BACK TO BASICS
Bert Sanders.
When you compose the picture in your viewfinder, zero your TTL meter, focus the image and release the shutter, you are starting a sequence of events that should end up with a perfect colour slide. Disappointment is all too the end result and very often the cause is where one least expects it. So in this article I am going to draw attention to the item which which can make or break a colour slide and without which a sound technique is useless. I am course referring to your camera, the most important item of your equipment, along with all the bits and pieces that go with it.
Everything to do with photography is a compromise, especially your fully automatic camera. When the going gets rough and the light doesn`t suit the camera, you have to go manual and the skill of the cameraman must take over. That is why the manufacturer gives each batch of film that comes off the production line a `batch` number. What that means is that the film speed and colour temperature of the film can vary slightly from batch to batch. Consequently, if you don`t know that your camera and it`s ancillary equipment is not 100% consistent in it`s operation then you are at a disadvantage from the start.
Your camera must be in peak working order to enable you to obtain consistent and accurate results. So often members are disappointed with their efforts that they blame their processing technique without thinking that a wandering shutter speed or dirty battery contacts are the villains of the peace. I have three cameras. A Praktica MTL3, a Chinnon CX (Now unobtainable), a Pentax Spotmatic and a Yashica Mat 124G. All fully manual you will note and all in the lower price range. Sometimes when I am out looking for pictures I have the four of them slung around my neck. Why you may ask do I carry four cameras? Well I have a choice of formats, 35mm and 6 x 6 plus four different lenses if the need arises, with a double exposure switch on the Chinnon CX. Plus a choice of film speeds. A test film is put through these cameras every year to make sure that everything is OK. Please remember that a camera will deteriorate more rapidly through black of use and bad storage than if it was used regularly.
It is well worth your while in the first instance, whether you have purchased a new or secondhand camera, to run a test film through it to make sure that all is well.
Make sure that the battery is in good condition and that the contacts are clean. If in doubt fit a new battery. Operate the camera with the back open and observe that the shutter is operating on all shutter speeds and that all the clicks and whirrs sound healthy. Next, insert a 36 shot cassette of film, preferably from bulk, set your camera on a tripod, line it up on a Kodak colour chart with lighting enough to enable you to cover the full shutter speed range. Test flash syncronisation while you are at it. I would suggest that you use a film of 100 ISO. to start at 1 second and go right through the range of shutter speeds on your camera zeroing your TTL meter as accurately as possible with the use of apertures and ND filters. make a note of each setting i.e. Exposure 1 - 1 sec. at F?, Film speed at 125 ISO and go through the exercise again. If the shutter speeds on your camera go up to 2000 sec. this should just about see off your 36 shot cassette. If you have kept accurate notes and your slides are consistent through each set of twelve shots when viewed after processing then the camera is OK. By setting your film speed selector to 75 ISO and 125 ISO respectively with 100 ASA film in the camera you will be under and over exposing your film to give you the colour saturation that suits you personally. You will also know what film speed to give the batch number of the film you are using. This system is far more accurate than trying to do it through the viewfinder using stops and shutter speeds.
Don`t forget that when you take a TTL meter reading the colour of any background can fox the meter. A dark background will overexpose light objects as will a light background underexpose darker objects. Getting it just right only comes with experience so get close in, take a meter reading of the lightest part of the subject and the darkest part of the subject and choose a shutter speed or F stop in between. You have to compromise.
Flash photography is a different kettle of fish and once again experience is the best guide. Even with fully dedicated automatic flashguns things can go wrong. Lack of attention to the tone of the background can bring disappointment and the loss of a once in a lifetime shot. With starkly white backgrounds, especially out of doors at night where there is no background the auto module can be foxed giving you over and under exposure of the subject. Get in as close to the subject as possible, taking composition into consideration, of course, and try whenever possible to avoid sharply contrasting background tones. Overall pastel shades blend with skin tones and general run of colours. As an exercise run a test film with flash. Take a few shots out of doors at night where there is no background. Take some shots where the background is white or black. Bracket shots by as much as one and two stops then you will see what I mean. One last point. If you should be unfortunate enough to have a camera that malfunctions, return it to the manufacturer`s recommended repairer, where you should ask for an estimate for repair before the work is carried out. My Pentax Spotmatic cost £50 for a full service two years ago but it was well worth the cost as it was put in perfect working order with every shutter speed spot on. Do not take it to your local photographic dealer as you will not know who has had a go at it, very often with disasterous results, plus the fact that it will cost you about £20 postage and handling charges. Regularly testing your equipment more than pays for the cassette of film that you use beside giving you top quality slides and peace of mind. Remember, a colour slide is only as good as the experience and application of the cameraman/woman.********************************************
PROS & CONS OF MOUNTING SLIDES IN GLASS (Page 5 - Footnote)
This article by John Ruffell was sent in by Tony Chuter (Area 17) after seeing it in the I.A.C. Journal. The C.R.C. also received numerous enquiries from the mention in the I.A.C. Journal for which we thank them. John is the I.A.C. A/V Editor.
E8! (Update)
It`s with a sigh of relief that it has been confirmed that the report of an E8 film and chemistry came about by an over enthusiastic reporter at a Kodak Press Conference, giving a false report and thankfully, these aren`t about to be launched on us. The report on less `toxic` chemicals would seem to stand.
Ed.