EYES OF THE BRITISH ARMY

Southland Times, Issue 24106, 20 April 1940, Page 11

EYES OF THE BRITISH ARMY

Wartime Photography From The Air

WHEN Great Britain and France took the field to resist the march of Nazism, a corps of photographic experts sped into action. In the air, behind the lines, and in the firing line, they work under great difficulties, and the part they play is as essential to the success of the Allies as are the heaviest bombers, and the fastest cruisers (writes Richard Davidson in The Sydney Morning Herald). Military photographers are contenders for the title “Silent Service. Everyone is familiar with the make-up

of battalions, machine-gun crews and brigades, but the all-important photographic corps is an unknown quantity. We have seen the wonderful salon prints turned out by photographers in the ease and comfort of a mouern and well-equipped darkroom. These artists of the camera would be clumsy amateurs if they had to work under the conditions which obtain at the front. Each military and aerial sector has its photographic base, and they work in conjunction. British brigades move into new positions and dig-in. Behind them rumble the artillery units, the general transport of the Royal Army Service Corps, the hospital equipment of the Medical Corps. The photographers search for their location, which must be clearly visible from the air, and which also must be close to running water. ,Dark-room Tents

WHEN the trucks with their gear arrive they are unloaded in a few moments, and enthusiastic workers immediately set about erecting the darkroom tents. These tents have rubber linings which are connected at the front with zippers. Thus, during development, all light is excluded. As soon as the tents are erected, developing tanks, contact printers, and enlargers are brought inside and placed in position. Outside, a specialist is connecting a small petrol motor to a generator. He runs a cable to the contact points in the darkroom tents and continues the wires inside, so supplying the printers with the necessary light. At last the long-awaited drone is heard. Men watch the sky expectantly. An aeroplane bearing the familiar red, white and blue circles on its wings drops gracefully from the clouds. The pilot flies round for a while until he locates the markings The utmost care is essential, as in modern warfare so

much depends on aerial pictures. Strategy and manoeuvre are based on them. The pilot sees the sign and casts his cylinder of film. It shoots through the air like a stone for a moment, then the parachute opens and the container floats gracefully earthward. A dozen men rush to where it falls. Swiftly the film is developed, fixed and washed. Two men carry it into the open air and wave it about in the breeze. Then it is put through an alcoholic bath and left in the rack to dry thoroughly. In a few minutes it is ready for printing As soon as the positives are ready the next job is to get then to Field Headquarters. A motor-cyclist is generally entrusted with this mission, but occasionally a “tin-hatted” soldier has to convey them across territory raked with enemy fire and through barbed wire. The man who carries the pictures has a job to do that is every bit as dangerous and important as that of the spy in enemy country.

Reconnaissance photographs depict the enemy territory, their lines of communication, their fighting positions, their gun emplacements. The camera eye burns through camouflage.

Night Photography SEVERAL successful tests of night photography have been made. The importance of this new branch of reconnaissance cannot be overestimated. By its use pictures may be made of movements and positions which could never be obtained in daylight. For example, if the enemy makes mass movements of troops during the night in preparedness for a morning attack, the night picture reveals this. Defences are built up accordingly, or arrangements are made to deliver a smashing counter-offensive.

Night pictures are made possible by the flash of a large magnesium bomb. During recent tests in the United States a successful picture was made at night from an altitude of 6000 feet. The photographer used a standard aerial camera with a 12in lens, and on his 7 by 9 negative he covered an area miles long by 1 mile wide. A 501 b magnesium bomb supplied the synchronized flash.

The area to be shot is marked out by dropping flares. When the plane reaches the correct altitude the camera is focused and the bomb is dropped. A parachute slows its descent. As the parachute opens it strikes light into a fuse. About 75 yards below the plane the fuse burns down and the bomb explodes simultaneously with the opening of the camera shutter. A photo-electric cell with a secret attachment synchronizes the flash with the shutter opening. It is just as effective and instantaneous as the flash on a good Press camera.