to your
subject about two-thirds and is a fine lens for bridging long gaps of space,
as well as getting sports pictures and candid closeups from about a dis
tance of 20 feet.
Include a Vidom View Finder and a sport finder — you will find many
uses for both, but if you must confine yourself to one, then make it the
Vidom. Also the Angle View Finder will be handy on occasions when taking
candid pictures where the camera is held at right angles. Don't neglect to
add a good substantial tripod to your equipment, you can use it on many
occasions. Intelligent use of a tripod will raise the average of your good
negatives considerably. Choose a tripod that is compact, rigid and high
enough so that it is near eye-level when fully extended. A built-in tilting
and panorama head is a decided convenience on the tripod and well worth
the investment.
Standardizing Your Methods
One important thing that will help you materially toward getting
first-class results with your camera is to standardize on one film, one
developer and one kind of printing paper. Let the laboratories and
the experts do most of the proving with emulsions and chemicals.
485
When you start, use one type film until you are thoroughly familiar
with the possibilities of that particular emulsion . . . then, and only
then, should you try a different type; and when you do, make a com
parative test between the film you have been using and the newer
type you are trying out.
Make identical exposures on both films of various type subjects,
such as open landscapes, scenes in bright sunshine, portraits in the sun
and the shade and some shots under artificial light. Also be sure to
make some known over-and under-exposures on each film. Then de
velop each film correctly in the same type of developer (if they both
have the same development speed you can develop them simultaneously
by putting them back to back in the Eeelo tank) then you will be cer
tain that each has had identical processing. After the films have dried
you can inspect them visually for differences of contrast and speed.
But don't make your final judgment on a visual inspection alone —
choose a couple of average negatives from each film, and put them in
the enlarger. Push the lamphousing up near the top of the column so
that you will be getting at least a 10 to 15 diameter enlargement.
Then make prints of each of the selected negatives on the same grade
of paper. From this test you will be able to more accurately judge
speed^ contrast, and grain size of the two films and consequently you
will be able to make a choice as to which film gives you the quality
that you most desire.
If you want to test a developer, do it in much the same way I have
described for film. However, in this case it will only be necessary to expose
one roll of film. Make a series of similar exposures the entire length of
the film. Then, in the dark room, you can cut the film in half and develop
one piece in your regular developer and the other piece in the developer
you are testing. Again make both the visual and enlarging tests and you
will certainly be able to arrive at a correct conclusion as to which developer
gives the greater density or the smaller grain or any other feature you
might find desirable.
Once you have made comparative tests of this sort on different films
and different developers you will be better able to choose the combination
that exactly fits your needs, and also when you have occasional special
requirements you will know from this experience just what materials will
do the job best.
Hypersensitizing is often useful for either candid, news or stage
photography. You will find full instructions on various processes in another
part of this manual, (see page 159). At the present moment the Agfa
method of mercury vapor hypersensitizing seems to offer great possibilities.
Strangely enough, this new method seems to take us back to the first
principles of photography. You probably know that the first method of
development of a latent image as discovered by Daguerre was by the vapor
given off from mercury.
Be methodical, know your camera and its accessories, use a photo
electric type exposure meter whenever you can, learn to depend on one type
486
Candid and News
Fig. 408 Kompa Sisters
Summar 50mm, 1/500, f:3.5, Dupont Superior film
Willard D. Morgan
of film (don't overburden yourself with too many films, solution, or use
less accessories), and work quietly — now go out and get some candid pic
tures; there are possibilities all around you right now.
The modern miniature camera with, its agility, its speedy lenses,
the emulsion makers with their fast films, and the chemical manufac
turers with their fine grain developing solutions have all opened up
the way to the new day of candid pictures. "Without such an ideal
combination, candid pictures would be, for the most part, beyond the
ability of the average man. "We, of course, still have much to hope for
and to expect from the research chemists, for it is from their labora
tories that our faster emulsions and finer grain chemicals will come;
and as they do, newer fields will continue to open up before the eye
of our Leica.
487
The Fliers
A Four-Negative Photo-Montage
John T. Moss, Jr.
488
AERIAL PHOTOGRAPHY
JOHN P. GATY CHAPTER 26
Aerial photography is one of the most fascinating of all the
many and varied branches of the art. It permits the capture
of scenes of grandeur and beauty observed only by the airman,
and their preservation to the end that they may delight his friends
and acquaintances. Whether or not those who view the result are
airminded, it will be found that aerial photographs possess interest
for almost everyone. To the timid, they offer a glimpse of the
aerial world denied them by their timidity. Others will look upon
them with longing and recall memories of similar scenes witnessed
for some brief moment in the past; or will project their imaginations
forward to the day when they also will leave the earth below and
take to the aerial heights.
This universal interest is heightened if the photographer selects
his subjects with an eye to the dramatic and impressive effects
that are recurrently produced by the forces of the atmosphere.
With Nature's moods constantly changing, and with the vast ex
panses of far flung vistas of land, sea, mountains, and sky as his
subject matter, it would be a dull photographer indeed who did
not respond with his best efforts. The resulting print may carry
the menace and threat of the towering black and silver ramparts
of a thunderstorm as it sweeps down on the diminutive homes of
a city, or it may render the light and gay mood of a cloud feathered
summer sky above a peaceful countryside. The opportunities for
expression exist in abundant measure.
The aerial photographer soon discovers an interesting peculiar
ity about his work, in that his photographs always show more
details than his eye can grasp at the moment of exposure. He thus
finds out many interesting facts about apparently familiar terri
tory. On cross country trips by air, a series of photographs will
record more than the unaided memory. Before the human eye
can possibly scan an entire vista for small details and compare the
relationship of all objects to each other, the airplane has moved
on to an entirely new location. But the camera possesses the ability
489
to record everything within its field of coverage instantly and pre
serve it for leisured study. Even local areas reveal surprising facts
to those who are apparently perfectly familiar with them, when
photographed from the air.
The Leica camera possesses an important advantage for aerial
use in that a single turn of the winding knob sets the shutter and
simultaneously changes the film. This feature is very desirable;
especially when a quick series of exposures must be made while
flying over an objective. All professional and military aerial cameras
of the highest class are equipped with similar winding arrange
ments for hand operation, even when their principal function is that
of fully automatic electric operation.
Aerial Compared to Ground Photography
Successful and interesting air views demand a somewhat dif
ferent technique from that required for ground pictorial photog
raphy. Less opportunity is presented for study of the subject and
careful selection of a camera location with reference to the objects
to be photographed. The ground photographer can select his view
point and putter around while weighing the balance of his com
position in the finder or ground glass, and after several changes and
Fig. 410 A Summer Storm over the Catskills
Altitude 1200 feet, Elmar 50mm, 1/200, f :4, No. 2 Filter, DuPont Pan Film
490 .
John P. Gaty
Aerial
Fig. 411 Sky Writers Clarence Slifer
Elmar 90mm» 1/500, f:4.5, DuPont Superior film
prolonged cogitation decide not to take the picture at all! The
aerial photographer actually must anticipate his composition and
expose it at the split second that it is "best. There is no time for
prolonged decisions. At a speed of one hundred miles or more
per hour, the opportunity is almost fantastically short.
Another advantage possessed by the ground photographer is
the presence of foreground objects of appropriate nature to aid in
balancing the composition. The aerial photographer usually is
deprived of these, because the only near objects ordinarily are the
parts comprising the structure of his own airplane. It is most
unusual to find such things an aid to composition, for they are
seldom in sharp focus and almost always angular and intrusive
into the frame line. Even if they happened to add to the composi
tion pattern, there is the unfavorable factor of great separation
of image planes between the structural objects and the nearest
objects on the grounds. There is no possibility of gradually lead
ing the observer's eye into the distance by a succession of gradu
ally removed planes, 'hence his reaction to the abrupt mental
jump from near object to the ground is unpleasant. This effect
is decreased if the airplane is flying at low altitudes or just over
a cloudbank. Every rule has its exceptions and in certain cases
some advantage may be gained from including part of the airplane
491
in the view. For the ordinary picture the photographer must form
his composition from patterns on the ground and in the sky, using
large masses for the high altitude views; and buildings, fields, roads,
rivers, or what not for the low altitude views.
Leica As a Profitable Aerial Camera
Those who wish to put their aerial photography on a self-
supporting or profitable basis must remember that quality is the
touchstone of success in this field. While there is a certain limited
market for conventional stereotyped airviews, lacking composition
and originality, the sales effort necessary in the disposal of this
type of product is at least disheartening. Those photographers who
possess imagination and good judgment will find a ready market
for their air views, providing that the technical details of develop
ing and enlarging are given the same careful consideration as their
camera work.
Scientific, topographic, and mapping aerial photography are
highly specialized arts which require long training and intricate
cameras and apparatus. The only type of aerial photography to
be considered here is "oblique photography'7. In aerial parlance,
an /'oblique" photograph is one made by a camera pointing to-
Fig. 412 Fire on the Ridges
John P. Gaty
Altitude 5500 feet, Elmar 50mm lens, 1/200 second at f:4, No. 2 Leitz Filter, DuPont
Special Panchromatic film. In this case aerial haze proved desirable ; its presence proved to
produce the separation of perspective between the ridges
492
Aerial
wards the ground, at some angle substantially less than a right
angle to the horizontal plane. Photographs made in this manner
are often termed "air views". They satisfy the greatest part of the
market demand available to the independent aerial photographer.
Their viewpoint is readily understood by the layman, while that
of the vertical photograph is often confusing to the uninitiated.
The best market for air views is to be found among owners
of estates, farms, and homes. These properties usually constitute
one of the most important interests in the lives of the owners. An
aerial photograph showing in an attractive manner the carefully
planned details of an estate is a very desirable and tempting thing
to the owner. It represents a new means of explaining to others
his methods and plans for developing the estate, and actually is
the sole method by which the entire property can be visualized at
once. The same considerations apply to the farmer, except that
his interest has more of a business nature and his planning is more
utilitarian than esthetic. Both classes share the feeling of pride
of possession and accomplishment. For this reason they are par
ticularly receptive to approach by the aerial photographer.
Contacts with home owners lead naturally to industrial aerial
photographic opportunities. By carefully building up his clientele,
the enterprising photographer will receive offers of contracts to
photograph factories, colleges or institutions, resorts, real estate
developments, and other subjects. Local newspaper editors should
be shown sample photographs of scenes of interest in the neigh
borhood. If striking or unusual treatment is evident it is likely
that a sale will be made. The editor should be advised that future
work will be submitted for his inspection.
Starting Your Own Aerial Photo Business
When starting in business, the aerial photographer first should
make a ground survey of likely subjects. Careful study must be
given to each to determine the favorable photographic angles and
the type of lighting that will be most helpful. As the position of
the sun changes in the sky the lighting will change from side to
side or from back to front, and the angle of lighting will vary.
After noting all pertinent photographic facts the photographer
should find out something about the owner, for future reference.
Out of these first subjects, he should select a few in the same
vicinity and take his Leica into the air and photograph them, at
the time of day previously selected. Several trips should be made,
if necessary, to get the proper lighting. The next step is to develop
493
the films and carefully make enlargements of the good frames.
These enlargements constitute the samples that are to be shown to
prospects and no effort should be spared to make, them perfect.
If some of the negatives are blurred it is best to reject them and
try again. A group should be made up for each owner and sub
mitted to him for inspection. A fair price should be set on the
prints and cheerfully maintained in the face of smaller offers.
The owner realizes that the photographer has no other market for
these samples and naturally attempts to secure them at a low
figure. However, enough sales ordinarily will be made at the
selected price to cover the initial costs incurred in setting up a
book of samples.
Fig. 413 Nightfall
Taken 40 minutes after sunset, midsummer.
50mm, 1/20. f:2.3. DuPont Superior Film.
' » John P. Gaty
Altitude 2000 feet. Summar
494
Aerial
Further sales should be made on a contingency basis. The
owners of properties selected as subjects should be approached and
shown the book of samples depicting the properties of their neigh
bors. Unique or interesting features of the property of the "pros
pect" should be discussed and commented upon with regard to
their appearance from the air. The photographer should offer to
make air views of the property for an agreed price, to be paid
only if the owner is satisfied after inspection of the finished prints.
If he is not fully pleased with the results it is fully understood that
he owes the photographer nothing, incurs no future obligation, and
obtains no pictures. The photographer rarely loses a sale made on
this basis, as the owner is filled with anticipation for the air views
and usually has made up his mind to pay for them at the agreed
price. Each photographer must determine for himself what his
costs are and how high he can profitably set his prices. A price
schedule in the lower-middle range would be as follows :
Local photographs (one customer)
2 different air views $20.00
4 " " " $30.00
6 " " " $35.00
Keprints of any air view $ 2.50 each.
These prices are based on economical flying costs and short distances
from the base to the objectives. The costs of long flights should be added
to the usual prices set up to cover local customers. Once established, the
price structure must be rigidly maintained to all customers in the same
vicinity.
Customers should be followed up occasionally, as they may have
shown their air views to friends who wish similar work done, or they
may wish air views made of seasonal crops or vegetation. Sometimes
they require new views with a change of season. A satisfied customer
is always acting as a salesman for the photographer, and may often
produce considerable business of an unexpected nature.
Many Leica owners may wish to make aerial photographs to pre
sent to their friends as gifts during the holiday season. Such air
views are a source of pleasure to both the photographer and the re
cipient. General aerial scenes of a striking nature are prized by
almost everyone, and views showing the homes of the photographer's
friends are greatly appreciated by the owners. Enlargements in
tended for this purpose should be finished with the same degree of
care accorded to those which are intended for sale. It is usually best
to mount them attractively or to print them with wide borders.
495
Making the Preliminary Ground Survey
In order to obtain the finest aerial pictures of homes, estates, or
buildings, a ground survey should be made prior to the day chosen
for the photographic hop. The subject should be studied for the most
promising photographic angles and their relation to the light direction
at various times of the day. If the building has an industrial signifi
cance its function and usefulness should be studied, together with its
placement with regard to related subjects. For instance, a resort
hotel ordinarily would be near numerous places of recreation such as
golf courses, beaches, mountains, or other places for .guests to amuse
themselves. A factory would be near transportation facilities, such
as railroads, harbors, or rivers. The photographer should ask him
self the question, "What is the purpose of this place and how can it
be shown to best advantage in an aerial photograph?" The back
ground objects should be observed carefully, as some may be objec
tionable and some desirable. The air view will disclose them, and
camera angles may have to be selected that will include only the desir
able features. The problem sometimes becomes complicated if favor-
Fig. 414 A Country Estate John P. Gaty
Mti
FilD
496
Altitude 500 feet. Elmar 90mm, 1/200, f:4, No. 2 Filter, DuPont Special Panchromatic
Film
Aerial
able lighting, purpose, and background are in mutual conflict. A
compromise must be made in such, eases, and the intelligence and
ingenuity of the photographer are given a thorough test.
Background objects are important in the photography of homes
and estates, in the same manner. Transmission lines, railroads, cheap
developments, and other industrial manifestations have a habit of
cropping up in the distance when the aerial photographer is studying
the camera angles of a sumptuous estate sequestered from the world
by a private forest. Unfortunately, sometimes, the camera "sees"
over the top of the sheltering trees and registers objects which the
owner would dislike including in a picture of his home. Conversely,
there may be a rugged mountain near, or a pretty lake, and these
would be desirable objects to show in the photograph of the estate.
Controlling Perspective by Lens Selection
Fortunately for the photographer faced with these problems of
what to show and what not to show, what to emphasize and what to
subdue, the Leica is equipped with a full battery of lenses. Ranging
from the 35mm lens with its wide field of 69 degrees to the 135mm
lens with its narrow field of 18 degrees, they provide a flexible instru
ment in the hands of the capable photographer. By properly select
ing an appropriate lens and the proper position with regard to the
principal object of interest, great liberties may be taken with the
apparent perspective in the finished enlargement. Background ob
jects or foreground objects may be moved into apparently near or
distant positions at the pleasure of the photographer. Such effects
are not magical. They depend on simple laws of perspective. When
a near viewpoint is adopted and a wide angle lens utilized, the result
ing photograph will show a rapidly vanishing perspective and the
background objects will be subordinated. If a distant viewpoint is
selected and the same principal object of interest photographed with
a long focus lens the photograph will show a slowly vanishing per
spective and the background objects will be apparently much nearer
to the principal object. Relative distances of various objects in a
photograph can be judged only by their apparent relative sizes.
The real secret of the change in perspective lies in the position
of the camera with respect to the various objects depicted, and not
in the lenses. A choice of lenses is necessary in order to preserve the
sharpness of the distant views. The long focus lenses produce larger
images and fill the frame with the view desired. This may be en
larged to the desired size without running into the difficulties from
497
negative graininess sure to be experienced when a small portion of the
center of the frame is selected as the basis of a sizeable enlargement.
Aerial photography demands clean cut definition of the highest order,
and attempts by the photographer to secure this in large prints made
from small portions of the negatives are doomed to failure. This
high type of definition is essential because almost all details are ex
ceedingly small and the eye of the observer seeks natural and well
known shapes, such as the windows of houses in the distance. If
these are not reasonably sharp the reaction is unfavorable and the
enlargement is condemned as being blurred.
If a photographer attempted to make a 35mm Elmar lens do
the work of a 135mm Elmar or Hektor lens he would have to take
the same position and altitude for either lens and would find that the
35mm lens had imaged the selected view on but 1/16 part of the
area of the normal frame.. The remainder of the picture would be
composed of sky and objects in which he had no interest. If he
attempted to enlarge the small area showing the desired view he
would start under a 4 to 1 handicap against sharpness as compared
to that obtainable with the 135mm lens in a similar size print. On
the other hand, it obviously would be impossible to use a long focus
lens for a purpose requiring a short focus lens, for the angular cover
age would be insufficient to include the desired objects, at the selected
Fig. 415 North Beach Airport, New York City John P. Gaty
^de^glf Vie^' 1/3 mile to AirP°rt; 6 2/3 miles to distant Manhattan buildings. Alti
tude 1000 feet, Elmar 35mm, 1/200, f:4, No. 3 Leitz Filter. DuPont Superior Film
498
Aerial
Fig. 416 North
Beach Airport, New
York City
John P. Gaty
Telephoto View. Camera
— 7 miles from Airport
and 13 1/3 miles from
Empire State Building:.
City smoke prevented
better contrast and defi
nition. Altitude 2000
feet. Special 200mm Ex
perimental Lens 1/60
second at f:6.3. No. 3
Leitz Filter. DuPont
Superior film.
distance from the principal object of interest. The presence of aerial
haze in the atmosphere might absolutely prevent increasing the dis
tance to a point where the long focus lens would cover the desired
view, even if the convergence of the perspective were unimportant.
Many times, when aerial haze is dense, close-up photographs can be
made successfully under conditions that would prohibit making "long
shots'7. In all cases a proper lens hood should be used with each lens,
whether the air is clear or otherwise, and whether the view is far
or near.
The two lenses that are most useful for aerial use with the Leica are
the 50mm Elmar and the 90mm Elmar. With these two as a nucleus the
beginner can work to earn money that will enable him to purchase further
equipment. In order of their usefulness, other lenses would be the 35mm
Elmar, the 135mm Elmar or Hektor, the 50mm Summar, and the 73mm
Hektor. The first two are useful because of their widely differing angles of
coverage and the correspondingly large degree of control that they permit
the photographer to exercise over the apparent perspective shown in his
prints. The latter two lenses are useful because of their large apertures,
499
Aerial
which permit aerial photographs to be taken under unfavorable light condi
tions. These maximum apertures must be used with discretion, since over-
exposures may be produced under ordinary lighting conditions. Their use
is not recommended except for unusual lighting and for certain combinations
of slow films and dense filters.
The use of the various lenses1 will depend on just what result is
desired in the print. If subordination of background seems advisable
the short focus lenses such as the 35mm and 50mm Elmars should
be used, in connection with a relatively close position to the principal
object at the moment of exposure. Similarly, these lenses will increase
the apparent size of a given area of land, due to the rapidly converg
ing perspective. Long focus lenses such as the 90mm Elmar or the
135mm Elmar or Hektor will produce the effect of bringing mutu
ally distant objects to an apparent relative juxtaposition, if the posi
tion of the camera at the moment of exposure is correctly distant
from the principal object of interest.
Filters for Aerial Photography
Light filters are almost universally used in aerial photography,
because the distances commonly intervening between the majority of
Fig. 418 Diving John L. Davenport
Composite Photograph. One airplane photograph repeated three times upon a cloud
photograph
501
tlie objects in the view and the camera are great enough to cause
dispersion of the shorter wave lengths of light by the aerial haze.
This dispersion results in a general veiling of the details of distant
objects and the production of "flat" negatives lacking brilliance and
contrast. Yellow or red filters are used to eliminate the action of the
shorter wave lengths of light on the film and thus remove the veiling
effect of the aerial haze. Leica filters numbers 1, 2, and 3, remove
varying percentages of the shorter wave lengths of light, the restric
tion increasing with an increase in the number. Sometimes a portion
of the shorter wave lengths is desirable for the purpose of aiding the
longer wave lengths in making a correct exposure under unfavorable
light conditions. In certain cases aerial haze is advantageous in the
extreme background. Such examples require the use of a number 1
filter. For the great majority of cases Leica filter number 2 will be
the correct one to use, and this filter is recommended as the first
choice. Leica filter number 3 allows slightly better penetration of
aerial haze and sometimes will be found useful. A red filter similar
to the Wratten 25 (light red) may solve some problems beyond the
scope of the yellow filters, and is useful also for infra red photography.
Filters for Different Visibilities
In order to give a readily understandable general rule for the use of
filters the following table shows the correct filter for use for different visi
bilities expressed in miles. The table is intended for use with supersensitive
type panchromatic film only.
Filter for long shots
Filter for Close-ups (intermediate and
Visibility (up to 2000 feet) long distance)
Unlimited no filter No. 1 or No. 2
10 miles No. 1 No. 2 or No. 3
5 miles No. 2 or No. 3 No. 3 or Red (No. 4)
3 miles No. 3 or Red (No. 4) Red, (useful to 1 mi.)
The proper use of filters often becomes a compromise between
unfavorable light conditions, permissible exposure time, and atmos
pheric haze. The table shows the least dense filters which may
be used under the tabulated conditions. In any case a more dense
filter may be used if the light conditions or air conditions permit
the slower exposures necessary. Slower exposures are permissible
in smooth air than are practical when the air conditions are turbu
lent. The use of longer exposures than 1/200 second in turbulent
and bumpy air usually results in blurred pictures, especially when
long focus lenses are used.
When conditions are favorable and the air is free from atmos
pheric haze, the minimum density filter should be used in order to
502
Aerial
increase the shutter speed. This is especially true in cases where
a cloudless sky shows in the background. The use of a dense filter
will render a clear horizon as a rather depressing shade of gray in
the print. This may have to be dodged out in the enlargement. The
proper use of filters, therefore, is influenced by the condition of the
sky if any of it shows in the composition. A further factor is the
direction of lighting. Haze is much more apparent when looking or
photographing against the direction from which the light falls. In
photographs taken against the light, add one to each number of the
filters recommended in the table, and consider the red filter as num
ber 4.
A Standard Leica Aerial Exposure
Exposure speeds will depend on a great number of factors. In
order to avoid confusion, the standard Leica exposure for aerial
photography should be 1/200 second, with a diaphragm aperture of
f :4, and a number 2 filter, when the camera is loaded with super-
sensitive type panchromatic film. Ninety per cent of all aerial photo
graphs can be made safely with these factors, because film latitude
will compensate for the minor variations experienced in lighting.
Superpanchromatic type film is used exclusively in profes
sional aerial photography. Long experience has shown it to be
far superior to any other type of film. Its sensitivity to the longer
wave lengths of light permits its use in conjunction with all types
of filters that are helpful in aerial photography without the neces
sity of greatly increasing the length of the exposures. Modern
Superpanchromatic emulsions are fine grained and capable of rend
ering excellent definition. In order to realize their full potentiali
ties, the photographer must take every precaution during the de
veloping, fixing, washing, and drying of the negatives. Ample
information on the processes of fine grain developing is available
elsewhere in this volume. The rules laid down must be carefully
observed at every step. Aerial photography with small negatives
will never be successful if the photographer is slipshod and careless
in his darkroom technique. The requirements of fine detail in the
enlargements cannot be satisfied with grainy negatives.
Certain panchromatic films possess inherently finer grain than
the Superpanchromatic type, but their use involves the employment
of slower shutter speeds. Such films are DuPont Micropan, and
Eastman Panatomic. They are suitable mainly for aerial photog-
503
raphy from cabin type airplanes, because the longer exposures re
quired often produce blurred negatives if the camera is subjected to
the eddies of the propeller slipstream. The factors for these films
with various filters will be found in other parts of this volume. Such
factors should be applied to the standard conditions outlined above
in connection with supersensitive type panchromatic film. Dia
phragm changes can be made to compensate for decreased film
sensitivity, in cases .where high aperture lenses are used. This
practice is not recommended, since the "fast" lenses were not de
signed for this type of work and are subjected to an unfair test
by the exceedingly high requirements for detail. The extreme
apertures of the "fast" lenses should be reserved for emergency
use in overcoming otherwise unconquerable light conditions.
Infra Red Photography
Infra red sensitive film, such as DuPont Infra D, provides an
interesting experimental medium. Very unusual photographs ^ of
clouds and atmospheric effects can be secured with this material,
and great penetration of atmospheric haze can be obtained by its
Fig. 419 A Card Game In The Air
Augustus Wolfman
Elmar 35-mm, Photoflash, f:6.3, DuPont Superior.
While flying remember to take the close-up Intimate
Photographs of People and other Subjects.
504
Aerial
use. Certain difficulties must be overcome by the photographer in
order to secure presentable aerial views from these infra red sensi
tive materials. The filter must transmit only red light, and the
exposure must not 'be shorter than 1/20 second at a lens aperture
of f:3.5. This long exposure usually is productive of vibratory
blur in the negatives, and great care is necessary to prevent camera
movement during exposure. When the air is rough and turbulent
the photographer's task is almost hopeless. The infra red films
are apparently readily subject to large grain formation in develop
ment, and every safeguard must be adopted in the darkroom to
produce fine grained negatives. When using this material the
Elmar series of lenses should be set to 100 feet on the focusing
scale, the Hektor series to approximately 200 feet, while the Summar
lens has a special focusing mark for infra red film. These adjust
ments are necessary to correct for the difference between the pan
chromatic and infra red focus of the lenses.
Infra red sensitive material offers a very interesting field for
unusual photographic effects, but before its full potentialities can
be realized the photographer must give considerable study to the
effects produced in the prints. He is unable to visualize the re
sponse of the film to various light conditions, and the reflection
coefficients of various natural objects and surfaces to infra red
light in any other way. One especially interesting experiment is
to use infra red film in connection with filters passing the higher
ultra violet spectrum and the infra red spectrum together, but
cutting out all of the visible spectrum to which the film is sensi
tive. Wratten gelatines can be used for this purpose, and the
combination of Quinoline Yellow No. 17, and Rose Bengal No. 30
will do the trick. If less ultra violet is desired a No. 49 or No.
49a may be added to the first two, although these cut out the
shorter infra red rays also. The use of No. 17 and No. 35 is also
recommended. The exposure with the first and last combinations
should be 1/20 to 1/30 at f :3.5, and that of the combinations with
the No. 49 filters, 1/20 at f :2.0.
This deliberate selection of the extreme opposite ends of the
spectrum implies that the photographer has great faith in the color
corrections of his lens, and undoubtedly would cause a lens designer
to have a severe headache if he could know about it. The 35mm
Elmar will work satisfactorily under this unfair handicap, which is
a great tribute to its design and construction. The print repro
duced herewith (Fig. 420) was made with this lens and a No. 17
and No. 35 Wratten filter used together. It shows a very unusual
505
Fig. 420 Coastline
John P. Gaty
This photograph was made by invisible light only: ultra-violet and infra-red. Note
the absence of the usual infra-red effect of white foliage. Compare this with that
shown in Fig. 421, which was taken with infra-red light only. The distance in this
picture is limited to the foothills shown in Fig. 421.
Altitude 1000 feet, Elmar 35mm, 1/100, f:3.5, Wratten Filters No. 17 and No. 35
used together, DuPont Infra-D Film, hypersensitized
506
Aerial
Fig. 421 Distance
This photograph includes part of the view shown in. Fig. 420. The lo*S f°c*s
out the reasonable size of the snowcapped mountains. The large mountain
away while the smaller mountain is more than 100 miles distant.
Altitude 1000 feet, Elmar 135mm, 1/30, f:4.5, Wratten Filter No. 88A, DuPont
film, hypersensitized
John P. Gaty
s brought
70 miles
Infra-D
507
balance of atmospheric effects. Near the horizon the sky tone
shades off to the palest possible gray, yet the clouds are rendered
in bold relief near the zenith. A panchromatic film would show the
horizon as a much darker gray if a sufficiently dense filter were
used to correct the upper sky to a comparable tone. It is also
evident that the usual brilliant and unnatural rendering of green
foliage by infra red light is completely absent.
Use of Orthochromatic Film
Orthochromatic film of certain types, such as Perutz, possesses
excellent inherently fine grain. This film should be used in aerial
photography only for close-up shots on clear days. The use of any
sort of yellow filter slows the speed down considerably and has a
tendency to destroy the definition. This destruction of definition is
not due to poor filter surfaces but to a peculiarity of the ortho-
chromatic emulsion. The blue and red portions of the visible
spectrum are capable of rendering excellent definition but the inter
mediate portion, including the green and yellow, shows only ap
proximately half the resolving power. Orthochromatic films when
used with yellow filters are forced to work with this unsatisfactory
portion of the spectrum and therefore produce inferior definition.
When this effect is added to the slow shutter speed conditions it
is natural that Orthochromatic film should produce disappointing
results in aerial photography with the Leica.
Preventing Vibration During Exposure
The most important part of the technique of handling a Leica
in the air is the avoidance of camera movement during exposure.
Such movement may be derived from three sources: 1. Motor
vibration is transmitted to all parts of the structure of the airplane,
and if the camera is allowed to touch or rest upon any part of the
fuselage vibratory blur will show in the negatives. 2. The slip
stream from the propeller is filled with gusty vortices and these
transmit intermittent energy to the camera when it is exposed to
the blast. 3. The third source of movement is derived from the
motion of the airplane itself. Smooth motion along its path rarely
affects the sharpness of the negatives except at very low altitudes,
and even under these conditions -compensation may be obtained by
swinging the camera with the principal object of interest as the
airplane passes by it. This motion should be a slow gradual swing
controlled by maintaining the object fixed in its chosen loca
tion in the field of the viewfinder. It should continue before and
after the exposure. The great source of difficulty from motion
508
Aerial
results from turbulent and bumpy air. The airplane rocks and bucks
and sometimes it is impossible to keep the object located in the
viewfinder for more than a second. If the photographer can register
a view between bumps, all is well. If not, he will find a series of
blurred negatives as the result of a photographic hop. When the
wind is high and the air bumpy, it is better to postpone aerial
photography. Certain air conditions make an airplane no more
suitable for photography than would be the rear seat of a roller
coaster car in full career. In any case the greatest effort should be
n\ade at all times to protect the camera from all sorts of motion
during exposure, by cushioning it with the hands, and protecting it
from the slipstream of the propeller, as well as by attempting to
anticipate whatever bumps may be encountered.
An Eveready carrying case or the use of a special neck strap for the
Leica provides insurance against its accidental loss over the side of the air
plane. Even when several different lenses are carried and a larger case is
used the Eveready case will be found convenient. An ample supply of extra
film spools should be carried with the different types of film intended for
use during the flight. The ends of the leaders should be marked in pencil
with the name of the film so that no mistake will be made when the camera
is hurriedly reloaded. In this connection, of course, the new 250 exposure
Leica will hardly require reloading during a flight. Sometimes when the
film suddenly comes to an end, just as the airplane is circling over its objec
tive, the large Leica is ardently desired.
Photographing From Transport Ah' Liners
Aerial photography from transport air liners offers some unique
problems. The windows are made of shatterproof glass that is far
from optically flat, and usually are incapable of being opened. The
irregular surface of the glass has a tendency to " soften" the image
on the film, and the interior surface reflects light from the windows
on the opposite side of the cabin. In order to overcome these handi
caps the photographer should select a short focus lens and hold the
camera as close to the window as possible, without actually touch
ing the glass with the lens mount. This practice will reduce the
abberations due to the uneven glass and to some extent shield out
the interior reflections. By placing the body close behind the
camera or by holding up a coat, the remainder of the reflections
may be eliminated. Usually the rear and front seats are the best
locations for photography from air liners, since the view is least
obstructed at these points.
Your Personal Airplane
In selecting a personal airplane for aerial photography the vari
ous open photographic angles should be considered carefully. High
509
wing cabin monoplanes are usually the best for all around use. They
have the greatest number of camera angles, the photographer and
camera are fully sheltered from the slipstream of the propeller, and
they are comfortable in cold weather. However, any airplane may be
used if it possesses sufficient open spaces between the structural
parts to permit an unobstructed field for the shortest focus lens to be
employed. When such spaces are barely sufficient, more care must
be used by the pilot in manoeuvering the airplane into the proper
position to take a desired view, since in effect the airplane, and not
the camera, must carefully be lined up with the object. Some air
planes have open spaces only at the two rear quarters between the
lower wing and the tail surfaces. Such " ships" must be flown past
the object before the exposure can be made. The photographer is in
much the same case as the Woople Bird who always flew backwards
because he wasn't interested in where he was going, but only in
where he had been.
The photographer must possess a ready means of communication
with the pilot at all times. In double cockpit open airplanes Gosport
voice tubes and helmets may be used, or a system of hand signals
arranged. Such signals must be worked out carefully before the
flight so that there is no possibility of confusion. The photographer's
wish for a change in altitude, direction, or position must be under
stood instantly by the pilot. Cabin type airplanes usually are so
arranged that the photographer can converse readily with the pilot
at all times. In eases where the pilot is also the photographer some
" ships" will prove very unsatisfactory while others are fairly con
venient. In any case it will be found that serious aerial photography
is performed in a better manner when two individuals co-operate
to do it.
Airplanes may be tested for their camera angles on the ground
by the use of the universal finder. This should be used to check the
open photograhpic angles from the seats or spaces available for the
photographer. Horizontal angles alone must not be considered. The
viewfinder axis should be depressed downward to 45 degrees or
more, and raised upward slightly in order to check all possibilities.
At the same time the change in altitude of the airplane after the
tail is raised in flight should be considered.
Aerial Photos At Low Altitudes
"When using a personal airplane, the enthusiastic photographer
often will be tempted to fly at extremely low altitudes to secure some
detailed views of his objective. Unless these are isolated farm houses
surrounded by fields suitable for forced landings, such practices must
510
Aerial
be considered hazardous. If the pilot attempts low altitude flying
over populated areas, some aggrieved citizen is almost certain to re
port him to the Department of Commerce, with resulting trouble for
the pilot. If the photographs are important and require low flying,
a written application should be made to the local Department of
Commerce Inspector, specifying the location, the date of the pro
posed trip, and other details. A waiver of the rules will be issued at
the discretion of the Inspector, and subsequent trouble avoided.
Aerial photography is surprisingly easy to accomplish, but in
order to obtain full satisfaction the photographer must be uncom
promising in his attitude of watchfulness and care. For both novice
and expert a rigid adherence to the following points will pay big
photographic dividends.
1. The camera must be held properly.
2. The film and filter correct for the "conditions and subject.
3. The developing handled in the most precise mauner.
4. The enlarging done on paper adapted to the contrast values of
the film.
5. The proper lens should be employed, at the correct distance, to
fill the frame with the desired view.
6. Last, but by no means least important, showmanship should be
used in preparing the prints. They should be mounted, or
printed on paper large enough to provide a wide border around
the exposed area. Careful spotting and retouching of blemishes
must be done to eliminate signs of dust marks and scratches.
If such a course is faithfully followed the photographer will be
rewarded with a collection of prints which will be a great satisfac
tion to himself and a source of pleasure to his friends, and perhaps
the means to an interesting income. They will provide a permanent
testimonial to his patience, skill, and artistic accomplishments. Best
of all, they will serve as a reminder of many interesting and happy
hours.
511
EXPLORING WITH THE LEICA
JULIEN BRYAN CHAPTER 27
Leica fans and amateur motion picture photographers frequently
ask me to 'reveal' what special technical tricks and devices I use
in getting my intimate movies and unposed stills of native peoples
in Daghestan, Manchukuo, Siberia, Turkey and other little-travelled
parts of the the world.
When I reply frankly that I have no bag of tricks and that in
the main I use fewer gadgets than most amateur photographers, they
are often quite puzzled and seem to feel at times that I am holding
something back.
If I have any specific theory about my work, it is something like
this : that photography is to me a tool which I use for a very definite
purpose, namely, to tell a story. For me, this is a simple and direct
story of how people live in other countries.
If, in the future, there should appear some new device to help
me tell this story better than I can do at present with my motion pic
tures and my still photographs, then I would give up photography
and whole-heartedly adopt the newer, fuller medium. However, I
sincerely believe that at the present time photography is the best tool
for my purpose.
In the past eight years I have led a number of small expeditions
abroad. Usually I have found that the amateurs who have come back
with the most interesting collections of pictures were not necessarily
those who were clever with the camera yet had no real objective
except to photograph anything they came across. Bather, they were
those persons, who, long before they went on my expedition, had
sincerely devoted themselves to some definite field of interest, so
much so that their basic reason for joining my group was to study
their special interest while on an unusual trip. To give concrete
Fig. 422 A Manchukuoan Madonna Julien Bryan
Suxnmar HOmm, 1/60, f:6.3, Light Red Filter, Super-X Film
513
examples, one was tremendously interested in the dance. Another
was a professional social worker, eager to study the family and the
care of children in places where no one had ever heard of surveys.
A third was a student of ethnology who, in his studies, had become
fascinated by the fact that there are 160 different ethnic and racial
groups in the Soviet Union, and joined my expedition to see at first
hand what was happening to these peoples under the new national
policy in that country.
And all of these members of my group, concentrating on the
fields of greatest importance to them, succeeded in obtaining well-
rounded and connected photo-stories on the theme of their major
interests. Naturally, from time to time, they took casual, disconnected
snap-shots, as anyone else might do; but this was incidental.
These observations in the field have convinced me that the
amateur could set himself no task more fruitful than to make a
thorough photo-story — over a period of months, if necessary — on the
subject which interests him most and which he knows best.
I think the trouble with many amateurs and some professional
photographers is that they have in their own lives and work no pow
erful and underlying motive which their photography serves. They
become "arty" and take pictures in the spirit of "art for art's sake."
Possibly they obtain half a dozen very beautiful shots which are
admired by friends or win a prize. From then on, they feel that
they are "Artistic" photographers who have to live up to a certain
reputation. If you ask them "What is the purpose of this pho
tography?" they are confused and reply that they are "attempting to
obtain more artistic pictures." But for what purpose? "Arty"
pictures are too often a mere consolation for aimlessness.
The amateur should remember that he does not see the professional's
average work, but only his best. In covering seven large countries of
Europe and Asia in some eight years of travelling, I have exposed nearly
half a million feet of motion picture film and about 30,000 Leica
negatives. Only a small portion of these are beautiful and artistic
photographs. A fair percentage of the 30,000 are good human interest
photos, but a very large percentage are really poor and of little value to
anyone. I have taken this great quantity of pictures in order to sift out
the small percentage which will enable me to tell my story of human
beings in those far-off countries and to tell it well. My main objective
is to obtain pictures which serve my purpose, rather than to allow
myself to shoot hundreds of artistic pictures which might be completely
unrelated to my work.
Keeping a Clear Photographic Viewpoint
If I have any rules for my work, I should say first of all that
I believe it is vitally important for every photographer like myself
514
Exploring
Fig. 424 Julien
Bryan shows a Har
bin Chinese peasant
the mysteries of a
movie camera
to have some clear cut objective as to the use he intends to make of
his pictures.
Mine, frankly, is that each year as I make these trips and return
home, I hope that my photographs will help me in promoting better
inter-racial understanding and in tracking down many of the
prejudices and fears which people have toward other nationalities.
My theme, therefore, is people, how they live and work and
play in distant lands. I like people. I like even strange people
such as Mongolians and Tungus and Khevsurs. I have found in my
visits to such tribes that they in turn will like you if you are
friendly. A smile is worth vastly more than money, even though you
may not speak two words of their native dialect. Before I visit such
a tribe, I try very hard to learn something of their background and
their customs, and above all what they consider good manners among
their own people. Especially am I careful not to offend them by
breaking their own code of etiquette. For good manners, no matter
how unlike our own, mean unobtrusiveness, and this is an important
secret of successful candid-camera pictures. This is true whether the
pictures are of statesmen, children, or peasants.
Patience and Good Manners Essential
Patience is a very necessary virtue in photographing such tribes.
Many times members of my expedition are thoroughly exasperated
at the hours and days of seemingly needless delay in getting our work
properly under way; yet the easiest possible way to break off diplo-
515
matic relations and to spoil entirely the work which you have planned
is to display open impatience with the people whom you have come
to photograph. It takes time to become acquainted with primitive
peoples, for they are exceedingly dignified, and it is wise not to be too
aggressive. I have had photographers with me who were anxious
immediately upon arrival in some exotic spot to take out their
cameras and begin shooting even before the members of our expedi
tion had been properly introduced to the chief of the tribe and the
elders.
I have never known primitive peoples to rush matters. When
a stranger arrives, there are many small formulas that must
be fulfilled according to custom. They are the hosts and you
are their guests. In almost all such introductions there is a
fairly long period of conversation which may prove nothing at all,
but this is their custom, and in this way they get used to you.
Their first suspicion that you have come with some subtle and not
very honorable purpose is dissipated. As the ceremony surrounding
the introduction goes on, I explain how I have long wanted to visit
them and their country and how honored I am that they receive me
and my expedition so cordially. I tell them without too much flattery
that the people in my country are interested in their country and
that we would like to tell the people back home about them. Fre
quently I show them a few pictures of tall buildings, such as the
Empire State Building or possibly a children's picture book show
ing farm life here in America.
Then I go on to explain that we also need similar pictures to
tell our people at home about them. I say that I will not only be
grateful but very honored if they will help me to obtain photographs
which show how their people really live. Even then I do not touch
my cameras. Instead, I go around the village with them while
they explain to me some of the principal features in their com
munity life.
Whenever possible, I have with me on my expeditions an expert
who speaks the dialects and who knows the cultural background of
the people from scientific study. For example, on one of our ex
peditions into the High Caucasus we had an experienced ethnolo
gist from the Ethnographic Museum in Tbilisi, capital of the
Georgian Soviet Eepublic. Later, on an expedition to the Tungus
tribe north of Lake Baikal, in Siberia, I was fortunate enough to
have with me Professor Petri, recognized throughout the world
516
Exploring
as one of the greatest living authorities on the primitive Siberian
ethnic groups.
In every ease comparable to these, my pictures have been very
much more to the point, have told a better story, and I myself have
gained a deeper understanding and more accurate information about
the lives of the people than if I had gone alone or relied exclusively
upon the well-meant but often fanciful explanations given by native
guides.
As the tribal elders are showing me around their village, I am
building up in my own mind the unified story I will tell later with
the cameras. To illustrate it, I do not want artistic and unrelated
shots, but rather a simple, closely knit series of pictures that tell
the life-story of the tribe. Once I have made friends with them and
have explained the purpose of my visit, the work is much easier.
Now comes a very important phase in candid photography. When
the introductions and preliminary conversations are over, many of the
members of the tribe are apt to become restless and eager to return to
their work. Most primitive peoples must work long hours daily if they
are to survive. So I now ask the chief to make it clear to the others that
I will be their guest for some days, and that on no account do I wish them
to stop work or do anything out of the ordinary for me. On the contrary,
I ask him to explain clearly to his people that it will help me most if they
return to their work and pay no attention to me as I wander about their
village in and out of their huts and wigwams. I strongly emphasize the
fact that it will spoil my pictures if they look at the camera. I let them
know that they can talk or laugh or eat or do anything which they
normally do. Not until this point do I open my Leica — but when I do, I
meet with excellent cooperation from the natives, who now feel that they
are helping me in a very important project.
In motion pictures we use the term long shot, medium shot
and close-up. I find the same terminology very helpful in still
photography. At first a preliminary number of pictures are taken
from a distance showing the village, the mountain or the valley in
its relation to the country as a whole. Next we photograph a series
of medium shots showing the characteristic dwellings. Last and most
interesting of all come close-ups of individual people, animals and im
plements of their livelihood. But very rarely do I take these close-ups
of either people or implements in the form of still-life or posed
figures. Eather, with the advantage which the Candid Camera gives
me, I make an entire series of action photographs showing some form
of work from beginning to end. I watch a woman as she prepares the
birch bark in the Siberian forest for her summer wigwam. I photo
graph her as she cuts the birch bark, as she treats it, as she softens
the thread made from a reindeer tendon, and as she begins to sew
the bark.
517
A Sense of Humor and Understanding Helps
On expeditions you must have a real sense of humor and the abil
ity to laugh at yourself. On one occasion, near Lake Baikal in Siberia,
I was visiting a tribe called the Tuturi Tungus, who have domesti
cated the reindeer, and live in wigwams in the summer. I had gotten
down on one knee with my Leica in order to get a very striking and
natural picture of a native woman as she was placing her baby into a
curious L-shaped wooden cradle. She then fastened this cradle on the
reindeer's back in preparation for a long trek through the Siberian
swamps. But I had not noticed that there was standing behind me
a large male reindeer who apparently suspected me of being a
foreigner and an enemy of these people. Somehow or other he broke
away from his tether and in three or four rapid strides he approached
me from the rear and picked me up with amazing ease on his
antlers. He was gentle though firm and simply tossed me nonchalant
ly some six or eight feet away into a patch of swamp.
I managed to get out with only a few scratches, but the local
natives, the Tungus, were simply hysterical with laughter at my
predicament. They didn't mean to be impolite, but some such inci
dent had happened in the past to almost all of them and they were
highly amused at seeing me in the same spot. And so was I.
That same evening, the local chief and tribal elders decided to give
a special banquet for me. They told me that I was the first foreigner, (not
counting a few stray Russians) who had ever visited their village. Now
when we all went into the wigwam, for the grand event, I did not go
immediately to the special place of honor which was set aside for me,
but I took the worst position. This, as you can guess, was directly
opposite the fire in the center, where the smoke got into my eyes. I sat
down here and after much urging on the part of the chief himself, I
finally moved to another seat, but still a long way from the coveted place
of honor. It was only after some minutes more of persuasion on the chief's
part that I moved again. All the time I argued that I was not worthy
of the honor of this place that they intended for me. This was, as you
may now guess, located so that the smoke did not get in my eyes.
The Tungus people, like many another primitive group, are a friendly,
kindly race with a long story stretching back at least three or four thousand
years. These people are amazingly kind to their children, and scarcely
ever did I hear a nasty, coarse, or quarrelsome word, nor did I ever see
a parent strike a child. One day I spoke to a Tungus woman about this.
She smiled in surprise at the implication of my question and finally
answered something like this: "Well, you see, among our people, we don't
consider it good manners to strike a child."
I have found it true in almost all of these primitive groups, that they
have come to look with a certain well-justified suspicion upon the foreigners
who may come to visit them. In the past, the white man was known
throughout the world for his robbery and exploitation of such tribes We
have a vivid example of this right here in America, with the white man's
518
Exploring
treatment of the American Indian. No condoning or apology now can
justify this vicious expropriation.
Therefore, as I visit such people as the Tungus, I bend over back
wards, first not to offend them; second, not to appear superior and con
descending, and third, to pay my own way and not in any way impose upon
them. I seldom, if ever, give them money for being photographed. If I
am a guest in their home for a single meal, and I know they will be
offended if I offer payment in money, then I always leave a gift. This may
be some article in my knapsack which they admire and which I can
spare, because I have brought extra articles of this sort. If we stay
any length of time we of course pay for our food and lodging. For the
important gifts that we give them, they will almost always, as is their
custom, give us certain gifts in return. The presents which I have for
them are always simple, useful articles, such as brightly colored dishes
and cups of Bakelite, knives, forks and spoons, or attractively illustrated
American children's books showing life in our country, or even little gilt
safety pins from the five-and-ten cent store. Occasionally I give an inexpen
sive fountain pen and pencil. We become friends, and I am happy that they
admire and like some small humble present of mine. When I accept gifts
from them, I receive them only on the condition that it will work no great
hardship to the givers. I explain that this will be very valuable for me
in my work here in America because I can show my friends at home how
my present hosts live and what fine work they do.
A very touching incident occurred on one occasion when I was leaving
the Reindeer People. An old weather-beaten woman, a member of the
tribe, about 75 years of age, was very much pleased with a small gift I
had left with her. So, just as I was leaving for the long trek south to
the Trans-Siberian Railway, she presented me with a birch bark vessel
which she had made herself and which contained two quarts of fresh rein
deer milk. This, she hoped, "would help supply me with nourishment until
I returned to my own wigwam."
Preparing for the Expedition
Preparation for such a trip is always very important. I must
travel light and yet at the same time have sufficient photographic
equipment and film so that I will not run short in the middle of the
expedition. I always carry two Leicas myself and usually my as
sistant also has a Leica. I carry 20 or more Leica magazines
and one black silk changing bag. The latter is extremely valuable,
for in case of a possible film jam, with either a Leica or motion'
picture camera, this can be quickly remedied even in bright daylight.
When I leave New York for a four or five months7 expedition I
take along all the film and photographic supplies I think I will
need on the entire trip. I may occasionally leave some of these in
a larger city as a base and go into the interior with only a small
portion of my supplies with me. I do not leave New York City
with the hopeful thought that I may be able to obtain adequate re
placement in other countries. Frequently you cannot get any photo
graphic supplies at all; or, if you can, they are apt to be fantastically
expensive and none too fresh.
519
Fig. 425 General Shang Chen
Summar 50mm, 1/30, f:4.5, Super-X Film
Julien Bryan
When ordering film for an expedition, I always specify "tropical
packing." This means water-tight metal containers sealed with
solder. In the field, every day, as soon as the film is exposed, we
replace it in these sturdy cans, solder them up again, and in addi
tion seal them with, several layers of waterproof adhesive tape. Thus,
when on Lake Baikal a few years ago, 5,000 feet of my movie films
and all my still pictures for the summer spent 24 hours under water,
they were not damaged in the least.
I always carry along a small Leica developing tank and about
once a week, wherever we are, we make a few tests to see if our ex
posure has been correct and if the cameras seem to be in good working
order. In most countries, however, we have found it better, where pos
sible, to send the black and white negatives back to the U. S. for develop
ment, even if 30 to 60 days are necessary for this, rather than to develop
the films abroad, * Generally, we have found the chemicals, water and
equipment not of the best for our purposes in these out-of-the-way regions.
There is no question that here in the U. S. it is better to develop all of
your films within 48 hours after exposure, but we have also learned that
it is better to wait 60 days if necessary rather than to risk poor processing
of important negatives.
Another rule which I have always rigidly maintained on these trips
is that every night before retiring I prepare my film and cameras for
the next day's work. The lenses of all the cameras are carefully cleaned
and the film guide and aperture plate of the motion picture camera cleaned
520
Exploring
and polished also. Then all the cameras are ready for fresh film. If, for
example, I have used up 29 exposures in one Leica and 22 in the second
camera, these are invariably taken out and fresh film inserted. f
On my first expedition I carried one Leica. In the past few years
I have always had two. In 1936 I used one exclusively for Kodachrome
color pictures and the other for black and white with a Summar f:2
50 mm lens. On the 1937 expedition, I took three Leicas, one equipped with
a new Xenon f :1.5 lens.
I carry only two extra lenses, one of which is the f:3.5 35mm
and the other an f :4.5 135mm telephoto. Both of these extra lenses are
valuable to have in case of emergencies, but I have found in the main
that I use the telephoto lens more frequently with motion pictures than
with my Leicas. Even then not 2% of my motion pictures are taken
with telephoto. In contrast to many explorers who use telephoto lenses
for closeups of natives, I have found that the results are rather flat
and not nearly so sharp or attractive as when the camera is placed
about four or five feet from the subject and a lens of short focal length
is used. This method, of course, makes it essential for you to be on
friendly terms with the natives. Half -wild tribesmen must sincerely trust
the stranger before they permit him to hold up close to their faces a
weird machine that stares at them with unblinking eyes.
Eliminate All Unessential Equipment
I am always amused at the amateur protographers who tote a
dozen different lenses and 50 other appliances, and spend their
time not so much in taking pictures as in mothering a brood of
gadgets. They forget that in dusty open country there is grave
danger of dirt getting into the camera while they are changing
lenses. Equally serious is the precious time wasted in this tinker
ing — almost invariably at critical moments. I reduce my gadgets to
bare necessities to prevent technical pre-occupations from coming
between me and the simple human stories I try to tell.
Selecting Film
There are many arguments about which is the best film. Some photo
graphers are constantly changing to a new make of film. Others will take
Fig. 426 A Tungus
woman in a Soviet
clinic in Siberia
Summar 50mm,
f:3.2, Super-X
1/30,
521
Fig. 427 Through Manchukuo
Summar 50mm, Super-X Film
Julien Bryan
four or five varieties of size and manufacture on a single expedition. In
my opinion such procedure is foolish and hazardous. There are many
excellent films available today. I think it is much wiser to find one
which you like and to stick to it over a period of years. It happens
in my experience that I have found Eastman Kodak very satisfac
tory, not only for speed and fineness of grain, but especially for
its uniform quality and its ability to stand up six months after manu
facture. For my motion pictures on the 35mm film, I use Super X entirely.
For my Leica work I have Super X and Panatomic, Super X is invaluable
for every variety of picture taken under questionable lighting conditions.
Panatomic is excellent for normal outdoor exposure.
Obtaining Correct Exposure
Many people ask me what my procedure is in the matter of proper
exposure. Accurate exposure is of course important in black and white
Leica photography, but is absolutely essential in all work with Kodachrome
and color photography. More than that, it is vital in motion picture work
522
Exploring
for the negative exposed in a single day may run into several hundreds
of dollars in cost. A few years ago I took all of my photographs on
the basis of long experience and guessing. Even then, however, I lost some
very important shots. During the last four years, I have invariably carried
two or more Weston exposure meters. I use them on all occasions. Fre
quently I make my own guess as to the correct exposure before taking
the Weston meter reading; but I always check my own estimate with my
photoelectric cell.
What Filters to Use
I feel the same way about filters as I do about lenses. Some of my
friends use a dozen or more varieties. They seem to like their filters
and get some very good results from them. I use two, one a medium
yellow and the other medium red. Occasionally, if the picture is very
important and I am uncertain as to which filter will give the best effect,
I take three exposures. The first one is without a filter, the second with
the yellow and the third with the red filter. I hope that one of these will be
a satisfactory shot.
In spite of the really amazing accuracy of the focusing devices on the
latest Leica cameras, I find that a large number of amateurs will take
up to 75% of their pictures slightly out of focus. There is no reason
today with modern equipment and with accurate focusers why 90% or more
of the Leica negatives should not possess razor-edge sharpness.
A very large portion of my pictures are close-ups taken from Sy2 to
6 feet. This is, of course, one of the remarkable advantages of the Leica
camera, which is not possible with the larger outfits. In both my motion
and Leica pictures I take far more close-ups and intimate pictures than
most photographers do. I find in my lecture work all over America
before audiences who have come to see my motion pictures that the
intimate close-up shots of people draw the most enthusiastic response.
The advice then, to all amateur photographers, would be to pack your
films full of such intimate shots.
Fig. 428 The late Ivan Petrovich
Pavlov, Soviet scientist, discoverer of
the conditioned reflex.
Summar 50mm, 1/40, f:2, Super-X Film
523
On the other hand, special care is needed in the matter of focusing,
In the case of photographs which must be made of a group of people six to
twelve feet from the camera, my experience has proved that it is best
to focus sharply on the person at six or seven feet and to allow those in the
background to be somewhat fuzzy rather than to have the people in the
foreground out of focus and those in the background sharp and clear.
Vary the Standard Photographic Viewpoint
Generally amateurs are much too fussy about keeping their
clothes clean and seem quite content to take almost all their pictures
from a prim standing position. Variety of camera position adds tre
mendous interest to all your pictures. Take shoulder high shots if
you like, but also try to tilt the Leica upwards when you are down
on the ground, even if it is a muddy rice field in Japan, and shoot
a silhouette of the Japanese woman as she stands against the sky
cutting her food supply for the winter months. On the other hand,
I try to shoot from the second story of a building or stand on some
body's shoulders if necessary in order to get elevation. Don't take
everything from a monotonous five-foot angle, — crouch, kneel, sit,
lie flat; climb up on fences, roofs, ladders.
Fig. 429 Spinning Silk in Kyoto
Summar 50mm, 1/40, f :2, Super-X Film
524
Julien Bryan
Exploring
Lighting equipment must be used if I am to obtain those intimate
scenes inside homes, churches, schools, restaurants, nurseries, mines, fac
tories, hospitals and court-rooms without which I would consider my photo
stories of any country incomplete. My light kit, which fills only two small
suitcases, consists of one dozen large photo-flood bulbs, several adjustable
stands and reflectors, 300 feet of extension cable, a series outlet, and as
sorted types of electric plugs to meet the needs in different countries. In
hooking up my lights, I have blown out scores of fuses in places ranging
from Russian grocery-stores to the Presidential Palace of Turkey; but I
carry a stock of replacements for such emergencies — and pity the photog
rapher who doesn't!
Since much of my photography is done in regions lacking electric lights,
I also carry a water-proof box of one minute magnesium flares, 100 or
more flash bulbs for the Leicas and several home-made silverf oil and gold-
foil sun reflectors.
I carry three tripods, the Bell and Howell Special, and two light and
very quickly adjustable Thalhammer tripods. I use these almost entirely
for my motion picture work but now and then find the Thalhammer effective
with a Leica, especially as necessary for some interior shot which I want
very much to obtain with the Leica. I have obtained some excellent close-
up shots in dark churches with an exposure as long as two minutes by
using a tripod for my Leica. I carry all my equipment in a dozen black
fibre cases which are telescopic in form and generally made up for travel
ling salesmen. These cost me $4.50 each instead of the $50 to $100 each
for the specially-built equipment cases considered indispensable by those
who insist on being traditional explorers.
Photographic Restrictions and Censorship
More and more countries today have restrictions for the amateur
and professional photographer which were not in effect ten or fifteen
Fig. 430 Temple
Guard God in Jehol,
Manchukuo
Summar 50mm, 1 sec.,
f:9, Super-X Film
Julien Bryan
years ago, and many are the unhappy amateurs who have not bothered
to learn local regulations. They have been stopped for what seemed
to them harmless photography by the police of some foreign coun-
525
try. As a matter of fact, almost all these regulations have been built
up because of the fear that the foreign photographer is a spy, search
ing for military secrets. At the present time in many European and
Asiatic countries there are regulations which prohibit photographs
of anything of a military nature. Some of these may seem foolish
to the foreigner, or to the outsider, for they may include railway
stations in one country and so-called fortified zones in another, which
to the foreigner do not seem fortified at all.
What steps therefore should the foreign photographer take in
view of such restrictions? A certain group of pseudo-explorers has
made glamorous the idea of obtaining illegal snapshots from the
windows of speeding trains, and other thrilling angles. In these
shabby adventures, considered " clever 7? by some, the American
photographer, enjoying the hospitality of a foreign state, is "boldly
snapping forbidden pictures " with the police "hot on his heels77 —
only to be "outwitted" by him, of course. All this sounds very ex
citing, but both the practice and the photographs are deplorable.
In seven years of taking human interest pictures in many places
ordinarily forbidden, in such thoroughly regulated countries as
Japan, Germany, the Soviet Union and Turkey, I have had little of
the unpleasantness which other travellers frequently report. I have
found that every photographer like myself must depend a great deal
upon the cooperation of the local government. Usually upon my
arrival in the foreign capital, I go immediately to the government
officials and tell them the object of my visit. Even though this may
mean some delay, I have found that it is much wiser to go to the
authorities first, rather than to have them come to you. This is a
more polite and friendly way of approach, and in most cases has
worked out very well for me. The officials are almost always sur
prised to see that you have taken the trouble to visit them. You
now have an opportunity to describe the kind of photographs you
hope to make. As a result of this fair and honest approach, you may
even be given permission to make certain photographs which they
do not permit their own nationals to take. More important is that
after you have made this gesture you will not have to spend a dis
couraging interlude in a government jail because you were unaware
of some obscure military regulation. To cut a long story short,
increasing governmental restrictions in many countries have at times
made diplomacy a major part of my job.
Careful consultation of maps, and months of study, are abso
lutely necessary before any expedition should be attempted; yet
526
Exploring
many photographers seem to feel that they can read a book about
Turkey or Moscow or Daghestan the afternoon they arrive there,
and thus become fully prepared. The time spent in planning, re
search and inquiry before an expedition starts is repaid many times
over by the increased efficiency it gives you in the field.
If you are the leader of an expedition, you ought to be sure
that every member, including yourself, is in sound health before
you start, for if you are going into difficult country, you will have
both sickness and accident on your hands at times. A thorough
examination by your doctor and by your dentist is recommended.
You will not take many pictures if you wake up with an infected
tooth on some morning in Svanetia. It is always well to study in
advance the diseases endemic to the territory through which your
expedition will pass. Malaria and dysentery are two of the com
monest. If there is no doctor along, the leader of the expedition
must have sufficient medical knowledge to enforce strict precaution
ary measures against the local diseases, such as daily doses of quinine
in malarial regions. The emphasis should be on prevention. Be
fore travelling in the Near East and the Orient, it is absolutely
essential to be innoculated against typhoid and to be vaccinated.
Fig. 431 Soy Beans, Harbin, Manchukuo
Summar 50mm, 1/100, f:8, Super-X Film
Julien Bryan
527
I Should Like to Summarize in a Few Brief Sentences:
1. I think it of the utmost importance to have a definite ob
jective which my photographic work will serve.
2. The objective in my case is to obtain pictures which tell
a simple human interest story of the lives of ordinary people
in far-off countries.
3. I have no special tricks or secret methods of which I am
aware. I carry only two filters and but two extra Leica lenses.
4. Friendliness, honesty, and a liking for people are the prin
ciples of my approach.
5. Patience is an extremely necessary quality for a success
ful photographer-explorer. Display of temper at local con
ditions may relieve the photographer's feelings, but it will
not help him to get good pictures.
6. A sense of humor and the ability to laugh at yourself are
essentials.
7. Every effort should be made to learn what is considered
good manners among the people to be visited.
8. It is important not to impose upon the people nor to be con
descending in your attitude toward them.
9. Above all, no shots unrelated to the story should be taken;
rather, after the people have been put at their ease, a whole
series of shots should be made following the narratives implicit
in their work-processes, their play-patterns, a day in the life of
an individual or the group.
10. Not only should careful preparation be made for the
trip, but in every case an expert should be taken along who
knows vastly more than you do about the customs and lives of
the people you plan to photograph.
11. The equipment should be simple, with no useless gadgets.
The film should be limited to one make or brand.
12. In the field, the photographer should be so interested that
he is able to work sixteen hours a day and take hundreds
of pictures without feeling tired.
13. On returning from such an expedition, with three or four
thousand Leica pictures, I select about 300 which tell the story.
If they are good ones, this is enough.
528
Astronomical
Fig. 432 Moon . . . Feb. 11, 1935
F. W. Schlesinger
Leica on Telescope, Focal length, 147 inches, Perutz Neo-Persenso, K2 filter,
10 seconds at f :15.
Mr. Schlesinger writes about this photograph as follows:
We have two telescopes here (The Franklin Institute of the State of Pennsylvania,
Philadelphia) in the Astronomical Section of the Museum: a 10 inch Zeiss Eefractor and a
24 inch Reflector by Fecher of Pittsburgh. We have been doing some astronomical photog
raphy with them, and I have tried some with the Leica, especially with the Refractor. The
focal length of this instrument is 147 inches, and I have attached the camera so that the
image is formed on the film without any eyepiece or camera lens intervening. Planetary
images are too small, while the image of the moon is just barely too large for the frame
of the camera. The reflector would be more satisfactory since it can be used at focal
lengths of either 125 inches or 350 inches. I have been trying the Micro-Ibso attachment
on the Refractor with fair results on the moon, and am sending you some prints of "lunar
landscapes". Some of these prints are made with a lOx Eyepiece, Pan Film and a K2 Filter.
The / value of the telescope is 14.7, exposures ran from 5 to 20 seconds.
As soon as the Reflector is available I expect to get some really fine pictures with this
attachment, since this instrument has an / value of 4.5 and is, of course, perfectly achro
matic, so that I can dispense with the filter. This will permit exposures from 1/10 of a
second up. A shorter exposure is of great advantage in getting a sharp image, since it
cuts down the motion of the image due to "bad seeing" or the unsteadiness of the
atmosphere.
529
Fig. 433 A Fighting Man of the Delta Division, Papua, New Guinea,
photo by John W. Vandercook
Fig. 434 Skull Collection and Native Carvings. — Interior of a Head
Hunter s House, Swamp Country of New Guinea. Flashlight photo by
John W. Vandercook
530
LEICA PHOTOGRAPHY IN THE TROPICS
Notes on Special Film Handling
JOHN W. VANDERCOOK CHAPTER 28
Several years of photographic work under difficult tropical con
ditions ... a 600-mile trek across the Central African Highlands in
the middle of the rainy reason . . . 400 miles by dugout canoe in the
humid swamplands of southern New Guinea . . . and the highly
variable conditions encountered in the uplands of Fiji and the Solo
mon Islands, have satisfied me of the singular advantages of the
Leica camera, and the Leica method in general, for hot-country
work.
One virtue which the Leica possesses is : It is the only camera
I know of that when in use is sufficiently sealed to guard the film
inside from moisture. Practically no humidity, I find, penetrates
the closed camera. If the film has been cared for properly before
and after use — satisfactory results are certain. Nothing can happen
to it while it is in use.
My own methods of caring for film under tropical conditions —
methods which have proven completely successful — are these.
I purchase all the film I need before leaving home. Even the less
durable grades of super-speed pan will, I know from experience, last
at least a year, if one takes care. And, so far as the tropics are con
cerned, I distrust the mails.
Some travelers order film to be sent out to them at various stages
of their voyaging. The idea seems reasonable. Fresh film, straight
from the factory, it should be fine. It is, unless it happens on the
way to have had a long trip through tropical waters in the mail room
of an average steamer. I have been in those mail rooms. They are
usually amidships near the engines; near the equator their normal
temperature is often well above 120°. And somewhere, in the midst
of it, someone's film is simmering. For the same reason I allow no
cases containing film to be taken to the baggage room. They stay
with me in the cabin.
Film should be carried in a steel African uniform box. Boxes
made in England for use in Africa and well worth the high price one
pays for them — boxes guaranteed airtight and watertight. I have
one which is large enough to hold, except for the cameras themselves,
531
all of a rather extensive photographic equipment. It is roughly the
size of an ordinary suitcase. And one should improve it in one
particular which the makers overlooked. African uniform boxes are
painted black when one gets them. Mine is now painted with a white
enamel. When, as it often is, the box is being carried in the sunlight
on the top of an African's head or a South Sea Islander's shoulders,
the difference in the interior temperatures between a black box and
a white one is decidedly perceptible. And very important.
All films, besides being kept in an airtight case, should be addi
tionally protected in the usual way, by being packed in tins sealed
with a twice-around wrapping of adhesive tape. There is no need
to take any further means of preserving them until after they are
exposed.
Then, in hot climates and under conditions of high humidity,
it is inevitable that negative films, even in a very brief space of time,
will absorb a certain amount of moisture.
Single quarter-plate film packs which I have used have absorbed,
by actual measurement, more than a teaspoonful of water. This
absorbed moisture, however, can be and must be removed by a very
simple means.
A Simple Dehydrating Method
After a film is exposed return it to its tin, but seal in with it
several dried squares of calcium-chloride saturated blotting paper.
This chemical has the admirable characteristic of drawing extra
ordinary quantities of moisture out of anything with which it comes
in contact.
The calcium-chloride blotters are prepared quite simply. Pur
chase a few ounces of pure Calcium Chloride, obtainable at any
chemical supply house, and dissolve it in a small cooking pot full of
water. Into this solution place forty or fifty 2 by 3 inch, or any
other size which is convenient, bits of ordinary white blotting paper
of a good grade, and simmer slowly over the fire until all the water
had been boiled out of the pot. The blotting paper oblongs will be
found to be sticky and still wet. Being careful not to scorch them,
dry these in an oven. The moisture in them, it will be found, is
driven off very slowly and the operation takes a surprisingly long time
— but it is worth it. Thick asbestos paper could also be used for this
purpose.
When the blotters are comparatively crisp and dry, seal them
quickly into an absolutely airtight container. They will then keep
indefinitely.
532
In The Tropics
When an exposed film is returned to its sealed tin, put two or
three of these pieces of blotter in with it, and after several days,
take them out and replace them with fresh dry pieces. The old ones
will be found to be almost incredibly saturated, but they may be
dried out and used again an indefinite number of times. Repeat
this process until, after an interval, it is found that the blotters are
no longer absorbing any moisture. If another dry bit is put in for
good luck the exposed film will in all probability remain in perfect
condition in any tropical climate for from six months to a year and
when at last it is taken out for development it will be found to be
bone dry.
Developing the Film
Development is of course extremely difficult in the tropics. There
is usually inadequate water, and that is warm. But, if Calcium
Chloride is xised, there is no reason to hurry. It is, I have proven
to my own satisfaction, far less hazardous to wait for good develop
ing conditions than to attempt bad ones.
Large negatives, of course, can be developed at high temperatures
with the assistance of special hardeners and the results, if one is
more than usually skilful in technique, will be perfectly satisfactory.
But Leica films, I am convinced, must be developed at low
temperatures and only at low temperatures. No matter how efficient
the hardener used, irreparable damage will have been done to the
Fig. 435 John W. Vandercook Stops for Refreshments in New Guinea.
533
grain of the film in the first minute or two of development in a warm
solution. Wait for ice, "Wait, if necessary, for months. It will be
worth it.
When at last ice is obtainable, keep all solutions below 65°. If
still in a warm climate, start the development at 60° or even lower,
and leave a thermometer in the solution during the whole period of
development. By the time the development is finished the tempera
ture of the solution, do what one will, will have risen perilously.
To time the development accurately, one must therefore strike an
average. For example, if development has started with the solution
at 60° and has then risen to 70°, time as if for a temperature of
65°. Einsing water and hypo had best err on the side of coldness
rather than warmness. The same rule holds for the washing water.
Also it is as well to remember that the actual dissolving of a dry
developer raises the water temperature. Allow accordingly. It goes
without saying that if one is using ice, water is scarce. Leica film
has no more useful characteristic than the small quantity of water
it requires for thorough washing. If a Eeelo tank is used, fill it
up, let it stand for a minute or two, then swish the water out of
it with a vigorous rotary motion. If this is repeated six times the
film will be quite clean. Eight changes are just so much safer —
if the tank is constantly handled, rotated and shaken, then completely
emptied before the next bath is poured in. With practice (touch the
film to your tongue) , taste is an excellent indicator as to whether or
not a film is free from hypo. (Water containing hypo has a charac
teristic sweetish taste.)
Six quarts of water are sufficient for the development, fixing
and washing of one Leica reel — an economy of great importance in
most tropical countries.
Dry the film thoroughly with ultra-soft chamois or a very old
and oft-washed bit of soft cotton material, and dry away from dust.
Incidentally, patent hypo-removers, in my experience, are fatal
to Leica negatives. They have a curious explosive effect upon the tex
ture of the negative which, though it would not be noticeable in the
case of large pictures, produces extremely coarse grain.
Another point. The wise traveller avoids carrying liquids. Take
along a dry developer. With equal reason, avoid developers that are
put up in fragile glass tubes. Those tubes, if travelling is hard, will
break with amazing ease.
And, most important point of all, a black cloth changing bag
such as is made for motion picture use is the essence of pleasant
534
In The Tropics
Leica travelling. A changing bag frees one from the need of a dark
room and all necessary Leica operations can be performed in one.
I buy my negative film in 100-foot spools and cut and wind them in a
changing bag. Film may be introduced into the Keelo tank in a
changing bag — and if one is using film faster than one has an oppor
tunity to develop it, exposed films may be transferred from their
cylinders to an empty 100 foot spool for storage and for Calcium
Chloride dehydration — in a changing bag.
One final point. Some Leica users have difficulty in getting film
" started77 in the Eeelo tank — the one which I personally prefer for
tropical and changing bag use. Try this. Before attempting to get
the film into the Eeelo spool, first unwind it completely from the film
magazines. For one thing, the "far" end is already shaped to a point
suitable for insertion in the Eeelo spool; for another, the weight of the
cylinder, pulling at the film, tends to cause buckling. One works more
smoothly with no impediment other than the film itself.
EDITOR'S NOTE: Elimination of atmospheric humidity (dehydra
tion) from photographic materials and equipment presents quite a prob
lem to photographic workers in the tropics. Primarily, but not exclusively
for their benefit a new standard product known as "SILICA GEL" is
recommended for this purpose. This is a manufactured material, hard and
glassy, resembling in appearance the clear quartz granules. Silica Gel is
highly porous and hygroscopic. Its pores are invisible but their capil
larity is quite remarkable. The material will absorb up to 50% of its
own weight of water from saturated air. Being chemically and photo
graphically inert it is an ideal material for dehydration of photographic
materials. It can be used over and over again: it is easily reactivated or
regenerated by heating at a temperature of 300° F. (150° C.) for from
three to four hours. This is easily accomplished by placing Silica Gel in
an ordinary kitchen oven.
Silica Gel can be obtained from The Davison Chemical Corporation,
Silica Gel Division, Rouse Building, Baltimore, Maryland.
Silica Gel should prove very popular among miniature camera workers
for such odd tasks as dehumidification of films which stubbornly form New
ton rings in the enlarger. A Leica worker in West Africa reports that
he made an airtight camera case containing two trays filled with Silica
Gel. This arrangement not only dries out the film while it is in the cam
era, but also prevents formation of mould in the camera mechanism and
between the lens elements, something which frequently puts the camera out
of commission in that part of the world.
535
I
CO
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|S
I
o
PH
E
536
PHOTOMURALS WITH THE LEICA
JOHN T. MOSS, Jr. CHAPTER 29
In Chicago in May, 1934, the world's largest photomurals were
presented to the public in the Ford Exhibit at "A Century of
Progress". These photomurals, which were photographic enlarge
ments, formed a basic part of the wall itself and decorated a wall
area twenty feet high by five hundred and eighty feet long. The
individual pictures, of which there were thirty in number, were
twenty feet high and ranged from eighteen to thirty feet in width.
I had the interesting experience of being closely connected with the
making and installation of this huge job of "pictorial wall papering ".
I have been asked many times to describe the procedure of making
these enlargements, and knowing my interest in Leicas, quite often
the broadside of questions concerning the photomurals would begin
with, "Of course these enlargements were made from Leica nega
tives?77 (Said with a gleam in the eye, which indicated a readiness
to call me a liar if I answered in the affirmative.) The answer was
obviously " no 7 ', but the idea of making photomurals from Leica nega
tives is by no means as absurd as it may sound. It can be done as
accompanying illustrations show.
Relation of Photomurals to the Architecture
Photomurals are not just large photographs hung on the wall.
The same principles apply to photomurals as do to painted murals.
They should bear some relation to the wall space and surrounding
architecture. There are, of course, many different types of rooms and
if two extremes of the range of variation are selected, it may seem
that the same principal could not possibly apply to both. After a
close study of the two, however, it will be evident that the same foun
dation supports both types. Let us consider the treatment of a small
room, two walls of which are paneled by moldings into three square
panels each, each panel containing a four foot square photomural
which is a complete scene within itself. Compare this to a long strip
537
of wall space ten feet long and two feet high, above several doors on
a flat wall. In the long narrow photomural a continuous scene may
be used which is selected because it has certain accents in the pic
torial composition which occur over the doors. Thus the picture itself
relates directly to the architectural structure of the wall. In the
paneled room, the type of decoration divides the wall into definitely
formed spaces and the picture in each space can therefore be complete
within itself. There is still no reason, however, why these three
separate pictures cannot bear a relation to one another in mass,
subject matter and general composition.
A good general rule to follow in making a picture for a wall
decoration is to select the wall space to be decorated first, and then
decide on the photograph to fit the space. Too many people would
be inclined -to make an enlargement of some arbitrary dimension and
then stand in the middle of a room and wonder on which wall it
would look best. This is hanging a picture, not making a mural to
fit a wall space. Areas of wall at the sides of windows or between
doors are often hard to decorate in the customary manner, and yet
they often lend themselves very well to the use of photomurals. If
such a space is chosen, care should be used to relate the area covered
by the enlargement directly to the wall as a whole. Establish the
limits or breaks in the wall itself and make the top or bottom of the
picture line up with the top of a door or a molding, limiting its width
by some other definite line on the wall. If this is- not done the mural
will not relate to the area of the wall, but will just be another picture
"hung" at random on the wall. Elements or lines of the photograph
itself can also be made to run parallel with, or line up with limiting
masses or lines of the wall. When the mural is being planned these
lines should be given careful consideration.
In most cases it will be found that only a part of the negative
will be used. When the enlargement is made, study the projected
image in proportions of the chosen wall area. Mark off the unwanted
parts and see which part of the picture fits best into the space.
It is often wise, at first, to make small prints about five inches by
seven inches and crop them to the proportions of the wall area
which has been laid out at one-quarter full size (1 ft. to 3 in.).
After the composition has been studied and arranged to the best
advantage, mount these small prints upon heavy cardboard cut to
the proportions of the wall space to be filled. This will allow you to
see how all of the pictures will relate to each other when they are
mounted in final size on the wall.
538
Photomurals
With a little careful study a picture can usually be found that
will tie in pretty well with the wall space selected or with the room
itself, if more than one wall is to be used. The relation of the picture
to the decoration of the room can even be carried as far as the furni
ture, if desired. If a high bookcase or cabinet is to be used in the
center of the wall, the composition of the picture should relate to the
point where the high mass of the piece of furniture breaks up into
the picture. This is basically the same relation as mentioned before in
the case of doors, and can be treated very effectively. If an unbroken
wall space is to be used the photographs themselves can divide the
room into panels and at the same time unify it as a whole. An
example of this, on a large scale, is the photomural in the N. B. C.
Studios in Radio City, New York. Here the photomural runs con
tinuously around a circular room, but is divided into sections by the
subject matter and tone of the prints of the photographs. A dark
print is used next to a lighter one, but care had been taken not to
o^et so much contrast that the wall as a whole would not tie together.
Fig. 437 Photomural
by John T. Moss, Jr.
Showing1 its Relation to
Window and Wall.
539
The mural thus portrays the separate elements of broadcasting, bnt
at the same time provides the room with a unified wall decoration.
Physical Limitations of Size
The Leica user cannot expect to produce photomurals twenty
feet high by twenty-five feet wide. The manufacturing processes in
volved in the making of murals this size or even one half this size
are beyond the physical capacity of most camera users. But what
Leica user wants a photomural that size? It would be like having the
Graf Zeppelin tied up in one's backyard. The Leica is a miniature
camera, so scale down your photomurals accordingly. Even if you
only make a mural three feet by four feet you will be making a greater
enlargement in proportion to the Leica negative than the twenty-foot
by twenty-five-foot enlargements, which were made from 8 x 10
negatives, resulting in a magnification of about twenty-four diameters.
This scaling down does not mean using an 8 x 10 foot print stuck on
the wall as a photomural. Two feet by three feet is a good size to
begin with.
The large professionally made photomurals in most cases cannot
be printed on one sheet of paper. The largest paper comes in rolls
forty inches wide and several hundred feet long. This means that
there must be one joint in the paper about every three feet. Very
few photographers have the equipment to develop paper as large as
three feet by ten feet thus making it necessary to use a horizontal
a^ well as a vertical joint in most photographic murals. This does
not harm the mural, however, if the matching of the tone values is
carefully done. The average Leica user is probably limited to an
eleven by fourteen inch sheet of paper, but this does not prevent him
from making a mural to fit a larger space. If you are fortunate
enough to have a tank that will take a piece of paper two by three
feet or larger, by all means use it. It will eliminate much of the
time required by matching. On the other hand, don't let your
eleven by fourteen inch trays keep you from making a 4 x 5 foot
mural, if you want one,
Subject Matter
Subject matter in photomurals is quite important. Just a large
picture of little Junior sitting on the steps of the front porch will
probably not make a good photomural. Junior has his place, and a
very important place in most cases, but he doesn't do so well enlarged
to half life size looking at you from the wall of the den with his best
grin. The picture selected should be good from the standpoint of
540
Photomurals
composition and not just the snapshot variety. That picture of Aunt
Sophie on the steps of the Capitol at Washington probably is a swell
likeness of Aunt Sophie, and anyone could be sure that the location
is Washington but, enlarge it to two by three feet and put it on the
wall and the answer is, "So what?"
Pictorial subjects for murals should have beauty or action or
both. If the action is good, it will show a grace of line and mass
which will be appropriate to the composition in most eases. Land
scapes or general out-of-door scenes quite often lend themselves very •
well, if the object is just to fill a wall space with a pleasing picture
without any particular purpose of telling a story. If, on the other
hand, the subject matter of the mural is to directly relate to the type
of room in which it is used, then indoor as well as outdoor shots
are suitable.
It is taken for granted that most Leica users would make photo-
murals for their own homes, or at least for rooms in which the char
acter of the picture would be governed by personal interests of the
Leica owners or their friends. If by chance you have the opportunity
to decorate the walls of an office, a store, or a club by all means go
to it. Industrial subjects are excellent for photomural work and he
who can get a commission to portray the workings of a factory for
the office wall of the president, for instance, has a job which is one
of the most interest.
Game rooms are among the best rooms in the home to decorate
with Leica murals. On the walls can be shown shots of people using
the ping pong table which is located in the room itself. Close-ups of
trick pool or billiard shots could be arranged into a very decorative
design along the wall.
The den, or library, is also an ideal place for photomurals. Golf,
tennis, fishing, hunting or any of the outdoor hobbies of the Leica
owner can be represented. The trips or tournaments of the summer
months can be with you all the year round, and make an appropriate
decoration for the walls.
Hallways and entrance vestibules are good places to decorate.
Because they are only connecting links or entrances to other rooms,
they can be treated in a more abstract manner as to subject matter.
Here is a good place for your favorite landscape, whether it be a
shot of Morro Castle in Havana, or a lucky exposure of the snow
capped peaks of the Kockies at sunset. If the hall is a long and
narrow passage a series of shots could be worked together to show
541
in resume fashion an automobile trip through. Canada, or the West.
Pick out the best shots and arrange them so they are in sequence, and
bear a relation to each other in composition along the wall.
One thought for a bar or drinking room is a series of Leica close-
ups showing the mixing and ingredients of the popular drinks of the
present day. If such shots are carefully illuminated during the
photographing, the prints will work into a very decorative pattern of
highlights and shadows. Your guests will know exactly what they are
getting when they order their favorite drink.
Another thought for the background of the bar itself is a shot
of liquor bottles well arranged. With some of the good displays in
the present day liquor store windows at one's disposal, a shot like
this ought not to be hard to find.
If you are adept at facial expressions and wish to decorate the
wall with a flavor of humor, get a long cable release and shoot your
self registering various states of emotional anticipation as you are
about to indulge in your favorite mixture.
Children's playrooms or nurseries are good fields to experiment
with. Here the murals may be treated in an educational manner or
as a record of the junior members of the family. Here is the appro
priate place for the children, but show them in action, if a record of
children is the type of mural desired. Children on the beach or in
camp offer many chances for good composition regardless of whether
it is your own child or not. It is a good idea when arranging the
pictures to forget that the children bear any relation to you, but keep
only the composition of the space in mind. By doing so you will
not be tempted to detract from the decorative quality of the wall by
putting in a picture of your daughter, which may not fit in the
scheme, simply because she wears your favorite expression in that
shot.
From the educational angle, pictures of the zoo might be arranged
around the wall of a child's playroom and serve the same purpose as
juvenile picture books. Modern toys lend themselves very well to
photography. With a little imagination, a very decorative and amus
ing band of shots might be made using the child's own dolls and toys.
Garden or floral shots can be very effectively used in decorating
dining rooms walls. These might be used in the form of a continuous
band, or if the dining room is divided into panels, such as are often
found in Colonial houses, these panels can be filled with photomurals.
In using floral shots, a more effective picture can be obtained by
making close-up shots rather than general broad views of an entire
542
Photomurals
garden. The close-up shows the beauty of the flower itself and is
more interesting to the observer. When garden shots are taken for
photomural purposes, get a group of flowers in the foreground of the
picture to further enhance the beauty of the entire garden in the
distance. As in any type of picture, this gives the photograph depth
and prevents the picture from appearing flat and unreal. Beautiful
landscapes are appropriate for the dining room. A panorama type
of shot used as a continuous band or split up into panels would be
very effective.
Composing the Photomural
Remember that in all previously mentioned examples the entire wall
space does not have to be covered with photographs. In most cases it is
much better not to cover too much of the wall. By only using a single
space at one end or side of the room, the photograph takes on much more
importance and you do not get the effect of the room just being papered
with pictures. Photomurals are not just wallpaper in the all-over sense
of the word. Wallpaper designs have been made from photographs, but a
mural requires an entirely different treatment. The larger the area one
attempts to cover with the enlargement the more difficult the composition
of the wall becomes, so it is well to start out on a small scale until one
makes a few successful experiments.
In figure 436 the space above the window is approximately six feet
by one foot, and the subject matter was chosen both for its horizontal
feeling and because of its local interest. Here the panel has been divided
by a vertical picture strip on each side in order to separate the two
scenes at each end. These two end scenes are located in the mural as
they actually are in the New York skyline, but as they were taken about
one-half minute apart, the clouds did not match with the clouds in the cen
tral panel. The shot of the elevated railroad tracks was therefore used in
a purely abstract manner to separate the three views. The same shot
was used on both sides, the negative being reversed on the right side in
order to have the two diagonals of the pictures extending toward the
center of the window. The horizontal feeling of the Venetian blinds of
the window, broken by the two vertical tapes are thus repeated in the
photograph by the horizontal clouds and skyline broken by the two ver
tical strips.
Because of the shape of the space horizontal joints in the paper were
not necessary. There are two vertical joints in the center picture, but
by careful matching these do not show at all. There is a joint on each
side of the two vertical panels, but because these are frankly used as
separating inserts in the composition, the joints are not a problem of
matching. The Leica mural thus ties in well with the end of the room and
makes a very interesting panel above the window, as well as presenting
a view of the New York harbor which cannot be seen from many places
in the City.
The above is just a simple example of what can be done in the living
room. Innumerable variations of composition and subject matter are wait
ing for Leica users to make the most of. There are few rooms in the house
which could not be made more attractive by the use of Leica murals. The
bedroom, the bathroom, and even the kitchen, if the cook will allow it, all
543
have their possibilities. A frieze of shots of truck gardens or cleverly
arranged vegetables might make the kitchen a bit more unusual and deco
rative. As to the bathroom, if it has a tile wainscot six feet high, a narrow
band of goldfish shots might be used just above it. Another possibility
presents itself in a collection of shots of the surf taken while on a vacation
at the shore.
In the case of the kitchen and bathroom shots, the photographic paper
may be sprayed with a thin coat of colored or transparent lacquer in order
to tone it in with the general color of the walls. Care should be taken in
doing this, as too much color will obliterate the details of the photograph.
But a thin coating will add rather than detract from the general effect. A
cheap spray gun may be purchased for this purpose. Care should be taken
to mask off the wall area directly adjoining the mural when spraying the
lacquer.
Grain and Viewing Distance
One of the most important things in the making of satisfactory Leica
murals is fine grain of your negatives. If your negatives contain as little
obvious grain as possible the enlargements will be of the best. It might be
the case, however, that a negative selected from your file which seems to
fit perfectly in a certain wall space shows quite a bit of grain when enlarged
to the required size. If the wall area is in a darkened hall or up high for
instance, this grain will not be noticed, particularly if the viewing distance
is great enough. A mural such as shown in figure 437 could contain more
grain than one which was to be viewed close at hand. This mural is about
nine feet above the floor and in order to see it at the proper angle a person
has to stand about six or eight feet away from it. At such a distance an
average enlargement of grain would not detract from the mural. This does
not mean that grain should be disregarded, and paraphenylene diamine or
some similar fine-grain development is recommended as it will give the best
results when enlarged. It simply illustrates that you can use a negative
with grain in certain instances. If negatives are made purposely for the
mural, decide what effect you wish on the wall and keep that in mind during
the taking of the picture, the development of the negative, and the printing
of the enlargement.
The actual making of Leica murals requires no more skill than it takes
to make any eleven by fourteen inch enlargements, but it does require more
" patience.
If the design on the wall is to have the effect of a pattern of blacks
and whites, get contrast in the negative and make prints which bring out
this quality. If the wall is to have a general tone carried out by the mural,
make the negatives less contrasty and print all of the pictures with the
same general tone of gray. Negatives which are made especially for photo-
murals should be developed for a slightly shorter time than the average
negative. It will be found that negatives which might be considered thin
for a 5 x 7 inch print will produce a very satisfactory 20 x 30 inch enlarge
ment. This is particularly true if a paraphenylene diamine developer is
used.
Technical Photomural Procedure
There are two ways of projecting when an enlargement of more
than the average size is desired. The Valoy enlarger can be turned
544
Photomurals
horizontally, and the image projected upon a wall or it can be used
vertically in more or less than usual manner.
If the horizontal method is used, the swivel extension arm is a
very handy accessory. This allows the lamp housing to be swung
at right angles to its normal vertical position, and fastened with a
set screw. If, however, one does not own a swivel arm, the enlarging
stand may be used horizontally, 'but some method must be devised to
support the free end of the tubular upright. Books or a box of the
right height can be used, or a cradle of wood can be made with little
effort. Thus the baseboard of the enlarger serves as one support and
the books or box the other, the whole set-up taking the shape of an
inverted letter "U". The enlarger housing must be moved around
on its supporting arm until it is directly above the tubular support.
In this position it can be moved forward and backward until the
projected image on the wall or vertical screen is the desired size.
Care must be taken to hold the enlarger housing with one hand when
the other hand is used to move it along the tubular support, or it will
swing down on one side or the other, upsetting the whole enlarger
easel and possibly damaging the enlarger itself. Be sure that the
tubular support is perfectly level, namely that the improvised support
is the same height as the depth of the easel board which is fastened to
the other end of the tube. If the tube is not level the projected
image will be distorted. After the enlarger is set up in this position,
some sort of surface should be selected to receive the projected image,
such as compo-board or sheet cork, to which the photographic paper
can be fastened with thumbtacks. A large drawing board may also
be used. This board or projection surface is also useful in focusing,
as a sheet of white paper can be tacked to the surface and the enlarger
focused sharply. The white paper should then be removed and
replaced with the photographic paper when the print is made. This
horizontal method is perfectly satisfactory and will give enlargements
of great size, but because the enlarger is in an unusual position some
Leica users might find it awkward to manage.
The second method is one in which the enlarger remains in a
vertical position. It can be placed upon a table of normal height
(thirty inches), and raised to full height of the standard upright and
it will enlarge the Leica negative to approximately two by three feet
when turned around 180° from its normal position above the easel
and projected upon the floor. The easel board should be weighted or
clamped to the table to keep the enlarger from tipping over. This
545
is the method that was used to enlarge the sections of the mural in
figure 436,
A piece of white paper was placed on the floor for the purpose
of focusing, and also to determine where the various dividing lines of
the sections of paper would occur on the image. The white paper
had been marked off in rectangles the exact size of the various sections
of the mural; and where the lines of these rectangles divided the
projected image were to be the divisions at which the sheets of print
ing paper had to be joined. The enlarger remained in one position so
this method of plotting the position of each section of the mural in
relation to the whole image was quite important in making sure the
image matched perfectly at the edges of the sections. Only the sky
line part of the negative was used as there was more sky than neces
sary in the frame of the picture, for this composition.
After test strips had been made to determine the tone value
desired, the projection was then made on three eleven by fourteen
inch sheets for the center picture starting at the left side. The image
was overlapped about three-quarters of an inch on each piece of
paper, so there would be a safety margin when the sections were
mounted. Thus by having a slight bit of the same part of the image
along each of the edges of two sections which are to be joined, it is
easier to match the parts of the picture and there is no danger of
leaving out a section of the picture in attempting to project just
what is to finally appear on each section. The foreground was masked
in each of the exposures in order to darken the sky and give the
whole picture a general dark tone. The e'xposure was one and three-
quarter minutes on the whole picture and then the sky was exposed
for another one and one-quarter minutes, masking the foreground.
A shorter exposure could have been made by using a photofiood bulb
in the enlarger. The negatives of the end panels were then exposed
in the same manner, the test strips having shown that the exposure
was the same as the center panel. The two inserts were then exposed
for a period of time that would give them a slightly darker tone than
the center and end panels. This value was determined by a test
strip and used to further emphasize the vertical breaks in the compo
sition. The prints were made on Eastman Vitava Projection Paper
(02), but single weight paper is preferable as it will not curl at the
edges as easily and pull away from the wall after it is mounted.
The timing of the exposure and of 'the development is important,
as even small variations will give a different tone of gray and thus
show a line where the two pieces of paper are joined together.
546
Photomurals
547
Photomural
548
Victor Haveman
Photomurals
Care should be taken in the focusing of the image. This can be done
at f :3.5 and then the lens should be stopped down to between f :4.5 and f :6.3
as the spread of light is more uniform at this opening. Certain negatives
may be found difficult to focus sharply when they are enlarged to 30 or 40
diameters. One method of setting the focus is to remove the negative from
the enlarger and place a small feather between the condenser and the frame
which carries the negative. The lens should then be focused sharply on the
finest part of the feather. The fine lines of the feather will be finer than
any line on the negative, enlarged to this size, so if the feather outline is
sharp one can be sure that the negative will be, with that adjustment.
Remove the feather and leave the enlarger set at that focus during the
projection of the negatives.
After the sections of paper were carefully developed and fixed they
were allowed to dry in the usual manner. The edges of the dry prints were
then skived or pared; that is, they were turned face down and the edges
were thinned by tearing off a thickness of the paper about one-half inch
along the edge. This bevels the edges of the paper and prevents the edges
from peeling off along the joints after they are pasted to the wall. It also
prevents a double thickness of paper at the joint, which would show. If the
paper is ^ beveled down as thin as possible without tearing the edge, the
overlapping edges of the two sections will amount to the same thickness as
a single sheet of paper. The edges can also be beveled by rubbing the back
with sandpaper until the edge of the paper is almost as thin as tissue paper.
Thin muslin was then applied to the wall (or mount) with vegetable glue
thinned to a brushing consistency. The sections of photographic paper were
then wetted and glued to the muslin surface (after it was thoroughly dried).
The matched joints should overlap about one-half to three-quarters of an
inch. If the edges have been thinned as described above there will be no
double thickness of paper at these points. The various sections of paper
should be carefully applied so that horizon lines or other parts of the image
match perfectly.
If you do not wish to apply the mural directly to the wall, it may be
applied to masonite, or wall board. One-eighth inch thick masonite will
carry quite a large mural without any extra bracing on the back of the
panel itself. If the murals are mounted in this manner they may be changed
from time to time without damaging the wall surface. The prints should
be spotted very carefully as defects will show up on a mural and detract
from the decorative effect of the wall. This spotting can be done with a
brush and India ink, or on large enlargements a paper stump and charcoal
pencil will often be effective. The charcoal pencil will work particularly
well where even tones are desired to cover a large defect in the print. The
pencil should be rubbed over the spot lightly leaving a series of lines. These
lines should then be blended into an even tone by rubbing them with the
paper stump, or a piece of cotton.
The above mentioned examples are •undoubtedly not all of the
uses for Leica murals but they should serve as a start toward another
service for this many-pnrpose camera. Whatever the location of the
Leica mural, relate it directly to the wall, don't just "hang it.7?
549
INDEX
PAGE
ACCESSORIES, Miscellaneous
(See also: EQUIPMENT
Cable Release 34
Film Magazines 21
Front Lenses 90
Leicaflash 37
Micro Adapter Ring 403
Negative Viewer and Marker 158
Rapid Winder 35
Slow Timing Device 34
Sunshades 33, 117
Trimming Guides 26
Action Photography 482
Aerial Photography 489
Agitation, during development..., 148
Archeology and Exploration 349
Beginner's equipment 18
Bleach (reverser) 157
Candid Photography 467
Chromatone Process 317
Circle of confusion 67
Cleaner for film 155
Cleaning Lenses 93
Clinical Eye Photography 435
Color Photography 293, 317
Ophthalmic 443
Color Separation Filters 309, 316
Color Correction 99, 104
Color Prints 304, 317
Contact Printing 194, 259, 263
Contrast of Film 120
COPYING 223
Auxiliary Reproduction Devices 251
Belun 1 :1 Attachment 251, 448
Books, Manuscripts 241
Collapsible Reproduction Stand 250
Correction Lenses 33
Developers 247
Exposures 244
Extension Tubes 228
Films 246
Filters 248, 250
Focusing Magnifiers, 5x and 30x 237
Focusing by Measurement 238
Formulas for Computing Tables 234
Fuldy Sliding Focusing Copy Attach
ment 225, 419, 450
Historical Documents 343
Illumination 240
Kodachrome Transparencies 448
Stamps 249
Tables of Exposure, Magnification,
Areas, for use with copying equip
ment 232-233
Vibration, Elimination of 237
DARKROOM 171
Darkroomette 172
Model 172
Plans, Layouts 174-177
Depth of Focus 37, 71, 73, 230, 232, 236
Dehydrating Film 532
Density of Negatives ." . . 137
Density of Prints 187
DENTAL PHOTOGRAPHY 419
Equipment 419
Exposures 427
Focusing '.'.'.'.'. 422
Records, Keeping of 431
550
Reflected Images, Photographing 426
Transillumination of Teeth 424
DEVELOPERS... see also: FORMULAS
Agitation 148
Buffered Borax D-76 142
Caustic (Process) D-9 264
Compromise Fine Grain 145
Contrast D-ll : 247
Dr. Sease Developers 143
Fine Grain 141-146
Gevaert Slide Developer 263
Kodalk DK-50 310
Maximum Energy 141
Modified Dr. Sease ND-3 144
Paper Developers 203
Positive Film 55, 263, 264
Redevelopment 158
Reversal 157
Toning Papers 214
Universal Developer 203
Wash-Off Relief Formulas 310-315
DEVELOPING PROCEDURES
Defender Chromatone 321
Direct Copy Film 169
Enlarged Negatives 170
Fine Grain 151
Re-using Developers 147
Reversal 157
Time and Temperature Control 145
Wash-Off Relief 310-315
Development of Film 137-140
Development of Prints 202
Diffraction Pattern 66
DIRECT COPY FILM '. . 167
Dodging Prints 190
Drying Film 150
Drying Prints 212
EDUCATION THROUGH THE EYE 323
Enlarged Negatives 167
Enlarging and Contact Printing 179
Enlarging Papers and Printing 197
ENLARGING
Black-and-White from Koda
chrome 59, 303, 306, 444
Density of Prints 187
Development and Formulas 202, 203
Fixing 210
Short-Stop 186, 210
Universal Developer 203
Dodging and Print Control 190
Drying Finished Prints 212
Embossing Finished Prints 220
Equipment— Enlargers 51, 179
Operating the Equipment 184
Exposure 205
Exposure Factors of Various Enlarg
ing Papers 209
Exposure Factors at Various Magni
fications 206
Ferrotyping 213
How to Look at Enlargements 52
Hypo Test 212
Micro Slides, Enlarging of 194
Papers 197
Choice of Paper 198
Fast, Slow and Contact Papers. 200, 209
Photoflood Bulbs in the Enlarger 192
Reproduction of Negatives by Projec
tion 193
Spotting 215
Toning 214
Washing 211
Entomology 369
EQUIPMENT for
Aerial Photography 497, 501
Beginners 18
Candid and News Photography 485
Copying. . .see: COPYING
Darkroom 171
Dental Photography 419
Developing 138
Enlarging. . .Focomat, Valoy, Vasex. 180-184
Historical Research Photography 343
Insect Photography 372
Ophthalmic Photography 435
Panorama Photography 39
Photomicrography 397, 401, 403
Positives, Making 259, 271
Projection. . .see: PROJECTING
LEICA PICTURES 273
Printing
Eldia for Film and Paper 259
Eldur for Glass Slides 262
Kopat Combination Printer 269
Stage Photography 482
Stereoscopic Photography 284
Tropical Photography 531
Visual Instruction Photography 323
Exploring with a Leica 349, 513, 531
EXPOSURE
Copying Close-up Objects 244
Daylight Kodachrome Exposure
Guide 300, 301
Dental Photography 427
Film Exposure 131
Correct Exposure 132
Exposure Meters 132
Kodachrome Artificial Light 296
Normal Exposure 131
For Enlarging 205
For Photoflash 136
Table for Photoflash Lamps Using
Kodachrome 297
Table of Comparative Speed Ratings. . 128
Table of Exposure Factors far Enlarg
ing 206
Tables Used in Copying 230
Without Exposure Meter 135
Extension Tubes 228
Extension Tube Factors 230
Ferrotyping 213
FILM
Aerial 508
Bulk 26, 130
Cleaner 155
Color 125, 293
Contrast 120
Copy Work, for 246
Daylight Loading 24, 130
Development 45, 137
Drying 150
Exploration 522
Exposure 131
Filing System 338, 432
Gamma 137
Graininess 120
Hypersensitizing: 159
Infra-Red 125, 458
Intensifying 156
Kodachrome 293
Latitude 121, 298
Loading 21
Magazine 22
Newton Rings, Elimination of 155
Orthochromatic 124
Panchromatic 122
Photomicrography, for 416
Position in Camera 19, 25
Positive 124, 259
Presoaking 151
Reticulation 154
Reducing 156
Reversible Superpan 126, 157
Selection 45, 120
Sensitivity to Color 120
Speed of Emulsion 120
Speed Ratings 120-128
Storage and Preservation 158
Trimming 26
Washing 47, 150
What Film to Use 45, 128
Winding 27
Film Strips in Visual Instruction 323
Filtering Solutions 47
FILTERS
Aerial, for — photography 501
Color Separation Filters 309
Copying, for 248
Effect Filters 108
Effect Upon Film 98, 100-103
Effect Upon Sharpness 97
Factor Table Ill
Factors 104
Fog Filters 108
Gelatin Filters 97
Infra-Red 108, 462
Kodachrome Film, for 299
Photomicrography, for 415
Pola Screens 112
Sky Filters 109
Stereo Photography, for 285
Tests 103
Ultraviolet 108, 110
Viewing Filters 105
What Filters to Use 50, 106, 110
Fine Grain Development 137
Flashlight Equipment 37
Focal Length 71
Focomat Enlarger 180
Focusing, Critical 237, 422
Focusing by Measurement 238
Focusing for Dental Work 422
FORMULAS. ..see also: DEVELOPERS
Acid Hardener, Stock Solution 150
Acid Hardening Fixing Bath 149, 210
Bleach for Reversal 157
Cleaner for Film 155
Direct Copy Film 169
Farmer's Reducer R-4 58
Intensification 156
Positive — Negative Process 170
Reducing 156
Reversal of Superpan 157
Short-stop for Film 149
Short-stop for Paper 210
Toning 214
Varnish for Color Film Transparencies. 315
Wash-Off Relief Prints 310-315
Front Lenses (supplementary) 91
Gamma 137, 143
Graininess of Film 120
Hardener, Stock Solution 150
Historical Research 343
Hypersensitizing Film 159
Hypo, Acid Hardening for Film 149
Hypo Test 212
ILLUMINATION for:
Color Photography 296
Copying 240
Dental Photography 423
551
PAGE
Eye Photography 439
Insect Photography 382
Photomicrography 409, 414
Stage Photography 474
Teeth, Transillumination 424
Ultraviolet Photography 384
Indirection Photography 365
INFRA-RED PHOTOGRAPHY 457
Aerial Work 460, 504
Exposure 462
Film 458
Filters 108, 462
INSECT PHOTOGRAPHY 369
Equipment 372, 386
Exposure 389
Illumination 382
Preparation of Specimens 378
Intensification of Negatives 156
Iris Diaphragm 66
Kodachrome 293
Black-and-White Negatives from... 303, 444
Laboratory, the 171
Lantern Slides for Projection 54, 257
Latitude of Film 121
Leica and Auxiliary Equipment 15
LEICA CAMERA 18
First Model, 1914 28
Models A, B, C, D, E 28, 29
Models F and G 18
Model FF, 250 Exposure 29
Accessories. . . see: ACCESSORIES
Beginner's Equipment 18
Cross Sections of Leica Camera 25
Equipment. . .see; ACCESSORIES and
EQUIPMENT
Know Your Leica 17
How to Make Your First Leica
Picture 20
What to Photograph 17
Outside Parts 23
Single Exposure Camera 41
LENSES 61
Aberrations : Chromatic, Spheric 64
Angle of Vision 62
Care of Lenses 92
Circle of confusion 67
Comparative Fields Covered 69
Depth of Focus 68
Focal Length 70
Front Lenses 90
Leica Lenses 76-90
Perspective 76
Portrait 83-86
Projection 276
Resolving Power 62, 66
Selection of 48, 61
Speed 82
Standard 81
Telephoto 87
Wide Angle 80, 81
MERCURY VAPOR HYPERSENSITIZ-
ING 159
Keeping Qualities and Storage 164
Micro Adapter Ring « 403
MICROPHOTOGRAPHY 393
Mirror Reflex Housing 88, 90, 435
Monochromatic Filters (viewing) 105
MOUNTING
Finished Enlargements .219, 221
Glass Slides 58, 266
Insects for Photographing 378-381
Photomurals 537
PAGE
NEGATIVES . . . see also: FILM
Black-and-White from Kodachrome,
303, 306, 444
Enlarged, by Reversal 167
Negative, Density of 137
Negative yiewer and Marker 158
Newton Rings, Elimination of 155
NEWS PHOTOGRAPHY 467
Nooky, Close-up Attachment 35
OPHTHALMIC PHOTOGRAPHY 435
Equipment 437
Flashlight Exposures 440
Illumination 439
Infra-Red 447
Photomicrography 445
Placido Disc 449
Smoke Box Photography 452
Orthochromatic Film 124, 508
Panchromatic Films 122
Panorama Photography, Equipment for. 39
PAPERS., .see also: ENLARGING 197
Comparative Speeds 209
Parallax Adjustment 31
Perspective, Control of 497
Photoflash Exposures 136
for Kodachrome 297
Photomicrography 393
Infra Red 461
Ophthalmic 445
Photomurals 537
Placido Disc in Eye Photography 449
Polarized Light Photography 112
Positivs Film 124, 259
POSITIVES FOR PROJECTION 257
Developers 263, 264
Eldia Contact Printer for Film and
Paper 259
Eldur Printer for Glass Slides 262
Kopat Combination Printer 269
Mounting Glass Slides 266
What Makes Good Positives 258
Potassium Bromide, 10% Solution 203
Presoaking of Film 151
PRINTING
Contact and Enlarging Paper 179, 197
Positives for Projection 257
Stereo Pictures 288
PROJECTING LEICA PICTURES 273
Color 302
Equipment 273
Condensers 276
Udimo-100 274
Udimo-250 VIII-S 278
Udimo-400 276
Udimo-750 277
Uinena 100 and Umino 50 280
Projection Papers 200
Projection Tables 281
Range Finders
Built-in 23, 24
Fokos, Model E 29
Rapid Winder 35
Records, Keeping of 431
Redevelopment 158
Reduction of Negatives 156
Relative Aperture 70
Remote Release and Shutter Winder.... 40
Reproduction of Pictures by Projection. . 193
Research, Historical 343
Reticulation 154
Reversal Negatives, Enlarged 167
Reverser (bleach) 157
Reversible Superpan 126, 157, 169
Reversing Formulas 157
552
Sensitivity of Film to Color 120
Separation Negatives 315
Sequence Pictures 468
Shading Prints 105, 190
Sharpness of Image 66, 97
Short-stop for Film 149
Short-stop for Paper 186, 210
Silica Gel (for dehydration) 535
Single Exposure Leica 41
Sliding Focusing Copy Attachment,
225, 401, 419, 451
Slow Timing Device 34
Smoke Box Photography 452
Spotting 215
Stage Photography 467
STEREOSCOPIC PHOTOGRAPHY 283
Kodachrome for Stereo Pictures 286
Printing Stereos on Paper 288
Stereo Projection 289
Stereo Slide Bar 286
Storing Film 158
Sunshades 33, 285
Synchronized Photoflash 37
TABLES
Exposure and Magnification for Use
in Close-up Copy Work 232, 233
Comparative Speeds of Enlarging
Papers 209
Comparing Paper Developers 202
Depth of Focus for Nooky Attachment. 37
Dilutions of Acetic Acid 315
Exposure Factors for Enlarging 206
Exposures without Exposure Meters . . . 135
Extension Tubes, Exposure Factors . . . 231
Extension Tubes, Working Distances,
etc 230
Film Speed Ratings, Comparative 128
Film to Use, What 128, 130
Filter Factors Ill
PAGE
Filters, Effect on Emulsions (graphs) 100-103
Gamma .7, Time to Reach 143
Gamma for Time and Temperature
Development 143, 145
Kodachrome Exposures 297, 300
Magnification for Photomicrography
Objectives 413
Mirror Reflex Housing with Various
Lenses 90
Photoflash Exposures 136, 297
Projection Tables showing screen areas
with various lenses and projectors,
278, 281
Sease Fine Grain Developers 143
Testing Filters 103
Three-Color Separations 304, 315, 318
Toning Chromatone Prints 318, 321
Toning Paper Prints 214
Tropical Photography 531
Transparencies 314, 444
Trimming Guides 26
Ultra- Violet Light Photography 384-386
Ultropak 407
Valoy Enlarger 180
Vibration, How to Overcome 386
VIEW FINDERS
Angle, Winko and Winto 32, 33
Direct Vision, Rasuk 31
Sport Finder, 90mm 31, 84
Universal, Vidom 30, 31
Wide-Angle, 28mm 80
Wide-Angle, 35mm 32, 81
VISUAL INSTRUCTION 323
Washing Film 47, 150
Washing Papers 211, 212
Wash Off Relief Process 304
Wratten Copy Board Chart 306
553
livery month
POPULAR PHOTOGRAPHY is packed with brilliant
features and unusual pictures by outstanding author
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ON SALE at YOUR CAMERA STORE or NEWSSTAMD
The World's Foremost Magazine on Photography
MINIATURE CAMERA DEALERS and SERVICE STATIONS
You are invited to make the acquaintance of these firms. . . . They will serve you
gladly, whether you are their neighbor or an out-of-town guest!
ABILENE, TEXAS Rex Studio 1173 North 2nd St.
AKRON, OHIO Metzger's Photo Art Store 39 E. Mill St.
ALBANY, N. Y Albany Camera Shop, Inc 204 Washington Ave.
ALBUQUERQUE, N. MEX. Camera Shop of New Mexico 414 East Central Ave.
ANN ARBOR, MICH Calkins-Fletcher Drug Co 324 So. State St.
BALTIMORE, MD Zepp Photo Supply Co 3044 Greenmount Ave.
BATON ROUGE, LA Stroube Drug Co
BIRMINGHAM, ALA Bromberg & Co 218 N. 20th St.
BOSTON, MASS Ralph Harris Co 47 Bromfield St.
Andrew J. Lloyd Co 300 Washington St.
Pinkham & Smith Co 15 Bromfield St.
M. W. Sampson 45 Bromfield St.
BROOKLYN, N. Y Camera Corner, Inc 80 Willoughby St.
E. B. Meyrowitz, Inc 255 Livingston St.
Geo. J. McFadden, Inc 202 Flatbush Ave.
BUFFALO, N. Y J. F. Adams, Inc 459 Washington St.
Buffalo Photo Material Co 37 Niagara St.
CAMBRIDGE, MASS Belluche Photo Service 180 Franklin St.
CHARLESTON, W. VA.. . .Camera Shop & Photo Supply 110-a McFarland St.
CHARLOTTE, N. C W. L Van Ness & Co 213 North Tryon St.
CHICAGO, ILL Bass Camera Co 179 W. Madison St.
Burke & James, Inc 223 W. Madison St.
Central Camera Co 230 S. Wabash Ave.
Aimer Coe & Co 105 N. Wabash Ave.
Marshall Field & Co Randolph & Wabash. Sts.
Norman-Willets Co 318 W. Washington St.
Von Lengerke & Antoine 33 S. Wabash Ave.
Wolk Camera Co 335 S. Dearborn St.
CINCINNATI, OHIO Huber Art Co 124 W. 7th St.
CLEVELAND, OHIO The Dodd Co 1025 Huron Rd.
COLORADO SPGS., COLO.. Photo-Craft Shop 218!/2 E.Pikes Peak Ave.
COLUMBUS, OHIO Don McAHster Camera Co 73 E. State St.
DALLAS, TEXAS E. G. Marlow Co 1610 Main St.
DAVENPORT, IOWA . . . .Carl Holmes Co 1101 West 4th St.
DENVER, COLO Ford Optical Co., Downtown 1029 16th St.
Ford Optical Co., Uptown 1588 Broadway
DES MOINES, IOWA Westing Photo Service 3816 Sixth Ave.
DETROIT, MICH Acme Camera Exchange 517 Shelby St.
Detroit Camera Shop 325 State St.
DUBUOUE, IOWA Eldon Iinhoff 456 N. Booth St.
ELBERON, N. J Victor Wisner 60 Norwood Ave.
FORT SMITH, ARK . . .McCann Photo Company 714 Garrison Ave.
FORT WAYNE, IND "Sunny Schick" National Brokers 407 W. Washington St.
FORT WORTH, TEX The Camera Shop, Inc 709 Throckmorton St.
GIRARDVILLE, PA Paramount Photo Service Haas Building
HANOVER, N. H The Camera Shop Brock Building
HARRISBURG, PA James Lett Co 225 N. Second St.
HAVANA, CUBA Caribbean Chemical Co San Rafael No. 2
HOLLYWOOD, CALIF. . . . Hollywood Camera Exchange, Ltd.. . 1600 N. Cahuenga Blvd.
Morgan Camera Shop 6305 Sunset Blvd.
HONOLULU, T. H Wadsworth's Photo Material 1158 Fort St.
HOUSTON, TEXAS Texas Optical Co., Photo Dept 706 Fannin St.
HUNTINGTON, L. 1., N. Y. . Morat Service, Inc 390 New York Ave.
When writing to advertisers, say you sa,iv it in the LEICA MANUAL!
555
MINIATURE CAMERA DEALERS and SERVICE STATIONS
You are invited to make the acquaintance of these firms. . . . They will serve you
gladly, whether you are their neighbor or an out-of-town guest!
INDIANAPOLIS, IND The H. Lieber Co 24 W. Washington St.
ITHACA, N. Y Cornell Cooperative Society Barnes Hall
Henry R. Head 109 N. Aurora St.
JERSEY CITY, N. J Levy's Sport Shop 149 Monticello Ave.
JOLIET, ILL Douglass-Edwards Camera Shop 205 Western Ave.
KALAMAZOO, MICH. . . . Crescent Engraving Co Kalamazoo Ave. &
Church St.
KANSAS CITY, MO Barnard's 310-12 W. 47th St.
Country Club Plaza
LA CROSSE, WISC Ray's Photo Service 225 Main St.
LANCASTER, PA Darmstaetter's 37 N. Queen St.
LEBANON, PA L G. Harpel 757 Cumberland St.
LINCOLN, NEB J. G. Kretschmer & Co 116 So. 13th St.
Lawlor Sporting Goods Co 1118 O St.
LONG BEACH, CALIF Winstead Brothers, Inc 244 Pine Ave.
LONG ISLAND CITY, N.Y.. A. C. Camera Exchange, Inc 34-01 Broadway
LOS ANGELES, CAL Ernest H. Heusser 650 S. Grand Ave.
Earl V. Lewis Photographic Co 213 W, llth St.
B. B. Nichols 731 So. Hope St.
Schwabacher-Frey 736 So. Broadway
D. Paul Shull 240 S. Union Ave.
LOUISVILLE, KY W. D. Gatchel & Sons 431 W. Walnut St.
MADISON, WISC Meuer Photoart House State St. near Gorham
Photoart House 413 State St.
MALDEN, MASS Boyd's, Inc 87 Pleasant St.
MEMPHIS, TENN Memphis Photo Supply Co 6 N. Main St.
MIAMI, FLA Miami Photo Supply Co 269 E. Flagler St.
Tropical Camera Stores 123 N. E. 2nd St.
MILWAUKEE, WISC Casper's Photo Shop 1331 N. 12th St.
Photoart House 844 N. Plankinton Ave.
NASHUA, N. H! Nashua Optical Co 202 Main St.
NEWARK, N. J L. Kaltman & Sons, Inc 305 Washington St.
NEW HAVEN, CONN Fritz & Hawley Co 816 Chapel St.
Harvey & Lewis Co 849 Chapel St.
Yale Cooperative Corp 300 York St.
NEW YORK, N. Y Bernard Arkin 480 Lexington Ave.
Abe Cohen's Exchange 120 Fulton St.
Columbus Photo Supply 146 Columbus Ave.
William C. Cullen, Inc 12 Maiden Lane
Economy Photo Service 1290 First Ave.
Finegrain Photo Laboratories 795 Broadway
Mortimer H. Fogel 118 Liberty St.
Gillette Camera Stores, Inc 117 Park Ave.
Haber & Fink, Inc 16 Warren St.
Henry Herbert 483 Fifth Ave.'
Lugene, Inc 600 Madison Ave.
Luma Camera Service, Inc 330 W. 42nd St.
Madison Mart 403 Madison Ave.
Medo Photo Supply Corp 15 W. 47th St.
E. B. Meyrowitz, Inc 520 Fifth Ave.
E. B. Meyrowitz, Inc 732 Fifth Ave.
E. B. Meyrowitz, Inc 150 Broadway
When writing to advertisers, say you saw it in the LEICA MANUAL !
556
MINIATURE CAMERA DEALERS and SERVICE STATIONS
You are invited to make the acquaintance of these firms. . . . They will serve you
gladly, whether you are their neighbor or an out-of-town guest!
NEW YORK, N. Y E. B. Meyrowitz, Inc 1168 Madison Ave.
Miniature Photo Laboratories Co 625 Lexington Ave.
George Murphy, Inc 57 E. 9th St.
Newman's Camera Exchange 1192 Sixth Ave.
Parker & Battersby 46 W. 50th St.
Pavelle Laboratories, Inc 16 E. 42nd St.
Rabsons 1373 Sixth Ave.
Scavera Photo Laboratories 421 Lexington Ave.
Frank Tanham & Co 9 Church St.
Trinity Talking Machine Co., Inc 52 Broadway
Willoughby's, Inc 110-114 W. 32nd St.
OAKLAND, CALIF Oakland Camera Exchange 376 14th St.
OKLAHOMA CITY, OKLA. . Oklahoma Photo Supply Co 308 N. Broadway
Reeves Camera Store Perrine Bldg. Lobby
OMAHA, NEBR Calandra Photo Shop 1508 Douglas St.
I. G. Kretschmer & Co 315 S. 17th St.
PALO ALTO, CALIF David Keeble 323 University Ave.
PHILADELPHIA, PA Klein & Goodman 18 S. 10th St.
M & H Sporting Goods Co 512 Market St.
MacCuIlum's 1600 Sansom St.
Seaboard Camera Stores, Inc 205 S. 15th St.
Street, Linder & Propert 20th & Chestnut Sts.
Williams, Brown & Earle, Inc 918 Chestnut St.
PITTSBURGH, PA Kaufman's Department Store Fifth. Ave.
Wolk's Kamera Exchange 306 Diamond St.
E. PITTSBURGH, PA Walter J. Yenny 104 Electric Ave.
PORTLAND, MAINE Bicknell Photo Service 15 Preble St.
PROVIDENCE, R. I Starkweather & Williams, Inc 160 Westminster St.
Westcott, Slade & Balcom Co 95 Empire St.
READING, PA Dreko Photo Service 543 Court St.
ROANOKE, VA The Camera Shop Commerce at Luck
ROCHESTER, N. Y Marks & Fuller, Inc 44 East Ave.
Smith-Surrey, Inc 129 Clinton Ave., S.
SALT LAKE CITY, UTAH. .Leica Photo Studio 221 S. State St.
SAN ANTONIO, TEXAS. . .The Fox Co 215 Alamo Plaza
SAN BERNARDINO, CAL. . Arrowhead Camera Shop 610 Third St.
SAN DIEGO, CAL Homer C. Miller 531 B St.
SAN FRANCISCO, CAL.. .The Camera Shop 137 Kearny St.
Hirsch & Kaye 239 Grant Ave.
SANTA BARBARA, CAL.. Fred G. Anderson 1031 State St.
SCHENECTADY, N. Y J. T. & D. B. Lyon 236 State St.
SEATTLE, WASH Anderson Supply Co., Inc Ill Cherry St.
Clyed's Camera Exchange 409 Union St.
SENECA FALLS, N. Y Robert W. Knight 96 State St.
SHREVEPORT, LA Sears, Roebuck & Co 624 Texas St.
SOUTH BEND, IND Ault Camera Shop, Inc 122 South Main St.
ST. LOUIS, MO Erker Bros. Optical Co 610 Olive St,
Kay's Photo & Optical Co 212 N. 7th St.
W. Schiller & Co 1109 Locust St.
ST. PAUL, MINN H. W. Fisher Photographic Supply Co. 381 Minnesota St.
ST. PETERSBURG, FLA.. . . Robison-Mohr Photo Service, Inc 123 Third St., N.
Strand Camera Shop 9 Second St., N.
STOCKTON, CALIF The Logan Studios Camera Shop 20 N. San loaquin St.
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557
MINIATURE CAMERA DEALERS and SERVICE STATIONS
You are invited to make the acquaintance of these firms. . . . They will serve you
gladly, whether you are their neighbor or an out-of-town guest!
SYRACUSE, N. Y Francis Hendricks Co., Inc 339 S. Warren St.
George F. Lindemer 443 S. Salina St.
TOLEDO, OHIO Gross Photo Supply 524 Madison Ave.
Geo. L. Kohne 602 Summit St.
TROY, N. Y Knowlsons, Inc 350 Broadway
TULSA, OKLA Rochester Photo Supply Co Cor. 4th & Boston Ave.
Tulsa Camera Record Co 315 So. Boston Ave.
WASHINGTON, D. C Capital Camera Exchange 1003 Penn Ave., N. W.
Columbia Photo Supply, Inc 1424 New York Ave.
Fuller & D' Albert Inc 122 South Main St.
WATERBURY, CONN Curtis Art GO 65 w. Main st.
Wilhelm, Inc 139 W. Main St.
WEST NEW YORK, N. J.. .Levy's Bergenline Ave.
at 18th St.
WICHITA, KANSAS Lawrence Photo Supply Co 149 N. Broadway
WILMINGTON, 'DEL Butler's, Inc 415 Market St.
WORCESTER, MASS J. C. Freeman & Co 376 Main St.
ZANESVILLE, OHIO Johnston Photo Service 25 South 6th St.
MINIATURE CAMERA DEALERS and SERVICE STATIONS
OVER-SEAS
ARGENTINA
BUENOS AIRES Lutz, Ferrando y Cia. Ltda Florida 240
AUSTRALIA
SYDNEY Hermann lunge 31 Macquarie Place
BRAZIL
RIO DE IANEIRO Lutz, Ferrando y Cia. Ltda Ouvidor 88
CHINA (Exclusive Sales Agencies')
HANKOW Schmidt & Co., Ltd Cor. Hunan & Coop
eration Rds.
HONGKONG Schmidt & Co., Ltd York Bldg., Chater Rd.
PEIPING Schmidt & Co., Ltd 1 Hsi Tang Tze Hutung
SHANGHAI Schmidt & Co., Ltd 346 Szechuen Road,
Chase Bank Bldg.
TIENTSIN Schmidt & Co., Ltd 52 Taku Road
DENMARK (Exclusive Sales Agency)
KOBENHAVEN K Budtz Mullers Eftf. A/S Vimmelskaftet 38
ENGLAND (Exclusive Sales Agency)
LONDON E.C. 4 The Fountain Press 19 Cursitor St.
FRANCE
PARIS 8 Editions Tiranty 25 Rue de la Pepinere
HOLLAND
NIJMEGEN Odin Van Oldenbarnevelt-
straat 69
INDIA
BOMBAY Continental Photo Stores 243 Hornby Rd.
CALCUTTA Photographic Stores & Agency Co.. . . 154 Dhurrumtollah St.
ITALY
GEN OVA Ditta Ing. Ippolito Cattaneo Piazza 5 Lampadi 17-5
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558
MINIATURE CAMERA DEALERS and SERVICE STATIONS
OVER-SEAS
You are invited to make the acquaintance oi these firms. . . . They will serve you
gladly, whether you are their neighbor or an out-of-town guest!
JAPAN (Exclusive Sales Agencies)
OSAKA Schmidt Shoten, Ltd 13, Kitakyutaro-machi
2-chome, Higashi-ku
TOKYO Schmidt Shoten, Ltd 2, Muromachi 3-chome,
Nihonbashi-ku
MANCHUKUO (Exclusive Sales Agencies)
DAIREN Schmidt Shoten, Ltd 2 Yccmagata-dori
Totaku Bldg.
HARBIN Schmidt Shoten, Ltd 13 Samannaya
MUKDEN Schmidt Shoten, Ltd Ta Hsi Pien Men Wai
MEXICO
GUADALAJARA, JAL. . . Julio G. Garcia Av. Colon 125
MEXICO, D. F Foto Mantel Ven. Carranza No. 11
Foto Regis Ave. Juarez No. 71
PERU (Exclusive Sales Agency)
LIMA Bayer, Meister, Lucius Mann y Cia. . . Casilla 63
Avda Brasil 198
UNION OF SOUTH AFRICA (Exclusive Sales Agencies)
CAPE TOWN Taeuber & Corssen (Pty) Ltd 17 Long St.
DURBAN Taeuber & Corssen (Pty) Ltd P. O. Box 1521
EAST LONDON Taeuber & Corssen (Pty) Ltd P. O. Box 335
JOHANNESBURG Taeuber & Corssen (Pty) Ltd P. O. Box 1366
PORT ELIZABETH Taeuber & Corssen (Pty) Ltd P. O. Box 179
SOUTH WEST AFRICA
LUDERITZ Taeuber & Corssen S.W.A. (Pty) Ltd..
WINDHOEK Taeuber & Corssen S.W.A. (Pty) Ltd..
RHODESIA, SOUTH AFRICA
BULAWAYO Taeuber & Corssen (Rhodesia) Ltd.. .
SALISBURY Taeuber & Corssen (Rhodesia) Ltd.. .
ADVERTISING SECTION
The EDITORS acknowledge their indebt
edness to the ADVERTISERS, who, through
their generous purchase of advertising
space in this volume, have materially as
sisted in increasing its size, increasing the
number of illustrations and improving its
general appearance.
YOU . . . THE READER . . . can appropri
ately express your appreciation by patron
izing the ADVERTISERS of this volume and
by letting them know that you are doing
so at our request
When writing to advertisers, say you saw it in the LEICA MANUAL!
559
THE NEW LEICA MODEL G-1938
Close-up of view-
finder and range-
finder eyepieces of
the Leica Model
G-1938.
LEICAi...
PROGRESS!...
. . . Terms that are synonymous in the field of photography . . .
and rightly so . . . for Leica has presented new horizons to photog
raphy, imparting to it a latitude that is unprecedented. Constantly,
improvements have been incorporated in the Leica camera, each
change being characterized by an outstanding factor — careful,
thoughtful planning.
Again this is evidenced in the new rangefinder and viewfinder
construction of the Leica Model G-1938. The eyepieces of these two
units are placed closely together, requiring but a flick of the eye to
change from one to the other — thus allowing extremely fast action.
And, the rangefinder field is still separate, providing a magnified
image which permits quick, accurate focusing. This important
improvement has not been made at the expense of additional bulk,
for the Leica remains a compact, precise, and truly streamlined
camera.
E. LEITZ, INC.
730 Fifth Avenue New York, N. Y. Dept. M4
When writing to advertisers, say you saw it in the LEICA MANUAL!
560
LEICA LEADS
THE WAY • • •
by presenting in LEICA PHOTOGRAPHY a magazine which is entirely
up-to-date and in tune with the modern tempo. Just as people look to
the Leica camera as the leader and originator of the new and better
things in photography, so do they look to LEICA PHOTOGRAPHY
for leadership. It was the first magazine in America devoted exclu
sively to miniature photography and the first magazine to foster
actively the reproduction of Kodachrome transparencies. Now it
leads the way again by combining improved reproduction and
printing methods with up-to-the-minute layout and design to make a
new and more beautiful publication ... a true leader in its field.
LEICA PHOTOGRAPHY is sent free to all registered Leica camera
owners residing in the United States. Non-owners of Leica cameras
may subscribe at $1.00 per year, domestic; $2.00 per year, foreign.
Single copies: lOc at photographic dealers or direct from the
publishers.
E. LEITZ, INC.
730 Fifth Avenue
New York, N. Y.
When writing to advertisers, say you saw it in the LEICA MANUAL !
561
WHATEVER YOU USE YOUR LEICA FOR
...HERE IS THE FILM YOU NEED!
No matter what type of
photography you make your
specialty, you will find
among these 6 great Agfa
Films a medium that exactly fits your
requirements.
1 Agfa Finopan . . . extremely fine-grained
. . . panchromatic. For projection
prints of unusual size.
2 Agfa Fine-Grain Plenacbrome . . .
ortho chromatic . . . fine-grained. In
sures clear, sparkling negatives.
3 Agfa Fine-Grain Superpan , . , an all-
around film. Very fast, panchromatic,
fine-grained. Called for whenever ex
treme speed is desired.
4 Agfa Infra-Red . . . gives startling
night effects in the daytime as well as
beautiful cloud effects.
5 Agfa Superpan Reversible ... a fast
panchromatic film. Developed by re
versal process to a positive of beauti
ful projection quality.
AND NOW— No. 6—U lira-Speed Pan . . .
even faster than Superpan, Ultra-Speed
Pan has won the distinction of being
the fastest miniature - camera film ever
made! This speed has been attained
without any loss of color sensitivity,
latitude, keeping quality or other desir
able features. These 6 great 35mm. films
are made by Agfa Ansco Corporation in
Binghamton, New York.
FOR PRINTS YOU'LL BE PROUD OF
...USE AGFA BROVIRA PAPER!
PRIDE in your negatives
sometimes dwindles to disap
pointment . . . when your pro
jected prints turn out flat and grayish.
Avoid such disappointments in the future
by using Agfa Brovira ... the famous
bromide paper that gives your enlarge-
men\t;s the desired depth and roundness,
with clear, rich blacks entirely free from
haziness.
Brovira preserves the sharp highlights
and the deep, rich luster of the velvety
blacks. And its exceptional latitude in
exposure and development gives you the
utmost control of the character of the
print.
Make your next projections on Agfa Bro
vira Paper and see what a real difference
it makes. Brovira is available in a wide
choice of surfaces and contrasts. Agfa
Ansco Corporation, Binghamton, N. Y.
CAMERA WORK
Edited by
WILLARD D. MORGAN and HENRY M. LESTER
Typography and Layout by Egmont Arens
The latest and most complete book on the MINIATURE CAMERA,
written by 15 experts, illustrated by over 100 photographers, using
some 25 different Miniature Cameras.
A volume containing 15 Chapters ... 328 pages QVz x 11
inches, over 400 excellent illustrations ... 48 pages of a special
CATALOG Section featuring Modem Miniature Cameras and Acces
sories ... A striking four-color "Laminated" front cover . . .
A feature Chapter on COLOR PHOTOGRAPHY containing 20 four-
color plates within its 19 pages. . . .
MINIATURE CAMERA WORK has cost more to produce than any
other photographic book selling for $6.00 or less. The wholehearted
cooperation of manufacturers has made it possible to sell MINIATURE
CAMERA WORK for only $4.00 per copy (in U.S.A.).
WHAT THIS BOOK WILL GIVE YOU . . .
Aside from the standardized technical information offered, very
little advance has been made in modem photographic literature.
Great and rapid changes made during the last few years created
immense demand for new information on NEW SUBJECTS, such as
PHOTO-JOURNALISM, DOCUMENTARY PHOTOGRAPHY, COLOR
PHOTOGRAPHY, PHOTOMONTAGE, COMPOSITION IN PHO
TOGRAPHY, NEWS AND ACTION PHOTOGRAPHY, etc. To meet
this demand the Editors of the MINIATURE CAMERA WORK have
spent over two years in the preparation of a book which will give all
photographers a new orientation in their work. Today there is more
to PHOTOGRAPHY than merely "pushing the button" and mechani
cally developing and printing the "picture". People are seeing more
pictures today than ever before. Books and picture magazines are
pouring out thousands of pictures each month for the public to SEE.
How are you reacting to this deluge of pictures? Is it helping your
own picture taking interest, or is it scattering and confusing it? When
you like or dislike a picture, can you analyze it and express your
reasons why? Is it necessary for modern photography to have some
thing more than just the basic photographic technique?
MORGAN & LESTER
100 EAST 42nd STREET, NEW YORK, N. Y.
564
All these questions and many others are fully answered in
MINIATURE CAMERA WORK
It is a book designed to inform and to inspire you to produce more
pictures of lasting interest and value.
Where the LEICA MANUAL has provided complete information
covering the actual technique of cameras/ developing, enlarging, etc.,
the MINIATURE CAMERA WORK takes the next step, and coordi
nates this practical information with more inspirational material
covering the actual photographic background in which the photog
rapher must create his new thinking. Actually the two books, The
LEICA MANUAL and The MINIATURE CAMERA WORK give the
most modern and complete information on Miniature Camera Photog
raphy today.
MINIATURE CAMERA WORK . . . was made possible by
these PHOTOGRAPHERS: Larry June, Russell Lee, Disraeli, Berenice
Abbott, Bob Wallace, Herbert Matter, Nickolas Murray, Anton Bruehl,
Margaret Bourke-White, Leo Pavelle, Paul Hesse, Natori, Carola Rust,
Konrad Cramer, Anton F. Baumann, Maxwell F. Coplan, Hansel
Mieth, Ansel Adams, Alfredo Valente, Barbara Morgan, Alfred
Eisenstaedt, William Vandivert, Bob Leavitt, Peter Stackpole, Carl
Van Vechten, and ... so many others.
MINIATURE CAMERA WORK was made possible by these
cameras: Baldina, Contax, Exakta, Dolly, Foth-Derby, Graf lex, Ideal,
Ikoflex, Super Ikonta, Kodak Bantam Special, Kodak-Duo 620, Retina,
Leica, Linhof, Korelle Reflex, Plaubel Makina, Nettax, Recomar,
Rolleiflex, Rolleicord, Robot, Speed Graphic, Super Nettel, Voigt-
lander. . . .
MINIATURE CAMERA WORE offers the following 15 chapters, con
taining some of the most significant photographic writing of today:
The Passing Scene by Robert Disraeli
Formal and Informal Portraiture Manuel Komroff
Photo-Journalism Willard D. Morgan
Eyes That See, an Interview with Alfred Eisenstaedt
The Expanding Photographic Universe Ansel Adams
Sport and Action Photography John A. Davis
COLOR PHOTOGRAPHY Harris B. Tuttle
Composition in Photography Leo Katz
Photographing Children and Pets Douglas Haskell
Photomontage Barbara Morgan
News Photography Alan Fisher
Photography of After Dark Entertainment Leo Pavelle
Surrealism in Photography Lewis Jacobs
The Miniature Camera Club Augustus Wolfman
Photographic Facts Henry M. Lester
CATALOG SECTION.
$4.00 per copy (in U.S.A.)
Order your copy at once from your dealer or directly from the Publishers:
MORGAN & LESTER
100 EAST 42nd STREET, NEW YOHK, N. Y.
565
DCVC LOPING
TANK
Ultra fin* grain
Complete gradation
No loss in emulsion speed
Maximum shadow detail
Excellent for under exposures
Economical: 32 oz. develops
1 7 rolls of 33 mm.
32 oz. bottle $1.1 0
FINK-ROSELIEVE CO.
YOUR
ROLL FILM WORK
THE F-R ADJUSTABLE ROLL FILM TANK
• MADE IN AMERICA
• GENUINE BAKELITE
• Fully: adjustable to films of
all sizes from a full 36
exposure roll of 35 mm to
No. 116.
FINK-ROSELIEVE CO., INC
109 W. 64th STREET NEW YORK CITY
Everything
PHOTOGRAPHIC
Materials for Making
NATURAL COLOR PRINTS
OR TRANSPARENCIES
Send for Circulars
Penrose Annual
Wynne Exposure Meters
Bonnie Photo Baby Holder
Turner Lens Hoods
Trox Film "Washer
Shinn Lens Hoods
Foreground Bay Filters
Carbon and Carbro Supplies
Bromoil and Oil Materials
Sinclair Bromoil Materials
Watkins Exposure Meters
Metol — Johnson's
Chlorquinol — Johnson's
MAMMOTH PHOTO SUPPLY CATALOG
Send for free copy of our monthly
magazine "SNAP SHOTS"
George Murphy, Inc*
57 East 9th Street New York City
The oldest photographic stock-house
Established 1878
WHEN IN THE
NATION'S ft CAPITAL
VISIT OUR NEW ENLARGED QUARTERS
lor everything in
LEICA
PHOTOGRAPHY
ExcnnncE
1003 PENN AVE. N. W.
WASHINGTON, D. C.
566
When writing to advertisers, say you saw it in the LEICA MANUAL!
A BOOKSHELF COMPANION
TO THE LEICA MANUAL
mmmTURE cnmERn
mncnzmE
Some Typical Articles
from Volume One
The Correction of Convergent Verticals
Miniature Camera Portraiture
Speed Tables of all Miniature Films
for all Meters
The A.B.C. of Filtering
The Miniature in Bird Photography
Developing Short Lengths of
35 mm. Film
Depth of Focus Calculations Simplified
How Polarising Filters Work
Over Development for Under Exposure
Supersensitising with Mercury
Intensifying Miniature Negatives
Kodachrome Dufaycolor and Agfacolor
Explained
Reversal Processing for Fine Grain
Some Notes on the Thambar Lens
Controlled Intensification
The Technique of
Enlarging Miniature Negatives
Camera Movement and Resolution
Our Investigations of
Champlin IS Developer
Using Kodachrome in Larger Cameras
How Colour Sensitivity is Measured
How to avoid Newton's Rings
Make-up for Miniature Portraits
Monochrome Negatives from
Colour Transparencies
How to Produce your Own Enlargements
in Colour
Edited by Percy W. Harris, A.R.P.S.
Edited by Britain's leading authority on
miniature camera photography, backed
by its own complete photometric test
laboratory the " Miniature Camera
Magazine " has in twelve short months
become internationally famous for its
authoritative articles, writers and
statements. Volume One is just com
pleted — here are typical articles from
its 800 pages — subjects and authors
combining to prove the claim of "pocket
size and PACKED WITH INFORMA
TION." No Leica or other miniaturist
can afford to miss the sound reasoned
up - to - the - minute contents of each
monthly issue.
THE ONLY BRITISH PUBLICATION
IN THE MINIATURE FIELD
SUBMITTING ITS FULL FIGURES
TO THE AUDIT BUREAU OF
CIRCULATIONS LTD.
Subscription Rates :
Inland and Abroad, 7s. 6d. per annum ; Canada 7s.
per annum. Registered at the G.P.O. for trans
mission by Canadian Magazine Post.
Send for
FREE SPECIMEN COPY
and subscription form to : —
TELE PHOTO PRESS, LTD.
9, Cavendish Square, London, W.1, England,
. J
say
When writing to advertisers, say you saw it in the LEICA MANUAL!
567
Taking Gol&i Photography?
To obtain true color
values . . . record delicate
differences in shade which
mean faithful color rendi
tion. . . correct exposure is
absolutely essential. You
get the correct exposure
. . .every time . . . when you
use the LEICAMETER.
Use it for all color work,
as well as for your black
and whites. See it at your
LEICA dealer's today.
. . . MORE THAN EVER
YOU NEED THE
LEICAMETER
• opens and folds in a jiffy!
• fits into coat pocket!
• chromium plated!
9 only 14 ounces!
The TRI-COM-POD is a sturdy, durable
tripod that answers every requirement
for tripod performance. Extends to a
height of four feet. Equipped with a
swivel top head that allows the camera
to be tilted to any position. No need to
shift the tripod legs to take different
shots. The TRI-COM-POD has eleven
sections, which may be adjusted as de
sired. Made of fine quality, polished
duralumin, with rubber tipped legs to
prevent slipping.
(Write for interesting literature)
HENRY HERBERT
483 Fifth Avenue
With Suede
Zipper Case
New York
568
When writing to advertisers, say you saw it in the LEICA MANUAL 1
AGITATE !
Successful fine grain development demands consistent
?£» !?." of develoPin9 and fixing solutions. The
IMPERIAL AGITATOR ... an unconditionally
guaranteed precision instrument . . . shortens develop
ing time and is indispensable for fine grain control.
Accommodates all miniature tanks.
PRICE for 1 10 V. DC or 60 Cycle AC. . «Jf £ |"||
Slight increase for other voltages. .V • VavU
PRICE
Attachment for accommodating 35mm
Roll Film
THE SUPER-MULTIFAX
ENLARGE !
A miniature enlarger reflecting the maximum in pre
cision, flexibility and ease of operation. The enlarger
revolves completely on a vertical or horizontal axis
for floor or wall projection, making possible enlarge
ments ^of unlimited size. Allows for complete
correction of distorted negatives. Accommodates
negatives up to 6.5x9cm, employing a radically
new negative carrying principle. Adapter rings
available for all popular minicam lenses.
PRICE with Benar f:4.5 objective of
either 3" or 4" focal length with com- CQQ CA
plete set of masks. F.O.B. New York. . VVVallV
CHESS-UNITED CO,
MOHAWK BUILDING
NEW YORK, N. Y.
When writing to advertisers, say you saw it in the LEICA MANUAL!
569
Brilliance —
Gradation —
Sharpness —
With the Miniature Camera
BRILLIANCE-
1 GRADATION-
SHARPNESS
! with the
MINIATURE CAMERA
By
HARRY CHAMPLIN
By HARRY CHAMPLIN
'• The A-B-C and the X-Y-Z too, of miniature photography are
Brilliance, Gradation and Sharpness.
• Harry Champlin, the brilliant author of CHAMPLIN ON
FINE GRAIN and the successful experimenter, who originated
the CHAMPLIN FORMULAS, writes again for minicams.
• His new book deals with those all-important factors of min
iature photography Brilliance, Gradation and Sharpness in
miniature negatives and prints.
• Mr. Champlin presents a thorough-going treatise on these
B-G-S factors and explains exactly how every minicam may
achieve them.
• This book tells WHY and HOW.
• It covers those important refinements of technical procedure
that make all the difference between ordinary and superla
tive results.
• Most important of all it unites and correlates a vast amount
of information into a simple, straightforward system that
makes for certain results.
• For superlative negatives and prints through perfection in
your B-G-S factors read —
Brilliance- Gradation- Sharpness
With the Miniature Camera
$2.00
FROM YOUR DEALER OR
CAMERA CRAFT
425 Bush Street
PUBLISHING COMPANY
San Francisco, Calif.
When writing to advertisers, say you saiv it in the LEICA MANUAL !
570
WALLACE HEATON, LTD.
127 NEW BOND ST., LONDON, W.I.. ENGLAND
Also at 47 Berkeley St. and 43 Kensington High St.. London, W.
W. H. Meta-Case
(Registered)
The ideal case for the serious photog
rapher; Carries Camera; 650 Weston
Meter and lens hood or spare film
ready for immediate use. F/2 model
—pigskin, £3.3.0.
W. H. Film Album
(Registered)
Holds 7,200 exposures in strips of 6,
with facing page for contact strip
prints and written data. Loose Leaf.
Stiff cloth boards. £1.1.0.
W. H. Negative Filing
Cabinet
Holds 200 Stiff Cards with negative
window envelope for strips of 3 ex
posures. Complete, £1.10.0.
W. H. Finda-Case
Incorporating R. D. EWART
Patent Cover
A new "Everready" which
allows VIDOM to remain in
position for use. — Invaluable
with wide angle lens.
Pigskin model complete, for
F/2 and smaller lens, £3.6.6.
Metal finder cover to attach
to own case, £1.5.0.
The W. H. Service
Embraces 10 London Shops.
Staffed by Leica enthusiasts
— men skilled in Leica pho
tography — not mere "count
er assistants." Your prob
lems can be intelligently
discussed and our help is
given ungrudgingly. When in
London remember it is
Wallace Heaton for Leica
Service.
Send Us Your Films
Our developing and printing
service is the best and most
modern in the country — we
use photoelectric printers,
and originated AUTOMAX
(Reg'd) printing and
MICROLTJX (Reg'd), Super
Quality developing. Write
for full particulars of these
and our free services.
W. H. One-five Case
A new Everready to accommodate
camera with F/1.5 Xenon lens and
W. H. circular lens hood. Pigskin,
£2.5.0.
W. H. Tray-Case
(Registered)
Made to suit your outfit — this case
opens to form a tray on which camera
etc., can be stood while changing
lenses. — Immense convenience and
safeguard. Quotations on reauest. —
Case illustrated, pigskin, costs £5. 12.6.
W. H. Iris Ring Clip
(Patented)
Avoids Iris shifting while
focussing— easy to attach.
Model 5 for Summar Lens —
Model 9 for 9cm Elmar;
Model 13 for all 13.5 lenses.
Price, 6/6 Each.
Obtainable from
W. H. Steel Tape Tripod
Measures only 2%xl:&" — opens to
42" high— will support up to 20 IbB.
— easily pocketable. Price, 17/f .
WALLACE HEATON, LTD., and also
CITY SALE AND EXCHANGE (1929), LTD.
59/60 Cheapside, 90/94 Fleet St., 54 Lime St., 84 Aldersgate St. and
13 The Arcade, London, E. C.
When writing to advertisers, say you saw it in the LEICA MANUAL !
571
ULTRA- FINE
GRAIN
DEVELOPING
for your faes* films
• Pavelle Laboratories offer a complete
photographic service to the miniature
camera enthusiast. Our ultra-fine grain
developing produces negatives remark
ably free from granulation.
Well exposed negatives may easily be
enlarged to 20 times linear.
Distinguished
SALON
PRINTS
from your prize
negatives
A salon print by Pavelle is likewise distin
guished for its skilled and careful handling.
Foremost photographers entrust to us the
making of their exhibition prints.
SEND US YOUR NEXT FILM AND SEE WHAT THE
SKILLED USE OF NEWEST EQUIPMENT CAN DO.
PAYELLE LABORATORIES, Inc
16 E. 42nd St., New York City
Spindler & Sauppe, Inc.
Western Distributors and Headquarters for
San Francisco
86 Third Street
LEICA
Los Angeles
811 West 7th Street
All models of the camera and a full line of
accessories and equipment, including the
CAL
<3<SMERA
GAJ&CL
ALSO LEITZ MICROSCOPES AND PROJECTION APPARATUS
Leica owners wishing to apply their cameras to new uses, particularly
in connection 'with the microscopic or telescopic studies, are cordially
invited to visit our show rooms where all the numerous Leica accessories
can be inspected and demonstrated.
WE OFFER A REAL SCIENTIFIC SERVICE TO ALL
When writing to advertisers, say you saw it in the LEICA MANUAL!
572
SPEED - O - COPY
The ground-glass focusing attachment for Leica or Contax
For macro and micro photography, small object study, table-top
photography, copying or photostatic work, color photography.
views and portraits.
MAKE
SPEED-O-COPY
YOUR NEXT ACCESSORY
Leica $28.50 Contax $31.50
U. S. Pat. No. 1,978,542
Gt. Britain Pat. No. 435,652
German, Pat. No. 643,038
"SPEED-O-CLIP IT" FOR LEICA
•'Speed-0-Clip It" is a film shear for 85 mm. film for use, particularly
in the dark room, for making the proper tapered cut on the film to
fSif • + llca 3r c.°™mercial magazines. The film is quickly and
SSSr I86 ' -?n- « !th^°n? clip a »erfect V cut is made. No more
fumblmg around in the dark with scissors with a resulting cut that
starts the film crooked on the magazine spool and breaks out perfora
tions. You win find this one of the handiest dark room accessories you
ever owned. Made of stainless steel No. 120 — Price $2.40
"SPEED-O-CLIP IT"
FOR CONTAX
"Speed-O-Clip It" for Contax does
the practically impossible thing
to do with scissors in the dark.
It makes a perfect cut of the
film to thread into the Contax
Cassette spool. Made of stainless
steel No. 121— Price $2.40
LENS TESTER
The Lens Tester is uaed to check
the field and focus of all LEICA
Camera lenses. Cast aluminum.
Black wrinkle finish. Tripod
socket. Extremely fine ground-
glass. Clip to hold magnifier.
Price $3.90
SWIVEL ARM FOR LEICA OR
CONTAX ENLARGER
The Swivel Arm permits the making of larger prints
without swinging lamp to work on floor. It revolves
the full 360 degrees and may be locked firmly in any
position. The enlarger may be used horizontally or
vertically. Distortion may be corrected or effected
without tilting easel. Offset is variable from four to
six inches. This is the most universal arm on the
market. Staunchly built of cast aluminum. Black
wrinkle finish. With 15-inch tube Price $10 95
PHOTO-OPTICAL BENCH
ASSEMBLY
No. 119. For use in small-object study
photography with Leica or Contax,
with Speed-O-Copy or other copying
attachment. The bench is made up of
Sliding Arm No. 103 (Leica Sliding
Arm is interchangeable) and Swivel
Arm No. 113, a 36" nickel plated tube,
base-bracket and stage assembly. The
stage is mounted on a ball and socket
joint that permits adjustment to any
position. Price for bench complete as
shown but without Speed-O-Copy . $39.60
Base bracket, tube and stage as
sembly only 18.75
For sale by your dealer
Send for descriptive folder of these and other LEICA and CONTAX accessories
DeP*' L- 24° s- Union Ave.
Los Angeles, California
When writing to advertisers, say you saw it. in the LEICA MANUAL I
573
SPEED
and
DISTANCE
with MEYER TRIOPLAN
f /2.8— 105mm. FOCUS
for Leicci Cameras
Here is a lens that will definitely augment the per
formance of your Leica Camera. Designed by Hugo
Meyer, exclusive specialists in photographic lenses, it
combines, uniquely, the highest speed compatible with
the selected focal length. Indoors, its longer focus
facilitates portraiture in proper perspective; outdoors,
it is ideal for moderate telephoto work at races, games,
sports and in travel; at the theatre, its correct focal
length and wide aperture enable results that cannot be
surpassed. Your normal lens will do well the work it
is intended for. The Trioplan will widen
the scope of your photography and give
you added pleasure in your Leica
LITERATURE ON REQUEST
HUGO MEYER & CO.
245 West 55th Street New York
M0W/ BUY ALL FAMOUS
CAMERAS
AND EQUIPMENT
Now ! Just a few cents a day buys
your choice of famous cameras . . .
still or movie! Small down-payment,
12 months to pay! Trade-in your old
camera . . . we'll accept it as down-
payment if it has sufficient value !
UP TO 12 MONTHS TO PAY
Choose from Leica, Contax, Speed
Graphic, Bantam Special, Rolleiflex,
Exakta, and others . . . Enlargers, movie
cameras, and projectors included. Write
for information on the make and model
that interests you, and for details of our
TimePaymentplan for responsible persons.
Financed Through Commercial Credit Co.
Write Dept. L
KLEIN & GOODMAN
18 S. lOlh Si. PHILADELPHIA/ PA.
COMPLETE STOCKS
of Leica Cameras and Accessories
have made our store the Candid
Camera Headquarters for
Southwestern Michigan.
PAINSTAKING ATTENTION TO
laboratory type of FINE GRAIN
processing and enlarging has
brought us films from all parts of
the United States.
We develop your film and
furnish one 2W' x 3lAt" glossy
print from each exposure regard
less whether one or thirty-six, for
$1.50 cash with order.
• Comment service on request.
CRESCENT STUDIOS
of Crescent Engraving Company
Kalamazoo Avenue and Church Street
KALAMAZOO, MICHIGAN
When writing to advertisers, say you saw it in the LEICA MANUAL !
574
FUESS
PHOTO OPTICAL BENCH
Small, compact, rigid, flexible, precise and easy to manipu
late, the Fuess Universal Photo-Optical Bench is a complete
photographic studio in miniature. It can be placed on table
or bench and enables one to make negatives from % size up
to 20 times natural size. It is ideally adapted for the require
ments of photoniacrographic and table-top photography.
It consists of:
• Double-bar Optical Bench Bed.
• A Tilting and Panoramic Camera Support with fine
vertical adjustment.
• A Studio Stage ingeniously provided with:
• Remote Control Micrometer Focusing.
• Two Swinging Arms equipped with Incan
descent bulbs that provide diversified methods
for illuminating the object in either reflected
or transmitted light.
® A "V" shaped trough for the rigid support of lens
extension tubes.
All units are mounted in riders that clamp
securely to the bench bed. This assures a
rigidity otherwise unobtainable. The Bench
accommodates any camera 9 x 12cm. and
smaller.
Literature on Request
R. FFESS, INC.
245 WEST 55th STREET
NEW YORK
When writing to advertisers, say you saw it in the LEICA MANUAL!
575
WE TRADE
CAMERAS AND ARE
NOTED FOR OUR LIB
ERAL ALLOWANCES AS
WELL AS THE HOUSE OF
LEICA EXPERIENCE.
Correspondence Invited
WO LK Camera Co.
33 W. JACKSON BLVD.
CHICAGO, ILL.
KONRAD CRAMER'S
Woodstock School of
Miniature Photography
Weekly Courses
JUNE to SEPTEMBER
Composition
Field Trips
Models
Darkroom Technique
ENQUIRE:
KONRAD CRAMER
Box 193, Woodstock. N. Y.
A Pioneer Leica Service
offers you the following information . . .
Twelve years ago we bought our first Leica Camera and started making
pictures, experimenting with new films and fine grain developers.
Since that time we have been passing along our first-hand experiences
through a good finishing service,
In addition to fine grain developing, we are equipped to make natural
color prints from your Kodachrome or three-color separation negatives/
film and glass positives of unusual brilliance and quality. We also do
copying of photographs, printed material, and duplication of Koda
chrome. We have a Photomural and Photomontage service which will
interest you. Write for additional information.
Many customers leave their negatives with us and order prints as
required. We furnish 2x3 inch enlargements for reference. ... Let us
tell you more about this convenient service.
Write for our latest price list. Mail orders promptly filled.
Eastern Film Laboratories
Established 1927
20 West 22nd Street New York, N. Y.
When writing to advertisers, say you saiv it in the LEICA MANUAL!
576
For Flying Starts
and Action Thrills!
THE
SUPER
BALDINA
It's an age of speed, action, flight — and the Super Baldina is the speed
camera of the age.
It will catch thoroughbreds pounding down the stretch, the jump of a
flying fish, the flight of a bird — wherever the going is fastest, count on
the Chrome Finished Super Baldina with F2 XENON LENS in Rapid
Compur Shutter (up to 1-500 part of a second).
All controls are centralized for quick, accurate and easy operation. Auto
matic focusing is accomplished by the coupled range-finder insuring
sharp pictures always. Self -erecting feature, hair trigger release, 36-
exposure cartridge and other helpful points.
Uses standard daylight loading 35 mm. film (black
and white or Kodachrome color film) . . . pic
tures, approximately 1x1% inches, size of camera
5x3%xl%, weight 12 ounces.
$99.00
Eveready Case
$8.00
Trade In Your
Old Camera
Send For
Booklet S.B.L.
110 WIST 32 N D S T.' N. Y.
World's Largest Exclusive Camera
Supply House.
"At the Sign of the Camera."
When writing to advertisers, say you saw it in the LEICA MANUAL!
577
British Made
Size only 2%x2%xl in. Com
plete with Instruction Booklet,
in ever ready case fitted with
carrying cord.
£4: 4s.
Obtainable from all leading
photographic stores.
Use the
SMETHURST
HIGH-LIGHT
EXPOSURE METER
This meter employs a revolutionary method of exposure
measurement which is more scientific and more accurate
than usual methods. Rely on it and perfect results are
a foregone conclusion,
• Readings taken on an artificial high-light incorporated
in meter. Uniform image quality ensured throughout
every film.
• Perfect colour rendering ensured in colour photography.
• Indicates correct exposure for uniform brilliance in
daylight and artificial light shots.
• Ensures success in trick photography and "effect" shots.
• Simple to use. No complicated scale to read.
Write for descriptive leaflet
ACWEECO, LTD., 2 1 Douglas St., London, S.W.I.
Telephone: Victoria 3404/7
SUPERKINO
Daylight Loading Developing
Tank for Contax, Leica, etc.
Strongly built of acid-proof Bakelite.
No metal parts to come into contact
with developer. Convenient, simple
and safe loading in broad daylight,
so that no darkroom is required.
Accommodates full length of 36
frames of 35mm film. Price $20.50
Ask for literature
MIMOSA AMERICAN
CORPORATION
485 Fifth Avenue New York
PHOTO SUPPLY CO.
3044 Greenmount Ave.
•
BALTIMORE'S
LEICA
HEADQUARTERS
•
Fine Grain Processing and
"Non-Fade" Enlargements
24 Hour Mail Service
Open Evenings
578
When writing to advertisers, say you saw it in the LEICA MANUAL!
SUPERIOR
'! "' * o ^ '""•' «£/*<M#/'t*^*';r"g^ \J ^'^'v^^r'W*
| , ^^ Ji .A. _^ ^%M . „'./<&'. viA, -,»*!»*
579
HOW THE SIMMON
AUTOMATIC FILM DRIER
HELPS YOUR
LEfCA WORK
« The Simmon Automatic Film Drier lets
you enlarge films the same evening
you develop them.
• It protects your drying film from dirt
and dust blemishes.
9 It produces finer grain negatives —
most authorities insist that rapid dry
ing is essential to finest grain.
e "Uniform drying preserves the most
delicate halftone gradations recorded
on your film,
* The Simmon Automatic Film Drier is
easy to use and absolutely safe" for
Leica films. Scientific, progressive
heating reduces drying time to 10-20
minutes — the safest minimum. Films
hang continuously in a stream of clean
conditioned air. Long-life motor, in
strong cast aluminum base.
Model A for 35mm. films — $27.50.
Model B for all films from 35mm. to
2%" x 3%"— $29.50.
Write for descriptive folder F.
Also write for information
AISO write lor inrormation A~w Jmm^ A i
about these other quality prod- (OMEGA)
ucts in the Simmon line of V /
American-made photographic V y
equipment: the Omega Enlarger
and the Automatic Time Switch.
Reff.U. S.Pat. Off.
SIMMON BROS
29-46 Northern Blvd.,
Long Island City, N. Y.
MADISON
403 Madison Ave.
Between
47th and 48th Streets
New York City
MART
INC.
9 FINE GRAIN DEVELOPING
Superior and meticulous process
ing throughout. •
• ENLARGEMENTS
Of superb quality. All details
brought out perfectly.
• LABORATORY ON PREMISES
Modern well-equipped, you have
the assurance that your nega
tives are developed and printed
in our own laboratory under the
supervision of trained experts.
• CAMERAS AND PHOTOGRAPHIC
ACCESSORIES
Of every description: Leicas, Zeiss
Kodaks, Motion Picture equipment.
• LIBERAL ALLOWANCE
On your present camera.
Service backed by years of experience
LEICAS
NEW
USED
KNOWN
FOR
GOOD TRADES
When writing to advertisers, say you saw it in the LEICA MANUAL !
580
The Sole Agents for the
IN GREAT BRITAIN ARE
LEICA
MANUAL
19 CURSITOR STREET
THE FOUNTAIN PRESS
PHOTOGRAPHIC PUBLISHERS AND
BOOKSELLERS. IMPORTERS OF PHOTO-
GRAPHIC LITERATURE
• LONDON, E.C.4 • ENGLAND
Try it in COLOUR !
Dufaycolor film records colours exactly as the eye sees
them. It is fast, is exposed in the same way as ordinary
film, needs no filters, and can be processed by amateurs.
It gives equally faithful results by daylight, sashalite,
photoflood, or half-watt light. The transpar
encies have an exquisite jewel-like beauty,
whether viewed by projection or
through a magnifying viewer.
35 mm. film in 18 exposure cassettes
or in refill strips, and all accessories,
are available atyour photographic
dealer's. Dufaycolor process
ing stations exist in import
ant key positions through
out the world.
Write
for the
Dufaycolor
Book
DU FAYCO LOR
CORPORATION
30 ROCKEFELLER PLAZA
N EW YORK N.Y U.S. A
'Phone Columbus 5-4132-33
•
DUFAY- CHROMEX LIMITED
14-16 COCKSPUR ST.
LONDON SW1
CAMERA GONE!
STOLEN . . . LOST . . . BURNED ... OR DAMAGED.
SUPPOSE IT HAPPENED TO YOU?
PROTECT YOUR INVESTMENT BY INSURANCE
Which will replace them or repay you for loss by Fire, Theft, Loss or Damage wherever
they may be. Cost extremely low and no charge for my personal services, if you
reside or work in N. Y. State. "Protection Schedule" sent on request without cost
or obligation.
Specializing: in Risks in New York State
ARTHUR C. JAROS
245 5th Ave., New York, N. Y.
When writing to advertisers, say you saw it in the LEICA MANUAL!
581
MORGAN CAMERA
SHOP
IN
HOLLYWOOD, CALIFORNIA
Agents for:
LE1TZ, ZEISS, AGFA, BELL & HOWELL, EASTMAN, ROBOT
We carry a complete line of miniature cameras and
equipment to meet all your needs. Your problems
are intelligently discussed and solved. Twenty-four
hour mail order service on photo supplies and
finishing.
Deal with a firm that is dealing with the technicians
and stars of Hollywood's motion picture colony.
We have a large stock of solid colored optical glass
filters.
MAIL ORDER SERVICE
SUPERSOUP DEVELOPER
COLOR FILM
COPY ATTACHMENTS
OPTICAL GLASS FILTERS
CHEMICALS AND PAPERS
16mm CAMERAS AND FILM
SUPERPAN FILMS
HARRISON COLOR METERS
EXPOSURE RECORD AND FILTER GUIDE— 1 5c.
SEND FOR MORGAN CAMERA NEWS— IT'S FREE
* For your "MUST HAVE" List:
That famous Morgan GADGET BAG, made of fine soft
leather, Black or Tan. Will hold your camera, extra
lenses, film, exposure meter and everything you will
need on "that photographic jaunt". Only $10.00.
6305 SUNSET BLVD. • • • HOLLYWOOD
When writing to advertisers, say you saw it in the LEICA MANUAL !
582
ARE YOUR FACES RED?
or greens brown, or sky nof blue,
etc.? . . . with your Color Film
If they are, it's probably because the color of the light un
balanced your color film, as the color of daylight changes
constantly.
The Harrison Color Meter will give you a correct color reading
for every change in color, and one of the six meter-matched
filters will compensate photographically for the color change.
With the new set of exposure compensated filters allow one
stop more for any one of the six filters.
For
Leica and 16 mm. Kodachrome
REMEMBER a Harrison Color Meter and 6 meter-matched
Exposure Balanced Filters for $35.00 will pay for itself in a
short time by saving your "poor scenes."
SAVE THE "POOR SCENES" AND YOU SAVE ALL!
A sample of color metered film will be mailed on request.
HARRISON & HARRISON
8351 Santa Monica Boulevard
HOLLYWOOD
(ARE YOU USING HARRISON EXPOSURE BALANCED FILTERS FOR
BLACK AND WHITE PHOTOGRAPHY?)
When loriting to advertisers, say you saw it in the LEICA MANUAL !
583
PROJECT YOUR LEICA SHOTS
THE NEW LEITZ VIII-S PROJECTOR GIVES A SHARP AND BRILLIANT
IMAGE— INCREASES THE ENJOYMENT OF YOUR TRANSPARENCIES
NOW that color photography is as simple as black and white with
the Leica camera, you need a projector to fully enjoy your trans
parencies . . . one which gives a sharp, brilliant image yet protects
the delicate colors against damage by heat.
Such a projector is the Leitz VIII-S Projector, embodying many refine
ments, among them being removable, interchangeable, internal con
densers, excellent ventilation, quick interchangeability of glass slide
and film slide carriers, and external finger-tip centering of the lamp
and tilting of the projector. The VIII-S Projector is available in 250
or 400-watt models and also a special 375-watt, 75-volt model. They
may be used with any 'of the Leica lenses or with the new projection
lenses, some of which have large relative apertures permitting great
screen brilliance even at considerable distances.
E. LEITZ, INC. • 730 FIFTH AVENUE • NEW YORK • DEPT. Ml
When 'writing to advertisers, say you saw it in the LEICA MANUAL!
584
FOR SIMPLIFIED
PRECISION
ENLARGING
4 x 5 ... 8 x 10 ... 10 x 15 ... A. touch of the finger and the
head of the Focomat auto-focusing enlarger is raised or lowered to
obtain sharp enlargements, the image on the easel being constantly
in focus. Such is the precision embodied in the Focomat which,
even after years of service, functions perfectly.
The Focomat Model I accommodates negatives up to 4 x 4cm,
while the Model Ha may be used with negatives up to 6.5 x 9cm.
Each accommodates Leica 50mm lenses (except the Leitz Xenon
f:1.5 lens) but, in addition, because of the large negative area, the
Focomat Model Model Ha utilizes a special 95mm enlarging lens.
E. LEITZ, INC. • 730 Fifth Avenue • New York • Dept.MS
When writing to advertisers, say you saw it in the LEICA MANUAL!
585
PRECISION AND PERFORMANCE
1 HE same precision and optical performance
built into the Leica camera and Leitz Microscopes are
embodied in every Leitz Binocular.
Leitz Binoculars are available in extreme lightweight,
wide -field, high -light transmission, and a range of
magnifications to meet every need. Write for booklet 2J.
LEITZ BINOCULARS
E. LEITZ, INC. • 730 FIFTH AVENUE • NEW YORK • DEPT. M2
When writing to advertisers, say you saw it in the LEICA MANUAL!
586
1 04 394
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