Stereo Realist — part 2 Reference guide

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CHAPTER g     /   ACCESSORIES
    Your  basic camera provides  at least 90 percent  of the require'
ments  for  most  picture  taking.  However,  there  will  be occasions
when the basic features of your  calnera cannot meet certain  specific
problems.  Naturally,  when you must use any  aid  to take a picture
for a special purpose, you have an accessory. Accessories are many
in number  and, no  matter  how  important  they may seem at  the
moment, are usually used only once or twice  a year.  If  you  find
that you must have an accessory, be sure  that  you  not  only need
it now but  will  use  it frequently.  With  stereo the problem  is doubly                                                                            t'twoexpensive because when you buy an accessory, you must buy
of  everythittg."
    However, there are certain  accesories which,  through  the years,
have been considered useful adjuncts to good picture  taking. These
urclude a tripocl, cable release, an extension flash, polarizing  filters, ex'
posure meter, and color conversion  filters which  permit  indoor  color
film  to be used outdoors.
    These basic attachments may be as high as seven (7)  in number.
        I.  A  filter holder. This is the basic unit which will hold  all
         the other lens accessories.Therefore,  it  is important that
                it be secure and not wobble. If there is any bit of wobble
         or play, your filters or close-up lenses will not be mounted
            flat but  will be set at a distorting angle. Distortion  will
         invariably produce a poor picture. So be certain that the
            filter holder you use is parallel and secure.
     2.  Prism-portrait  (Stereo-Anglelens) or  other plain  supple'
        mentary positive lens.
     3.  Retaining ring.
     4.   Filters. Your  filters must be absolutely flat. Any uneven'
        ness will produce a prism  efiect, which  will  distort each
        frame so that the  final stereo may view poorly.  Realist
            filters have the optimum amount of parallelism.
     5.  Retaining ring.
     6.  Polarizing filter.
     7.  Lens hood (also acts as a retaining ring).
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ElevatingElevating  tripodtripod              Delayed                 Incidenr'liglIncident-light  meter
                                        aclion
                                       release


    Whether you use  I,  2, 3, 4, and 7 or   t and  7, this order  of
accessory position must be followed. This  order insures a minimum
light  loss and reduces distortion  to a minimum.  Be sure that each
retaining  ring  is the proper  size and will  retain the  filter,  polarizer,
etc. in proper  alignment.  Finally,  check your  filters and other  lens
discs for  prop"t  thickness.  If  they  are too  thin,  the  filters  will   fit
loosely in the  filter  holder  or  retaining  ring  and  will  lean forward
when placed on the camera  lens. The leaning  will  cause distortion
and  is to be avoided  at  all  costs.
    Some  of  the  accessories mentioned  are  not  manufactured  by
the David  White Company. They  are discussed here because often
they are the only accessories which meet specific needs. The David
White Company has realized the need for  high manufacturing   stan'
dards in soh'irg  the unique problems  that stereo accessories require,
and  is taking  the necessarily long  engineering  and testing time  to
perfect each item before  it  is offered to the stereo market.
     This  accessory chapter could  go on and  on. As  this book  is
being written, new mountirg  devices, masks, and gadgets are in the
prorrs   of  research,  trial,  and  manufacture.  You,  too, may  be
 utrt" to  build some particular  device which  will  permit  better and
 easier stereo.  If  this  section has  stimulated  your  interest  to  the
 point where you  are  willing  to  experiment  with some of  the new
 devices then  this Guide has served its purpose.
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A-Universal    rotating   tripod  head
B-Dusf  and  staf ic  eliminator
C-Cable   release
D-Realist   light  shade
E-Flash,  haze,  conversion   filter   kit
F-Slide  and  viewer  carrying  case
G-Cabinet    for  slides
H-Protecting    carrying  case
l-Slide  case and  viewer
J-Small   slides  and  viewer  case
K-Matched     filters
[-Flash   shield

Realisf Mounting Masks


Varibeam  Flood  Reflector (Kodak)
         Clamp Model





                                                  Realist Slide Glass





The         Trqnsformer



                                            Graflex synchronizing cord





                                     A  rnounted and tape-bound  slide

      The Reolist Viewer                          47

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SECTIONII
     Photographic   and' Stereo  Dictionary
    This brief dictionaryhas beenpreparedto serveas a convenient
source of reference for the new camera owner.
ABERRATION-Distortion    in the lens.
ACID-Chemical  used to stop development.
ADAPTER-Converting   unit attached to the lens.
ALKALI-Chemical   used to accelerate development.
ALUM-Chemical   film hardener which prevents softening, reticu'
     lation, and scratching.
ANASTIGMAT-FIaI,    distortionless, straight'line image.
ANGLE OF VlEW-subject   area seen by u lens in  all directions.
ANGLE SHOT-Picture  from an unusual angle.
ANHYDROUS-Without   water.
APERTURE-Lens  opening allowing image-forming rays to enter
    camera.
ARTIFICIAL  LIGHT-Light   other than sunlight.
A.S.A.-American  Standards Association. Systematizes materials,
    procedures, techniques, etc.
AUXILIARY  LENS-Extra   lens attachment to change the function
     of the regular camera lens.
B (BULB)-AI    this setting, the shutter will remain open as long
    as pressure is maintained on the shutter release. Shutter closes
    when pressure is removed.
BETWEEN-THE-LENS SHUTTER-Blades  or leaves of the shutter
    widen to open, then completely close to make an exposure.
    Located betwen the lens elements.
BLOWUP-An   enlargement.
BOUNCE LIGHT-Light   method using walls and ceilings to reflect
      light.
BRIGHTNESS RANGE-Permissible  light-to'dark difierence posible
      for subject, negative, or Positive.
BULB EJECTOR-Device  for removing hot flashlamps'
BULB EXPOSURE-Picture  taken with the shutter set at B.
BULK FILM WINDER-Economical  device for winding your own
     individual cartridges from larger rolls.
48

CABLE RELEASE-Wire,   shutter-releasing device which enables
    you to take pictures without touching the camera. Cable releases
   may be used five or more feet from the camera.
CAMERA-Light-tight   box, having sensitive film on the inside and
    a light-admitting device (lens) at the other end.
CAMERA, PLANAR-Single-lens  camera.
CAMERA, STEREOSCOPIC-DoubIe camera, lensesset side by side
     with a separation of 65 or 70mm. Made so that the apertures
    and shutters operate simultaneously.
CARTRIDGE, STANDARD-Regular  35mm daylight-loading film-
     holder which may be purchased anywhere.
CHROMA-Purity   of a color rnixed with gray
CIRCLE OF CONFUSION-Area  in which two dots appear as one.
    Two separateddots will appear as one when separatedby 1/100
     inch at a IO" reading distance.
CLOSE-UP-Picture  taken closer than eight (B) feet from subject.
COATED LENs-Anti-reflection   deposit on lens surface to permit
    more light to pass.
COLOR BLIND-Film   sensitive only to blue or violet light.
COLOR CONTRAST-Distinct  separation of difierent colors.
COLOR CORRECTED-Optically  balanced to assure similar sharp-
    ness of  all colors.
COLOR HARMONY-Combination   of colors producing a pleasing
      effect.
COLOR SENSITIVITY-Varying    color response of difierent films.
COLOR TEMPERATURE-The  degreesKo refer to the comparative
     color changesthat occur when a black body (iron)  is heated.
    A low number indicates a more reddish color; a higher number,
     a bluer shade. Most important for natural color film.
 COLOR TEMPERATURE METER-Device  which measures color
     temperature, establishescolor balance.
 COMPLEMENTARY  COLORS-Any   two combined colors other
     than the primary.
 COMPOSITION-Orderly  arrangement of a picture to produce the
     most pleasing efiect.
 CoNDENSER-Light-concentrating  lens.
 CONTRAST-Comparison  of light to dark.
 CONTRASTY-Abrupt   difference of light-to-dark tones.
 CROPPING-Trimming  a picture for the most efiective compositon.
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CUTTER-Special   slicer for  cutting  film  or  print  with clean or
    deckled (wavy) edges.
DAYLIGHT TANK-Special  developing tank which permits negative
    processingin  full  light.
DEFIN I TI ON*-Sharpness.
DELAYED ACTION-Automatic   shutter release mechanism operat-
     ing after a predetermined interval without human effort. Permits
    you to photograph yourself.
DENSITOMETER-Measures thickness of exposed and developed
      film silver deposit.
DEPTH OF FIELD-Area   of satisfactory image sharpness.Distances
     at different apertures are usually supplied in table form.
DEVELOPER-Chemical  which blackens only exposed portions of
      film.
DEVELOPMENT-Complete  process of developing, shortstopping,
.   and fixing exposed film.
DIFFUSION-LighI  which is scattered.Reducessharpnessof image.
DOUBLE EXPOSURE-Taking  two pictures on one negative. May
    be accidental, or intentional for special effects.
EAsEl-Paper-holding   device for enlarging.
ELEVATOR TRIPOD-Convenient  device for  lowering or  raisng
    a tripod head without changing the length of the tripod legs.
EMULSION-Gelatin  or resin carrier of sensitizedsilver particles.
EMULSION SPEED-Reaction  rate of different films to light.
ENLARGER-Photo-optical  device to produce large pictures from
     small negatives.
ENLARGEMENT-Large   print made from a smaller negative.
EXPOSURE-Activation   of  sensitive silver in  the film by  light.
    Admission of light into the camera through the lens.
EXPOSURE COUNTER-Numbering  device for counting the ex.
    posures in the order that they are made.
EXPOSURE GUIDE-Chart  suggestingaperture and shutter settings
     for differing conditions of light and subject.
EXPOSURE LATITUDE-FiIm   ability to be over- or under-exposed
    and  still yield an excellent picture.
EXPOSURE METER-Light   intensity measuring device to indicate
     correct aperture and shutter settings.
EXTENSION  FlAsH-Coordinated    multiple  flash from  difierent
     locations used to light a picture with greater balance.
50

FEATFIERING-Using     only the edge porrions  of a light  in order  to
         avoid a hot  spot.
    FILL-IN   LIGHT-Diffused    weak  light  usually  used  at the camera
         position  to prevent too dark  shadows.
    FILTER-A     colored  glass that   fits  over  lens and  separates white
           light. May admit certain colors (transmission)  while preventing
         other colors from coming through  (absorption).
    FILTER,  GELATIN-Non-permanent        filter  usually used for  experi-
        mental purposes.
    FILTER,  LAMINATED-Gelatin        filter cemented between two pieces
          of  glass.
   FILTER, NEUTRAL DENSITY-Increases  exposure without  alter-
        ing color values.
   FILTER, POLARIZING-Transmits   light rays of only certain angles.
       Minimizes glare.
   FILTER, FACTOR-Additional   exposure necessary because all  fil'
         ters retard some light.
    FINE-GRAIN-Controlled   small grain needed to produce negatives
         suitable for huge enlargements.
   FIXING-Removing   unerposed and undeveloped silver salts from
       an emulsion.t  FIXED  Focus-standard    camera distance scale setting with  a
        narrow aperture which produces great depth of field and lessens
        the need for accuratefocus. Box camerasare fixed focus.
   FLASHGUN-Combined  battery and flashlamp holder.
   FLASHLAMP-Powerful    single-use light  source. Flash duration
        generally I/50  second.
   FLASHTUBE-Powerful   multiple-use light source. Flash duration
        I/5000 second.
    FLAT-Opposite   of contrasty; showing little gradation of tone.
   FOCAL LENGTH-The   infinity  (far distance) lens distance posi-
         tion from  film.
   FOCAL PLANE SHUTTER-Light   admitting curtain similar to a
       window shade with a  slit  of varying  size for  different time
         intervals of exposure.
   FOCUSING-securing camera image sharpnessfor the lens at dif-
         ferent subject distancesby moving the lens forward or backward.
       l  FOCUSING ScAlE-Measurement   chart which shows the required
    l       lens from film distance for different subject distances.
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FOCAL FRAME-Convenient  close-up camera device which elimi.
    nates the need for  focusing or framing the subject.
GRAIN-Granular  image breakdown due to optical or silver clumps
    formed by improper development.
GRADATION-Tone  separation.
GLARE-Unwanted  concentrations of light;  hot spots.
GUIDE NUMBER-Flashlamp   or flashtube reference number used
     to simplify the calculation of the proper aperture for  difierent
     subject distances.
HI-LO  SWITCH-Electrical   device which  permits focusing with
    dim lights and picture taking with brightened lights.
HARDENER-Toughens   film  or paper.
HOT SPoT-Undesirable  concentration of light which over'exposes
     subject at the point of reflection.
HYPERFOCAL DISTANCE-Related  focusing scale and aperture
     setting at which everything is in focus from half the set distance
     to  infinity.
HYPo-sodium    thiosulfate, used to dissolve undeveloped emulsion
    on the film.
ILLUMINATION-LighI    necessary for photography. No illumina'
     tion, no picture.                                                                                  'difier'
IRIS-Variable   lens opening which may be adjusted to
     ent sizes.
JlG-Holding   device.
KELVIN  (K')-Visual   comparison temperature number of a heated
    body.
LATITUDE-Permissible   variation  in exposure.
LEAF-One  blade of a between'the'lensshutter.
LENs-Light-gathering   system, usually of glass.
LENS CAP-Lens  protective covering.
LENS HOOD, LENS SHADE-A   light shield which prevents stray
     reflected light from entering the lens.
LENS SPEED, f/ NuMBER-Relationship   of lens opening to film
     distance.
MASK-Shield;   outline; cover.
MASK, BORDER-Uniform   artistic outline around film or print.
MAIN  LlcHT-Predominating     light.
.MERGER-Indistinct  separation of subject or shades.
MICROFILMER-Convenient   space-saving device for  reproducing
    documents on 35mm film  strips.
52

MIDGET LAMP ADAPTER-Device   permitting the use of a small
    bayonet flashlamp in a standard size socket.
NEWTON RINGS-Irregular   target-type spots resulting from  im.
     perfect mounting
OVER-EXPOSURE-Too  much  light  admitted  for  an exposure,
     Distorts tone values.
PANCHROMATIC-BIack  and white film sensitive to  all colors.
PARALLAX-Viewpoint   difference of camera lens and viewfinder.
PEAK-OF-ACTION-Apex,  height of action.
PEAK-OF-FLASH-Broad   plateau portion  of the flashglow which
    makes flash synchronization possible.
PHoTo'ELECTRICITY-Electrical     current generated when  light
     strikes certain metals (selenium).
PHoTo-FlooDs-lncandescent    lamps which burn  brighter than
    normal becauseof over-voltage.
PHoToMICRoGRAPH-Picture   taken by a camera through a micro-
    scope.
PLANAR-Single   lens.
RANGEFINDER-Distance-measuring  device, split-image or super-
    imposed.
RANGEFINDER, CouPlED-simultaneously   measuresthe distance
    and correctly moves the lens focus into position.
READING-Estimate   of an exposure by means of a photo-electric
    meter.
REFLECTOR-Device   for  directing  light  rays back to an area.
    Increases lamp efficiency.
REFLEX-Camera  with image focused through a lens and reflected
    by u mirror onto a ground-glass.
RETAINING RING-Holding   ring which keepsfilter in filter adapter.
RETICULATIoN-Uneven   wrinkling of the emulsion due to uneven
    temperature in development.
REToUCHING-Pencil   or brushwork on a negative or positive to
    improve the picture.
REVERSAL-Process  which produces direct  positives without  a
     negative.
REWIND KNoB-Key   or lever to wind film back into a cartridge.
SAFETY'ZONE FoCUSING-setting   the distance scale at rB' and
    .aperture at I/8. Large subject areas are in focus at this setting.
SET-SCREW-Screw  friction  or mechanical device to  limit  the
    rnovement of mechanical parts.
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 SHORTSTOP:solution  which halts development.
 SHUTTER-Device   for governing the time- interval that a lens re-
     mains open, like a water faucet that opens and closes.  -
 SHUTTER RELEASE-Device  for opening and closing a shutter.
 SILHoUETTE-subject   is dark and outlined againsr rh; Hght back-
     ground. Made by over-exposingthe background while under-
     exposing the foreground.
 SINGLE-LENS REFLEX-Reflex  which focuses by the same lens                                                                       '      that takes the picture.
 SLIDES-Mounted  transparencies.
 Sol-ENolD-Electro-*ugrr"tic    shutter-tripping device used to syn-
     chronize flashlampsand flashtubes.
 SPEEDLIGHT-An   inrense flash from a radio-type tube, l/5000
    secondduration. Also called electronic or speed flash.
 SPoTTING-Minimizing   or obliterating scratches,spots, emulsion
     imperfections on the negative or positive.
 SPoTLIGHT-special  type of point-source light which produces
      straight-linerays. Used for crispness,contrast,and rharp outline"
 sroP-opening;      Iurl, r00% difierence in  light aperture; full open-
     ing of the iris number; from f./4 to I/5.6  is one stop.
 STROBE-speedlight.
SUPPLEMENTARY  LENS-An   additional lens placed over the
     regular camera lens used to alter focal length. Rigid cameras
     (non-bellows) usually use the positive type for close-ups.
SYNCHRoNIZER-Mechanical  or  electrical device used to coor.
     dinate the opening of the shutter with the peak-o{-flash.
TELEPHOTO LENS-Lens  which produces an enlarged image as
    compared to the  size produced with  the regular  lens, both
     pictures from the same camera position.
TEXTURE-Detail   revealing; 90o angle of light  for maximum ef-
      fect.
TIMER-Measures  hours, minutes, or seconds at regular intervalsl
   may be audible when used for enlarging.
TIME EXPOSURE, r-Long  exposure,requiring set-screwcable re-
     lease or T setting on shutter.
TRIANGULATION-subject   distance measurementby observation
    from two points of view. Principle of rangefindei operation.
TRIPPING-Releasing  the shutter.
TRIPOD-Sturdy,  vibrationless camera support
TRANSPARENCY-FiI'    intended to be viewed by transmitted light.
54

TWIN-LENS REFLEX-Double  camera type, with the top dummy
       camera used only for focusing.
   UNDER-EXPOSURE-Insufficient  light admitted for a good picture.
   VALUE, COLOR-Relative brilliance (lighter or darker).
   VIEWFINDER-Optical   device to outline the subject area as seen
       by the lens.
   VIGNETTE-Picture   with a difierent border. Only the desired area
          is sharp.
   WIDE-ANGLE LENS-Has  a greater angle'of-view than the normal
       prime lens.
   WINDING KNOB-Handle,   lever, or key to move film forward to
        the next exposure.
         Stereo  Terms
   ACCOMMODATION-AbiIiIy    of the eye to focus at different sub'
         ject distances.
   ALUMINIIM SCREEN-screen painted with aluminum paint. Main'
        tains polarization and makes large-scalestereo prejection pos'
          sible.
   ANAGLYPH-Red    and  green combined  single  stereogram. When
        separate red and green colored  gelatin lenses are worn  over
         the eyes, depth perception  is possible.
   BINOCULAR  VISION-Vision     involving  coordinated  view  of two
           slightly  different  scenes seen by each eye.
   BREWSTER-The      lenticular   stereoscope as  contrasted  with  the
        Wheatstone  mirror   type used  for  large  X'rays.
   CONVERGENCE-Turning     inward   of  the eyes as one approaches
        a subject.
    C,YCLOPS-Single,    centrally  located stereo viewfinder.
   DEPTH   PERCEPTION--Ability      to  see three  dimensions.  Some
         people may have binocular  vision  but are unable  to see depth- -
   EXTENDED   BASE-Pictures    taken  with  more  than  the  normal
      65mm  interocular   separation.  An  extended  base  is used  for
         long-distance stereo  (hyper).
    FREE-VISION   STEREO-Artificial     three-dimensional  device  to_
        produce  stereo without  the use  of a stereoscope.
    FUSING-Combining    and blending  two  stereo images so that  they
         appear as one and have depth.
   HOMOLOGOUS  POINTS-similar     subject points on each film  o{
         a stereo pair.
    HYPER-STEREO-Long-distance     stereo photography.
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INTEROCULAR-Separation  distance between two  lenses of  a
     stereo camera when taking a stereo pair. Also eye lens separa-
     tion of the stereoscope(viewer).
INVERSION-Image   reversal so that the right  side of the body
    faces left. Not the same as pseudoscopicstereo.
LENTICULAR  VlEwER-Stereo-viewer   with positive convex lenses
     (Realist viewer), as difierentiated from a prismatic or mirror
     type.
MASK, STEREO-Holding  and framing device for stereo positives.
     Position of the film behind the mask opening determines the
     distance setting in space of the "window"  effect.
MERGER, STEREO-Regular   planar merger  (indistinct  image
     separation) is, generally, not possible with stereo. Mergers may
     take place at  infiinity  distances where triangulation ends and
     there is no depth perception.
MOUNTING JIG-Device   for properly holding the film and mask
      for precise mounting.
ONE-FIFTIETH  RulE-Calculation    of the interocular separation
    by dividing lens-to-subjectdistance by fifty. The resulting num.
     ber is the separation spacing of the two lenses.
OPTICAL TRANSPOSITION-f,s11ss1ion  of the right and left view
    by optical means without cutting the roll  of film.
OUT-OF-HORIZONTAI-GreaIer  than normal spread of two homo-
    Iogous (similar) points of an image of a stereo pair. When
     the separation is greater than 65mm, the eyes can not both
     turn outward so that fusion (viewing) is impossible.
PRISMATIC VIEWER-Use   of prisms permits B5mm homologous
     point subject positives with a 65mm principle prism point eye
     separation
PSEUDO-STEREO-FaIse  stereo; stereo-like efiect.
PSEUDOSCOPIC STEREo-Untransposed  stereo; right eye sees
      left view and. vice versa. Result shows foreground and back.
    ground reversed. Confusing at first; may be difficult to detect.
REDUCED BASE-Stereo taken with less than a 65mm lens separa-
     tion.
RELIEF, STEREO-Depth   in stereo views.
ROTATING  STAGE-Device   to permit  subject rotation between
    exposures, while maintaining  perfect horizontal and vertical
     alignment.
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SHIFT  BAR-Device     for  shifting  the camera  between exposures.
      Used for  hyper- or hypo-stereo.
  STEREO-BASE-Lens-separating     distance  between  the  two  expo'
       sures of a stereo pair.  Normally  used with  a 65mm  to 70mm
        interocular.
  STEREO-PROJECTION-DirecI      viewing  by  means  of  a  photo'
        optical  device which  permits many  people to see stereo at the
      same time. Polarization  is the most popular  method.
  STEREO'REFLECTOR-Multiple-mirror         reflecting  device  (Stereo'
        tach)  which  permits  the taking  of two  separate views  with  a
     65mm separation on one film  frame. Requires  a special viewer,
        or may be cut apart  for  mounting  on a Realist mask.
  STEREOGRAM-Mounted     stereo ready  for  viewing.
  STEREOSCOPE-SIereo   viewer.
  TABLE-VIEWER,   STEREO-srnall    size stereo projector  specifically
       designed for table viewing  without  the need of a darkened room.
  TILTING   STAGE-special    microscope  stage used  to  hold  micro'
        scopic slides and angle them between exposures.
  TOE-IN-Inward   movement  of the eyes (convergence).
  TRANSPOSING-The     correct  re-alignment   of  the  right  and   left
        stereo view  for  its  specific  eye. Stereo must be changed from
        the  order  that  the camera  produces  to  prevent  pseudoscopic
        stereo.
  TWISTER-stereo     positve  which   is  improperly   aligned  from  the
        horizontal  and vertical, and which  rotates in addition.  Generally
       unviewable.
   VECTOGRAPH-single-sheet,      direct  vision  stereogram.  Must  be
       viewed directly  with polarizing  glasses, or by projection  onto an
       aluminum  screen.
   St/HEATSTONE-Angled-mirror      viewing  device which  permits  the
       use of large-size stereos.
  WINDOW-EFFECT-Space     placement  of a window  on a stereo  at
       any desired distance positon  by  definite mask cutting.
   X-RAY  STEREO-Produced   by  shifting  the X'ray  tube between two
        separate exposures on two  pieces  of  lihn.  When  very  large,
        requires  a Wheatstone  viewer.  Muy  be  copied  to  a  smaller
         size for  Realist  viewing.

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SECTIONIII
      Films,   Filters  and Processing

cHAprER ro     /  COLOR FILM
     Color  film  is a miracle  of  this modern  era  of  science. By  the
combined  integration  of a filter  layer and three  sensitive emulsions,
positioned one above the other, you really are taking three pictures at
one time. However, each separate emulsion layer only reacts to one
of the primary  colors. When  the film  is developed, the developing
agents produce  in each layer only  the one specific color  to which
each emulsion  layer  is sensitive. When  you view  the  film  you  see
 all  three emulsions  at one  time. The  eye combines  the  individual
r:olors at this time so that you see all three pictures at once, forming
 in  this way an impression  of their  true  original  color.
     Contrasted with the many black and rvhite film types, 1'our color
film  is limited  to two types-outdoor   and indoor.   It  is very impor,
tant  to know  that each color  film  must and can be used only  for
the light  K'  (Kelvin)  to which  it  is balanced. By balancing the film
for  a particular   light, we mean  that  the  film's  color  rendition   is
adjusted  for any particular  K"  of color such as daylight  (5900"),
photofloods  (3400"),   or commercial  3200-degree Tungsten lamps.
The amateur  generally  will  use the popular,  available photofloods
 (3400-degrees K).  These balance so  perfectly  with  Kodachrome
Typ" A that no  filter  is necessary.
    The degrees K represents a scientific  light temperature  reference
point  for  measuring,  describing, and comparing  any  light  source
with  the color  quality  of a heated black body  (iron).  As  iron   is
heated,  it  slowly  turns  different  colors through  a deep red,  cherry
red, orange, yellow,  blue, and  blue-white as  it  gets progressively
hotter.
    The  chart  shows  the  different  color  films  that  are  available
and other  pertinent  information.     It  is  thrilling   to know  that  color
film  materials  are  in  a  state  of  day-to-day  evolution.  The  latest
individual  methods  for  color  processing may  be  found  on  the
excellent information  sheet which  accompanies everv  roll  of  color
film. Eastman Kodak  is the company which processes Kodachrome;
Ansco Color may be processed locally or may be sent to any  official
5B

processing laboratory.  The occasional user would  be wise to permit
only a regular  color  finishing  laboratory,  which has the necessary
delicate  control  equipment,   to  develop  his   film.  Remember  that
color  film  processing  requires  a great deal  of  care and  allow  only
those who  specialize in such matters  to handle  your  color  process'
ing  work.


      COLOR FILM
                                  wIrH           Nrw
               Colon            CoNvrnstox     Cor.on
  FIru         BaleNce  ASA    Frr,rrn   ASA    Bu,.lNcu  Pnocrss

Kodachrome    6500"K      10  #80            3400"   Only by Kodak
Daylight
Kodachrome     3400'       16  #Bs    t0      6500'   Only by Kodak
Indoors         Flood

Ansco Color     6500"      12 #10             3200'   Ansco, local pro-
Daylight                                                         cessor, or home
                                                                                       kit.
Ansco Color     3200'      12  #tr              6500'   Ansco, local pro-
Indoors          Incan-                                         cessor, or home
                descent                                                     kit.


    Ansco Color may be bought  in bulk and spooled in  individual
cartridges.  Always  remember   to  color  balance  your   color   film.
Remember  also to keep your  ratio  of  highlight  volume  to shadow
volume  within  the narrow  latitude  inherent  in  reversal  color  posi'
tives, never higher than 4 to  1.
    The amateur  rvill  find  that the best bet  is to use indoor  Koda'
chrome Typ"  A. With  Typ"  A, the film problem  is simplified  so that
you can use inexpensive photofloods  or SM-SF  flash indoors  with'
out any  filter, while outdoors you can use color conversion fB5  filters.
With  these conversion  filters, one film may be used both  outdoors
and indoors  with  greatest film-speed  efficiency. Use the  filters  out'
doors only;  they are not needed indoors. Typ" A  film used outdoors
gives you  the  additional  advantage  of  clearing  distant  haze which
gives a warm,  pleasing efiect to your  pictures.
                                        59

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CHAPTER 1I     /  COLOR  FILTERS
     Color  film  requires an entirely  different type of  filter  than
black and white. Therefore, never use any of the black and whits
filters, with the exception of the polarizing neutral filter, for color
work.
    As we have mentioned before, the all-important problem with
color film  is color balance. Color balance is the attempt to bring
the color temperature of  your  lights  to match the color  film's
adjustment. You will find that with this color matching, you are right
back with our old friend Kelvino.
        If your color film is balanced for 3400 degrees Kelvin (photo-
floods) and you  use incandescent lamps, which  produce onlv
3200 degrees Kelvin, then  you'll  find  that  your  finished trans-
parencieswill be too warm (reddish)  in color. If vou have only
3200" lamps to take these pictures, you must compensate with
special correcting filters. These special filters are placed over the
camera lens and you'll find that the light balancing filters (LB  for
short)  will  raise or  lower the color temperature of  your  light
source to that required by the film so that you  will be able to
produce a temperature-balancedcolor transparency.
   Do not be a filter collector. You may use daylight film outdoors
in order to avoid using any filters. Therefore, use indoor Kodochrome
(A)  with photofloods and Ansco Color (3200")  with  its specific
lamps. Slight  differences of  color temperature can be tolerated
by the eye without any fretful worry  of  super-scientific measure'
ment with a color meter. The proof  is the millions  of acceptable
transparencies which have been made by novices who have never
heard the term "Kelvin  degrees."
                                                    '                       Cor.oR Fr,AsH
    The critical color temperature of your film requires that you
use a light balancing filter  (Realist or BlC) when using photoflood
(3400')  or incandescent (3200")  film with flashlamps (3800").
Because flashlamps burn  at a 3800-degree Kelvin temperature, it
is necessaryto bring the Ko down to the 3400-degreeor 3200'degree
Kelvin  temperature with  a  light  balancing  filter  as the  chart
shows. With an SM-SF lamp, no  filter  is required as the color
50

FITTERRECOMMENDATIONSFOR VARIOUS LIGHT SOURCES
   Jonvory, l9iO-For   currei, recommendolionsrsee film inslruclions
                            'COLOR       COLOR               COLOR
    LIGHTING           Dlyrrcnt
   CONDITIONS         Txpu
 - -
  Daylight.   Clear  or      No  Filter  Required     Type A Filter       N o . 8 5 B
   hazy sun casting                                     for Daylight           (See Note 2)
    sharp  or  soft                                   (No. 85)
   shadows.

  Daylight.   BIuish-        Skylight (No.. 1A)     Type A Filter for      No. 858
    overcast  or open                                  L,ayllght (No.85)       (See Note 2)
    shade. No shadows,  _
 Daylight.  Distant       Skylight (No. 1A)     Type A Filter for      No. 85B
    scenes, mountain                                Daylight (No. 85)      (See Note 2)
   and  aerial photog-
    raphy.

 Photoflood  Lamps       Kodachrome   Filter     No Filter Required    No .81A
    (Color  temperature         for Photoflood
   3400"K)  and "CP"       (No.80)
   Lamps  (Color  tem-
    perature  3350'K)                                                -
  Daylight   (blue)          Not  Recommended           I Not  Recommended       Not Recommended
    Photoflood  Lamps

 3200'K Lamps        No. 80 plus No. 82A   I No. 82A            No Filter Required
    (Color temperature
   3200'K)

  Flash Lamps No. 5,6,    Not Recommended         I No. 8lC            N o . 8 l E
    1 1 , 2 2 , 3 1 , a n d 5 O
  Flash Lamps No.0,  2,   Not Recommended         I No.81E            N o . 8 1 H
    24,3,25,26,  and 40
 SM Flash Lamps      Not Recommended     I No Filter Required     Not  Recommended

 SF Flash Lamps         Not Recommended         I No. 81A                 Not  Recommended
  Daylight  (blue)       No Filter Required      I Not Recommended     Not  Recommended
   '58,228,Flash LamDs No.          and 508
  Kodatron Flashtubes  See Film Insiructioqs  I Not Recommended    Not Recommended
   FT-220, FT-402,
   FT-403, and
   FT-s03

  Daylight   Fluorescent          Ektachrome:                I Not  Recornmended       Not  Recommended
   Lamps            CC-10M plusCC-058
                        Kodachrome:
                      cc-208
 3500'K white         Not Recommended    I CC-10Y plus CC-20M1 CC-20RplusCC-05R
    Fluorescent Lamps
 4500"K White      NotRecommendedcc_+ovnruscc-30M    Fluorescent Lamps                              I                             |
                                                                    CC-50Yplus""_ssx",1!"33:oo*Kodachrome:CC-30M

 White Ftame                 I CC-40Y                        .l Not Recommended     I Not Recornmended
   Carbon Arc
Courtesy Eastman Kod'qk Co.
                                          6L

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temperatures  of these lamps approach  that  of Typ"  A  to  within  a
reasonable degree. The  slight  difierence  of  color  temperature may
produce  light  ruddy  tones which  enhance the  color  quality. You
will  find  that  this  color  correction  information  ought  to be  car-
ried  with  you  at  all  times.   It   is  sad,  indeed,  to  have  an  other-
wise perfect  picture  spoiled  just because of improper  color  balance.
In  Section V  you  will  be shown  for  the  first  time how  you  can
correct  poor  color  slides. But   it  is  far  more  important   that  you
do the right  thing  at the beginning  and "have   it on the negative."
      'CoLoR
              LrcHT  Bl;-lNcnvc  AND Colcvnnsrox  Frrrrns
Ansco  Color  Light  Balancing  Filters  (courtesy Ansco Company)
UV-IS    1.  Haze correction   (slight)
           2.  For photoflood  correction  with Ansco Color, Tungsten
              Typ..
UV-f6       I.  Haze  correction  (medium)
           2.   For   clear  flash  lamp  correction   with  Ansco  Color,
            Tungsten  Typ".
           3.   In enlarger's  optical system, in addition  to recommended
                 filters when exposing Ansco Color Printon.
UV-17     I.  Haze correction  (strong).
      #10  Conversion  For  3200'   correction  with  Ansco  Color,
              Daylight  type  (4x)
       #1I   Conversion For  daylight  correction  with Ansco  Color,
            Tungsten tYPe (La/zx).
        #I2   Conversion  High'Speed  strobe  correction  with  Ansco
              Color, Tungsten, tYPe.





62

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SECTION IT/
     The Uniuersal L-A.B-S Formula
 CHAPTER T2     /   L-LIGHT    SOURCES
     The  first  and most  important   subject  that  will  greet  you  at
 the doorway  to  photographic  knowledge  will  be  light.  Only  wherr
 your  subjects  reflect  light  can  they  be  photographed.  Recording
 of  this  reflected  light  may  take  place  only  by means  of   light-
 sensitive film.   If  there  is no subject  to  reflect  light,  then no matter
 how long your  exposure may be there can be no picture.  Similarly,
 unless you have a light-sensitive  emulsion  to  record  the  efiects  of
 light,  there can be no  picture.  The  two  essential elements  for  a
 picture  are an emulsion  that  is light-sensitive  and  light.
     Section  III  discussed various  types of  film  and  film  character-
 istics. This  section  will  detail  the preparation,  use, and  the  efiects
 of different  kinds  of  light.
     There  are three basic  light  types as shown  in  the  chart. The
 photographic  effects of these different  types should serve as a guide
 for  their  use with  various  subjects.
    You  can choose the proper  type  of  light  for  any  subject. An
 old  wrinkled  woman  should  not  be photographed  with  the same
 light type you would use with  a weather-beaten character" To soften
 the wrinkles  of Granny  and so make  her  love  you   all  the more
 for  making  her  look  younger,  you  ought  to  use  either  heavily
 difiused photofloods, bounce  light,  or fluorescents  if  they are  avail-
able. The weather-beaten realism  of your  battered  character  whonr
you wish  to portray  in  vivid  dramatic  contrast can be brought  out
 only by using  the  spotlight  at the proper  angle, or  using  outdoor
 sunlight as a point  source of  light.
         If  you  wish  to  reveal the  fine  texture  of  a lace pattern,  then
a properly  angled  spotlight   will  be the  logical  choice  to show  all
the crisp  detail. on  the  other  hand,   if  you  wish  to  minimize  the
detail  in  order  to  get an  area  eflect  for  mood,  then  a  difiused
source  is the choice  for  the desired  result.
         It   is necessary  to  emphasize  that  while  a sharp  contrasting
light  may  be  diffused,  one  can  never  sharpen  the  efiect  of  a
diffused  light  source. For  this  reason many  photographers  always
use spotlights  and  then  soften  their  image  while  enlarging.  This
technique  is  applicable  only  to  black  and  white  film  since  there
is no  possibility   of  changing  your  lighting   effect with  color  film.
64