Evening star., 1948-06-20
By Alexander J. Wedderburn
Cvroser Of Photography
The Smiths oman institution

The Smifhsonlon inshfuron
The approach to color photog-
raphy, although somewhat different
from monochrome, involves more or
less the same basic principles. The
problems of focus, shutter speed,
camera steadiness, ETC., have the
same effect on color shots as they
do with black and white film. One
really big difference lies in the rela-
tive degree of latitude Of exposure.
With monochrome film you can
miss the correct exposure by one
stop one way or the other and still
have something to work with
Minor faults of this nature can be
compensated for during develop
ment or later when you are making
print. But color film is different
in this respect. 1t definitely does
not have the same latitude and a
carelessly made exposure will al
most always result in wasted film.
In the first place, the emulsion
speedy color film is much slower
than its black and white counter
part. Therefore its use is restricted
by the amount of light available
and the speed of your lens. If your
lens is slower than f63 don't waste
your money on color film. This
will Just about rule out the average
box camera. A camera with an f4.5
lens will be satisfactory for prac-
|tically any type Of color work that
you will be interested in. In view
Of the absence of grain in color film,
tine size camera is immaterial.n You
can get Just as good results. with a
| l35-mm. camera as you can with the
larger cameras and the smaller
transparencies are easier to. pro-
tect7 with a glass or cellophane
Jacket. Also most slide film pro-
jectors are built specially for the
35-mm. slides. sH
Lens Correction.
Aside from the speed of the lens
you must also give consideration to-
its ability to give critically sharp
definition over the entire area OF
the film. Failure of the lens in
this respect-due to transverse
chromatic aberration-Will result in
color fringe appearing on the
edges of the objects In the scene
So it will pay to invest in a color
corrected lens" if you intend to go
in for color photography In serious
way.
There are three types of color film
to be considered. and each is spe-
cifically designed for particular
type of work. One is for color pho
tography under natural daylight
conditions, another for indoor shots
with tungsten lighting and the
third for use when making interior
shots with Photographic floodlights.
Don't make the mistake OF trying
to use one type of film in situ-
alton that calls for another. For
instance, If you shoot the tungsten
type film in daylight, the trans
parency will have blush cast.
And, on the other hand, if you have
your camera loaded with daylight
type film, and make your exposure
under the tungsten light. the film
will have a decided yellow appear
ance after development. A few die
hards will try to convince you that
you can use any one of the three
types of color film under any con-
ditions through the use of compen-
sating or conversion filters. While
this is true, it Is certainly neither
practical nor desirable in actual
practice.
While you can use either color
transparencies or color roll film
which is processed much in the
same manner as the monochrome
SO that you receive color prints
from the finisher, you will undoubt-
edly come to prefer the trans
parency type film because OF its
truer rendition of color values.
Prints may also be had from trans
parencies, though at higher cost.
Except for casual snapshots you will
find these prints we'll worth the
added expense. II you are an ad-
vsnced amateur you can even do
your own processing in color with
a new color process that has been
recently developed by one of the
larger film manufacturers.
A dead fiat lighting is just as un-