Photography in 1943 relied on film, mechanical shutters, and no digital tools

In 1943, photography was a chemical and mechanical process from start to finish. A photographer loaded film into a camera body, adjusted the lens opening and shutter speed by hand, and pressed a button. Light hit the film emulsion — a layer of light-sensitive silver halide crystals — and created a latent image. That film then went to a darkroom, where chemicals developed it into a negative. From the negative, a print was made by shining light through it onto light-sensitive paper and developing that paper in more chemicals. No computer, no screen, no when ready preview. A photographer might not see the result for days.

The cameras themselves were built to last. Most were metal and glass, with no batteries required for the shutter mechanism. A photographer had to understand exposure — how much light the film needed — because there was no meter in the camera to measure it. Many cameras had no meter at all. A photographer either guessed, used a handheld light meter (if they owned one), or relied on printed exposure guides that came with the film box.

Key Takeaways

  • Film came in rolls or sheets and had to be loaded in darkness or in a light-tight bag, then developed in a darkroom with chemical baths.
  • Cameras had no built-in light meters, so photographers estimated exposure using printed guides, experience, or handheld meters.
  • Shutter speeds and aperture (lens opening) were set manually by turning dials and rings on the camera body.
  • A single photograph took days from capture to finished print, and mistakes could not be undone once the film was exposed.
  • Professional and military photography drove innovation during 1943, leading to faster films and more reliable shutters.

Film types and speeds available in 1943

Film came in different speeds, measured in ASA numbers (American Standards Association). Common speeds were ASA 25, 32, 50, and 100. A lower number meant the film was slower — it needed more light to expose correctly. A higher number meant faster film that worked in dimmer conditions. Kodak Tri-X, introduced in 1940, was a fast black-and-white film at ASA 200 and became popular with press photographers and the military by 1943.

Color film existed but was rare and expensive. Kodachrome, introduced in 1935, was the main color film available, and it required special processing that only Kodak labs could do. Most photographers in 1943 shot black and white because it was cheaper, faster to develop, and easier to print. Film came in 35mm rolls, 120 rolls (for medium-format cameras), and sheet film in sizes like 4x5 inches for large-format cameras.

Camera types in common use

The 35mm rangefinder camera was becoming the standard for news and street photography. Models like the Leica and Contax had a viewfinder window separate from the lens, and a rangefinder mechanism that let the photographer focus by aligning two images. These cameras were compact, fast to use, and reliable. They became the tool of choice for war correspondents and photojournalists covering World War II.

Large-format cameras — 4x5 or 8x10 inches — were the standard for studio work and landscape photography. They used sheet film, one sheet per exposure, and had a bellows that extended to focus. They were slow to set up and slow to shoot, but the large negative produced excellent detail and could be enlarged significantly without loss of quality. Medium-format cameras using 120 film were a middle ground: faster than large format, but producing a larger negative than 35mm.

How exposure and focus were determined

Without a built-in light meter, a photographer in 1943 had three options. The first was to use the exposure guide printed on the film box or in the film manual. These guides listed combinations of shutter speed and aperture for different lighting conditions — "bright sun," "cloudy," "indoors with flash" — and the photographer chose the closest match. The second option was to own a handheld light meter, a small device that measured light and gave a reading the photographer could convert to camera settings. These meters were expensive and not universal.

The third option was experience. Professional photographers learned to read light and guess exposure accurately. They also bracketed — they took the same shot at several different exposures to increase the chance that one would be correct. This was wasteful of film but common practice when the stakes were high.

Focus was manual on every camera. A rangefinder camera had a focusing knob that moved the lens until the two images in the viewfinder aligned. A large-format camera had a ground glass screen on the back where the image appeared upside down; the photographer adjusted the bellows until the image was sharp. This was slow but precise. Once focused and exposed, the film could not be adjusted — the image was fixed chemically.

Darkroom work and print development

After exposure, the film had to be developed in complete darkness. A photographer loaded the film onto a reel inside a light-tight tank, then poured in developer solution. The film soaked for a set time — usually five to ten minutes — while the developer converted the latent image into a visible negative. Then the developer was poured out, the film was rinsed, and a stop bath (dilute acid) halted development. A final rinse and a fixer bath made the image permanent by dissolving the remaining silver halide.

Once the negative was dry, it could be printed. The photographer placed the negative in an enlarger — a device that projected the image onto light-sensitive paper — and adjusted the size and focus. Exposure time was usually a few seconds. The paper then went through developer, stop bath, and fixer, just like the film. A final rinse and dry produced the finished print. A single print took 15 to 30 minutes from start to finish, and the whole process from film exposure to finished print took at least two days.

Flash photography and lighting in 1943

Flash photography in 1943 meant flashbulbs or flash powder. Flashbulbs were single-use bulbs filled with magnesium wire or foil. When fired, they burned in a bright flash that lasted a fraction of a second. A photographer had to synchronize the camera shutter with the flash — the shutter had to open at the exact moment the bulb reached peak brightness. Synchronization was mechanical and not always reliable. Flash powder was older technology: a chemical powder that was ignited in a metal reflector, creating a bright but unpredictable flash. It was messy and dangerous.

Studio photographers used continuous lights — tungsten bulbs in reflectors — because they were steady and allowed the photographer to see the lighting before exposure. These lights were hot and required ventilation. Outdoor photography relied on daylight, and flash was used only when necessary. The combination of slow film and no flash meant that most photography in 1943 happened outdoors in daylight or in studios with controlled lighting.

Photography during World War II

Military and press photography drove much of the innovation in 1943. War correspondents needed cameras that were fast, reliable, and could work in difficult conditions. The 35mm rangefinder camera became the standard because it was portable and could be reloaded quickly. Faster films like Kodak Tri-X made it possible to shoot in lower light and at faster shutter speeds, reducing blur from camera shake.

Military photographers used larger formats for documentation and reconnaissance. Aerial photography used special cameras mounted in aircraft, with fast film and precise shutters to capture detail from high altitude. The demands of war — speed, reliability, and the need to document events as they happened — pushed manufacturers to improve film speeds, shutter reliability, and lens design. Many of the cameras and films that became standard after the war were developed or refined during 1943.

Frequently Asked Questions

Could photographers see their pictures right away in 1943?

No. A photographer had to develop the film in a darkroom, which took hours, and then print it, which took more hours. The fastest turnaround for a finished print was several hours if the photographer had a darkroom nearby. Press photographers during the war sometimes had darkrooms set up near the front lines, but most photographers waited days to see results.

What happened if a photographer made a mistake with exposure?

The image was ruined. If the film was overexposed (too much light), the negative would be too dark and the print would be too light and washed out. If underexposed (too little light), the negative would be too light and the print would be too dark and muddy. There was no way to fix it after the fact. This is why bracketing — taking multiple exposures — was common practice.

How much did a camera cost in 1943?

A basic 35mm rangefinder camera cost between $50 and $150, which was a significant amount when the average worker earned about $2,000 a year. A professional large-format camera cost $200 to $400. Film and darkroom chemicals added to the cost. Photography was an expensive hobby or profession in 1943.

Could color photography be done in 1943?

Kodachrome color film was available, but it was expensive and had to be sent to Kodak for processing. Most photographers shot black and white because it was cheaper and faster. Color photography was rare in 1943 and mostly limited to professional studios or special projects.

How did photographers focus without autofocus?

Rangefinder cameras had a focusing knob that moved the lens. The photographer looked through the viewfinder and turned the knob until two images aligned, which meant the lens was focused. Large-format cameras used a ground glass screen on the back where the image appeared upside down. The photographer adjusted the bellows until the image looked sharp. It was slower than autofocus but gave the photographer full control.